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CHAN 9609
    2 Ratings
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CHAN 9609

Frohlich & Gade: Symphonies

The Classical Shop
release date: February 1998

Originally recorded in 1997

Artists:

Danish National Symphony Orchestra


Christopher Hogwood



Venue:

Danish Radio Concert Hall, Copenhagen



Producer:

Brian Couzens


Ivar Munk



Engineer:

Jorn Jacobsen



Record Label
Chandos

Genre:

Orchestral & Concertos




Total Time - 55:21
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Buttonbooklet
 

JOHANNES FREDERIK FROHLICH

(1806-1860)
Select Complete Single Disc for
premiere recording
 

Symphony, Op.33

33:40  
  in E flat major - in Es-Dur - en mi bémol majeur  
1 I Andante - Allegro 11:44
2 II Minuetto - Trio: Allegro assai 6:53
3 III Andante 6:15
4 IV Rondo: Allegro 8:43
   
 

NIELS WILHELM GADE

 

Symphony No. 4, Op. 20

21:50  
  in B flat major - in B-Dur - en si bémol majeur  
5 I Andantino - Allegro vivace e grazioso 7:34
6 II Andante con moto 6:18
7 III Scherzo: Allegro man non troppo e tranquillamente 2:35
8 IV Finale: Allegro molto vivace 5:19


Christopher Hogwood reveals the mastery of Danish symphonists Frøhlich and Gade. The unique coupling on this album allows the listener to explore the development of Danish symphonic language, and features the premiere recording of Frøhlich’s Symphony in E flat.

Interestingly , the autograph score of Frøhlich’s Symphony vanished after his death in 1860 and was not found again until 1887 in Stockholm. Due to this fact, the work have never been in the repertoire in Denmark and has also never been published. Indeed, there are only two other Frøhlich works available in the catalogue.

In Denmark the development of symphonic music lagged far behind the rest of Europe. In the 1790s Weyse had written seven symphonies, but they had not led to further progress. Only a few symphonies are known from the following thirty years until Frøhlich composed his Symphony in E flat major in 1830. The work is not only his sole symphonic composition, but also his most important instrumental work. Its style is early romantic, within a framework that is still classical. The counterpoint is lively and the orchestration dynamic. Frøhlich’s penchant for chromatic harmonies and rhythmic shifts makes the Symphony original and unpredictable. The minuet verges on the eccentric, whilst in the trio section the flute and clarinet play a folk-musician-like duet of utterly Nielsenesque wit.

A further ten years were to pass before Danish composer achieved fame in his home country as a symphonist. Gade, having originally writen in a deliberately ’Nordic’ tone, was soon persuaded by general criticism to adopt a more classical path. Able to look to this mentor Mendelssohn for guidance. Gade remained true to these new ideals for the rest of his life. His Fourth Symphony has a simple structure, with its means of expression being controlled and measured whilst still being luscious and charming. The first movement is typical with its melodious scoring. The second is like a romance or Lied, while the third movement is a very concise Scherzo with two trios. The finale shares the character of, and has thematic similarities with, the first movement and concludes a beautiful whole. This work is among his most supreme music as regards harmony, grace and atmosphere.

"... Certainly no one can complain about Hogwood’s bold readings which seem admirably suited to the music. He, and the fine Danish orchestra, make the Frøhlich come vividly to life ..."

Fanfare - July/August 1998


"... Hogwood nd the DNRSO sound wonderfully matched, the orchestral playing bursting with energy and personality. The tempos are beautifully choosen so that the music which, in both works might easily become dogged, flows forward, captured by a full, bright recording."

Mary Miller - The Daily Telegraph - 25 April 1998


"Superb recording"

Bill Newman - Hi-Fi News - September 1998


Performance *****    Sound *****

Ates Orga - BBC Music Magazine  - May 1998


"... Christopher Hogwood and the Danish Radio Symphony Orchestra play with zest and enthusiasm ..."

Classic FM Magazine - May 1998


"This delightful disc resurrects a long-buried work which proves far more than just a curiosity ... this is a totally refreshing, beautifully written score ... well coupled here in a splendid performance ..."  ****

The Guardian - 13 March 1998





*****
S Jobson

*****
E Valauskas