Review of CDs of Borresen 3 symphonies and violin concerto
Rob Barnett
HAKON BORRESEN - THE SYMPHONIES … AND A CONCERTO
A REVIEW OF TWO COMPACT DISCS:-
Symphony No 1 (1904) 32:38 / Violin Concerto Rebecca (1901) 39:06
Rebecca Hirsch (violin)/Aalborg SO/Owain Arwel Hughes
CD 71:48 - Da Capo/Marco Polo CD 8.224059
Symphony No 2 The Sea (1904) 41:16 / Symphony No 3 (1927) 34:28
Aalborg SO/Owain Arwel Hughes
CD 76:09 - Da Capo/Marco Polo CD 8.224061
WHO IS BORRESEN?
Hakon Borresen (1876-1954) is a Danish composer sporting a Norwegian
name (my apologies for not using the correct Norwegian ‘O’ with an
oblique through it - now what is the correct name of that character
please?) only I know what happens when I try to introduce accents
into pieces posted to the newsgroups). The Norwegian name is
accounted for by his Norwegian grandfather who moved to Denmark in
the early 1800s. Borresen was taught by Svendsen and travelled in
Europe during the early 1900s. His violin concerto performed was by
Nikisch. There are three symphonies to his name and all are here. His
most famous work is probably the opera The Royal Guest although its
reputation and Borresen's has been largely restricted to Denmark and
perhaps Germany.
GENERAL
These two discs are very well-filled - important with rare
repertoire. The sound quality is fine and natural with no excesses.
Notes for both by Nils Dittmer and suitably encyclopaedic. I was
surprised that they were in English and German only. Where is the
Danish? I know German is the second language in Denmark but still
wondered why the first language was not here. Perhaps as with the
French/Belgian Patrimoine series these discs are issued in Danish
only versions in Denmark but at budget price. It would be nice to know.
I knew the symphonies 2 and 3 from radio broadcast tapes as well as
the old Danacord LPs since transferred to CD. These last two
symphonies are, perhaps, in spirit a Danish counterpart of Dvorak’s
earlier symphonies up to number six. His first symphony is from a
different world altogether.
Excellent to see that after Holmboe (on BIS and previously a complete
cycle on BBC Radio 3 with some of the Sallinen symphonies) Owain
Arwel Hughes has turned to Danish symphonies. I rather hope he will
also have a look at the nine symphonies of Kurt Atterburg. We
desperately need a complete cycle of his nine symphonies.
VIOLIN CONCERTO (1904)
This dates from the same year as the second symphony. The first of
the three movements is nearly a quarter of an hour long. In a
striking theatrical gesture after the opening serious flourishes the
violin begins a capricious theme out of a silence of several bars. At
9:27 a warm theme emerges from the accompanying strings and
resurfaces at 12:25. The middle Adagio sings quietly without being
wildly distinctive. The last movement has its fireworks but this is
no empty Paganinian display. Shuddering strings and some drama mark
out the movement. Overall this is a work of delicacy, warmth and
charm. The Dvorak concerto is a counterpart. There is the same
largely carefree atmosphere.
Make no mistake this work has some extremely attractive moments and
is well worth hearing. This work has quite a strong profile though
written I would imagine under the influence of the Tchaikovsky
concerto. The soloist is clearly prepared to try out-of-the-way
repertoire as she was also the soloist, a couple of years ago, in a
BBC revival of the Rawsthorne Second Violin Concerto. If ever
Hyperion embark on a Romantic Violin Concerto series I shall expect
to see this there alongside the Schoeck, Ivanovs and Bortkiewicz works.
SYMPHONY NO. 1 (1901)
Borresen was only 24 when he wrote this symphony. The first movement
alternates darkness with a certain bright intensity usually allocated
to strings finding their voice in Tchaikovsky’s Sixth Symphony;
indeed according to the always excellent programme notes, he had
heard Svendsen conduct the three late Tchaikovsky symphonies as well
as the Sibelius first before he wrote this symphony. This is gorgeous
music - heavily derivative maybe but evidently written with a driving
young ambition and impulse which his the two later symphonies lack.
Listen to the glowering sunrise effect at 7:40 Track 4 - wonderfully
sustained. It is Tchaikovsky’s fifth symphony which can be heard in
the second movement - allegretto. The third movement opens happily
with chirping woodwind and a relaxed urbane demeanour. The last
movement while not consistently dramatic has much drama about it and
many stormy Tchaikovskian moments.
