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Sinding: Symphonies No 1 & 2

Christian Sinding (Composer), Thomas Dausgaard (Conductor), Radio-Philharmonie Hanover des NDR (Orchestra) Format: Audio CD
4.9 out of 5 stars 13 ratings
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Track Listings

1 I. Allegro Moderato
2 II. Andante
3 III. Vivace
4 IV. Allegro
5 I. Allegro Moderato
6 II. Andante
7 III. Allegro

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CD

Product details

  • Product Dimensions ‏ : ‎ 5.59 x 4.96 x 0.47 inches; 3.46 ounces
  • Manufacturer ‏ : ‎ CPO
  • Item model number ‏ : ‎ CPO502
  • Original Release Date ‏ : ‎ 2002
  • SPARS Code ‏ : ‎ DDD
  • Date First Available ‏ : ‎ February 22, 2007
  • Label ‏ : ‎ CPO
  • ASIN ‏ : ‎ B00005RTF9
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.9 out of 5 stars 13 ratings

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4.9 out of 5 stars
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Top reviews from the United States

  • DD
    5.0 out of 5 stars Timely delivered - as described
    Reviewed in the United States on April 22, 2019
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    Timely delivered - as described.
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  • pohjola
    4.0 out of 5 stars splendid
    Reviewed in the United States on July 10, 2012
    I come away from these recordings with the impression that Sinding was a highly skilled composer in the late-romantic style, although not one who had an extremely distinctive voice. I didn't find any earth-shattering revelations in this music, however it was loaded with memorable melodies, rich harmony and brilliant orchestration.

    Of the two works, the first symphony is the more serious and ambitions. It is a dark, minor key work where there is a lot of emphasis on form and the symphonic process. The second is a more sunny work, where Sinding seems to freely absorb the styles of Wagner, Grieg, and perhaps Smetana (the sweeping orchestral climaxes of the first movement bring to mind similar passages in Smetana's Die Moldau). I also really enjoyed the adventurous use of orchestra, particularly the low brass. This music left me with a broad smile on the face.

    The sound is what I have come to expect from cpo, clear, rich and detailed. The performances are very good.
    13 people found this helpful
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  • someonewhocares2
    5.0 out of 5 stars Excellent performances of two unjustly neglected symphonies.
    Reviewed in the United Kingdom on June 13, 2014
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    I hope you don't mind if I quote from my review of the Warner/Apex coupling of these two symphonies. I have changed the timings, of course:

    "Sinding's First Symphony cost its composer a great deal of effort. Its gestation lasted most of the 1880s and it did not reach its final form until 1892. Although it is stylistically inconsistent and a little uneven, it is well worth getting to know. Ultimately, I thought it less rewarding than the second and third symphonies but it is far more immediately attractive and approachable than they are largely because its structures are clearer. It is also more conventional tonally.

    The 11 minute first movement states its main theme at once. The second subject arrives in the expected key (F major) but the development, as well as making use of both main themes, achieves impetus by employing an insistent dotted note rhythm taken from the exposition's transitional material. At 5 mins 50 secs the tonic is re-established and the recapitulation proceeds regularly until, at 8 mins 30 secs and after the return of the second subject, a new descending march-like theme is introduced. This is to reappear in the finale. The coda is built on the transitional material and a final reference to the main theme. Altogether, this is a fine, notably well sustained movement.

    The 11 minute slow movement is practically monothematic, the central section of its ternary structure, beginning at 4 mins 17 secs, being built on an idea closely related to the main theme. (It is also related to the first movement's second subject; thematic iterrelationships are characteristic of Sinding's music and there are many other examples in this symphony.) The passionate writing for massed strings in this movement will remind you of Tchaikovsky while the luxuriant music for solo strings in the central section shows the influence of Strauss. A pair of duetting bassoons ushers in the return of the opening music, its theme now transferred to the whole orchestra. The woodwind provide a brief coda.

    The 8 minute scherzo is an immediately attractive movement. Its opening section soon quotes the main theme of the first movement and the main subsidiary idea is a strongly syncopated tune. In the way it repeats a simple fragment of melody, later extended, while the background changes, the central trio section will again remind you of the Russian Romantics.

    After this, the 10 minute finale is a little disappointing, its main idea, clearly related to the symphony's opening theme, being of little interest in itself although it generates much of the ensuing music. The main second subject soon refers (at 2 mins 15 secs and later) to the march-like theme from the first movement. A clearly defined development heralds the recapitulation at 5 mins 54 secs. The symphony comes to a blazing conclusion as the brass declaim a major mode variant of the movement's main theme.

