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Sinding: Music For Violin And Piano, Vol 1 / Kraggerud, Hadland


Release Date: 09/29/2009 
Label:  Naxos   Catalog #: 8572254   Spars Code: n/a 
Composer:  Christian Sinding
Performer:  Christian Ihle HadlandHenning Kraggerud
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews



SINDING Cantus doloris. Elegy in B?. Romance. Albumblatt. Alte Weise. Ständchen. Suite im alten Stil. Andante religioso. Waltzes: in G, op. 59/3 (arr. Burmester, 2 versions); in e, op. 59/4 (arr. Alnæs). Air. Berceuse Henning Kraggerud (vn); Christian Ihle Hadland (pn) Read more class="ARIAL12"> NAXOS 8.572254 (57:18)


What may be the first volume of a series compiling violin music by Christian Sinding begins with a Cantus doloris that the notes by pianist Christian Hadland relate to the death of his adopted son. Cast in the form of a ground bass, Cantus offers more opportunities for virtuosic display and a wider emotional range than its title might suggest. Henning Kraggerud and Hadland assembled their program after exploring the resources of the National Library in Oslo, and it includes pieces such as Cantus that most likely have been unavailable to performers as well as to listeners (Dora Bratchkova and Andreas Meyer-Hermann included the Violin Sonata in F, op. 73; Scènes de la vie , op. 51; the Sonate im alten Stil , op. 99; and the Romance, op. 9 on cpo 999 931, 28:6). The Elegy reveals a sensibility not too distant from Grieg’s, poignantly atmospheric modulations, and a violin part that, as Hadland points out, proceeds over a “moving” violin part—characteristics that listeners should also find in Grieg’s Third Sonata. Kraggerud and Hadland seem particularly sympathetic to Sinding’s empfindsamer style, which rises in waves from brooding passages to impassioned climaxes—as in the Romance and, even more obviously, in the Albumblatt . Some of the charm arises from the idiomatic writing for violin by a composer who obviously knew how to achieve emotional as well as technical effects on the instrument. The brief Alte Weise , simpler harmonically and technically, serves as an example of what Hadland describes as a “true folk-song”; it shares its straightforwardly disarming style with the Ständchen that follows it in the program.


If Jascha Heifetz’s and Itzhak Perlman’s championship hasn’t yet elevated Sinding’s Suite im alten Stil to the level of a chestnut, it seems destined to remain at least on the fringe of the repertoire. Kraggerud doesn’t take the first movement as fast as either Heifetz or Perlman did (both played it in the orchestral version), though he seems to render the movement more explosively. In their reading of the slow movement, both he and Hadland apparently have searched—perhaps too assiduously—for what Hadland describes in the notes as its unutterable beauty. In this movement, Heifetz’s and Perlman’s more straightforward momentum transmits beyond what a self-conscious exploration could reveal. Kraggerud and Hadland play the finale with great authority, which doesn’t crush nuances such as those in the second theme, which comes to life—as it doesn’t in more headlong virtuosic performances. And the stirring passages of rising octaves hit an expressive mark that Heifetz’s and Perlman’s reading’s either didn’t or couldn’t. Those who have wondered whether the Suite’s musical content justifies its technical demands might want to listen to this highly colored, ethnically charged performance. The Andante religioso , again straightforward, nevertheless sounds warmly ingratiating in the duo’s sympathetic reading.


Kraggerud and Hadland edited Willy Burmester’s arrangement (from the original version for four-hand piano of the Waltz in G Major), offering it in two versions, surrounding Eivind Alnæs’s arrangement for solo piano of the Waltz in E Minor. Hadland suggests that the duo borrowed elements from the four-hand version, the solo piano version, and Burmester’s arrangement in their edition. The program closes with the earnest Air and the brief Berceuse , another piece, according to the notes, that Sinding wrote for his adopted son.


