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Nielsen: Symphonies 1 & 4 - Gilbert

Nielsen: Symphonies 1 & 4 - Gilbert

Dacapo Records  6.220624

Stereo/Multichannel Hybrid

Classical - Orchestral


Carl Nielsen: Symphony No. 1, Symphony No. 4 "The Inextinguishable"

New York Philharmonic
Alan Gilbert (conductor)


“Ruthless but innocent – like a child playing with dynamite.” Thus wrote the Danish press at the first performance of Carl Nielsen’s Symphony No. 1 in 1894. This acclaimed recording cycle by the New York Philharmonic and Alan Gilbert shows Denmark’s national composer as one of the wildest and most dynamic composers of early modernism. On this CD, Nielsen’s impressive symphonic debut work is combined with the epoch-making Fourth Symphony, “The Inextinguishable,” written in the midst of the First World War and during a stormy period in the composer’s private life.

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DXD recording

Recorded at Avery Fisher Hall, Lincoln Center, New York City, 12-15 March 2014
Recording producers: Preben Iwan and Mats Engström
Sound engineer: Preben Iwan
Recorded in the DXD audio format (Digital eXtreme Definition) 352.8kHz / 24 bit
Live monitoring on MK Sound speakers
Microphones main array: Decca Tree with outriggers: 5x DPA 4006TL
– surround microphones: 2x DPA 4015TL
Converters & Preamps: DAD AX24 – DAW system: Pyramix with Smart AV Tango controller
Mastering monitored on B&W 802Diamond speakers
Reviews (2)
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Review by Graham Williams - November 7, 2014

It has been a long wait of more than two years since the first issue in Dacapo's Nielsen Symphony cycle from Alan Gilbert and the New York Philharmonic was released – a coupling of the composer's 3rd and 2nd Symphonies Nielsen: Symphonies 2 & 3 - Gilbert, so this second volume comprising Nielsen's 4th and 1st Symphonies is most welcome.

Both symphonies were recorded live at Avery Fisher Hall, New York City in March 2014 and the liner notes inform us that the recording was made in the DXD audio format (352.8kHz /24-bit). The sound quality throughout is very fine indeed, and engineer Preben Iwan is to be congratulated for managing to achieve such a clear and spacious result in a venue whose acoustic has often been the subject of criticism.

Comparisons with the earlier release reveal that the capture of the hall reverberation is now more natural and that the orchestral image is marginally closer to the listener. There are small traces of audience noise picked up by the microphones, a rustle here and a discreet cough there, as is to be expected from live performances. More disturbing is the conductor's tendency to stamp on the podium – try from 9'37” into the third movement of the 4th symphony. These minor flaws, however, pale into insignificance when the overall excellence of Gilbert's performances are taken into account.

The playing of the New York Philharmonic Orchestra again shows that they are still one of the world's great orchestras. Strings possess a glowing richness and warmth, woodwinds are characterful with every solo beautifully phrased, while the burnished lower brass and fabulous horn section thrill with every entry. Gilbert's use of antiphonally divided violins also adds immensely to the appreciation of Nielsen's string writing in both symphonies and, whether playing softly or very loudly, timpani are captured with amazing fidelity – though I would have liked to have heard a greater separation between the two sets of battling timpani in the finale of the 4th Symphony.

I was surprised to find that Gilbert's tempi for each of the four movements of the 1st Symphony match, within a few seconds, those adopted by Colin Davis in his 2012 recording. Nielsen: Symphonies 1 & 6 - Davis .The propulsive approach adopted by both conductors is admirably suited to this work though Gilbert has the advantage of incomparably better sound.

It must be mentioned, however, that the elephant in the room is the rival Nielsen cycle from Sakari Oramo and the Royal Stockholm Philharmonic Orchestra on the BIS label that began with a stunning performances of the 4th and 5th Symphonies Nielsen: Symphonies 4 & 5 - Oramo.
Many collectors will surely wish to wait for both cycles to be completed, hopefully by next year, the 150th anniversary of Nielsen's birth. In the meantime this latest release can be confidently recommended.

Copyright © 2014 Graham Williams and HRAudio.net

Performance:

Sonics (Multichannel):

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Review by Adrian Quanjer - December 24, 2014

I was quite happy with the first volume of the Nielsen Project of the New York Philharmonic. This time, however, I find it difficult to be as conclusive as I was then. During several listening sessions I could not make out why I was less enthusiastic. The sound is similar: very good, though not exceptional. The playing, too, is as solid and competent as last time.

It wasn’t until I compared this second volume with the BIS 1987 recording of the first (Myung-Whun Chung, Gothenburg Symphony) and the Decca 1987 recording of the fourth (Herbert Blomstedt, San Francisco Symphony) that I realized what to my ears was missing: passion, tension, searching; in short: a soul.

Alan Gilbert’s is about forward energy. The playing of the NY Phil is unquestionably excellent; but I find that Gilbert should have delved more deeply into the emotional heart of the matter. In direct comparison with the other two performances his rendition remains somewhat frigid and mostly at the surface.

One might say that his approach confirms what many -as far as I'm concerned: incorrectly- think about the ‘coldness’ of Northern composers, lacking warmth and sentimental passion. The first movement of the fourth symphony misses the heartbreaking grief and a feeling of desolation with which Blomstedt grips the attention of his audience. He builds up tension through subtle changes in tempi and intensity, whereas Gilbert is more of a roller coaster with less attention to detail and seemingly more concerned with orchestral grandeur. As I see it, being inextinguishable is not only a matter of sheer power; it also needs a fair amount of discernment and cunning.

In the first symphony Myung-Wung is different in that he seeks out the romantic details. His second movement is floating like a dream. But towards the end Gibert’s approach gets the upper hand. I find his final movement of the first symphony by far the best part.

If you like your Nielsen cool, straightforward and without sentimental ballast, Gilbert and his excellent forces may well be an attractive option. Others may want to listen first to Sakari Oramo on BIS.

Copyright © 2014 Adrian Quanjer and HRAudio.net

Performance:

Sonics (Multichannel):

stars stars