Carl Nielsen (1865-1931)

Donald concentrates on how Nielsen met his first wife on his travels through Europe and got public recognition - for both his maiden symphony and first choral work, A Hymn to Love.

Arabesque (Five Piano Pieces)

Martin Roscoe (piano)

Hyperion CDA675912 Tr 42 or 41

Little Suite for Strings

Norwegian Chamber Orchestra

Iona Brown (conductor)

Virgin Classics VC545224-2 Trs 15-17

Song behind the Plough

Aksel Schiotz (tenor)

Danacord DACOCD 365367 CD1 Tr 4

Symphony No 1 (1st mvt)

Gothenburg Symphony Orchestra

Myung-Whun Chung (conductor)

BIS-CD-454 Tr 4

Hymnus amoris

Barbara Bonney (soprano)

John Mark Ainsley (tenor)

Lars Pedersen (baritone)

Bo Anker Hansen (bass)

Danish National Radio Choir

Copenhagen Boys' Choir

Decca 452 486-2.

Focusing on the recognition for both Nielsen's first symphony and his first choral work.

He dicusses Nielsen's relationship with the Royal Theatre, affected by his attempt to gain recognition as conductor there, and which ultimately led to his resignation. But his work as composer for the stage was constantly in demand and while he was still a violinist with the Theatre Orchestra, he wrote the first of his two operas.

With an excerpt from Saul and David, which was inspired by a Renaissance painting of David and Goliath, plus a complete performance of another visually inspired work - the symphony Nielsen subtitled 'The Four Temperaments'.

Graeshoppen

Canzone-Koret

Frans Rasmussen (conductor)

Danacord DACOCD 368 Tr 5

Song for the May Festival of the Kolding Grammar School

Song of the Siskin

Danacord DACOCD 368 Tr 12

Saul og David (excerpt)

Saul - Aage Haugland (bass)

David - Peter Lindroos (tenor)

Jonathan - Kurt Westi (tenor)

Mikal - Tina Kiberg (soprano)

Danish National Radio Symphony Orchestra

Neeme Jarvi (conductor)

Chandos CHAN 8911/12 CD1 Trs 7-9

Symphony No 2

BBC Scottish Symphony Orchestra

Osmo Vanska (conductor)

BIS-CD-1289 Trs 1-4.

Donald Macleod introduces two of Nielsen's works inspired by paintings.

He focuses on Nielsen's wife Marie's pursuit of her own career as a sculptor which kept her away from home for months at a time, leaving the composer to face life-changing decisions on his own. In spite of professional setbacks and a variety of health scares, he continued to compose and in 1906 produced Maskarade, a comic opera about the pleasures and perils of masked balls.

With highlights from Maskarade plus a complete performance of his fourth and final string quartet and part of the successful third symphony - his Sinfonia Espansiva.

Du Danske Mand

Einar Norby (baritone)

Folmer Jensen (piano)

Danacord DACOCD365-367, CD 1 Tr 20

Maskarade (excerpt)

Jeronimus - Aage Haugland (bass)

Leander - Gert-Henning Jensen (tenor)

Henrik - Bo Skovhus (baritone)

Leonard - Kurt Ravn (baritone)

Arv - Michael Kristensen (tenor)

Danish National Radio Symphony Orchestra

Ulf Schirmer (conductor)

Decca 460 228/9-2, CD1 Trs 9, 10, 11

String Quartet No 4

Kontra Quartet

BIS-CD-503/4, CD2 Trs 5-8

Symphony No 3 (4th mvt)

National Symphony Orchestra of Ireland

Adrian Leaper (conductor)

Naxos 8.550825 Tr 8.

WIth Nielsen's comic opera about masked balls and his final string quartet.

In 1914, after his resignation as conductor at the Royal Theatre, Nielsen's conducting career wasn't going so well. Things began to look up when he was offered work in Sweden and appointed conductor of Copenhagen's Philharmonic Orchestra. His personal life was in crisis, too - his wife had asked for a legal separation, a situation which would last for the next eight years.

Donald introduces works from those turbulent years, including his Piano Suite, regarded as the most important music Nielsen wrote for the instrument, part of the Wind Quintet written for five friends and his most popular choral work - the folk oratorio Springtime in Funen.

Afsted!

Aksel Schiotz

Danacord DACOCD365-367 CD1 Tr 8

Martin Roscoe (piano)

Hyperion CDA67591/2, CD2 Tr 1

Wind Quintet (4th mvt)

Athena Ensemble

Chandos 10454 X Trs 1-3

Inga Nielsen (soprano)

Peter Gronlund (tenor)

Sten Byriel (bass-baritone)

Children's Chorus of Sankt Annae Gymnasium

Leif Segerstam (conductor)

Chandos CHAN8853 Tr 3.

Donald Macleod presents works from when Nielsen's career and personal life were in crisis.

