Lebrecht Weekly | The Best Record to Venture Into Nielsen if You Haven’t Before

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At the risk of being sent as a Nielsen missionary to Patagonia, I will try to explain why the music of this island-hopping Dane can be trusted to bring comfort to troubled minds in our times. Raised in stark poverty on Hans Christian Andersen’s fairytale archipelago, Nielsen would return to his home environment whenever inspiration or happiness deserted him.

After the First World War, his long marriage ended by a legal separation order, Nielsen spent time on Jutland, trying to make sense of his world. The fifth symphony alternates sounds of battle – snare drums and woodwind shrieks – with the muted voice of the terrified individual. The contrast flows back and forth, almost to the point of incoherence. It takes a truly great composer to throw up his hands and say, I don’t know. Hope flickers to deceive. There is no definitive resolution to Nielsen’s fifth symphony. Each performance differs from the last.

His marriage renewed, his mind settled, Nielsen composed the most inspirational clarinet concerto since Mozart’s. Written for the solo clarinet of the Royal Danish Orchestra, which Nielsen used to conduct, it is a philosophical reflection of the state of the universe and the role of a humble musician within it. The soloist’s voice in is questioning, the orchestra’s practical and proficient. The composer takes the role of referee, favouring neither side. In his refusal to dictate outcomes, Nielsen reveals himself as the most tolerant and democratic of world composers.

Edward Gardner conducts the Bergen Philharmonic, with the exquisite Alessandro Carbonare (of Rome’s Santa Cecilia orchestra) as expressive soloist in the concerto. If you have never ventured into Nielsen before, I cannot think of a better record with which to begin.

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