The Danish composer, Paul
von Klenau (1883-1946) was born in Copenhagen where he studied under Otto
Malling. He later travelled to Berlin and Munich to study and work with amongst
others Max Bruch, Ludwig Thuille and Max von Schillings. Later influences were French
music, Richard Strauss and Arnold Schoenberg's ideas on twelve-tone music.
Klenau spent most of his life in Germany, mixing with Alban
Berg's circle of friends. His Symphony No. 1 in F minor was premiered
successfully at a Tonkünstlerfest in Munich in 1908. He went on to write
operas, ballets, choral and chamber works, piano works and eight more
symphonies. In 1940 he returned to Copenhagen where he lived until his death.
Klenau's reputation suffered because of his role under
National Socialism yet it seems that it was more his passion for German
cultural tradition that caused him to at least tolerate the political regime.
Klenau wrote his Symphony
No 9 in 1944-45 but the work was not performed until it was premiered by
Michael Schønwandt www.ingpen.co.uk/artist/michael-schonwandt
with
the Danish National Symphony Orchestra www.dr.dk/Koncerthuset/english/the-danish-national-symphony-orchestra.htm
, Danish National Concert Choir www.dr.dk/Koncerthuset/kor-og-orkestre/dr-vokalensemblet/english/om-dr-koncertkoret.htm
and
soloists at a concert at the DR Koncerthuset, Copenhagen in March 2014.
It is this premiere
that has been recorded live and released by Dacapo Records www.dacapo-records.dk
 |
| 2CD 8.226098-99 |
The soloists on this premiere recording are Cornelia Ptassek
(soprano) www.corneliaptassek.com ,
Susanne Resmark (alto) www.harrisonparrott.com/artist/profile/susanne-resmark
, Michael Weinius (tenor) www.michaelweinius.com/bio.html
and Steffen Bruun (bass) http://steffenbruun.dk/index.html .
The symphony is in eight movements, lasting nearly one and a
half hours and is a fusion of a Requiem with Latin text and a traditional
symphony.
The opening Allegro rises
purposefully with a strong theme that winds its way through some rather gloomy
moments before revealing moments of light. Orchestrally there are occasional
harmonies and intervals that do recall Nielsen and later a lovely woodwind
passage where Klenau weaves a fine forward flow. The music moves through some very
fine, strong passages reinforced in the lower orchestra, beautifully developed,
finding moments of quiet repose before rising to a stirring coda.
The Requiem. Andante
is for soprano, alto, chorus and orchestra and brings a gentle opening with a
prominent woodwind. Alto, Susanne
Resmark soon joins as do the choir bringing fine sonorities with the orchestra.
Both alto and soprano Cornelia Ptassek lead, the chorus joining to rise up in
an especially lovely movement. Klenau brings some quite lovely harmonies,
gently and subtly shifting with little outbursts of Kyrie and Christe from
the alto. Later there is a passionate orchestral passage that precedes the
re-entry of the alto for ‘Quid sum miser tunc dicturus? ’ (O what shall I so guilty plead?), bringing a terrific depth hushed
and restrained of feeling. The orchestra rises for the return of the chorus in
the Dies Irae but falls to a hush for
alto, chorus and orchestra to bring the Requiem
aternum. There are further passionate outbursts of Kyrie and Christe before
the choir and orchestra find a gentle conclusion.
The orchestral Allegro
molto vivace forges ahead with a hint of Nielsen’s exuberant, unstoppable
forward flow. Very soon there is a quiet moment for strings before slowly
rising to regain the initial exuberance. The music again falls slightly only to
rise again in its inexorable surge forward. Later there is a lovely little
rhythmic idea for woodwind and strings before the orchestra suddenly rears up,
finding its forward momentum. The rhythmic idea returns before building in
strength as it is combined with the forward flowing theme. A richer, more
sonorous string episode follows before the music rushes to the coda.
Alto, tenor, bass and chorus join the orchestra for the Andante. ‘Estne haec vitae discrepantia
sempiterna’ that opens quietly in the orchestra, quickly joined by the
tenor, Michael Weinius who rises in passion and strength in a terrific passage.
