Physical Release: 27 February 2026
Digital Release: 13 March 2026
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| Composer(s) | Emil Hartmann, Flemming Weis, Jens Bjerre, Kjell Roikjer, Thorvald Hansen, Vagn Holmboe |
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It is always a great joy to follow how former students from the Royal Academy of Music in Aarhus, Denmark, contribute with what they have learned at the Academy to the vibrant world of music. This is especially true when it comes to students from other countries and cultures.
Over the years, we have been enriched by impressions from China through several groups of Chinese students. And we are happy and proud that Chen Hu Jie, with his new CD, has continued his interest in Danish music culture after returning home to China. We hope that many in China – and all over the world – will enjoy listening to Chen Hu Jie’s interpretations of Danish clarinet music.
Already in 2023, while Hu Jie was still a student at the Academy, we were pleased that he released a CD of Danish music together with another international student, Swedish pianist Albin Axelsson. It is a significant achievement for a classical conservatory student to release a CD during his studies. And it was remarkable that Hu Jie, with his Chinese background, chose to record works by Danish composers, including Niels W. Gade, who in his time was regarded as one of the leading composers in the Nordic region.
Equally remarkable is that Chen Hu Jie, with his new CD, continues to show interest in clarinet music written by Danish composers — both well-known names like Vagn Holmboe and Emil Hartmann, as well as composers who are no longer widely known, even in Denmark. Especially here in 2025, the 75th anniversary of diplomatic relations between China and Denmark, it is a great joy to witness a talented young Chinese musician contributing to the preservation of Danish cultural heritage.
Keld Hosbond, principal
Royal Academy of Music, Denmark
The Cultural Bridge Wrought
from Scandinavian Wood
As a clarinettist, I often reflect on how music can serve as a bridge in today’s divided world. My own artistic path has long been intertwined with the Nordic countries, and without doubt the years I spent in Denmark were among the most valuable of my life. Thus, in 2025, the 75th anniversary of diplomatic relations between the People’s Republic of China and Denmark, I feel compelled to dedicate my best efforts to recording Danish clarinet works, so that more listeners may encounter and cherish these treasures.
This album presents clarinet music by Danish composers, with Vagn Holmboe (1909–1996) and Emil Hartmann (1836–1898) as the most prominent figures. Yet Holmboe’s Capriccio, Op. 177, and Hartmann’s Serenade, Op. 24, are seldom performed and rarely recorded. Holmboe, ranked alongside Carl Nielsen and Niels Gade, has not received complete documentation, while Hartmann, like many Romantic Danish composers, has faded from memory. It is therefore essential to preserve these works, to give them new voice in today’s cultural landscape.
As I noted in my previous album (Contemporary Floating World, EAN: 0746160918020), I visited Det Kgl. Bibliotek Den Sorte Diamant (the Royal Danish Library the Black Diamond) searching for forgotten manuscripts. There, I discovered clarinet music by Kjell Roikjer (1901–1999), which had neither been published nor recorded. I began to bring his works to light, so that they might find a place on concert stages. Similarly, Flemming Weis’s Tre Stykker for Klarinet survived only as a sketch in C, written beyond the clarinet’s range. After careful revision, I revised and edited it for B-flat clarinet, making the music playable. Weis’s Clarinet Sonata, with its rhythmic vitality and vivid contrasts, also features in this album.
Another case is Jens Bjerre (1903–1986). His Four Études appeared in catalogues but seemed out of print. After a long search, I located a rare copy in the Royal Danish Library, with the help of my friend Jiang Wenzhe, a Chinese bassoonist and fellow alumnus of the Royal Academy of Music Aarhus. Thanks to this effort, the piece can now reach new audiences. To conclude, I include Thorvald Hansen’s (1847–1915) Konzert-Walzer, a brilliant encore work originally written for cornet or clarinet. This may be the first recording of its clarinet version.
As in my first Scandinavian Wood album, my aim here is to offer hope. Though we live in an anxious and restless world, music can reconnect us, dismantle the walls of the heart, and renew our vision of a shared future. These works form a bridge across cultures, giving us strength to believe, to create, and to love. Even if we seem to walk through a cold and endless forest, with hope and love we may yet overcome all trials and find a radiant new beginning.
Chen Hu Jie
Now autumn wind stirs
in Yichang clear rain finds the heart
September, 2025
Chen Hu Jie, Clarinet
A distinguished Chinese clarinettist, conductor and composer. Chen Hu Jie holds the title of Artistic Director for the Soundshadow Ensemble. He serves as the Principal Clarinet for the Yichang Gorges Symphony Orchestra and is a noteworthy clarinettist with the Yichang Free Jazz Big Band.
