Carl Nielsen (1865-1931)
Pan and Syrinx (1917-1918)
Flute Concerto (1926)
Symphony No 3 “Sinfonia espansiva” (1910-1911)
Lina Johnson (soprano), Yngve Søberg (baritone), Adam Walker (flute)
Bergen Philharmonic Orchestra / Edward Gardner
rec. live, 5 September 2022 (Symphony), 2023 (other works), Grieghallen, Bergen, Norway
Chandos CHSA 5312 SACD [62]

Carl Nielsen’s Pan and Syrinx, like Sibelius’s tone poems and symphonic poems, is among the most neglected orchestral masterpieces. This performance lacks in tension and edginess (though there is more adrenaline towards the end): generally fine, accurate playing is not enough. When Pan spies on Syrinx and persecutes her, she becomes frightened then terrified. These emotions need to be conveyed more strongly for the full dramatic effect. When the opening music returns near the end, one should feel like having been through the mill; here the effect is matter-of-fact.

Adam Walker is an outstanding flautist. Nielsen’s flute concerto is a test not simply of technique, but of one’s ability to change character. Mercurial temperament is essential to Nielsen’s musical personality. Walker is technically flawless, but I feel that the mood-swings could be more emphasised. The Adagio ma non troppo episode in the second movement has a pathos which should pull at the emotions more than it does in this performance. The Allegretto, un poco tempo is a shade hurried. The trombone contribution is very well played, but more humour could be extracted from the eventual discovery of a thematic connection. There is almost nothing to quibble about here, but one wishes for even stronger characterisation and a wider expressive range.

In Symphony No 3, Gardner is efficient. He gets a technically fine performance, but certain essential Nielsen qualities are minimised. The tempi are a little hurried, and that sacrifices weight, stature, even gravitas. I also miss breadth, so that the music’s dignity and pride are short-changed. The title Sinfonia Espansiva is a clear indicator of what Nielsen intended. Bernstein’s well-known recording may seem a little overblown, but by golly he does full justice to the greatness of this piece. One feels that this music meant something special to him. Gardner’s performance leaves me wondering…

The Andante pastorale seems to me ordinary and short of mystery. Again, I believe that the tempo is partly at fault – just a little too hurried. The singers are not distant enough (“The vocal soloists are far in the background”, it says in my score). In the Allegretto un poco one needs more contrast between the relaxation of the opening and the edgy, rather demonic passages. Even so, this is probably the most successful movement. The Allegro finale sets off at a brisk pace. Again, the music is robbed of some of its dignity and breadth.

I think that too many younger conductors are over-promoted (though I was surprised to find that Gardner is fifty). They are encouraged to record diverse repertoire, including pieces with which they have no strong affinity, or which they have only half digested. Barenboim and Järvi in their younger days come to mind.

I do not feel that Gardner has anything distinctive to say about these great works. There are many perfectly musical conductors on today’s scene, but all-purpose musicianship is not enough. Nielsen deserves better.

The recording is very fine. Paul Griffiths wrote excellent booklet notes.

Philip Borg-Wheeler

Previously reviewed by Néstor Castiglione (March 2024 – Recording of the Month)

Buying this recording via a link below generates revenue for MWI and helps us keep free access to the site