Carl Nielsen 

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Carl Nielsen around 1905

Carl August Nielsen (9 June 1865 – 3 October 1931) was a conductor, violinist, and composer from Denmark. His works have long been well known in Denmark and they have been "a mainstay throughout the Nordic countries and, to a lesser extent, in Britain," noted the critic Alex Ross in 2008 in The New Yorker, and rising young conductors such as Gustavo Dudamel and Alan Gilbert are now playing Nielsen's music in the United States.

Carl Nielsen is especially admired for his six symphonies and his concertos for violin, flute and clarinet.

Carl Nielsen appears on the Danish hundred-kroner bill.

Contents

Life

Nielsen was the seventh of twelve children in a poor peasant family in Sortelung (Nørre Lyndelse), south of the city of Odense, Denmark. His father was a house painter and amateur musician. Carl first discovered music by experimenting with the sounds and pitches he heard when striking logs in a pile of firewood behind his home. He managed to learn the violin and piano as a child.

He also learned how to play brass instruments, which led to a job as a bugler in the 16th Battalion at nearby Odense. He later studied violin and music theory at the Copenhagen Music Conservatory, but never took formal lessons in composition. Nonetheless, he began to compose. At first, he did not gain enough recognition for his works to support him. During the concert which saw the premiere of his first symphony on 14 March 1894 conducted by Johan Svendsen, Nielsen played in the second violin section. However, the same symphony was a great success when played in Berlin in 1896, and from then his fame grew.

Carl Nielsen's childhood home

Nielsen continued to play the violin at the Royal Theatre in Copenhagen until 1905, when he became 2nd conductor at the Theatre (till 1914). From 1914-26, he conducted the orchestra of "Musikforeningen". In 1916 he took a post teaching at the Royal Danish Conservatory in Copenhagen, and continued to work there until his death, in his last year as director of the institute.

On 10 April 1891 Nielsen married the Danish sculptor Anne Marie Brodersen, after having met just a month before in Paris, and the couple honeymooned in Italy. Despite a long period of marital strife including a lengthy separation and mutual accusations of infidelity, they remained married until Nielsen's death. They had three children: Irmelin, Anne Marie, and Børge.

For his son-in-law, the Hungarian violinist Dr. Emil Telmanyi, Nielsen wrote his Violin Concerto op. 33 (1911).

Nielsen suffered a serious heart attack in 1925 and from that time on he was forced to curtail much of his activity, although he continued to compose until his death. Also during this period he wrote a delightful memoir of his childhood called My Childhood on Funen (1927). He also produced a short book of essays entitled Living Music (1925). Both have been translated into English. He died in Copenhagen in 1931.

Music

Further information: List of compositions by Carl Nielsen

Nielsen is best known for his six symphonies. Other well-known pieces of his are the incidental music for Adam Oehlenschläger's drama Aladdin, the operas Saul og David and Maskarade, the concerti for flute, violin, and clarinet, the wind quintet, and the Helios Overture, which depicts the passage of the sun in the sky from dawn to nightfall. The vast majority of Danes know and sing the numerous songs by various poets, set to music by Carl Nielsen.

Like his contemporary, the Finn Jean Sibelius, he studied Renaissance polyphony closely, which accounts for much of the melodic and harmonic "feel" of his music.

Nielsen's works are sometimes referred to by FS numbers, from the 1965 catalog compiled by Dan Fog and Torben Schousboe.

Symphonies

Nielsen's approach to sonata form, as seen in his six symphonies, is one of gradual abandonment. In considering the first movements of each symphony in turn, the first two reveal Nielsen working fairly comfortably within the confines of sonata form as later 19th century composers saw it; the middle two include certain high-level references to sonata form but little of the detail, and the last two inhabit a completely new world of Nielsen's own devising, wherein the structure of the movement can only be understood within the context of the material he is working with. By that point in his output there are no more parallels with any other forms or past traditions of musical construction. The subtitles Nielsen used are only very general signposts of intent, not indicating specific story-telling qualities.

