Langgaard - Symphonies 5, 7 and 9

Rued Langgaard 

Symphonies 5,7 and 9

Artur Rubinstein Philharmonic Orhestra

Ilya Stupel

Symphony No. 5 was composed and revised over a period of some 14 years. It began life in 1917 as a piece called 'Summer Legends Drama' it was then revised and renamed 'Saga Blot' - 'But a Saga'. It was revised again in 1926 as the Symphony No. 5 (1st version) and then again in 1931 as the Symphony No. 5 (2nd version). For good measure another work called 'Symphonic Festival Music' was incorporated into the final revision. It is easy to see how Langgaard scholarship is a complex affair.

The Symphony as we have it in this recording has the subtitle - Steppelands; this is reflected in the 'motto' quotation which is reproduced in the programme notes. "Out flying, where earth and sky are one; Where nature has no boundary to mark; But where the Steppe stretches as far as wide as endless grief, unbounded."

Like much of Langgaard's music it is good in parts. There are a number of almost impressionistic moments. These are quite magical. There is a distinct lack of development - this is the composer using his mosaic form. So much of this symphony appears to be unrelated to itself. However much can be forgiven with the wonderful 'middle section' commencing at about [9.00].

I have recommended throughout this review that one ignore the programme. However, I cannot resist the musical painting of the wind sweeping across the Steppes that seems be suggested in the opening and closing parts of this work. The writing is very concentrated, even intense. There is a distinct easing off toward the 'coda'; a dance theme runs across the score. Why does Malcolm Arnold spring to mind so often whilst listening to this music? Perhaps they are both able to utilise whatever style they feel will best express their musical thoughts. The Symphony ends with a 'niente'.

Like much of Langgaard's music the 7th Symphony has come down to us in more than one version. We are given the revision of 1930/32 in this recording. This comes with a completely new first movement and minor revisions in the other three. The original composition was done in 1925. It is from the third period of the composer's career.

The title of the work as given is 'By Tordenskjold in Holmen's Church.' It is almost meaningless as far as the music is concerned. Though for interest's sake it is worthwhile pointing out that Tordenskjold was a Danish maritime hero who is buried in the above-mentioned church in Copenhagen.

This work is written very much on the classical four-movement form. It is certainly more successful than some of Langgaard's more experimental single movement symphonies.

As usual the composer provides a motto: - "As for man, his days are as the grass; as a flower of the field, so he flourisheth. For the wind passeth over it, and is gone; and the place thereof shall know it no more." This is taken from the 103rd Psalm of David.

Although this work is not about this Psalm or the nautical hero, there is a definite autumnal and transitory feel to the music - especially for a man in his early thirties. The second movement has what I regard to be Langgaard's best melody - it is quite gorgeous. If he had written nothing else but the 'Tranquillamente' section of this work it would have been an achievement. However, typically of Langgaard he immediately spoils the magic with the following 'moderato' section of the same movement. Genius followed by banality. It is the one recurring theme of this cycle.

The 'Fiorito is an attractive moderately fast piece. There is an operatic or ballet feel about his music. It reminds me for some reason of The Nutcracker or even our own beloved Malcolm Arnold. Good stuff.

The finale is the least good of these four movements. It is somewhat foursquare and repetitive. He seems to use echoes of Smetana's 'Moldau' as padding. This 'filling in' takes the place of any kind of development. The ending is weak, without an obvious coda.

The 9th Symphony is subtitled 'From the Town of Queen Dagomar.' This work was composed shortly after Langgaard had been 'exiled' to Ribe in 1942. It begins straightaway with a sweeping tune - a bit Straussian really. The first movement is really rather good. It shows the composer in an excellent light both in formal design and in orchestration. The music is supposed to be inspired by a folk tradition about Queen Dagomar. She was virtually a secular saint who embodied all the virtues of what was regarded as being a good woman! The folksong that Langgaard quotes in the third movement is supposedly played each day on the carillon at Ribe Cathedral.

The four movements have programmatic titles: - Queen Dagomar sails to Ribe; The Dance at the Ribenhus; Ribe Cathedral and The Turbulent Life of Times Past. However, it is not possible to divine whether it is really a symphony with the story somehow tagged on as an afterthought or whether it is a tone poem cast in symphonic manner. It really does not matter. I listened to his work and enjoyed it; I have no real sympathy for good old Queen Dagomar. It is just good music. The second movement is once again like Tchaikovsky's ballet music. In fact it is one of Langgaard's 'lightest' moments - and certainly none the worse for that. It would certainly stand alone as an encore. The slow movement is quite restrained - with hints of Elgar, perhaps. The folk tune is well to the fore in its minor key. The final movement sweeps in straightaway; this is undulating music, churning almost. The entire work is not troubled or dark in any way. This is quite hard to imagine when compared to some of the later 'horrors' composed whilst in Ribe. The piece seems to be constructed as a mosaic form; yet somehow he is able to bring tunes from nowhere. Some of these are quite gorgeous and moving. The title of the last movement is not really lived up to with this music. It is certainly not 'turbulent'.