Niels Wilhelm Gade (1817-1890)
3 Klavierstücke (1837)
Kleine Claviergesichte in F Minor (1839)
Aquarellen Op.19 volume 1 (1849)
Aquarellen Op.19 volume 2 (1850)
Sonata in E Minor Op.28 (1840 rev.1854)
Neue Aquarellen Op.57 (1881)
Andantino in C Sharp Minor o.Op. (1860)
Marie-Louise Bodendorff (piano)
rec. 2024, Kulturzentrum Immanuel, Germany
Ars Produktion ARS38677 [70]
Copenhagen-born Niels Gade is generally remembered for the orchestral and vocal music that makes up the bulk of his output alongside several chamber works. It was his orchestral music, specifically the overture Echoes of Ossian and first symphony that made his name after all; the overture was awarded top honours by Copenhagen’s Musical Society and Mendelssohn championed the symphony, conducting it at the Gewandhaus in 1843. On the strength of this success Gade became Mendelssohn’s assistant continuing briefly after Mendelssohn’s death though his tenure was soon curtailed by the developing conflict between Prussia and Denmark. Gade returned to his homeland and became a major figure in Danish musical life with his directorship of the Musical Society and, some two decades later, his inauguration of the Copenhagen Conservatory alongside his son-in-law Johann Peter Emilius Hartmann. All this information is in the booklet notes though there is no information regarding from whence his talent sprung. The internet suggests that he was largely self-taught while mentioning one teacher, the composer Christoph Weyse (1774-1842), familiar from the opening section of the (in)famous Cat Duet if nothing else.
His best known piano works are the big boned E minor sonata and the three books of Aquarelles. He began the sonata when he was in his early twenties but it was another fifteen years before he put it all together and published it. It has a distinctive opening, a declamatory descent of octaves leads to busily scurrying figuration that supports an heroic theme. The second theme is broader and its accompaniment changes to flowing triplets; this dynamic figuration and momentum informs the whole movement. The second movement, a beautiful song without words has hints of Schubert in its figuration and a more impassioned section in the unrelated key of E flat. The syncopated rhythm that features in the allegretto third movement gives it a limping lilt and this leads directly into the finale, a precipitous moto perpetuo that brings elements of the first movement back. The pianist is kept busy almost the entire time with the exception of a short reflective and hymn like section. The presto coda echoes the ending of Mendelssohn’s variations serieuses. Gade may not have had a performing career as a pianist but this is certainly a virtuoso work, aptly suited to its dedicatee, Franz Liszt even if he never played it. Its sweeping passion and flair is very effective.
The Aquarelles inhabit a different world technically though the influence is still Germanic models like Mendelssohn and Schumann. Those who love Mendelssohn’s songs without words will readily take to these lovely miniatures that were clearly meant for the domestic market. When I was younger, older neighbours would pass on their sheet music collections and I seem to remember having at least two editions of op.19 amongst them; they were certainly popular though it was only three decades later that Gade was persuaded to add a third book of five pieces to the collection, his op.57 from 1881. From the opening notes of the elegie op.19 no.1 we are in a world of easy melodiousness and a playfulness that comes to the fore in the humoreske, novelette, two capriccios and three scherzos. The later set escape a little more from under Mendelssohn’s shadow with nods to folk melody but the invention in all of them is more than enough to dispel any concerns of stylistic influences.
It is good to hear the Gade’s first compositions for the piano, his three Klavierstücke written in 1837, a prestissimo, idylle and presto. The first has a hymn like melody at its heart that is a contrast to the dazzling figuration of its outer sections while the idylle is more of an extended fantasy. Its opening is suitably pastoral though darker section arrives with hints of bells in the writing and a certain similarity to some of Liszt’s later pastoral writing. The final presto is a fabulous little scherzo with sparkling piano writing and, as Gade appears to be fond of, more reflective hymn like music at its heart. All three are wonderfully written and quite undeserving of their obscurity; this is the kind of stuff that the Husum festival of piano rarities revels in. The Kleine Claviergesichte, little story for piano, was written for a friend’s 23rd birthday in 1839 and is very much in the same vein as the three Klavierstücke though hints of Brahms, Chopin and, especially in the jaunty contrasting music, Schubert can be added to that of Schumann; once again they are distinctive enough to stand up on their own and I think would make great additions to a recital. Bodendorff ends with the delicate Andantino from 1860, another lovely song with words…and, like the opening pieces, without opus number.
Bodendorff brings great presence to this music, balancing the large scale passions of the sonata perfectly against the more restrained charms of the aquarelles and with a flawless technique and sure sense of style she showcases all of Gade’s music in the best possible light. This is a really lovely way to become acquainted with some very attractive piano music.
Rob Challinor
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