Six years before he died in 1931, Nielsen's sixtieth birthday was declared a national holiday in Denmark. The festivities held in his honour demonstrated the esteem with which he was held in his native land. But disillusionment with his lack of international success clouded his final years.

Donald introduces some of Nielsen's works from those years, including his witty flute concerto, part of his final symphony and an evocation of a voyage to the Faeroe Islands.

Piano Music for Young and Old No 7

Martin Roscoe (piano)

Hyperion CDA67591-2 CD1 Tr 14

Three Pieces (No 3)

Hyperion CDA67591-2 CD2 Tr 25

A Fantasy Journey to the Faroes

Gothenburg Symphony Orchestra

Neeme Jarvi (conductor)

DG 447757-2 Tr 4

Gareth Davies (flute)

Bournemouth Symphony Orchestra

Kees Bakels (conductor)

Naxos 8.554189 Trs 5-6

Three Motets (No 3)

Danish National Radio Chamber Choir

Stefan Parkman (conductor)

Chandos CHAN 8853 Tr 6

Symphony No 6 (4th mvt)

Finnish Radio Symphony Orchestra

Jukka-Pekka Saraste (conductor)

Finlandia 3984-29714-2 Tr 8.

Donald Macleod presents some of Nielsen's works from his final years.

Today Donald Macleod explores the reasons behind some of these differing opinions.

Donald Macleod considers the reasons behind the differing opinions of Nielsen's music.

Donald Macleod explores Nielsen's childhood, fondly recalled in Springtime in Funen.

Donald Macleod explores difficulties Nielsen faced, both personally and professionally.

Donald Macleod on how Nielsen's final years were marked by full recognition of his talent.

When the sculptor Anne-Marie Nielsen created a monument to her husband, the Danish composer Carl Nielsen, she said she had wanted to capture 'the forward movement, the sense of life, the fact that nothing stands still' in his work. From his early years in the woods and fields of Fyn (Funen), to his studies and triumph as a composer in Copenhagen, and years of restless travel and touring beyond, Donald Macleod traces the evolution of a composer determined to forge his own path.

Towards the end of his life Carl Nielsen wrote his autobiography 'My childhood', which looked back at his early years on Fyn. The book focuses on the idyllic aspects of rural life, despite the fact that these were the years immediately following the 1864 war, when Denmark lost two-fifths of its land area and one third of its population. But the prevailing national mood led to a determination to 'win on the inside' what had been lost on the outside. Reforms were put into effect and young talent fostered. Nielsen's musical ability took him first to Odense and then to Copenhagen, though as a child roaming the woods and fields of Fyn, he may not have been aware of how Denmark was changing. With Donald Macleod.

Donald Macleod explores Carl Nielsen's childhood on Fyn in the aftermath of the 1864 war.

When the sculptor Anne-Marie Nielsen created a monument to her husband, the Danish composer Carl Nielsen, she said she had wanted to capture 'the forward movement, the sense of life, the fact that nothing stands still' in his work. From his early years in the woods and fields of Fyn, to his life in Copenhagen, and years of restless travel and touring beyond, Donald Macleod traces the evolution of a composer determined to forge his own path.

When Nielsen arrived in Copenhagen as a student in 1884, the atmosphere in the city was sturdily optimistic. Donald Macleod traces the course of Nielsen's relationship with the Danish capital, Copenhagen, where he was at first thrilled by the opportunities and the new musical horizons it opened up to him. But over time, as conductor of the Royal Theatre Orchestra, and as a composer pushing against the German domination of music, he would experience a series of bitter disappointments, eventually finding the city stifling, and longing to escape.

Donald Macleod explores the composer's relationship with the Danish capital.

When the sculptor Anne-Marie Nielsen created a monument to her husband, the Danish composer Carl Nielsen, she said she had wanted to capture 'the forward movement, the sense of life, the fact that nothing stands still' in his work. From his early years in the woods and fields of Fyn during the aftermath of the catastrophic 1864 war, to his studies and triumph as a composer in Copenhagen, and years of restless travel and touring beyond, Donald Macleod traces the evolution of a composer determined to forge his own path.

Carl Nielsen and his wife, the sculptor Anne-Marie, lived with their three children in homes around Copenhagen that became bustling meeting places for artists. But the domestic scene wasn't always happy. Both parents spent increasing time away from home, as they each pursued their own successful careers. There were increasing tensions, leading to a period of his life Nielsen would describe as 'a stormy sea'. The world events of 1914 appalled Nielsen: 'It's as if the whole world is disintegrating. What will become of it?' Through his letters it's possible to trace the evolution of his Fourth Symphony during a time of personal as well as political turmoil due to the war.

The impact of marriage, separation from his wife and World War I on the composer.

