Symphony No.9 in F major ''From Queen Dagmar's City'' – Rued Langgaard

Danish National Symphony Orchestra conducted by Thomas Dausgaard.

I – Queen Dagmar sails to Ribe. Molto allegro – Meno mosso, allargando: 0:00
II – The Dance at Ribe Palace. Grandezza: 8:37
III – Ribe Cathedral. Lento – Un poco più mosso – Largo: 12:06
IV – Finale: The Turbulent Life of the Past. Molto allegro: 15:36

Langgaard’s Symphony No.9 was composed in 1942, being premiered on a radio broadcast on May 13 of 1943, performed by the Danish Radio Orchestra conducted by Launy Grøndahl. While the country was occupied by the German army during World War II, Langgaard gained a more patriotic tone in his music, despite his return to a more traditional language.

Dagmar was a Bohemian princess who was married in 1205 to the Danish King Valdemar II. Historically, there is some doubt as to whether Dagmar was ever in Ribe, but the medieval ballads speak of both her arrival in the city and her death there in child­birth in the year 1212. While not openly programmatic, unlike other symphonies of Langgaard, it incorporates a wide array of elements that connect the piece with the city itself.

The first movement is structured in sonata form, preceded by three stanzas of the ballad “Queen Dagmar’s Voyage to Denmark”. It begins with a solemn and pompous introduction. A rhythmic main theme is then presented, being contrasted by a more melodic second theme. A bright and conventional development then ensues, following the rules of traditional romanticism. The recapitulation brings back the themes, leading us to a cheerful coda.

The second movement is a scherzo in ternary form, preceded by the first stanzas of a ballad which Vedel entitled “The Sixth Ballad of Marshal Stig”. It has in reality nothing to do with Queen Dagmar, but relates how Ribe Palace was treacherously captured a half century later her death. It opens with a graceful main theme in form of a waltz. A loosely defined trio offers a light second theme, before the scherzo-waltz is resumed. A solemn chord ends the movement.

The third movement is written in ternary form, being preceded by a stanza from the ballad of Queen Dagmar’s death, known as “Queen Dagmar Lies Sick in Ribe”. It describes the moment when the king, having ridden in all haste to Ribe, arrives too late at his queen’s deathbed. In answer to his prayer, she is called back to life for a short moment. It begins with a dramatic main theme of funereal tone, in which the melody of the mentioned ballad is incorporated. It is played every day by the carillon in the large tower of Ribe Cathedral, in which Langaard worked from 1940 onwards as an organist. A fugue then begins on the subject, reaching a grand climax which leads to the recapitulation of the theme. An immense climax is reached with the cathedral’s authentic carillon and organ, followed by a fade-out coda.

The fourth movement is structured in sonata form, the only one without any ballad but a vague subtitle. It opens with a lively and rhythmic main theme, full of life and splendour. It is contrasted by a lyrical second theme, which leads us to a short, ponderous development section. The themes are then recapitulated, leading us to a majestic coda.

Picture: Photograph of a statue of Queen Dagmar, by Danish sculptor Anne Marie Carl-Nielsen.

Sources: https://bit.ly/3KJaNNd, https://bit.ly/3IEy93B and https://bit.ly/3KHJRgE

To check the score: https://bit.ly/3ZsGRZO

source