Knudåge Riisager, though born in Estonia,
lived all his adult life in Copenhagen and needs to be described
therefore as a Danish composer. He is one of the most important
Danish composers of the 20th century, moreover, active
in many fields including the larger-scale forms. For example,
he wrote ten ballet scores which together represent his most significant
achievement.
Like several other composers,
Charles Ives among them, Riisager made his career outside music.
He was an official in the Danish Ministry of Finance for well
over 20 years. He used his time creatively and continued to write
the music on which his reputation as a composer now rests.
Relatively untroubled by the
trappings of a musical career, Riisager followed his own creative
path, and in his own time he was regarded by many commentators
as dangerously unorthodox. But in the fullness of time his achievements
were more widely recognized, and he was awarded the status of
Head of the Danish Composers’ Union in 1937, and of the Royal
Conservatory of Music in Copenhagen from 1956.
Beyond his ballets, his five
symphonies and numerous shorter compositions ensure his survival
in his native repertory, and occasional performances beyond. While
Riisager wrote a good deal of piano music, he was not himself
a pianist. Yet listening to this enterprising recital by Christina
Bjørkøe, this would not be apparent. The largest piece comes first,
the Sonata composed in 1931 when Riisager’s style was at its most
uncompromising and most distinctive. He seems particularly adept
at setting a motor rhythm and developing complex counterpoints
in relation to it, the biting harmonies intensifying the effect
after the manner of Bartók’s Sonata. The crisply articulated playing
of Christina Bjørkøe is perfectly judged in this regard, so too
the distinct but not overpowering surrounding acoustic of the
recording.
None of the other pieces in this
collection breaks the ten-minute barrier, and if they are viewed
independently rather than in groups, they are best described as
miniatures. Therefore they are best sampled as such and as the
composer intended, instead of at a single sitting comprising an
artificially contrived complete recital, for such as not Riisager’s
intention.
None of this music is at all
well known, and Da Capo are therefore to be applauded for producing
such a thorough and carefully compiled booklet, so painstakingly
researched and written by Claus Røllum-Larsen. The music is never
dull and always compelling, even if few of the rhythmic cells
or quasi-melodies assume memorable status. This disc serves Riisager’s
cause well, since the music is skillfully and sensitively performed,
the recorded sound is good and the general production standards
are high.
Terry Barfoot
Christina Bjørkøe (piano)