In his capacity as a clarinettist, Chen Hu Jie has spearheaded notable clarinet concert projects such as "Loop Line" and "Time Shuttle" since 2018. His international concert repertoire spans an impressive array of countries and regions, including China, Denmark, Sweden, Belgium, Bulgaria, Estonia, Japan, Romania, Spain, the US, and etc. He has graced stages such as Musikhuset Aarhus in Denmark, BOZAR recital hall in Belgium, Mustpeade Maja / Tallinna Filharmoonia in Estonia, Kolarac concert hall in Serbia, among others. In 2019, his ventures as a chamber musician and orchestral clarinettist culminated in the creation of the Soundshadow Ensemble, of which he is a founder and the Artistic Director. Under his guidance, the ensemble unveiled their inaugural CD album 'Sound & Shadow' with Da Vinci Publishing in 2023. In the same year, his personal CD album ‘Scandinavian Wood’ was released with Da Vinci Publishing. His talents were recognised early when he was appointed as the Guest Principal Clarinet for the Yichang Gorges Symphony Orchestra at the age of 19, he then transitioned to the permanent Principle Clarinet in the orchestra. In 2022, he joined the Yichang Free Jazz Big Band. Emblematic of the new wave of musicians, Chen Hu Jie is actively involved in pioneering music projects and has collaborated closely with composers, including Assistant Professor Jasmine Moni Guo from the University of Cincinnati College-Conservatory of Music.
Transitioning to his role as a composer, Chen Hu Jie's works have been showcased in China, Europe, and the US. A standout piece, 'Gorges-Ode, CV.13', premiered on China Sina's official livestream in 2020 and was subsequently broadcast on Yichang City TV.
Since 2024, he has been teaching in the Music Department of East China University of Technology.
Chen Hu Jie's musical prowess has earned him numerous accolades. Notably, he clinched the 1st prize at the 5th China National Music Competition of Woodwind and Brass in the clarinet section and was bestowed the prestigious "Small GoldBell" Special Honour Music Prize in China, 2016. He also secured the top position at the 31st Concorso Internazionale per Giovani Musicisti "Città di Barletta" in Italy, 2021.
Born in Yichang, China, in 1999, Chen Hu Jie embarked on his musical journey at the age of 6 and began his clarinet tutelage at 9 under Sun Shan, the Principal Clarinet of the Yichang Gorges Symphony Orchestra. At 15, he relocated to Beijing, receiving instruction from the esteemed Yu Bo, former Principal Clarinet of the Military Band of the Chinese People's Liberation Army, and later from Professor Yuan Yuan at the Central Conservatory Of Music. With a penchant for the Nordic clarinet academic style, Chen Hu Jie pursued advanced training under Swedish clarinettist Emil Jonason and Principal Clarinetist of the Finnish Radio Symphony Orchestra Christoffer Sundqvist, during his undergraduate years in the US. Having completed his Bachelor's Degree in Clarinet Performance from the Arizona State University School of Music, he transitioned to Europe for master degree studies at The Royal Academy of Music Aarhus (Det Jyske Musikkonservatorium) in Denmark, under the aegis of renowned Danish clarinettist Mathias Kjøller, Principal Clarinet of Aarhus Symphony Orchestra. His conducting education was mentored by notable Danish conductor Søren Kinch Hansen and chief conductor of Stavanger Symphony Orchestra, Latvian conductor Andris Poga. Additionally, he refined his chamber music skills with luminaries such as Bue Skov Thomassen, Lena Kildahl Larsen, Frederik Munk Larsen, and Martin Qvist Hansen, among others.
He also participated in master classes or lessons with: Charles Neidich, Håkan Rosengren, Julian Bliss, Ricardo Morales, Radovan Cavallin, and others.
Lu Yi is a Chinese classical pianist and lecturer at Guizhou Normal University. She has performed extensively across the United States, Europe, and China, appearing in prestigious venues such as Steinway Hall, Katzin Concert Hall, Kerr Cultural Center, Tempe Center for the Arts, and Scottsdale Center for the Arts in the United States; Vianden Castle in Luxembourg as part of the Vianden Music Festival; and Dalian Development Area Grand Theatre and Shandong University in China. She was a scholarship recipient at the New Paltz Piano Festival in New York and performed Chopin’s First Piano Concerto under conductor Danwen Wei at MusicFest Perugia in Italy.
Lu Yi was named one of fifteen national finalists for the highly selective Ensemble Connect Fellowship, a program of Carnegie Hall, the Juilliard School, and the Weill Music Institute, which recognizes young artists who demonstrate both artistic excellence and a strong commitment to education and community engagement. Her recent recording project, Scandinavian Wood II, in collaboration with clarinetist Chen Hu Jie, features a collection of contemporary and Nordic repertoire, reflecting her broad musical interests and dedication to chamber music.
