Scandinavian Wood: Northern Soundscapes for Clarinet and Piano

Description

The title of this album does not directly allude to the physical woods or forests of the Scandinavian region. Rather, its conceptual underpinning is rooted in Haruki Murakami’s novel, “Norwegian Wood”. In much the same vein as Murakami adopted the title from The Beatles’ track “Norwegian Wood (This Bird Has Flown)” composed by John Lennon & Paul McCartney, I have taken a similar cue. By utilising the term “Scandinavian”, the word “Wood” is positioned to evoke a vast, nebulous, and somewhat ethereal imagery. With the precise geographical connotation of “Scandinavian” — encompassing Denmark, Sweden, and Norway — the overarching objective becomes clear: to craft a cohesive, introspective narrative that is both personally and universally resonant, offering a romanticised Scandinavian artistic representation anchored in the album’s repertoire.

Before the ascendancy of the eminent Danish composer Carl Nielsen, Niels Wilhelm Gade (1817 – 1890) reigned supreme. He is indubitably one of the luminaries in Denmark’s musical annals, and his prominence was especially palpable during the 19th Century, a period colloquially referred to as the “Den danske guldalder” or the Danish Golden Age. Gade’s composition “Fantasistykker, Op.43”, conceived in 1864, was originally composed for the clarinet but also exists in a violin version. The harmonies, tonalities, and tempos of these fantasy pieces are emblematic of the Romantic era’s idiom, bearing semblances to the works of Gade’s contemporary, Robert Schumann. Yet, in contrast to many Germanic compositions that proliferated during the same epoch, Gade’s clarinet opus imbibes a rich infusion of traditional Nordic elements and expressions. This is manifest in the musical cadences woven throughout the composition; the third movement, “Ballade”, offers a narrative imbued with a distinctively Danish timbre; whilst the “tranquillo” section in the fourth movement conjures an imagery of a solitary figure standing resolute amidst a tempest, capturing the very essence of Danish atmospherics during the more blustery seasons outside of summer.
The Swedish composer, William Seymer (1890 – 1964), remains lesser known compared to other Nordic luminaries such as Niels Gade. Born in Stockholm, Seymer undertook his musical studies in Sweden, Germany, and England. Beyond composing, he distinguished himself as a music journalist, contributing to magazines both within Sweden and internationally. His oeuvre often exhibits a pastoral, impressionistic hue, as is palpable in his “Suite, Op.8” for B-flat clarinet and piano. Within the published score by Svensk Musik, there are notable printing errors which confound performers. This score, reproduced from a manuscript copy (the origins of which remain ambiguous—whether from Seymer himself or another hand is unclear), further complicates matters with erroneous transpositions in both the piano and clarinet parts. During the recording of this piece for this album, these uncertainties were judiciously addressed, amendments grounded in the theoretical and stylistic framework of the piece, ensuring avoidance of any jarring harmonic or tonal inconsistencies. The revisions aimed to resonate closely with Seymer’s original compositional intent and logic.
“Da Lontano: Fantasia, Op.32”, the brainchild of Norwegian composer Johan Kvandal (1919 – 1999), was penned for alto flute or clarinet. Historically, only the flute rendition of this piece has been committed to recording, leaving the clarinet version uncharted territory. This album heralds the inaugural recording of the clarinet adaptation. Notably, the tonal breadth of the clarinet surpasses that of the flute, leading Kvandal to introduce certain variances in the clarinet transcription, including augmented passages compared to the flute original, thus imparting distinct phrasal nuances.
Erland von Koch (1910 – 2009) carved out a reputation as a multifaceted Swedish composer, crafting not just concert pieces and operas but also venturing into film music. “Monolog Nr. 3” is a standout solo piece from his suite of compositions titled “Monolog”. This collection boasts 18 unaccompanied solos tailored for various instruments, with No. 3 for the clarinet emerging as particularly popular amongst performers. The piece has a distinctive structural note: its two movements seamlessly converge into a unified whole, as indicated by the “attacca” marking concluding the first movement and further corroborated by annotations on the score. For this album, the piece is rendered in its entirety as a continuous performance. Nevertheless, it is worth noting that there is no prescriptive requirement to refrain from rendering the movements separately.
The now-obscure Norwegian composer, Alfred Andersen-Wingar (1869 – 1952), was not just a composer but also distinguished himself as a violinist, violist, and conductor. He honed his craft at the esteemed Conservatoire de Paris under the tutelage of Jules Massenet. Throughout his life, he bequeathed a plethora of symphonies, orchestral works, and other compositions. Regrettably, the scores of many of his works remain elusive today, as does detailed historical documentation of their performances. This holds true for “Konzertstück, Op. 23”. According to public records, the sole extant score is the inaugural printed version by the Berlin-based publisher, Schlesinger. A singular handwritten copy, which interestingly is not in the composer’s hand, resides within the Edwin A. Fleisher Collection at the Free Library of Philadelphia. Correspondence with the Music Curator, Dr. Gary Galván, reveals this particular score was an intrinsic part of the original collection amassed by Edwin Fleisher between 1909 – 1929. The full score housed within the library was meticulously transcribed by Fleisher’s own copyists. Despite diligent searches, details of the composition’s premiere and subsequent recordings remain enigmatic, particularly since its 1907 publication. Hence, the rendition in this album marks a historic recording after a hiatus of 116 years. Given the dearth of biographical material, articles, and programme notes, it is challenging to ascertain the original version of this piece – whether orchestrated or intended for piano accompaniment. It is not uncommon for composers to craft a solo piece with piano accompaniment, subsequently adapting it for an orchestra or vice versa. In this premiere recording, the term “published version” seems an apt descriptor, given the broader historical context. Tragically, the scant biographical data available on Alfred Andersen-Wingar notes his marriage to Anna Marie Relsjø (1869 – 1958) and their progeny, Halvor Nicolai Andersen-Wingar (1910 – 2002). However, records concerning any descendants of Halvor Nicolai Andersen-Wingar are absent, making the quest for additional insights into Alfred Andersen-Wingar’s legacy a formidable challenge.
As previously articulated, Niels Gade played the role of mentor to several budding musicians. Among them was the Danish composer August Winding (1835 – 1899). Curiously, even within Denmark’s conservatoires today, Winding’s oeuvre is infrequently performed or studied, a trend that extends even to native Danish musicians. Nonetheless, Winding’s compositions are imbued with exquisite Romantic virtuosity, vivid tonal hues, and evocative expressions. “DreiFantasistykker, Op.19” was conceived for either clarinet or violin, accompanied by piano. Thus, the piece exhibits characteristics intrinsic to both woodwind and string instruments. Positioning this composition as the concluding piece in this album’s repertoire serves to crystallise the quintessential Romantic essence, drawing a close to the overarching, amorphous narrative of the “Scandinavian wood”.

Many compositions within this album are seldom performed in contemporary settings, underscoring the imperative to revitalise them for posterity. As the tempo of our modern society accelerates, there is a propensity for individuals to eschew profound contemplation, opting instead for fleeting engagements and surface-level comprehension. Relationships appear more tenuous, and societal discourse is often punctuated by aggression, hostility, and rashness. The very essence of life risks devolving into a vacuous void, reminiscent of an expansive, desolate “wood”. It is within this context that the Romantic nuances of this album gain significance. Perhaps, by decelerating our pace and engaging in deeper introspection, such meaningful artistic endeavours can find their rightful place in the annals of artistic expression. The “Scandinavian wood”, thus, transcends from being a mere abstract, hollow imagery to a tangible realm, suffused with emotion.
Chen Hu Jie © 2023
Now Yichang midsummer night
raining with the wind singing