Gade Symphonies

If not the most adventurous of composers, and in his later years over-conservative, Gade in his youth certainly had his moments. his inventiveness is evident in all four symphonies presented here, albeit in very different ways. The Sixth (1856-7) is perhaps the most perfect, Classical in design although with a minatory feel suggestive at times of middle-period Haydn. If it stays within its own clearly defined harmonic and stylistic limits, the First, Third and Fifth do not.

This immensely satisfying release features two of Gade's most likeable symphonies coupled with an overture of exuberant warmth and vitality. Hogwood's clinically recorded performances are a joy to listen to and, in my opinion, he comfortably supersedes earlier versions such as those on DaCapo and other obscure labels.

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.

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!'

Rued Langgaard (18931952) was the major Danish late-Romantic composer who did not gain recognition in his mother country. His greatest successes took place in Germany and Austria, where his Symphonies Nos. 2 and 6 were met with considerable acclaim. Back home, he never received that kind of backing. He died a careworn and despairing individual. On this recording with one of the world's leading orchestras, the tradition-conscious Vienna Philharmonic, one is therefore able to hear Langgaard's music 'return home' to a central European musical culture. At the same time things were going swimmingly for his colleague Jacob Gade (18791963) whose Tango Jalousie has become the absolutely most frequently played piece of Danish music for almost a century.

This is the fourth and final installment in Danacord's rather undistinguished set of Glass symphonies from Bulgaria. The music is average and middle of the road true, but just listen to Launy Grondahl's fiery account of the Sinfonia Svastica on a historical Danacord reissue and you realize that Todorov is not a patch on his predecessor. However his is the only version of the First Symphony available and it is dispatched with fine temperament as the music is very much of an early post-Gade nature.