Aalborg Symphony Orchestra, Owain Arwel Hughes - Christian Horneman: Symphonic Works (1998) CD-Rip

Christian Frederik Emil Horneman (1840-1906) was highly regarded by Carl Nielsen and an important figure in Danish musical life. Apart from two string quartets and the opera Aladdin he did not actually compose a lot, and his orchestral output, for instance, consists primarily of suites from stage works. Generally small-scale affairs, in other words, but those miniatures and numbers are often surprisingly well-crafted, memorable and atmospheric in a style lying somewhere between Gade and Grieg but also with enticing pointers forward to Nielsen. It has also been decently represented on disc; there is, for instance, a fine collection by Michael Schønwandt on Chandos - there is some overlap with this one but they are sufficiently complimentary that anyone charmed or fascinated by this music should consider picking up both. That said, with respect to the music that is available on both discs (the Aladdin overture and some of the numbers from Gurre) I have to say that I prefer - though not by much - Arwel Hughes and the Aalborg Symphony Orchestra; their tone is fuller and warmer (partially, I think, because the sound is better) and the playing has a glowing sheen mostly absent from the Chandos recording.

The suite from the music Horneman wrote for Holger Drachmann's play Gurre in 1900-01 is the only work of his played with some regularity. It is indeed well-crafted, appealing music with plenty of fine ideas, and strongly atmospheric. Schønwandt gives us a substantially larger selection of music, but the main gems are covered here. The overture for his (rather unsuccessful) opera Aladdin is thoroughly enjoyable if somewhat ramshackle in structure, and the ballet music is melodic and appealing. The short melodrama from Esther is wonderfully atmospheric; shimmering, restrained and thoughtful and gently rocking. The Fever Dreams from Kalanus, on the other hand, mixes the painful and the reconciliatory in a style that actually reminds one a little of Verdi (of all composers). Finally the Suite from The Struggle with the Muses contain four melodically memorable, inventive numbers that should appeal to anyone who enjoys the incidental music of, say, Grieg or Söderman. Throughout the performances are, as already indicated, committed, full-bodied, atmospheric, colorful and spirited, and they receive wonderfully warm, well-balanced sound. In short I suppose this may be the ideal introduction to the composer, and it should be snapped up by anyone with a penchant for variegated, melodic, atmospheric romantic music.