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CHAN 9786
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CHAN 9786

Langgaard: The End of Time

The Classical Shop
release date: January 2000

Originally recorded in 1999

Artists:

Danish National Symphony Orchestra


Gennady Rozhdestvensky


Per Hoyer

baritone*

Per Salo

organ‡

Nina Pavlovski

soprano*†

Stig Andersen

tenor*†

Danish National Symphony Choir

*†§

Venue:

Danish Radio Concert Hall, Copenhagen



Producer:

Brian Couzens

(Executive)

Claus Due

(Recording)

Engineer:

Jorn Jacobsen



Record Label
Chandos

Genre:

Orchestral & Concertos


Contemporary

Total Time - 59:51
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RUED LANGGAARD

Select Complete Single Disc for
   
 

The End of Time, BVN 243*

24:08  
  Concert Piece for soloists, chorus and orchestra  
1 I Antichrist. Prelude 10:15
2 II At the End of Time - 4:33
3 III Towards the End of the World - 3:48
4 IV The Catastrophe 5:30
   
5 

From the Song of Solomon, BVN 381†

16:25
   
 

Interdict, BVN 335‡

10:33  
6 I Furiously fast - faster 1:46
7 II Agitatedly fast - slow 8:46
   
8 

Carl Nielsen, Our Great Composer!, BVN 355§

8:48
The combined forces of the Danish National Radio Choir and Orchestra perform the music of their follow countryman Rued Langgaard.

This disc features three major premiere recordings from an increasingly popular Danish composer.

Gennady Rozhdestvensky had great success with his previous disc of Langgaard’s music with the Danish National Radio choir and Symphony Orchestra (CHAN 9517).

Chandos continues to champion interesting, under-recorded composers; the previous discs of Langgaard’s music have all been warmly received.



Initially taught by his musician parents, Langgaard produced his first composition at the age of seven. A public performance in 1908 of a Cantata written at the age of fifteen caused great astonishment. The music he wrote before 1918 – including his first five symphonies – was influenced mainly by Liszt, Wagner, Bruckner and Mahler.

His attitude became more adventurous from his Sixth Symphony onwards. He was influenced by Nielsen, and developed his own atonal polyphonic style that foreshadowed the Hindemith of the early 1920s. Both periods are linked by his deep religious feelings.

After the First World War he found himself in conflict with the European mainstream of neo-classicism and abandoned his more experimental writing for a more romantic style based on Gade and Wagner. This stylistic retreat and accompanying attacks on the state of Danish musical life quickly made Langgaard am isolated figure. Despite his prodigious talent as an organist he was passed over for every Copenhagen post for which he applied, eventually becoming cathedral organist at the small town of Ribe where he considered himself as something of an exile.



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*****
R Breakspear