Christian SINDING (1856-1941)
CD 1
Violin Concerto No. 3 in A minor, Op. 119 (1916/17) [21:01]
Legend for Violin and Orchestra in B felt major, Op. 46 (1900) [6:59]
Romance in D major for Violin and Orchestra, Op. 100 (1910) [9:02]
Violin Concerto No. 1 in A major, Op. 45 (1897/98) [21:54]
CD 2
Violin Concerto No. 2 in D major, Op. 60 (1901) [33:44]
Suite in A minor for Violin and Orchestra, Op. 10 (1906) [12:49]
Abendstimmung for Violin and Orchestra in G major, Op. 120a (1915) [6:28]
Andrej Bielow (violin)
NDR Radiophilharmonie Hannover/Frank Beermann
rec. December 2004, NDR Landesfunkhaus Niedersachsen, Großer Sendesaal (Concerto
No.2, Legend, Romance); December 2004, Kleiner Sendesaal (Concerto No.1, Suite,
Abendstimmung); March 2005, Kleiner Sendesaal (Concerto No.2).
CPO 777 114-2 [59:01 + 53:07] 
The music of Christian Sinding was highly thought of in its day and the composer
certainly had his champions. Before the Second World War it was regularly
played in Europe and America and was extremely popular in Germany. In 1907
his Second Symphony was premièred in Berlin by Felix Weingartner and the Third
Symphony in 1920 in Leipzig under Arthur Nikisch.
Although Sinding lived in Germany for most of his life he was Norwegian by
birth and had the luxury of receiving generous stipends from the Norwegian
government for many years. Since his death in 1941 - and probably before that
- he has been known for a single piece for solo piano the popular Frühlingsrauschen
(Rustle of Spring). In the last decade there has been renewed interest with
a number of recordings especially from Hyperion, Simax, Finlandia, Naxos and
CPO.
Soloist Ukraine-born Andrej Bielow has a strong connection with Hanover studying
in the city from the age of fifteen at the University of Music and Drama.
He plays a Guarneri ‘Joseph Filius’ violin (c. 1730/35) loaned by the Deutsche
Stiftung Musikleben.
The NDR Radiophilharmonie Hannover is no stranger to Sinding’s music. They
have already recorded Sinding’s four symphonies on two separate discs with
Symphonies No.1 and No.2 conducted by Thomas
Dausgaard and Symphonies No.3 and No.4 under David
Porcelijn.
The set opens with the Violin Concerto No. 3 in A minor composed in 1916/17.
Shortly after completion it received its première at Bergen played by Leif
Halvorsen. At times I was reminded melodically of Brahms especially in the
extended opening movement. Bielow plays virtually continuously throughout
in music that varies between moody and windswept. A yearningly emotional Andante
has shades of the Sibelius and Nielsen concertos composed between six and
ten years earlier. Finally in the Allegro non troppo the mood becomes
more uplifting with the orchestra gaining greater prominence although Sinding’s
writing feels rather lightweight.
The Legend for Violin and Orchestra from 1900 was given its first performance
in Stockholm two years later. Initially the orchestral writing felt evocative
of Elgar. Coming across as rather strait-laced the Legend takes itself rather
seriously yet contains a degree of warmth communicated through Bielow’s long
melodic line. I’m not sure if Sinding felt any special affinity or significance
for his tender and warm Romance as he allocated the opus 100 to the 1910 score.
Bielow’s solo line and orchestration reminded me of the Delius concerto; a
work that was composed some six years later.
Sinding’s first Violin Concerto in A major was written in 1897/98. It seems
it was completed in London and premièred later the same year in Oslo. Summery
melodies in the manner of Dvorák inhabit the opening movement with bustling
extended lines from the soloist. Low strings open the Andante suggesting
a darkly-hued temperament set amid a strong sense of melancholy. In the central
passage the music develops a weightier funereal tread which must surely be
a commemoration of a significant loss. Buoyancy and exhilaration pervade the
Finale, Allegro giocoso. Noticeably Sinding’s writing varies
widely in pace and emotional content. At times Bielow is required to play
at breakneck speed which certainly blows away any cobwebs.
CD two opens with the Violin Concerto No. 2 in D major first performed in
1901 in Berlin. The score’s dedicatee was the soloist Henri Marteau. It was
a great success at the première. This work is predominantly wistful in nature.
Bielow is required to play virtually continually throughout. At times I was
reminded of Dvorák’s violin concerto. A lengthy orchestral introduction precedes
a severe and dark-hued Andante. Serving as a stark contrast the Finale,
Allegro is a light-hearted romp through verdant Norwegian pastures.
Originally composed in 1886/87 as a suite for violin and piano Sinding’s Suite
in A Minor was not published until nearly twenty years later in this arrangement
for small orchestra. The opening Presto is breezy and exhilarating
in the manner of Dvorák followed by a warm-hearted Adagio of much tenderness.
Marked Tempo giusto the final movement just glows with happiness. The
Abendstimmung is a product of the Great War years. As the German title
suggests the writing establishes a picturesque evening mood. This short single
movement score is a sultry nocturne suffused with warm and summery temperament.
Bielow never over-indulges himself, taking a sensible middle-ground approach.
He comes across as a sensitive and responsive violinist with a splendid technique
who is equally at home with virtuosic requirements as he is in rapt emotion.
Under the baton of Frank Beermann the NDR Radiophilharmonie Hannover come
across as committed partners. They do not disappoint.
On this CPO release it took me a while to get used to the sound which is best
heard with the volume turned up. The balance and overall impression is agreeable
but I’m not sure how well Bielow’s Guarneri is served by the recording. The
instrument’s timbre is rather thin and bright in repertoire that would surely
have benefited from more warmth and sweetness. The presentation is enhanced
by a detailed essay. The front cover uses a stunning image by Zemo Diemer
titled ‘Fjord with a steamship’.
For those approaching Sinding’s music for the first time what should they
expect? It is hard to hear a very individual voice in Sinding’s late-Romantic
music. Seemingly highly derivative in nature, I felt the music mainly echoed
the sound-worlds of Brahms and Dvorák. Sinding’s design seems to favour a
thickly textured opening movement Allegro with a rather dark and sombre
slow central movement. Only in the brisk final movements do things lighten
up. There the music is usually cheerful and of a fresher, breezy quality.
Sinding’s music is appealing and has its share of impressive moments although
in truth it contains very little in the way of memorable melodies.
Michael Cookson
Appealing and with its share of impressive moments although there’s very little
in the way of memorable melodies.