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Michele Tozzetti

Niels Wilhelm Gade Piano Works

Release Date: March 17, 2023

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Interview w/ Winnipeg's Classic107fm
1 AQUARELLE, Op. 19 / No. 1: “Elegie”  
2 No. 2: “Scherzo”  
3 No. 3: “Canzonette”  
4 No. 4: “Humoreske”  
5 No. 5: “Barcarole”  
6 No. 6: “Capriccio”  
7 No. 7: “Romanze”  
8 No. 8: “Intermezzo”  
9 No. 9: “Novellette”  
10 No. 10: “Scherzo”  
11 SONATA IN E MINOR Op. 28 / I. Allegro con fuoco  
12 II. Andante  
13 III. Allegretto  
14 IV. Molto Allegro e appassionato  
15 PHANTASIESTUCKE Op. 31 / No. 1: Moderato  
16 No. 2: Allegretto vivo  
17 No. 3: Molto vivace  
18 No. 4: Allegro non troppo  
19 AQUARELLE Op. 57 / No. 1: “Humoreske”  
20 No. 2: “Notturno”  
21 No. 3: “Scherzo”  
22 No. 4: “Romanze”  
23 No. 5: “Capriccio”  
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The name and personality of Niels Wilhelm Gade are well known among music specialists, but unfortunately largely ignored by the mainstream concert repertoire and its audiences. And this is an unfair and regrettable situation, since Gade is an important figure under both the historical and the artistic viewpoint.

Historically, he occupies a prime place in the so-called “music nationalism” of the nineteenth century and indeed can be considered as one of its founders. While today the word nationalism has acquired some negative connotations, at Gade’s time it was a rather praiseworthy and commendable stance. In fact, “music nationalists” believed in the value of the traditional musical heritage of their countries, and attempted to disseminate it by employing tunes, rhythms and sounds of folk music in works conceived on the basis of “classi- cal” principles, i.e. those regulating the ”cultivated” repertoire. This can, and should, be seen as an effort to affirm the value of the local over a monolithic and self-referential tradition, and thus as an appreciation of what the local minorities can contribute to the musical repertoire.

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