When the sculptor Anne-Marie Nielsen created a monument to her husband, the Danish composer Carl Nielsen, she said she had wanted to capture 'the forward movement, the sense of life, the fact that nothing stands still' in his work. From his early years in the woods and fields of Fyn during the aftermath of the catastrophic 1864 war, to his studies and triumph as a composer in Copenhagen, and years of restless travel and touring beyond, Donald Macleod traces the evolution of a composer determined to forge his own path.

In the early 1920s Nielsen's patron was the industrialist CJ Michaelsen, who, as well as supporting him as he worked on a symphony, bought him a Renault motor car. The generous gift meant that the composer was soon tearing around the countryside he loved, although his skill behind the wheel left a lot to be desired. He also found backing in Sweden, where he established an exceptional rapport with the Gothenburg Symphony Orchestra, and he would spend most of his time away from Denmark. He was reconciled with his wife Anne-Marie in 1922, on the very day he finished the manuscript of his masterpiece, the Fifth Symphony.

Donald Macleod explores the composer's post-World War I life in Sweden.

When the sculptor Anne-Marie Nielsen created a monument to her husband, the Danish composer Carl Nielsen, she said she had wanted to capture 'the forward movement, the sense of life, the fact that nothing stands still' in his work. From his early years in the woods and fields of Fyn during the aftermath of the catastrophic 1864 war, to his studies and triumph as a composer in Copenhagen, and years of restless travel and touring beyond, Donald Macleod traces the evolution of a composer determined to forge his own path.

Nielsen was by his 60th birthday a celebrated composer, part of a distinguished artistic couple honoured by the Royal Family for their contribution to Danish culture. But despite the national celebrations and torchlight processions on his birthday, shortly afterwards Nielsen confided in an interview that if he had the chance to live his life again he would learn a useful trade, in which he could see results. The steadily deteriorating state of Nielsen's health led him slowly to withdraw from his commitments, but wrapped up in the excitement of rehearsals for a revival of his opera Maskarade in Copenhagen, he overdid things, and he died after a series of heart attacks.

Donald Macleod explores the composer's final years, lauded but dogged by ill health.

You'll find a clue as to Carl Nielsen's character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he's cheekily pulling funny faces for the camera. They're far removed from the formal portraiture one might expect of Denmark's foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. `From my childhood`, he wrote, `I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.` His talent for observation acted as a powerful stimulus to Nielsen's musical mind.

Across the week Donald explores how the world around him fed into Nielsen's music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there's comedy and drama and even a musical portrait of chickens to be found in his operas.

Life and motion stimulated Nielsen's musical imagination in a variety of contrasting ways. Today Donald explores some of those avenues and the music these experiences stimulated.

Maskarade: Overture

Danish National Symphony Orchestra

Thomas Dausgaard, conductor

Violin concerto, Op.33 (Rondo: Allegretto scherzando)

Dong-Suk Kang, violin

Gothenburg Symphony Orchestra

Myung-Whun Chung, conductor

Frihed er det bedste guld

Ars Nova Copenhagen

Michael Bojesen, conductor

Neeme J䀀rvi, conductor

Afflictus Sum (3 Motets)

Canzone Choir

Frans Rasmussen, director

Donald Macleod explores Carl Nielsen's Second Symphony and the Helios Overture.

You'll find a clue as to Carl Nielsen's character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he's cheekily pulling funny faces for the camera. They're far removed from the formal portraiture one might expect of Denmark's foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. `From my childhood`, he wrote, `I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.` His talent for observation acted as a powerful stimulus to Nielsen's musical mind.

Across the week Donald explores how the world around him fed into Nielsen's music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there's comedy and drama and even a musical portrait of chickens to be found in his operas.

In the second part of his survey Donald dips into Nielsen's autobiography. While not shying away from the genuine hardship the family endured, it conjures up a warm-hearted, vivid evocation of his childhood years spent on the island of Funen, which in turn he was able to depict musically.

The Cockerel's Dance (Maskarade)

Gothenburg Symphony Orchestra

Neeme J䀀rvi, conductor

Se dig ud en sommerdag

Ars Nova Copenhagen

Michael Bojesen, conductor

Chaconne, Op.32

Martin Roscoe, piano

Symphony no.3 (1: Allegro espansivo)

Frankfurt Radio Symphony

Paavo J䀀rvi, conductor

String Quintet in G major (3: Allegretto scherzando)

The Young Danish String Quartet

Tim Frederiksen, viola

Springtime in Funen, Op.42

Asa Baverstam, soprano

Linn退a Ekdahl, soprano

Kjel Magnus Sandve, tenor

Per Hyoer, baritone

Andr退as Thors, boy soprano

Stockholm Boys' Choir

Swedish Radio Choir and Symphony Orchestra

Esa-Pekka Salonen, conductor

Donald Macleod explores how Carl Nielsen's childhood fired his musical imagination.

