Five stars: (Max) An important disc, both for Nielsen and for the piano repertoire. Performances and recording are faultless

C. NIELSEN Symphony No. 3, op. 27 “Espansiva”. Saul and David: Prelude to the Fourth Act; Battle Music with Curtain Down (all arr. cpsr). N.-J. NIELSEN / C. NIELSEN (arr. Hyldig) Højby Rifle Club March  Rikke Sandberg, Kristoffer Hyldig (pn)  OUR RECORDING 8.226923 (45:44)
This disc is not just a tribute to Nielsen; it also redefines what is possible within the score of four hands at a piano. It is completely convincing as a musical inexperience in and of itself. Yes, the Third Symphony is inevitably a supplement to a library of symphonic performances, but (as many of the comments in the interview above make clear) there are so many new perspectives, so much detail heard afresh, that this becomes unmissable.
Especially when it is heard in OUR Recordings’ splendid recording. Listen to the first pieces in the program, the two excerpts from Saul and David (Saul og David). Like all of the performances here, this represents a World Premiere recording. The actual piano reduction of the opera was largely managed by Henrik Knudsen, but we do know that these two excerpts from the fourth act are by Nielsen himself. Sandberg and Hyldig are the perfect interpreters; they are as one mind and as if on person possessed 20 fingers. Exactitude of attack, precision of articulation, balancing of chords: all are considered to the minutest detail.
This disc is recorded in DXD audio format (so, Digital eXtreme Definition, 352.8 kHz/32 bit) with DPA microphones (including the use of a DPA 3011 for Dolby Atmos). The result is state-of-the-art.
The Symphony poses quite a challenge, but even in the most crowded passages, everything is clear the recording gives plenty of space around the piano sound, enabling that multi-register, X-ray playing to shine. As one listens, it becomes obvious how Nielsen often works with strata: registers are clearly delimited within one overall texture. More, Sandberg and Hyldig capture what might be best termed the “flavor” of Nielsen’s symphony: a slightly macabre undercurrent to the dancing passages of the first movement, a sense of religiosity to the opening of the Andante pastorale. For all of the complexities of the first movement, it is this movement that is the toughest challenge: sparser, open textures require the legato to succeed. Fascinating, too, how the deep bass destabilizes the pastoral atmosphere, a post-Lisztian moment of macabre on piano. As the music relaxes into contentment via a sequence of calmly ascending scales, so Sandberg and Hyldig’s touch softens beautifully.
In contrast comes the harsh attack of the opening of the Poco allegretto, perhaps a Rückblick to Grieg in that composer’s most forward-looking rustic mode (I think specifically of Grieg’s op. 72 Ståtter in this respect). Exchanges between the pianists are perfectly done. The move to clearer harmonic territory for the finale’s opening is beautiful, that excellent legato once more in full view. Nielsen’s harmonic twists make full effect; imitation between voices (and performers) emerges as true dialogue. Most notable is the extended plateau of beauty, a timbral oasis so perfectly created by Sandberg and Hyldig (it contrasts with a juxtaposed passage of almost Bachian counterpoint, as if a piano transcription of a Bach organ work suddenly crashes the peace).
Which only leaves the Højby Rifle Club March. This is probably the only piece by Carl Nielsen’s father, Niels Jørgensen, and is heard in his son’s arrangement, with some help from Hyldig. It is a whole lot of fun, light, frothy, and guaranteed to being a smile in its wake.
The music is for piano four hands but note that actually two pianos were used: a Fazioli for secondo and a Steinway for primo (see interview). It works brilliantly.
An important disc, then, both for Nielsen and for the piano repertoire. Performances and recording are faultless; documentation is extensive. A real Wants List candidate. Colin Clarke

Five stars: An important disc, both for Nielsen and for the piano repertoire. Performances and recording are faultless