Brief biographical notes on the great Danish tenor
Aksel Schiøtz can be found in my review
of Vol. 1.
The final volume of this important series containing
all known recordings made by Aksel Schiøtz prior to the operation
which ended his career as a tenor, concludes by grouping together all
his Nielsen recordings, and so also concludes the historical survey
of Danish song contained in Vols. 5 (principally Weyse), 6 (principally
Hartmann and Gade) and 8 (principally Heise). If your interest is primarily
in Nielsen rather than Schiøtz, you may already have, or prefer
to buy, Vol. 6 of Danacord’s historical Nielsen series (DACOCD 365/7)
which contains most of the present recordings plus a range of further
ones by early Nielsen interpreters.
Since this series is aimed at those whose interest
is in Schiøtz rather than Nielsen, I suppose it is reasonable
that the songs appear in the order in which Schiøtz recorded
them, rather than the order in which they were composed. At the same
time Arne Helman, our invaluable guide throughout the series, suggests
it is not "possible to imagine a selection that introduces songs
by Carl Nielsen more convincingly than this one, and I hope that it
will give joy to many listeners abroad". I must say that Nielsen’s
development as a song composer is a somewhat unexpected one and having
listened to the CD as it is presented I then put the songs in chronological
order and heard them that way. And I suggest that the listener new to
most of them, aided by Helman’s notes which describe Nielsen’s aims
and objectives in song writing as he developed as a composer, might
do the same thing, at least once.
The first striking fact is that the most apparently
original songs are those from his earliest years. It is also
immediately apparent that, however Nielsen may have rated Heise as a
composer, he must have felt that this was a fundamentally non-Danish
art, and he himself took up from where Weyse and Hartmann had left off,
that is with the simple strophic song. The Sang bag Ploven ("Song
behind the Plough") is, despite its ambling accompaniment, as "folkelig"
(see my review of Vol. 7 for a discussion of this movement) as anything
written during his later collaboration with Thomas Laub. Incidentally,
I don’t agree with Helman that the 1943 recording is disappointing compared
with the earlier one. I find its mood of gentle resignation rather attractive,
though it is certainly a surprising interpretation of the words, and
I wonder if that particularly poetic pianist Folmer Jensen had a hand
in it.
In these earlier years, however, Nielsen was still
writing pieces for a true soloist and willingly provided brilliantly
imaginative piano parts. Irmelin Rose, also set by Delius, has
exuberant writing for both partners, and Genrebillede is a tone
poem in miniature. These are the Nielsen songs, I dare say, which would
most attract non-Danish singers, as would surely the delightful Sommersang
and the striking harmonies of I Aften. Then from 1907 we
have the strophic, folk song-like Jens Vejmand and while in two
of the pieces from 1908, Sjælland and Jægersang,
he still adorns the simple strophic settings with picturesque tone painting
on the piano, the move is towards very simple melodies, as suitable
for unison singing in the schools as for a soloist, and simple piano
parts with straightforward diatonic harmonies. Only in Aprilvise
does he once again permit himself a positively zany piano part.
In other words, if you placed this music, without indications of date,
in the hands of a perceptive and well-informed (but not about Nielsen)
musician and asked him to suggest a likely chronological order, he would
probably place it in exactly the opposite sequence to that in which
it was actually composed. So what was Nielsen trying to do?
First of all, he was putting the interests of Denmark
before his own. Danish schoolchildren needed national melodies of high
quality to sing in the classroom. Lyric poetry by Danish writers was
not lacking but it had either not been set to music or had been set
poorly. So, together with Thomas Laub, he set to work to create a national
repertoire. "A Score of Danish Songs", Part 1, was published
in 1915, Part 2 in 1917. 23 of the songs were by Nielsen. A similar
operation had been carried out in England in 1905 by Stanford, with
the "National Song Book", but he depended upon the national
melodies of the British Isles. Evidently Nielsen judged that the Danish
folk melodies were too few to suffice on their own.
It must be said that Nielsen and Laub succeeded brilliantly.
Many of their melodies were taken into their hearts by the Danes and
I believe they are still at the basis of musical education in Danish
schools. Long may they remain so. In terms of Nielsen’s own personal
development, however, it could seem puzzling that he dedicated so much
time and effort to the whittling down of an already developed art to
arrive at a conclusion apparently similar to the sort of "school
songs" Stanford and his successors in Great Britain tended to dash
off on the back of an envelope, send to the publisher and promptly forget
about. With the difference that Stanford and company continued, as a
parallel development, to write "normal" solo songs with "imaginative"
accompaniments, and when they wrote symphonies they switched onto another
wavelength and brought into play all the received wisdom of the classical-romantic
apparatus. In other words, while you could translate into Danish a strophic
song like Stanford’s "Sower’s Song" (posthumously published
in 1927 as both a solo and a unison song) and almost convince a Dane
that it was by Nielsen (it has an outdoors atmosphere and even a melodic
profile similar to Sundt Blod), when Stanford had to build a
symphony, he used other bricks.
And so much the worse for him, Nielsen might have thought.
For what Nielsen was really doing was eliminating from his music every
element that was not Danish. No matter that he seemed to be left with
little; for him it was enough. And when he built symphonies, he insisted
on using these pure Danish bricks. Which is why he became one of the
most original symphonists of the 20th Century while Stanford
just remained a fairly good one. So, while it is possible to feel that
these simple little songs are not especially interesting in themselves
to non-Danish ears, if you love Nielsen’s symphonies and other large-scale
works, you will surely want to know the bricks from which they are built.
And, if you are prepared to accept recordings which
are "good for their date", I don’t think you could find a
more sympathetic interpreter than Aksel Schiøtz. He rises magnificently
to the earlier "concert" pieces and even though I don’t speak
Danish I can appreciate the subtlety with which he varies the simple
strophic pieces. A word about the songs which exist in more than one
version. I fully agree with Helman that Hiemvee is more magical
in 1940 than in 1938. I would point out that the later version is sung
a tone higher. I have noted several of these upward transpositions in
previous volumes. Occasional the result is strained, but more often
it is an improvement and the higher version is actually more gentle
and intimate. Paradoxically, I think it is easier for a light tenor
to project a song easily in a higher key since the natural sheen of
the voice comes into play and carries it without forcing. While in the
lower key there is the danger of trying to find a baritonal resonance
which the voice does not really have. And, pace Helman, I feel
the same about the 1943 Sundt Blod, up a semitone from 1938 and
more gently poetical to my ears. There seems little to choose, vocally,
between the two versions of Prinsesse Tove, but the later one
has the original orchestral accompaniment; the same for the song from
Fynsk Forår, obviously, and the later version has added
flexibility too.
Generally, I have found this series to have been a
wonderfully enriching experience. I am grateful to all involved for
their unstinting care in presenting everything with full annotation,
texts and translations. While commenting frequently on Arne Helman’s
notes, I may not have acknowledged sufficiently the role of Schiøtz’s
widow Gerd, who was joint-producer of the series. As well as the great
lieder interpretations I am glad to have a clearer picture in my mind
regarding the development of Danish song, though I think that those
out of the several CDs dedicated to this that I will come back to frequently
would actually amount to about a single CD’s worth; a couple of Weyse,
a couple of Hartmann, the Gade, all eight Heise, about eight Nielsen,
a few single items by Thomson, Bjerre and Agerby, that makes about 25.
It is absolutely right that the total legacy of Schiøtz should
be available, but I didn’t have to pay for these discs! Maybe another
company specialising in historical issues (Naxos?) might issue a single
disc of "Aksel Schiøtz sings Danish Songs" on the lines
I have suggested above. It would deserve much success.
Christopher Howell