Classic Ross Amico

Tag: Norwegian Composers

Forgotten Norwegian Composers on The Lost Chord

A Norse is a Norse, of course, of course…

This Sunday night on “The Lost Chord,” we’ll make hay with music by a couple of Norwegian composers.

Halfdan Cleve (1879-1951) received unusually strict musical training. His father was an organist, who saddled his son with nothing but Bach until he was 16! The young Cleve then cantered to Germany, where he plowed through studies with the Scharwenka brothers, Philipp and Franz Xaver. The latter, a pupil of Franz Liszt, was regarded as one of the great thoroughbred keyboard virtuosos of his day.

Cleve became widely recognized as a composer and pianist, but his own popularity flagged after World War I. He reacted against the rise of modernism by doubling down, in the mane, on his pedigree, celebrating the Norwegian countryside and its folk idioms in his music. His Violin Sonata of 1919 was foaled of this approach.

Eyvind Alnaes (1872-1932), however, was a horse of a different color. Known, if at all, for his art songs – some of which were recorded by Kirsten Flagstad and Feodor Chaliapin – Alnaes’ musical language is less overtly “Norwegian” and more reactive to sugar cubes. His Piano Concerto of 1919 shadows Brahms and Tchaikovsky, and overtakes Rachmaninoff’s Piano Concerto No. 4, not completed until seven years later. Could Alnaes have been the rock in Rach’s shoe?

Ladies and gentlemen, place your bets! The garland goes to “Dark Horse Norsemen” – works by neglected Norwegian composers – this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.

Flagstad sings Alnaes:

Chaliapin:

January 8, 2023
Edvard Grieg: Nordic Masterpieces Rediscovered

If Edvard Grieg and Mark Twain got into a knife fight, who would win? Twain, probably. But once Grieg sat down at the piano, there would be no contest. Did this guy ever write a bad note?

Celebrated as Norway’s greatest composer, Grieg embraced his native folk music, lovingly elevated it, and infused it with an intriguing delicacy, melancholy, and yes, lyricism. Like listening to a Nordic Schubert, you never know when a cloud will break across the fjords. Or perhaps, more to the point, a sunny jaunt across a field of wildflowers will be disrupted by an encounter with a troll.

The most common criticism leveled against Grieg is that he was essentially a miniaturist. You may as well attack Chopin for being a sloppy orchestrator.

From his letters, we know that Grieg himself was frustrated by his propensity for shorter works. “Nothing that I do satisfies me,” he wrote, “and though it seems to me that I have ideas, they neither soar nor take form when I proceed to the working out of something big.”

Claude Debussy was only too happy to kick him when he was down. He famously derided Grieg’s output as so many “pink bonbons filled with snow.” Yet it has been convincingly demonstrated that Debussy owed more than a little to his Norwegian colleague in the writing of his String Quartet in G minor and in some of his own piano miniatures. What is it about Grieg that so galled the Gauls?

Myself, I could listen to Grieg all day. In fact, I think I will.

Neeme Järvi conducts the four “Symphonic Dances.” I used the second of these as signature music for an overnight show, back when I was starting out in community radio.

Emil Gilels plays a selection of the “Lyric Pieces.” Gilels hedged when asked to make the recording, fearing that no one would buy it. Of course, it went on to become one of the great piano classics.

https://www.youtube.com/watch?v=yMqnGva32Vs

The husband-and-wife team of Augustin Dumay and Maria João Pires whip up a fair amount of unsuspected passion in the Violin Sonatas. Here’s the full album.

Arturo Benedetto Michelangeli shatters the stereotype of Grieg as “regional” composer with this volcanic performance of the Piano Concerto in A minor:

PHOTO: Grieg is great! Happy birthday, master!

June 15, 2020
Neglected Norwegian Composers on The Lost Chord

A Norse is a Norse, of course, or course…

This Sunday night on “The Lost Chord,” we’ll make hay with music by a couple of Norwegian composers.

Halfdan Cleve (1879-1951) received unusually strict musical training. His father was an organist, who saddled his son with nothing but Bach until he was 16! The young Cleve then cantered to Germany, where he plowed through studies with the Scharwenka brothers, Philipp and Franz Xaver. The latter, a pupil of Franz Liszt, was regarded as one of the great thoroughbred keyboard virtuosos of his day.

Cleve became widely recognized as a composer and pianist, but his own popularity flagged after World War I. He reacted against the rise of modernism by doubling down, in the mane, on his pedigree, celebrating the Norwegian countryside and its folk idioms in his music. His Violin Sonata of 1919 was foaled of this approach.

