CPO’s interesting new disc presents two unknown Danish composers. Georg Gerson was a contemporary of Schubert, and his music similarly occupies that transitional era between classicism and romanticism. In Gerson’s case it does so somewhat uncomfortably, as in the E-flat symphony where the composer endeavors to fit new sounds into old models. His novel writing for winds (flutes in particular) points toward the future, but he should have held on to the classicists’ sense of forward momentum (usually provided by persistent string rhythms) that would have mitgated the stop-start quality of his phrases. Gerson’s melodies are sometimes prosaic, a quality underlined by his tendency to literal repetition. Still, the finale is quite invigorating, and the vibrant Overture in D, with its dramatic minor opening, is impressive. Under Lars Ulrik Mortensen’s direction Concerto Copenhagen plays with exceptional clarity and finesse, though I cannot help but wonder if Gerson’s music would make more impact if played on modern instruments.
Friedrich Ludwig Aemilius Kunzen was active at the time of Mozart (he even presented some of the latter’s music at Frankfurt). The influence is unmistakable, and Kunzen strives for that same refined, finished quality in his own music–something he largely achieves in his G minor symphony. The work’s scoring excludes brass and timpani–as does Mozart’s–but is effective nonetheless, especially the Andante (with its beautifully lyrical oboe solo) and the sternly dramatic finale. Mortensen leads a taut and bracing rendition, well captured by CPO’s spacious recording. Connoisseurs of 18th and 19th century music will find much to enjoy here. [5/16/2006]
