Carl Nielsen (1865-1931)
The Ultimate Solo Piano Collection
Rikke Sandberg (piano)
rec. 2025, The Queens Hall at the Black Diamond (The Royal Danish Library)
OUR Recordings 8.226939-41 [3 CDs: 205]
Carl Nielsen’s piano music will always be ranked somewhat below his more renowned symphonies and concertos, but it has been treated to some nice recital recordings and one or two ‘complete’ editions such as with Martin Roscoe on the Hyperion label (review), and Christina Bjørkøe on cpo (review). Rikke Sandberg has previously recorded Herman D. Koppel’s Piano Concerto on the Danacord label (review) as well as some Brahms solo works, but can also be found in a programme of Nielsen four-hand piano music together with Kristoffer Hyldig on the OUR Recordings label which has a fine recording the Third Symphony in its premiere recording in this version.
This, The Ultimate Solo Piano Collection,is something of a descendent of this project, with Sandberg setting out to record the entirety of Nielsen’s piano music after a lifetime playing his works. “… regardless of the music’s expansive, and at times frustrating, density and complexity, I have never experienced such an enchanting evolution in understanding, perceiving, and experiencing as I have with Carl Nielsen’s music… Out of curiosity, but also out of a desire to preserve and document a national cultural heritage, I decided to record everything.”
This immediately becomes this set’s USP, but with a superlative recorded sound and extremely fine playing this can stand alongside any other collection available, so if you are interested in a very nicely presented ‘one and done’ Nielsen piano box then this OUR Recordings release starts out as a leading choice before we’ve even started.
Rikke Sandberg has a fine knack for ‘orchestrating’ at the keyboard, and there is no mistaking this in the colours she projects during the Symphonic Suite, Op. 8. This comes from a period in which Nielsen’s First Symphony was making its mark, and with this and the influence of Brahms there is a fine synthesis that is observed with lively refinement in this performance. The Chaconne, Op. 32 is a highlight in Nielsen’s output for piano but even with its relationship with Bach and attractive idiomatic fingerprints it can be a gnarly piece to deliver effectively. Sandberg inhabits Nielsen’s free variation approach with patient characterisations and space for texture and wide dynamic contrasts, coming in at a timing that exceeds Martin Roscoe’s by a whole two minutes but with good reason. There is no lack of spectacle or virtuosity here, but I feel Nielsen’s vision shining through with a refreshingly attentive clarity.
The programming of this set is nicely paced, and these two major works are separated on CD 1 by the Five Piano Pieces, Op. 3. This is a set of lighter character pieces played with both a disarming lack of pretension and a keen sense of wit alongside a fine observation of those moments of folk-music character. Many of us piano pupils will have encountered pieces from collections such as the two volumes of Piano Music for Young and Old, hearing them here with an inevitable, ‘ah, so that’s how it should be played’ feel. Works such as the Aladdin Suite that are more familiar in their orchestral version are utterly convincing, indeed gripping when it comes to more complex and dramatic movements such as the Prisoners’ Dance.
Niels Bo Foltmann’s booklet notes for this set deserve a mention, dealing with each work both large and small with useful context and detail without linguistic excess. The ‘ultimate’ complete nature of this recording includes pieces that remained unpublished in Nielsen’s lifetime, such as fascinating early salon-type works such as Two Character Pieces probably composed during the 1880s when he was a military musician in Odense. Miniatures such as Velkommen i Della Grazia 20, lille Marie! are little more than occasional sketches, but as with everything Nielsen, “boredom and triviality are nowhere to be found…”
Rikke Sandberg’s luminous affection for all of these pieces creates its own compelling universe, and one which quietly elbows aside most if not all of the competition. I went back to Martin Roscoe’s Hyperion set and, despite its admirable qualities I don’t prefer its dryer somewhat studio-bound recorded sound. Christina Bjørkøe has a more authentic sense of passion and a more concert-hall recorded perspective but tends to pull things around a bit much in the simpler pieces. I am deeply impressed by the sheer musicality and feel of ‘correctness’ in every aspect of Rikke Sandberg’s Nielsen, and would urge everyone to immerse themselves in its world of refined musicality and symphonic impact.
Dominy Clements
Contents
Welcome to 20 Della Gracia, Little Marie! (Add.48)
Chaconne Op.32 (1916-17)
Five Piano Pieces Op. 3 (1887-90)
Symphonic Suite Op.8 (1894)
Souvenirs from Carl Nielsen, 11 Small Piano Pieces
Piano Music for Young and Old Op.53 (1930)
Festive Prelude for the New Century FS 24 (1900)
Three Piano Pieces Op.59 (1928)
Theme with Variations Op.40 (1917)
Piano Piece FS 159 (1931)
Humoresque-Bagatelles Op.11 (1894-97)
Two Character Pieces (Add.16)
Suite Op.45 “The Luciferian” (1919-20)
The Dream about ‘Silent Night’ FS 34 (1905)
Arrangements & Incidental Music
Excerpts from ‘The Mother’ from ‘Hagbarth and Signe’ (Add.32)
‘Dance of the Handmaidens’ from ‘Hagbarth and Signe’
Prelude to ‘Snefrid’ for Piano
‘Elves Dance’ from ‘Sir Oluf he rides’
Music for Otto Benzon’s Play ‘Parents’
Oriental Festival March
Dances from ‘Aladdin’ for piano
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