The engineers have captured Kraggerud and Hadland close up, conveying the tonal richness of the 1744 Guarneri del Gesù lent to Kraggerud by Dextra Musica AS as well as, at the Suite’s finale, a modicum of heavy breathing. Recorded sound aside, if the music of Christian Sinding achieves any kind of currency, it will occur as a result of committed, idiomatic performances like these rather than through matter-of-fact readings by virtuosos intent on mining Sinding’s works for moments of virtuoso display, however scintillating. Warmly recommended.


FANFARE: Robert Maxham
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Works on This Recording

1. Cantus doloris, Op. 78 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 9 Minutes 47 Secs. 
2. Elegy in B flat major, Op. 106, No. 1 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 2 Minutes 50 Secs. 
3. Romance in D major, Op. 79, No. 2 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 6 Minutes 1 Secs. 
4. Albumblatt, Op. 81, No. 2 by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Length: 3 Minutes 15 Secs. 
5. Alte Weise, Op. 89, No. 2 by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: 20th Century 
Length: 3 Minutes 14 Secs. 
6. Ständchen, Op. 89, No. 1 by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Length: 2 Minutes 19 Secs. 
7. Suite for Violin and Orchestra in A minor, Op. 10 "In alten Stil": Presto by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Written: 1889; Norway 
Length: 1 Minutes 59 Secs. 
8. Suite im alten Stil, Op. 10: 2. Adagio by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Written: 1889; Norway 
Length: 5 Minutes 58 Secs. 
9. Suite for Violin and Orchestra in A minor, Op. 10 "In alten Stil": 3rd movement, Tempo giusto by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Written: 1889; Norway 
Length: 5 Minutes 13 Secs. 
10. Andante religioso, Op. 106, No. 3 by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Length: 4 Minutes 20 Secs. 
11. Waltz in G major, Op. 59, No. 3 (1st Version) by Christian Sinding
Performer:  Henning Kraggerud (Violin), Christian Ihle Hadland (Piano)
Period: Romantic 
Length: 1 Minutes 41 Secs. 
Notes: Arranger: Willy Burmester. 
12. Waltz in E minor, Op. 59, No. 4 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano)
Period: Romantic 
Length: 2 Minutes 3 Secs. 
13. Waltz in G major, Op. 59, No. 3 (2nd Version) by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 1 Minutes 47 Secs. 
Notes: Arranger: Willy Burmester. 
14. Air, Op. 81, No. 1 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 4 Minutes 6 Secs. 
15. Berceuse, Op. 106, No. 2 by Christian Sinding
Performer:  Christian Ihle Hadland (Piano), Henning Kraggerud (Violin)
Period: Romantic 
Length: 2 Minutes 35 Secs. 

Sound Samples

Cantus doloris, Op. 78
3 Elegiac Pieces, Op. 106: No. 1. Elegy
2 Romances, Op. 79: Romance No. 2 in D major
4 Pieces, Op. 81: No. 2. Albumblatt
3 Pieces, Op. 89: No. 2. Alte Weise
3 Pieces, Op. 89: No. 1. Standchen
Suite im alten Stil, Op. 10: I. Presto
Suite im alten Stil, Op. 10: II. Adagio
Suite im alten Stil, Op. 10: III. Tempo giusto
3 Elegiac Pieces, Op. 106: No. 3. Andante religioso
Waltzes, Op. 59: No. 3. Waltz in G major (arr. W. Burmeister for violin and piano, edited by H. Kraggerud and C.I. Hadland): (version 1)
Walzes, Op. 59 (arr. E. Alnaes for piano): Walzes, Op. 59: No. 4. Waltz in E minor (arr. E. Alnaes for piano)
Waltzes, Op. 59: No. 3. Waltz in G major (arr. W. Burmeister for violin and piano, edited by H. Kraggerud and C.I. Hadland): (version 2)
4 Pieces, Op. 81: No. 1. Air
3 Elegiac Pieces, Op. 106: No. 2. Berceuse

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