This is the one movement which Nikisch agreed to present in Leipzig
though Borresen refused wanting the whole symphony or nothing. In
1953, the year before his death, he added a note to the score saying
the second movement could still be played but ‘but hardly the
symphony as a whole.’ I am glad that we have heard this symphony and
that we and future generations can enjoy it easily again. The music
is sincere and the fact that it inhabits a sound-world borrowed very
heavily from late Tchaikovsky and very occasionally early Sibelius
should not in itself inhibit our enjoyment and there is much to enjoy
here (try 9:50 to the end of Track 8).
SYMPHONY NO. 2 THE SEA (1904)
The symphony is written in a style not far away from Mendelssohn,
Brahms and Schumann but with Tchaikovskian moments. Scandinavian
marine symphonies are not uncommon. There are oceanic essays by
Nystroem, Atterburg (West Coast Pictures) and Alfven amongst others.
Borresen was fascinated by the sea but vivid sea painting such as you
find in Bax’s Tintagel and Nystroem’s Sinfonia del Mare are outside
his grasp. This is more in the nature of Raff’s Ocean Symphony.
The first movement (Surf) declares a work firmly rooted in German
romantics with occasional glimpses towards the Slavs. The second
(Summer) begins in chirpy Mendelssohnian spirits has some fine
romantic moments not least at Track 2 5:20. There is a lively
balletic spirit here. The third movement (Tragedy) has a strong
atmosphere leaning into the territory of Tchaikovsky’s Manfred
Symphony. I get the impression that this could benefit from a fleeter
approach to tempi; instead it leans in the direction of a steady
intensity. The last movement (Cruising) has a gentle serenade nature
to it at times but there is more ‘sturm und drang’ with fine work by
both strings and horns. The onward coursing theme at 7:30 on track 4
is a fine inspiration. There are at least two other recordings
including one on CPO (which I have not heard) and another on
Danacord. The latter is a historic performance of great intensity and
perhaps a few more volts in the present work would have helped.
SYMPHONY NO. 3 (1927)
The first of the four movements is almost half the symphony. It opens
darkly and soon passes through some Elgarian moments into, at 4:00, a
restful interlude. There is more complexity here from the but the
colours and sounds seem more Borresen’s own. It is still perfectly
tuneful with romantically aspiring horns at 6:40. At 7:36 a great
black chasm opens up - one of the strongest moments in both discs.
The movement ends with great nobility horns and strings. Brass and
strings conspire in a Schumann-like peroration. The two central
movements are no longer than 8 minutes in total. The adagio is very
attractive with a lovely fade by the violins to close. The third
movement has the air of a graceful dance or an open-air coach-ride
with Dvorakian woodland moments. The last movement has more snap and
crackle about it and more dramatic depth though heaven-storming
climaxes are not his style. Colour, fine orchestral touches and
detailing aplenty. The symphony ends in an atmosphere of joyously
innocent celebration.
CONCLUSION
There is much to charm in these two works and I can imagine enjoying
a car drive with these companionable discs. After hearing these discs
you can be forgiven for assuming that Borresen was more at home with
songful serenading rather than high-tension romantics - more Gade
than Sibelius. Definitely worth hearing - though not an edge-of-seat
listening experience. Congratulations to the Borresen Estate, Dacapo,
Marco Polo, the orchestra and Owain Arwel Hughes for making this
available at long last.
Recommended - but if you must go for one disc alone try First
Symphony and the Concerto. Now we must hope for a complete recording
of his Greenland opera Kaddara (1921). If it is anything like its
most famous aria ‘Ujarak’s Farewell’ it will be well worth hearing. ©
Rob Barnett
--
Rob Barnett
Editor, British Music Society, Newsletter
British Music Society promoting neglected British Music. All
enquiries welcomed. Please visit our Web-Site at
http://easyweb.easynet.co.uk/~snc/society.htm
Kurt Hansen
On Wed, 18 Mar 1998 19:47:46 GMT, Rob Barnett wrote:
>HAKON BORRESEN - THE SYMPHONIES … AND A CONCERTO
[cut]
>I was
>surprised that they were in English and German only. Where is the
>Danish? I know German is the second language in Denmark but still
>wondered why the first language was not here. Perhaps as with the
>French/Belgian Patrimoine series these discs are issued in Danish
>only versions in Denmark but at budget price. It would be nice to know.
1. The second language in Denmark is english! ;-)
2. Issued in Denmark as Naxos 8.554950 and 8.554951.
>Excellent to see that after Holmboe (on BIS and previously a complete
>cycle on BBC Radio 3 with some of the Sallinen symphonies) Owain
>Arwel Hughes has turned to Danish symphonies. I rather hope he will
>also have a look at the nine symphonies of Kurt Atterburg. We
>desperately need a complete cycle of his nine symphonies.
I agree with you. I recently asked BIS whether the have plans for
completing Atterberg, and the answer was no :-(
Dacapo's Web-site: http://www.dacapo-records.dk
Kind regards
Kurt Hansen