A versatile artist, Lu Yi has performed extensively as a soloist, chamber musician, and collaborative pianist. Her repertoire spans from Baroque to contemporary works, and she has served as harpsichordist for two seasons with the ASU Baroque Ensemble. She is also active in music outreach, having presented numerous benefit concerts and lecture recitals promoting classical music across cultures.
Lu Yi holds a Doctor of Musical Arts degree in Piano Performance from Arizona State University, where she studied with Steinway Artist Dr. Robert Hamilton. She also earned her Master of Music degree from ASU and a Bachelor of Music degree from the Shenyang Conservatory of Music in Dalian, China. During her studies, she held a teaching assistantship and taught at the ASU Community Music School, gaining experience in both collegiate and community-based music education.
Tzu-Wen Wang
Cellist Tzu-Wen Wang is a dynamic cellist and educator whose artistry spans solo, chamber, and orchestral stages across Europe, Asia, and North America. She currently serves on the cello faculty of the Music Development Program at The Tianjin Juilliard School and The Yehudi Menuhin School Qingdao, where she brings a wealth of international experience to her teaching.
As a soloist, Tzu-Wen has garnered top prizes at international competitions, including First Prize at the VIII Agustín Aponte International Music Competition in Spain and First Prize at the International Music Competition Bonn, “Grand Prize Virtuoso” in Germany. Her dedication to contemporary music has led to collaborations such as the world premiere of "Requiem viridem. Träume mich grün" (2021), commissioned by Manuel Fischer-Dieskau, and a CD recording of works by Taiwanese composers (2014) for Tainan National University of the Arts.
Beyond the solo stage, Tzu-Wen is a passionate chamber musician, earning Second Prize at the Gasparo da Salò International Chamber Music Competition in Italy and performing at prestigious venues like the Steinway House Brescia. In the 2023–24 season, as the fonding member of Trio Felix, she was invited as a guest artist for the chamber music series at Maison Heinrich Heine in Paris. Her collaborative spirit extends to orchestral settings, with performances in Germany’s Philharmonisches Staatsorchester Mainz and Leipziger Symphonieorchester, as well as her current role as cello principal of Qingxin Ensemble in China.
Tzu-Wen has also been invited to internationally acclaimed festivals including the Aspen Music Festival and Sarasota Music Festival in the United States, Le Domaine Forget de Charlevoix in Canada, Germany's Cello Akademie Rutesheim, South Korea's Great Mountains Music Festival. Each engagement illuminates her musical mastery, weaving through the vibrant mosaic of global classical expression.
Tzu-Wen's musical odyssey began in Asia, where she earned a Bachelor of Music from Singapore's Yong Siew Toh Conservatory under the mentorship of Li-Wei Qin with a full scholarship. Her journey then crescendoed through Europe with a Master's degree from Leipzig's prestigious Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy", studying under the guidance of Peter Hörr and Veronika Wilhelm. The pinnacle of her formal training came with the Konzertexamen, attained at the Hochschule für Musik Mainz under Manuel Fischer-Dieskau and Katharina Deserno. Beyond these institutional milestones, she has honed her artistry through intensive studies with such luminaries as Darrett Adkins, Colin Carr, Steven Doane, Timothy Eddy, and Philippe Müller, etc. while expanding her chamber music vision with the Hagen Quartet, Kublic Trio, and Shanghai Quartet - completing a formidable trinity of global musical traditions through both academic and mentorship lineages.
Emil Hartmann
(b Copenhagen, 21 Feb 1836; d Copenhagen, 18 July 1898). Composer and organist, son of (2) Johan Peter Emilius Hartmann. He was taught music theory and the organ by his father and the piano by Anton Rée. A series of songs written during his childhood was later published under the title Smaasange for ungdommen. He made his public début as a composer in 1858 with the Passionssalme. In 1859 he collaborated with his future brother-in-law August Winding on music to Bournonville’s Fjeldstuen, emulating the success of Et folkesagn, the ballet his father had written with Gade for Bournonville. He studied in Leipzig in 1860 and on his return in 1861 became organist of St John’s, Copenhagen. In 1871 he moved to the Christiansborg Palace church, where he remained until his death.
Although he was by profession a church musician, Hartmann wrote a great deal for the theatre. His early stage works of the 1860s and 70s failed to equal the success of his first ballet, but his later compositions of this kind made a much stronger impression. Nevertheless it was his instrumental music that established his reputation, including symphonies and concertos, and works inspired by Scandinavian subjects, for instance the overture to Ibsen’s Haermaendene paa Helgeland and the symphonic poem Hakon Jarl, a subject immortalized by his father. His arrangements of Scandinavian folksongs and dances, Skandinavisk folkemusik, gained an established place in the musical repertory in Denmark and abroad.
