Niels W. Gade

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

Niels Gade was deeply admired in his own time, not least by such luminaries as Robert Schumann. He was for a time assistant conductor to Mendelssohn (and briefly, following Mendelssohn's death in 1847, chief conductor) at the Leipzig Gewandhaus. Small wonder, then, that his music should show the influences of those two giants. The Second Symphony (premiered at the Gewandhaus in 1844) radiates the same spirited freshness one finds in Schumann's Spring Symphony, for instance - though the scherzo has a galloping open-air joy about it which seems closer to Mendelssohn.

Niels Gade's three violin sonatas are spread across his entire career, the early A major dating from 1842 before his period of study in Leipzig, while the late B flat major was written in 1885, just five years before his death. Like Sibelius later Gade in his younger years entertained notions of becoming a violin virtuoso and the First and Second Sonatas (the latter composed in 1849 shortly after his return to Copenhagen) are products of this active interest in and familiarity with the instrument. T

There is, of course, no shortage of Romantic-era violin concertos in the instrument's standard repertoire. None of them found with any regularity on the concert stage, however, hail from Denmark. This DaCapo album demonstrates that there are indeed examples that come to us from the Scandinavian country, and even that some of them are inexplicably excluded from the modern canon.

August Winding was the son of a musical clergyman whose great interest was in collecting folk-songs. He was his son's first music teacher. Later, he studied in Hamburg, Vienna and Paris where he became acquainted with Chopin and Kalkbrenner. The composer Carl Reinecke, who was court composer in Copenhagen in 1846-48, also taught Winding. He was very close to Niels W. Gade and also studied with him. He established himself as a formidable pianist especially in the works of Mozart and Beethoven. He taught at the Conservatory in Copenhagen and through his marriage to Clara, the daughter of J.P.E. Hartmann, he became a member of this musical family. In fact, the other composer on this CD, Emil Hartmann was his brother-in-law.