Nielsen: Symphony No. 3 "Sinfonia Espansiva" | Herbert Blomstedt & the Gewandhaus Orchestra

With his characteristic enthusiasm, conductor Herbert Blomstedt leads a performance of a symphony that its composer described as having been written with great love: Carl Nielsen’s Symphony No. 3, "Sinfonia Espansiva," Op. 27, for orchestra and two voices. This performance was given by the Gewandhaus Orchestra in May 2015 at the Gewandhaus in Leipzig, with Katja Stuber (soprano) and Daniel Ochoa (baritone) as soloists.

(00:00) I. Allegro espansivo
(11:31) II. Andante pastorale
(20:25) III. Allegretto un poco
(26:53) IV. Finale. Allegro

Carl Nielsen (1865–1931) is widely regarded as Denmark’s most important composer. His music marks a pivotal transition from late Romanticism to modernism, with his six symphonies standing at the core of his output. These works are especially notable for their use of progressive tonality—a compositional approach through which Nielsen deliberately opposed the prevailing tendency of his time toward the dissolution of tonal structure.

Nielsen composed his Symphony No. 3 in 1910–11, and its premiere — conducted by the composer himself — took place in Copenhagen on February 28, 1912. The audience response was enthusiastic, and the symphony soon enjoyed successful performances across Europe, quickly making Nielsen the talk of the continent.

Nielsen himself added the symphony's title — "Sinfonia Espansiva" — shortly after the premiere. It's derived from the first movement's "allegro espansivo" tempo note and capture's the symphony's spirit. Similar to the works of Ludwig van Beethoven (1770–1827), Nielsen based his symphonies on an overarching aesthetic or concept. Nielsen wrote that "espansiva" in this piece, stands for the broadening of horizons and the expansion of life.

Nielsen himself wrote several program notes for the individual movements of his third symphony. The work opens with a life-affirming burst of energy that radiates outward into the world, expressing humankind’s desire to explore, conquer and shape its surroundings. By contrast, the second movement presents a tranquil idyll — a vision of paradise — in which Nielsen musically evokes the language of Adam and Eve before the Fall through wordless vocalize for baritone and soprano. This serenity is disrupted in the third movement, where good and evil emerge in an unsettling manner. The finale pays tribute to work and healthy activity as fundamental aspects of life, celebrating the joy of creative and productive energy as it unfolds. In light of these descriptions, the overarching theme of Nielsen’s Third Symphony can aptly be described as one of philosophical anthropology.

Interestingly, the original manuscript of the symphony was long believed to be lost. In 1913, it had been sent to the renowned Leipzig music publisher C. F. Kahnt for printing. When the publishing house was closed during the GDR era, the manuscript was carefully packed away in a cellar and later transferred to the Saxon State Archives. There it was rediscovered in 1977, although this information was not communicated beyond the GDR. Only in 2000 was the manuscript finally made available to the specialists of the Carl Nielsen Edition.

Text: Rita Kass

© 2015 Accentus Music

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