Soon the chorus take the music forward rising in tempo and power for ‘…in
bellum nos conjiciamus’ (rush to take up
arms). The soloists join with soprano, Cornelia Ptassek rising wonderfully,
each soloist having a moment over a dramatic restrained orchestra. There are lovely,
delicate woodwind passages before the chorus glide in with ‘Haec est vitae’, flowing through some very fine passages for
soloists, chorus and orchestra, subtly finding increases in power and drama. An
oboe then clarinet brings a particularly lovely moment before the alto joins in
‘Discite venerationem’ (Learn reverence), all the while having a
lovely rippling woodwind accompaniment. The soprano joins in a wonderfully
conceived section before the orchestra picks up, pointed up by timpani as the
music regains the forward sweep. After a sudden pause the chorus move quickly
forward in a fugal section, rising in surges as the soloists join to lead to a
hushed passage that precedes a brass fanfare and side drum that heralds the
sudden coda.
The Allegro (Tempo di
marcia, vivace) opens with side drum and an energetic orchestral marching
theme. There is a fine forward flow with occasional hints of Nielsen as it
moves around harmonically with some fine wind passages adding to the di marcia feel. The music moves through
some finely built variations before a slower, quieter passage for woodwind.
There are some finely orchestrated passages before the rumbustious return of
the opening idea. One can’t help thinking that this movement could stand-alone
as an overture.
There is a beautifully turned, gentle opening to the Adagio, subtly and gently rising in
passion before a lovely little passage for flute and orchestra. There are subtle
little rhythmic ideas with the strings rising in a rather Tchaikovskian passage.
Soon the music finds a rather funereal plod before rising to a peak only to
fall back to the funereal pace with woodwind weaving a line over the orchestra.
The music rises to another peak before gently finding the coda.
The brief Misericordia. Sehr leidenschaftlich bewegt
is for chorus and orchestra and rises dramatically with the Danish National
Concert Choir bringing a bright and dynamic ‘Misericordia! Miserere nobis!’
(Mercy! Have mercy on us!) over the orchestra before its sudden conclusion.
Soprano, alto, tenor, bass and chorus join the orchestra for
the final Ruhige Viertel. ‘Stella lucet per coelum.’ A high trumpet sounds a
long held note before tenor, Michael Weinius declaims ‘Stella lucet per coelum!’ (A star is shining in the heavens!) The choir
then brings ‘Deus est Deus’ (God is God), alternating female and
male voices and soon finding some lovely harmonies as the music slowly descends.
The solo trumpet is heard again in a motif that is repeated lower in the brass.
There is a fast and energetic ‘Deus est
Deus’ for soloists, chorus and orchestra before some fine choral passages with
many individual moments for each soloist as they weave the musical line,
blending especially well. Later there is a fast moving orchestral passage before
a vibrant choral ‘Osanna in excelsis,
Gloria’ (Hosanna in the Highest.
Gloria). Bass, Steffen Bruun introduces the ‘Dona Nobis Pacem’ (Grant us
peace), taken up by the tenor, then alto in a strikingly lovely moment. The
chorus return dramatically with the Gloria
and the trumpet adds another long held note before the chorus take the music forward,
in a terrific energetic section. There are some sumptuous sonorities for chorus
and orchestra in ‘Supra nos legionsstellarum’
(Above us is the heavenly host) before a fast moving ‘Gloria in excelsis’ pushed quickly ahead and speeding ever more at
the conclusion.
Despite Klenau’s wish to move away from the music that
dominated his native Denmark in his early days and his interest in Strauss and
Schoenberg there is a hint of Nielsen occasionally. Perhaps this may have been
due to his return to Copenhagen before he wrote this symphony. Nevertheless,
Klenau does bring a whole host of musical ideas that show his long interest in
German music.
This is a sprawling symphony full of terrific ideas
throughout its long length. Perhaps if Klenau had lived longer and heard
performances of the symphony he might have tightened it up somewhat. As it
stands it is a fascinating and hugely enjoyable listening experience.
Michael Schønwandt achieves fine results from his strong
line up of soloists, fine choir and the Danish National Symphony Orchestra.
The live recording is excellent as are the booklet notes by
Niels Krabbe. There are full Latin texts and English translations.
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