In Denmark Emil Hartmann was inevitably overshadowed by his father. However, he often travelled abroad conducting his own works and achieved a recognition that he felt he was denied at home. Walter Niemann (1906) observed that it was due primarily to Emil, and especially through Haermaendene paa Helgeland, that the name Hartmann was known in Germany. It is evident from the subjects of many of his works that he shared the national feelings of his father and Gade, but his style and expression, shaped no doubt to some extent by the Mendelssohnian atmosphere at Leipzig, is nearer to that of Gade than to the more profound nationalism of his father.
Flemming Weis
(b Copenhagen, 15 April 1898; d Hellerup, 30 Sept 1981). Danish composer and organist. He studied the organ and theory with Gustav Helsted at the Copenhagen Conservatory (1916–20) and then went to Leipzig, where he studied with Straube (organ) and Graener (theory and composition), graduating from the Hochschule für Musik in 1923. After his return to Denmark he was organist at the Annakirke in Copenhagen (1929–68) and also worked as a music critic (for Dagens nyheder, 1953–61, and Politiken from 1964). He also served in a great number of honorary administrative offices, contributing significantly to Danish musical life: for example, he was a board member, assistant chairman and then chairman (1942–56) of Det Unge Tonekunstnerselskab, a member of the Musikråd (until 1971), chairman of the Dansk Komponistforening (1967–71) and chairman for the Samfund til Udgivelse af Dansk Musik.
Although Weis’s first compositions were marked by his stay in Leipzig, he soon freed himself from that derivative late Romantic style, retaining his respect for Bach’s polyphony and combining it with his admiration for Nielsen’s diatonic and linear modernism. This is clear in his vocal music (choral arrangements as well as songs) and chamber works, which, especially those of the 1930s and 1940s, are characterized by interwar Danish neo-classicism (as in the Serenade ‘Uden reelle hensigter’). His two symphonies reveal his ability to compose on a large scale, with a starting-point in Nielsen’s experimental symphonic writings from the 1920s. He also contributed to the development of a serially influenced Danish modernism (as in the Femdelt Form series).
Jens Bjerre
(b Århus, 13 Oct 1903; d Copenhagen, 3 Jan 1986). Danish composer and organist. He studied at the Copenhagen Conservatory (1919–23) with Christiansen (piano) and Rung-Keller (organ and theory). After passing the organists’ examination in 1925 he studied in Paris (1925–7), notably with Lazar Levy (piano), and served as organist at the Danish church there. From 1933 he was organist at the Stefans Kirke in Copenhagen, and from 1955 to 1973 at the Garnisons Kirke. Much of his music, such as the Piano Trio (1947), is marked by a lyrical and light style influenced by French neo-classicism and in accordance with the prevailing mood of Danish music in the 1930s. However, the density of musical argument in later works such as the dramatic Diapsalmata for cello and piano (1953), inspired by Kierkegaard, suggests that he was also influenced by Hindemith.
Frederick Thorvald Hansen (3 May 1847 - 24 January 1915) was a Danish trumpeter and composer. As a boy, he learned to play the piano, organ, violin, and later trumpet: with Peter Johan Waldemar Petersen, Danish trumpeter (1824-1901). In 1867, Hansen joined the Tivoli Concert hall Orchestra and in 1884 he was hired as a solo trumpeter in the Royal Danish Orchestra. At the same time, he played viola and violin in various chamber ensembles. Hansen was for many years organist substitute for cathedral organist J. P. E. Hartmann in the Church of Our Lady. He also composed and has written a number of smaller pieces for piano and trumpet, but also other things such some Progressive End Exercises for Trumpet in F. In 1893 he joined the Royal Danish Academy of Music to teach trumpet there.
Vagn Holmboe
(b Horsens, 20 Dec 1909; d Ramløse, 1 Sept 1996). Danish composer and teacher. He was one of seven children of parents who were amateur musicians. In 1926 he entered the Kongelige danske musikkonservatorium in Copenhagen on Nielsen’s recommendation. At the conservatory he studied principally with Jeppesen (theory) and Høffding (composition); after graduation he went to Berlin for a few composition lessons with Toch. There he met the Romanian pianist Meta May Graf, whom he married in 1933. He spent most of the 1930s teaching privately, studying and collecting various vernacular musics. Then and afterwards he published articles on Balkan and Arabic music and on Danish street cries. His full-length definitive book on the street cries was published in 1988.
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