Dutch composer Jan van Gilse (1881-1944) spent most of his career in Germany, until he was forced out by his opposition to Nazi anti-Semitism and other barbaric policies. His music isn’t especially original, but it does constitute an intriguing mix of influences. The First Symphony dates from around 1901 and reveals its relative immaturity in its conservative treatment of form and in scoring that favors the strings to excess. Still, the melodic invention is enjoyable, and the opening of the second movement betrays a striking affinity to the Adagio style of Mahler’s Third and Fourth symphonies (van Gilse was later present at the 1902 premiere of Mahler’s Third, which evidently fascinated him).
In the Second Symphony the closeness to Mahler becomes even more evident in the use of march rhythms and brass fanfares, with the orchestration much more interesting and colorful. The three-movement form also is novel, with a cyclical handling of motives including one that sounds like a crib from the coda of Beethoven’s Fifth, and another that suspiciously resembles the “Twilight of the Gods” motive from Wagner’s Ring. Interestingly, these obvious influences don’t detract from the music’s individuality: they enhance it, just as in Mahler the use of quotations and reminiscences only draws attention to their unusual context and treatment.
If van Gilse has any weakness it’s that his music is a bit too “hale and hearty”. It lacks not misery, but the tension generated by strong emotional contrasts. He seems to have realized this, and the finale of the Second symphony goes farther in this direction, making this one of the rare Romantic symphonies that successfully saves the best for last. David Porcelijn, so often a champion of little-known works, conducts both symphonies with the sort of naturalness you would associate with long acquaintance, while the orchestra sounds equally at home in music that isn’t terribly tricky in the first place. The engineering is also warm and full-bodied. Very enjoyable.