Symphony No. 1 
Nielsen's early Symphony No. 1 in G minor (1890-92) already shows his individuality and hints at what Robert Simpson calls "progressive tonality", by which he refers to Nielsen's habit of beginning a work in one key and ending in another. It was written at the same time as, and shares some qualities with, the Holstein songs of Op. 10.
Symphony No. 2 
A painting Nielsen saw at an inn, depicting the four temperaments (choleric, phlegmatic, melancholic and sanguine), inspired him to write Symphony No. 2, "The Four Temperaments" (1901-02). It is in four movements, each illuminating one of the temperaments, but despite this apparent tendency toward being a suite of tone poems, it is a fully integrated symphony. It is not true "program music" but rather a group of general character sketches, and one need not know which temperament Nielsen is considering in order to appreciate the work as a whole.
Symphony No. 3 
Symphony No. 3, "Espansiva" (1910-11) was premiered in the same concert as the Violin Concerto. The second movement contains wordless solos for soprano and baritone voices (which can be played by clarinet and trombone if voices are not available).
Symphony No. 4 
Perhaps the best known of Nielsen's symphonies is Symphony No. 4, "The Inextinguishable" (1914-16). It is in four connected movements and is the most dramatic Nielsen had written to date. In the last movement two sets of timpani are placed on opposite sides of the stage as a sort of musical duel.
Symphony No. 5 
Symphony No. 5, Op. 50 (1921-22) is the second of two of Nielsen's symphonies that lack a subtitle. Like Symphony no. 4, it has very dramatic use of percussion: at the climax of the first movement – which itself consists of two large structures joined to one another – the snare drummer is instructed to improvise "as if at all costs to stop the progress of the orchestra." The second of the two large movements rises out of the ashes of the first, like a train ride into a better, post-World-War-I future. This symphony is the one by which Nielsen's music made its first significant post-war impact outside Scandinavia, when the Danish Radio Symphony, conducted by Erik Tuxen, performed it at the 1950 Edinburgh International Festival, where it caused a sensation.
Symphony No. 6 
Even Robert Simpson was at first confused by Nielsen's Symphony No. 6, "Semplice" (1924-25). It is not as obviously dramatic as the previous two and in some ways it strikes listeners as strange. After an anything but "simple", in fact tragic first movement, the second is only scored for nine instruments of the orchestra (piccolo, 2 clarinets, 2 bassoons, "sneering" trombone, and percussion) and represents Nielsen's commentary on trends in modern musical composition at the time (the mid-1920s). It is by far the most elusive of his symphonies to grasp, yet its very subtle architectural structure coupled with its enigmatic emotional tone make it a challenging, fascinating, and ultimately rewarding listening experience.

Historical Recordings

Nielsen did not record any of his works (he did not believe in the mediumcitation needed). However, three younger contemporary conductors, Thomas Jensen, Launy Grøndahl, and Erik Tuxen, who had worked with him, did record his symphonies and other orchestral works, and their recordings are therefore considered to be the most 'authentic' Nielsen available.

These recordings are all by the Danish State Radio Symphony Orchestra, and all have been re-released on CD by Dutton Records (GB), except No. 6 which was transferred to CD by the Danish DANACORD Records.

"Objektiviering"

By this term Nielsen meant an aesthetic approach wherein the instruments, or the players operating them, are given leave to assert their individual intentions, as interpreted by the composer. At the time Nielsen was writing the Fifth Symphony, with its sometimes violent dialogue between the clarinet and the snare drum, he also produced the Wind Quintet, Op. 43 for a group of wind players whom he knew well personally. He resolved to write a concerto for each man, but completed only the ones for flute and clarinet. The latter (1928) immortalizes a clarinettist known for being irascible, and uses this character as a means of commenting on the anxious world condition at the time.

Media

References

External links

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Carl Nielsen


Persondata
NAME Nielsen, Carl
ALTERNATIVE NAMES Nielsen, Carl August (full name)
SHORT DESCRIPTION Danish composer
DATE OF BIRTH 9 June 1865
PLACE OF BIRTH Sortelung, Denmark
DATE OF DEATH 3 October 1931
PLACE OF DEATH Copenhagen, Denmark