Donald Satz <[log in to unmask]> wrote:

>I read that Dacapo is releasing a recording of Bentzon's fifth and seventh
>symphonies.  Schwann Opus also lists a Dacapo disc of the third and fourth
>symphonies.  Going through the list archives, I noted that Bentzon's music
>was considered somewhat similar to Holmboe's and Hindemith's.
>
>I think I'd like to get one of the Dacapo cd's.  For those in the know,
>which of these recordings would represent my best introduction to Bentzon's
>symphonic music.  Recommendations of other Bentzon recordings would also be
>appreciated.

Well, it is hard to say.  Niels Viggo Bentzon's 4th is a quite typical
instance of his orchestral conceptions, although obviously his output is
eclectic, to say the least.  It is an impressive work, but I have never
totally managed to forget the skill and concentrate on its inner necessity.
Its subtitle, "Metamorfosen", does correspond to its spirit and technique.
The 3rd symphony is much more pastoral, and the beginning is lovely, very
poetic.  Probably not as much of a powerhouse as No.  4, though, but still
representative of a more (neo-)classical, romantically tinged Bentzon.
The CD undoubtedly is an excellent gateway to N.V.Bentzon.

No.  5 "Ellipsen" is less massive and begins with an almost dancing,
Latin rhythmic quality.  There are hints of Honegger, with more buoyancy.
Despite its taut conciseness, its five-movement structure is
double-arch-shaped, culminating in an intensely luminous Adagio, not too
far from C.Nielsen and Chostakowitch, maybe also Holmboe's 8th, but very
individual in its fluidity, its breath, and later in the first bars of
the final Sostenuto, while the serene, resounding conclusion reminded me
of Vaughan-Williams.  No.  7, "de tre versioner" (the Three Versions),
is the first I ever heard (under Nikolai Malko), and I did not find it
very distinctive then.  Hard to understand, actually, since it is rather
striking, stubborn and articulate, but also glistening, sparkling at times.
Its martial quality is slightly reminiscent of No.  4.  The harmonic
mobility and plastic melodic lines are especially attractive.

Regardless of their respective styles, comparing N.V.Bentzon with Syberg
is a little bit like comparing Atterberg with Rangstrom.  In both cases,
there are some obvious affinities.  Possibly N.V.Bentzon and Atterberg
have developed a broader expertise of the symphonic form (actually Syberg's
symphony is no less than masterly, but he only completed one).  On the
other hand, sometimes the sound craftsmanship, proficiency, fluency and
rhetorical ease tend to become prominent in Bentzon's and Atterberg's
music, while Syberg and Rangstrom might leave a deeper, more essential
impression.  However both Atterberg (especially in his 3rd symphony, and
even more so his 5th, Sinfonia funebre) and N.V.Bentzon can achieve
glorious, compelling moments.

Probably N.V.Bentzon's symphonies are not as intimidating as Holmboe's
masterpieces (such as his 6th, 8th, 11th), but they can be strongly
appealing, in an ingenuous combination of clarity and variety.  It is a
significant voice in the aftermath of Carl Nielsen, and also Stravinsky,
Hindemith,...  Symphonies Nos.  3 and 4 may seem to be the more logical
choice, but I personally prefer Nos.  5 and 7.  ISTR that Robert Layton
especially praised No.  6, subtitled Sinfonietta.  Now, there are about 20
more symphonies after De tre versioner...

I hope it helps,

Best wishes,

Thanh-Tam Le
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