CC Mixtape #31: Knudåge Riisager (1897-1974)
I love saying ” Knudåge Riisager.” According to one of the on-line pronunciation services, Danes pronounce it “kuh-noy-DYE rrREES-ayah.” I hope that’s close to right, because that’s how I’m gonna keep on pronouncing it. It makes me feel better. Kuh-noy-DYE.
I feel like I did Riisager a bad turn last year when I did a less-than-perfect (in terms of choices) 2-hour OM episode highlighting his work. The mix below is much closer to perfect. In his day, Riisager was an outsider in Denmark and Europe, along the lines of Charles Ives or Wallace Stevens here in the U.S. in that same timeframe. Like those two super-genius Americans, Riisager worked in the white collar world as a comfortably-compensated executive and thus was free to ignore or adopt/adapt whatever happened to be in style at any particular moment. He was likewise free to write for unusual instrumental combinations (see Variations below), producing unique sonoric mini-worlds.
For those wary of off-putting and oblique music, Riisager’s is immediately engaging, reflecting to a degree influences like Ravel and the accessible neoclassical Stravinsky. At the same time, it obviously comes from a different place, a parallel dimension much like ours but with subtle and significant differences. While some of his youtful pieces from the 1920s could have been considered avant-garde – the tone poem T-DOXC (a once cutting-edge airplane) is considered a “Futurist” work – his music eschews confrontation. Exceedingly tuneful and adventurous, the correlation in rock music terms might be Syd Barret-era Pink Floyd or pre-Tommy Who – wry art pop that could be sunny and vigorous or melancholic and bittersweet.
Also along those lines, many of Riisager’s pieces are composed of short, pop song-length episodes – he wrote a lot for ballet, which lends itself to that – thereby providing easy (or easier) entry for people (like me) whose attention spans and ability to focus have been deeeeeeeeeply compromised by the incessant discord of 21st C. life. There are 19 tracks on this 103-minute mix, to wit.
Classical fans who like the composers I cited above as influences, or who like hook-filled neoclassical Prokofiev (e.g. the Lt. Kije Suite), will likewise find much to like in Riisager’s output.
Riisager’s was a distinct voice, at once complex and inviting. He’s the sort of composer who should have been and could still be “popular” (by classical music standards) IF his music reached an audience. It’s a real shame he is virtually unknown. That’s why I do this blog thing.
I believe every track on this mix is sourced from a Dacapo release. [Dacapo: Denmark as Chandos: England or BIS: Sweden.] There are few Riisager pieces that have been recorded by more than one artist, so you will note a lot of the same names on the playlist below.
0:00:51
Variations, Op. 45; No. 1
Jesper Helmuth Madsen (clarinet), Dimitri Golovanov (viola) & Peter Andersen (bassoon)
0:01:29
Tolv med posten, Op. 37 (version for orchestra); No. 3. May
Hakan Hardenberger w/ Thomas Dausgaard: Helsingborg SO
0:03:03
T-DOXC (Poeme Mecanique), Op. 13
Bo Holten: Aarhus Symphony
0:11:09
Variations, Op. 45; No. 3
0:11:59
Benzin, Op. 17; Pastorale
Orwain Arwel Hughes: Danish Natl. SO
0:16:11
Piano Sonata, Op. 22; Allegro intransigente
Christina Bjorkoe
0:23:58
Concertino for Trumpet and Strings, Op. 29; II. Andantino semplice
Hakan Hardenberger w/ Thomas Dausgaard: Helsingborg SO
0:27:22
Variations, Op. 45; No. 4
0:28:30
Darduse, Op. 32; No. 1. Slumber Symphony
Thomas Dausgaard: Helsingborg SO
0:32:14
Klods Hans (Jack the Dullard), Op. 18, ;Danish Pictures No. 2 (1929)
Bo Holten: Aarhus Symphony
0:42:01
Variations, Op. 45; No. 6
0:43:23
Qarrtsiluni, Op. 36
Bo Holton: Aarhus SO
0:51:44
Benzin, Op. 17; Marcia funebre
Violin Concerto in A Minor, Op. 54; I. Tranquillo
Ivan van Rensburg w/ Andreas Delfs: Aarhus SO
1:04:50
Variations, Op. 45; No. 7
1:06:44
Archaeopteryx, Op. 51
Orwain Arwel Hughes: Danish Natl. SO
1:17:18
Sonatine; Andantino
Christina Bjorkoe
1:19:32
Variations, Op. 45; No. 8
1:22:03
Til Apollon, Lysets Gud (1972)
Orwain Arwel Hughes: Danish Natl. SO
1:38:48
Manerenen, Op. 57; Scene 4; Kaerlighedsdans (Love Dance)
Bo Holton: Aarhus SO
Concentration Camp 