Anders Koppel (b. 1947)
String Quartet No 4 (2016)
Concerto for Mandolin and String Quartet (2016)
Terzetto for clarinet, viola and piano (2019-2020)
Alon Sariel (mandolin)
Nightingale String Quartet
Airis String Quartet
Kegelstatt Trio
rec. 2022, Copenhagen, Denmark
DANACORD DACOCD946 [72]
The blurb sums up perfectly Danish composer Anders Koppel’s achievement. “[He] has been developing his musical creativity in every conceivable way, ranging from jazz to rock, Balkan music to chamber works, ballet music, film music and more than 40 solo concertos for every conceivable instrument.” He was a member of the psychedelic rock band Savage Rose, and the jazz/folk fusion band Bazaar which specialised in improvisation. Since the 1990s, he has concentrated on compositions in classical forms.
The String Quartet No 4 is one of five already finished. Koppel says that its formal construction has more to do with “shifting episodes” than a traditional division into movements but there clearly are relationships between rhythm and melodies, and a developing harmonic sequence. Never mind the absence of traditional movements, the piece has been recorded as four tracks with expressive marks: Lento assai, Largo, Agitato and Largo.
One of the lovely adjectives in the liner notes characterises this quartet as groovy. Long time no hear that word! – but it is right. Much of the work’s sound world is just that. The notes also talk of “complex and rather serious music”, yet there is a lot here that is easy going, full of sparkle and joie de vivre. The final episode is quiet, with the main theme given to the solo violin. It is an “Abgesang”, a coda that brings the piece to a reflective close. The word can also translate to “swansong” or “farewell”. This is entirely appropriate. This charming quartet presents little challenge to the listener, but provides them with much satisfaction and delight.
The Concerto for Mandolin and String Quartet was written at the request of the Danish guitarist and mandolinist, Allan Sjølin. Inspiration came from hearing Brazilian Choro (“the New Orleans jazz of Brazil”) played by Jacob do Bandolim, and a chance encounter with a Russian mandolin orchestra and soloist playing in the streets of Copenhagen. It should be noted that the accompaniment is not deemed to be a string quartet as such, but a small string orchestra – a pleasant conceit! The resultant sound seems to me to be a combination of baroque sensibilities and popular music heard in and around the Eastern Mediterranean. The mandolin sometimes sounds like a balalaika. The three movements are at once vigorous, entertaining and intimate. This truly lovely, evocative work deserves to be popular.
The final piece is the Terzetto for clarinet, viola and piano. The model for this is Mozart’s composition known as the Kegelstatt Trio. Kegelstatt is a place where skittles are played. The legend has it that Mozart wrote his work (presumably in his head) whilst playing a game with friends.
The Terzetto had only one movement at first, but apparently an “enthusiastic audience” at the premiere convinced him to write two more. The liner notes correctly say that “there is not much Mozart in the music”. For one thing, the long opening Adagio is heralded by a twelve-note row. Although this is used in several guises, Koppel does not classify the Terzetto as serial; it is simply a tool. The second movement is “bluesy”, sad and reticent. It is in the final Allegro con brio that things really take off. The first impression is of a classic, but wayward, Gigue, but this soon morphs into a “funky [set] of dances” featuring especially the Tango. Although the progress sounds improvised, I understand that everything is rigorously notated. It makes a riotous conclusion to a well thought out and perfectly balanced work.
All three pieces are played with aplomb, enthusiasm and technical competence. This is especially so with Alon Sariel in the Mandolin Concerto. The quality of the recording in ideal. Jens Cornelius’s programme notes in Danish and English are essential; I have used them extensively to complete my review. There are the usual biographical details of the performers, as well as a brief introduction to the composer.
This is a splendid introduction to Anders Koppel’s chamber music. The disc is worth the price for the Mandolin Concerto alone; everything else is a bonus.
John France
Performers
Nightingale String Quartet (quartet): Gunvor Sihm and Josefine Dalsgaard (violins), Marie Louise Broholt Jensen (viola), Louisa Schwab (cello)
Airis String Quartet (concerto): Aleksandra Czajor-Kowalska and Grażyna Zubik (violins), Malwina Tkaczyk (viola), Mateusz Mańka (cello)
The Kegelstatt Trio: Søren-Filip Brix Hansen (clarinet), Marie Louise Broholt Jensen (viola), Charlotte Thaning (piano)
Published: November 23, 2022