    The Second Symphony, which dates from 1904, is more difficult to get to grips with since it is far more fluidly composed. Structural divisions are less clear. There is, for instance, no material which can clearly be labelled transitional. The texture is heavily contrapuntal and the orchestration thick. There are only three movements. The 11 1/2 minute first movement opens with the symphony's motto theme, an almost Brucknerian idea. This is heard in various guises, including a quick variant, until the lower strings announce the fine second theme. It is soon repeated by Sinding's favourite woodwind instrument, the clarinet. The development, beginning at 4 mins 19 secs, is largely concerned with the motto theme. The recapitulation arrives at 6 mins 59 secs. As in the slow movement of the First Symphony, the restatement of the second subject is given to the whole orchestra at 8 mins 57 secs. This is a most impressive passage. The coda is built on the motto theme. A particular feature of this movement is the active writing for the horns, very much in the manner of Stenhammar's First Symphony.

    The lovely 8 1/2 minute slow movement is an arch structure. There is very little development in this movement, the composer remaining content to repeat his ideas in ever more extravagant orchestrations. As usual with Sinding (and Scandinavian composers in general) the main theme is stated at once. It may remind you of Grieg. Before long the strings announce the second melody and, after a passionate restatement, an idea closely related to it is heard on the clarinet at 2 mins 40 sec. The string tune returns on the horns at 4 mins 45 secs and the opening melody returns on the strings at 6 mins 36 secs. The coda is built on the clarinet tune.

    The 11 minute finale is a fairly straightforward rondo. The main theme is a march tune, not much like a hymn whatever the booklet notes say ( Certainly my congregation would have trouble with the syncopations! ). It is a catchy tune which will grow on you. A Russian influence is apparent here, Glazunov in particular. There are two lyrical episodes, the more important of which is the first. Gradually, as the second episode progresses, Sinding begins to reintroduce ideas from earlier in the symphony. The first of these, at 7 mins 11 secs, is a reference to the clarinet tune from the slow movement. (You'd do well to spot this.) Gradually the motto theme emerges as do further references to the slow movement and then, at 9 mins 31 secs, the music of the march tune is cleverly combined with a speeded up version of the melody from the first episode. At 10 mins 2 secs a lively, diatonic version of the march tune minus its syncopations brings the symphony to a joyous conclusion though not before a final statement of the motto theme.

    Sinding's symphonies have always had a bad press, not helped by the fact that the composer, as an old man suffering from dementia, joined the Norwegian Nazi party, but they have a lot to offer if you are prepared to make the effort. The Third is, I would say, the best of them but it is not an easy listen. The First is much easier to grasp but the Second is a more characteristic work. These symphonies are very rarely played in concert and the need for repeated listening makes them ideal gramophone material."

    I thought the CPO disc of the third and fourth symphonies definitely superior to the one on Warner/Apex conducted by Ari Rasilainen but there is very little to choose between the two recordings of the first and second. In the First Symphony, Rasilainen takes a more lyrical view of the music. I preferred his slightly faster and more flowing account of the slow movement and he also disguises more effectively the squareness of the writing in the finale. On the other hand, Dausgaard's more purposeful way with the first movement of the Second Symphony is preferable and, this time, the slow movement flows more smoothly in his hands. Both recordings are very good, the Warner/ Apex having a little more ambience while the CPO is closer and more detailed. Both discs are highly recommendable, then.
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  • Jean-Louis Bigotte
    5.0 out of 5 stars Christian Sinding, grand compositeur norvégien de 4 symphonies
    Reviewed in France on June 21, 2021
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    Christian Sinding (1856-1941) a composé 4 symphonies à la suite de Grieg (1 symphonie) et Svendsen (2 symphonies). Formé essentiellement à Leipzig, son style s'inspire du romantisme allemand (Wagner par exemple), agrémenté d'une touche mélodique scandinave. la 1ère symphonie a eu du succès à sa création fin 19ème siècle. L'écoute est agréable car ces symphonies sont mélodiques et dynamiques.
    S'agissant de la qualité d'interprétation et de prise de son, bravo au chef Thomas Dausgaard et au label CPO. Belle surprise aussi de constater que le livret complet propose une traduction en français !
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  • Francisco Alarcon Soler
    5.0 out of 5 stars Excellent!!!
    Reviewed in the United Kingdom on April 11, 2018
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    Excellent!!!
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