Eyvind Alnaes (1872-1932), however, was a horse of a different color. Known, if at all, for his art songs – some of which were recorded by Kirsten Flagstad and Feodor Chaliapin – Alnaes’ musical language is less overtly “Norwegian” and more reactive to sugar cubes. His Piano Concerto of 1919 shadows Brahms and Tchaikovsky, and overtakes Rachmaninoff’s Piano Concerto No. 4, not completed until seven years later. Could Alnaes have been the rock in Rach’s shoe?

Ladies and gentlemen, place your bets! The garland goes to “Dark Horse Norsemen” – works by neglected Norwegian composers – this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.

Flagstad sings Alnaes:

Chaliapin:

January 5, 2020
Norwegian Composers on The Lost Chord

This Sunday night on “The Lost Chord, we’re off to Norway for music by a couple of composers, neither of which are terribly well-known.

Halfdan Cleve (1879-1951) received an unusually strict musical upbringing. His father was an organist, who insisted his son play nothing but Bach until he was 16! The young Cleve later went to Germany, where he received instruction from the Scharwenkas, brothers Philipp and Franz Xaver. The latter, a pupil of Franz Liszt, was regarded as one of the towering keyboard virtuosos of his day.

Cleve became widely known as a composer and pianist, but his popularity waned after World War I. He reacted to the rise of modernism by clinging more firmly to his Norwegian roots, celebrating the Norwegian countryside and its folk idioms in his music. His Violin Sonata of 1919 is reflective of this attitude.

Also from 1919, we’ll hear the Piano Concerto of Eyvind Alnaes (1872-1932), a figure who is known, if at all, for his art songs, some of which were recorded by Kirsten Flagstad and Feodor Chaliapin. Alnaes’ musical language is less overtly “Norwegian” than that of Cleve. In fact, his concerto echoes Brahms and Tchaikovsky, with some interesting suggestions of Rachmaninoff’s Piano Concerto No. 4, which was not completed until seven years later. Did Rach know this work? You can’t a-fjord to miss it!

I hope you’ll join me for “Dark Horse Norsemen,” works by neglected Norwegian composers, this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.

Flagstad sings Alnaes: https://www.youtube.com/watch?v=5aT6ZdY320Q

PHOTO: Norwegian horse can’t stop yawning because of “The Lost Chord” late start time

December 3, 2017
Lost Chord Unearths Neglected Norwegian Composers

Whenever I don’t have any ideas this time of year, it’s always easy to fall back on the weather. Winter = cold = north = Scandinavia.

This Sunday night on “The Lost Chord, we’re off to Norway for music by a couple of composers, neither of whom are terribly well-known.

Halfdan Cleve (1879-1951) received an unusually strict musical upbringing. His father was an organist, who insisted his son play nothing but Bach until he was 16! The young Cleve later went to Germany, where he received instruction from the Scharwenkas, brothers Philipp and Franz Xaver. The latter, a pupil of Franz Liszt, was regarded as one of the towering keyboard virtuosos of his day.

Cleve became widely known as a composer and pianist, but his popularity waned after World War I. He reacted to the rise of modernism by clinging more firmly to his Norwegian roots, celebrating the Norwegian countryside and its folk idioms in his music. His Violin Sonata of 1919 is reflective of this attitude.

Also from 1919, we’ll hear the Piano Concerto of Eyvind Alnaes (1872-1932), a figure who is known, if at all, for his art songs, some of which were recorded by Kirsten Flagstad and Feodor Chaliapin. Alnaes’ musical language is less overtly “Norwegian” than that of Cleve. In fact, his concerto echoes Brahms and Tchaikovsky, with some interesting suggestions of Rachmaninoff’s Piano Concerto No. 4, which was not completed until seven years later. Did Rach know this work?

I hope you’ll join me for “Dark Horse Norsemen,” works by neglected Norwegian composers.

PLEASE NOTE: because of the length of the Sunday Opera (“Götterdämmerung”), all WWFM evening programs will begin one hour and 15 minutes later than usual. That means “The Lost Chord” will not begin tonight until 11:15 ET. If you plan to be sawing wood by then, you can always catch the rebroadcast, Wednesday evening at 6, or make it a point to listen to the webcast, once it is posted, at http://www.wwfm.org.

Flagstad sings Alnaes: https://www.youtube.com/watch?v=5aT6ZdY320Q

PHOTO: Norwegian horse can’t stop yawning because of “Lost Chord” late start time

January 11, 2015

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