The Danish composer
Asger Hamerik moved to the USA in 1871
following the death two years previously
of his teacher Hector Berlioz. In the
States he held the directorship of Baltimore’s
Peabody Institute which had an eighty-strong
orchestra and a vibrant musical tradition.
He stayed there for 27 years with the
summer vacations being spent on the
seaboard at Chester, Nova Scotia where
both the works recorded here were written.
In America he married, at the age of
51, the 26 year old Margaret Williams.
They returned to Denmark in 1898 when
the Peabody Institute ceased their orchestral
concert series. This was the same year
that the couple’s son, the composer
Ebbe Hamerik was born. After living
the gypsy life they settled in Copenhagen
in 1900 where Asger died in 1923 at
the age of 80.
Having recorded Hamerik’s
other six symphonies, Dacapo now turn
in blazingly confident performances
of two of Hamerik’s most ambitious choral-orchestral
works. Each is spectacular in scale
and subject matter. They address the
eternal verities; indeed the first title
of the Seventh Symphony was Life,
Death and Immortality. Each savours
of Berlioz but the music-making has
a confidence that defeats any fear that
he is a mere epigone. This is music
for the grandest cathedrals and concert
halls. Rhythmic, antiphonal and other
spatial effects abound and add to the
deeply impressive impact of these pieces.
The Symphony was first
completed in 1898 but revised
several times until 1906. The words
are by himself and his wife. Fascinating
that the markings for the three movements
belie what you hear. The Largo starts
with an call to worship; one that cannot
be ignored. The music is blazing and
impetuous; splendid in thrust and retort.
It has a strikingly Berlioz-like vehemence
and smoking intensity relieved by some
verdantly Verdian reflections. There
were also a few moments that anticipate
Delius in their Elysian contours. The
wonderful repose carries over into the
Andante Sostenuto with its idyllic
and heart-easing peacefulness (try 5:12
onwards). The finale is marked Grave
and again radiates a strong tranquil
atmosphere: a sturdy yet suave benediction.
This contrasts with some rampantly exultant
writing reminiscent of Havergal Brian’s
Gothic Symphony. Altogether a
very satisfying and stirring piece.
The Requiem has been
recorded before. You can find it on
a Kontrapunkt double CD set reviewed
here
.That version was conducted by the redoubtable
Ole Schmidt. It’s a recording to be
reckoned with but here is outfaced by
a Dacapo’s splendid recording and performance
as well as an even sturdier compelling
coupling.
Danish National Choir DR/Saul Zaks 