You'll find a clue as to Carl Nielsen's character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he's cheekily pulling funny faces for the camera. They're far removed from the formal portraiture one might expect of Denmark's foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. `From my childhood`, he wrote, `I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.` His talent for observation acted as a powerful stimulus to Nielsen's musical mind.

Across the week Donald explores how the world around him fed into Nielsen's music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there's comedy and drama and even a musical portrait of chickens to be found in his operas.

Nielsen's family was central to his life as an artist. Meeting Anne-Marie Brodersen and marrying her soon afterwards began a remarkable and enduring association in which Nielsen would find support creatively and personally until his death in 1931.

Five Piano Pieces Op. 3 (Humoresque: Allegretto giocoso)

Martin Roscoe, piano

Little Suite for Strings (Intermezzo)

New Stockholm Chamber Orchestra

Esa-Pekka Salonen, conductor

6 Songs, Op 10

No.1 Aebleblomst

Inger Dam-Jensen, soprano

Ulrich Staerk, piano

No. 2 Erindringens

No. 4 Sang bag ploven

Morten Ernst Lassen, baritone

Symphony No.1 (Allegro orgoglioso)

San Francisco Symphony

Herbert Blomstedt, conductor

Barbara Bonney, soprano

John Mark Ainsley, tenor

Lars Pedersen, tenor

Michael W. Hansen, baritone

Bo Anker Hansen, bass

The Danish National Radio Choir

Copenhagen Boys' Choir

The Danish National Radio Symphony Orchestra

Ulf Schirmer, conductor

Benedictus Dominus (3 Motets)

Canzone Choir

Frans Rasmussen, director

Donald Macleod looks at Carl Nielsen's partnership with his sculptor wife.

You'll find a clue as to Carl Nielsen's character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he's cheekily pulling funny faces for the camera. They're far removed from the formal portraiture one might expect of Denmark's foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. `From my childhood`, he wrote, `I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.` His talent for observation acted as a powerful stimulus to Nielsen's musical mind.

Across the week Donald explores how the world around him fed into Nielsen's music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there's comedy and drama and even a musical portrait of chickens to be found in his operas.

The years surrounding the First World War were difficult personally and creatively for Nielsen. Coming out of this troubling period, deeply affected by the conflict, his Fifth Symphony depicts a struggle between good and evil.

Jens Vejmand (excerpt)

Grammophon Orchestere Copenhagen

Carl Nielsen Jazz Trio

Zenobia

Halfdanskerne

Copenhagen University Choir Lille Muko

Jesper Grove Jørgensen, conductor

Suite, Op 45 for piano (Allegretto un pochettino)

Martin Roscoe, piano

Saga-Dream

Gothenburg Symphony Orchestra

Neeme J䀀rvi, conductor

Saul and David (excerpt Act 4)

Jørgen Klint, bass, Abner

Aage Haughland, bass, Saul

Kurt Westi, tenor, Jonathan

The Danish National Radio Choir & Symphony Orchestra

String Quartet in F major, Op.44 (1: Allegro non tanto e comodo)

The Young Danish String Quartet

Symphony no 5 (Allegro - Presto - Andante poco tranquillo - Allegro (tempo 1))

London Symphony Orchestra

Colin Davis, conductor

Donald Macleod considers Nielsen's Fifth Symphony, a creative response to crisis.

You'll find a clue as to Carl Nielsen's character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he's cheekily pulling funny faces for the camera. They're far removed from the formal portraiture one might expect of Denmark's foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. `From my childhood`, he wrote, `I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.` His talent for observation acted as a powerful stimulus to Nielsen's musical mind.

Across the week Donald explores how the world around him fed into Nielsen's music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there's comedy and drama and even a musical portrait of chickens to be found in his operas.

From 1920 onwards the growing popularity of Nielsen's music abroad presented him with opportunities to travel, including a rather eventful trip to London.

Graeshoppen

Canzone Choir

Frans Rasmussen, director

Wind Quintet: (1: Allegro ben moderato)

Wind Quintet of the Danish National Radio Symphony Orchestra

Pan og Syrinx, Op.49

Danish National Symphony Orchestra

Thomas Dausgaard, conductor

Sonata for violin and piano no 2, Op.35 (2: molto adagio)

Jon Gjesme, violin

Jens Elvekjaer, piano

Maskarade (excerpt from Act 2)

Henriette Bonde-Hansen, soprano, Leonora

Gert-Henning Jensen, tenor, Leander

Marianne Rørholm, mezzo soprano, Pernille

Bo Skovhus, baritone, Henrik

Ulf Schirmer, conductor

Symphony No.4 (1: Allegro)

San Francisco Symphony

Herbert Blomstedt, conductor

Donald Macleod surveys Nielsen's postwar years including his Wind Quintet.