While the young musicians of the NJO Symphony Orchestra emitting fearsome war sounds, behind them we see two toddlers frolicking uninhibitedly across the Veluwe moor. Moving and at the same time oh so appropriate, because although Carl Nielsen composed his overwhelming Fourth Symphony during World War I (1914-16), he remained convinced of the good in man. He christened its Det Uudslukkelige, which means as much as 'the unquenchable', by which he was referring to man's inextinguishable perseverance.
Young Swedish conductor Christian Karlsen whipped up his hundred-strong ensemble on Saturday 8 August with grandiose but controlled gestures and realised a glowing performance that rocked the atmospheric 'cathedral' of former broadcasting station Radio Kootwijk.
Built in 1923 and constructed of unapproachable concrete, the imposing architecture perfectly matches Nielsen's monumental composition. All the more so as the seemingly unrelenting exterior inside actually turns out to be light and airy, with graceful arches and immense windows, looking out over a softly lush moorland landscape.
Thus, even beneath the rough surface of Nielsen's symphony, sweet-voiced, lyrical solos regularly blossomed, performed intensely and sensitively by the individual strings and wood and brass players. The two timpanists positioned left and right behind the orchestra also gloried with well-timed, deafening thunderclaps and ominous roars.
Nielsen's Fourth Symphony remains transparent
To be honest, I am not a great fan of Nielsen's sometimes overly bombastic sound world, but Karlsen managed to keep the fabric transparent, allowing the composition to convince me more than during previous performances. Also in the whimsical Violin Concerto by Karlsen's compatriot Anders Hillborg, and the nationalistic Finlandia by Jean Sibelius, conductor and musicians knew how to flawlessly capture the right mood.
This is a major achievement, as it is no mean feat to forge an orchestra composed entirely of students into a unit in just a few rehearsals. Of course, not all transitions and entries went smoothly, but these minor slips are dwarfed by the unbridled dedication of the musicians to the music from the first to the very last desk. No nine-to-five mentality, as you often find in professional orchestras. - Orchestral musicians show more commitment in recent years, now that they are feeling the austerity fire after their shins.
The fact that young people from all over Europe come to Apeldoorn to be educated in all kinds of musical styles and genres for three weeks is heartwarming. I spoke to Spanish trombonist Vanessa Bailen Fuentes during the break.
Smooth violin playing by Joe Puglia
Soloist in Anders Hillborg's Violin Concerto was Joe Puglia (New York, 1984), known as concertmaster of the Asko|Schönberg. He played the lightning-fast and often dog-eared parts with abandon and superior control. His supple, warm tone sounded flawless even in the thinnest flageolets. Remarkable were the many glissandi, both of the soloist and the orchestra, with the use of quarter tones creating a sometimes haunting atmosphere. I asked Puglia for his opinion.
After the concert, I cycled back home through the gradually darkening forest, with the blistering sounds and fairy-like location still fresh in my mind. Although I dislike the popie-jopie content of the phrase, I can't help but say: it was a experience.
The NJO Music Summer continues until Sunday 16 August. You can find an overview of the programme here.
Photos and films: Thea Derks
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