Uploaded March 2026 | Updated September 2026, 2 weeks ago
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Brujdans. Allegro non troppo, ma con vivo (0:00) - Skammelsen-Variationer. Poco maestoso (4:50) - Variation I. Andante cantabile (6:06) - Variation II. Allegretto ma tranquillo (8:03) - Variation III. Con moto - Allegretto - Più tranquillo (10:45) - Variation IV. Con fuoco (14:26) - Variation V. Più largamente e maestoso (15:29) - Variation VI (16:16)- Variation VII. Allegretto con moto (17:32) - Variation VIII. Maestoso (19:56) - Bryde Kloster. Vivace (20:58)
Holmboe's Symphony No.3 was composed in 1941, a year after the Nazi invasion of Denmark. It was premiered on July 12 of 1948, performed by the Tivoli Concert Hall Orchestra conducted by Svend Christian Felumb. Holmboe's third is the second of four symphonies (Nos. 2-5) which relate to World War 2. It is structured in a single movement subdivided in three main sections. Bearing the subtitle "Sinfonia Rustica" (Rustic Symphony), it is based on Danish folk music; the outer parts taking Jutish folksongs as the basis while the middle is built on a medieval Danish song.
Holmboe apparently felt that folk music from Zealand and Funen was already well represented in Danish classical music, but that Jutland was underrepresented. He has also commented upon the special Jutish musical qualities of the work: "a musical dialect which had hitherto not been heard in art music, in which elements from Sjalland and Funen had traditionally figured. The Sjrelland dialect is friendly, accommodating, talkative — the Funen one is meek and mild but with hint of satire or irony — whilst the Jutish one is more severe, taciturn, earthbound, though also pathetic."
The first section introduces a vigorously rhythmic and animated main theme, based on a Jutish folksong whose Nordic flavour is clearly audible. The basic material undergoes a series of transformations, such as in the more melodic central part, before being fully restated and ending the section with a coda full of energy and vigour. The second section is structured as a theme and eight variations. It opens with a solemn theme on strings that, as said before, is based on a medieval Danish song. The first variation is broadly lyrical and contemplative, with the theme being shared between woodwinds in counterpoint. The second focuses on a four-note ascending motive derived from the theme, unfolding in a solemn and noble way also on woodwinds. The music rises in a passionate central climax before returning to the opening solemnity.
The third variation is dramatic in nature, opening with menacing brass fanfares that are answered by melodic phrases of woodwinds. These are soon contrasted in a contrapuntal passage of great expressive power, reaching a furious climax. Woodwind briefly repeat their phrases before leading to the next part. The fourth variation features a ferocious and dissonant transformation of the main theme on full orchestra, with bellicose marching rhythms and brass calls. The fifth is a continuation of the previous one, with the music now transformed into a grotesque and dissonant march. The sixth is a rather gloomy dialogue between trumpet and trombone over the timpani beat. The seventh variation offers great contrast, with the flute offering a bucolic, almost pastoral transformation of the tune that is soon joined by other woodwinds in a glowing counterpoint.
The eighth and final variation opens with a solemn recapitulation of the main theme on strings, with strong interjections in the form of menacing orchestral tuttis. A firm climax ends the theme and variations. The third section opens with a lively and animated theme on strings, based on a Jutish folksong. Unlike the first part, there is a substantial development of the material while retaining the music folkish flavour and quality. The music rises in vigorous dance-like climaxes, marking a strong contrast from the previous solemnity. A Dionysiac coda full of life and vigour ends the symphony.
Picture: "Gjern Country Road" (1940) by Danish painter Erik Raadal.
Musical analysis written by myself. Sources: tinyurl.com/26lcdeju and tinyurl.com/2bpqafvt
To check the score: tinyurl.com/22htk9y5
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Brujdans. Allegro non troppo, ma con vivo (0:00) - Skammelsen-Variationer. Poco maestoso (4:50) - Variation I. Andante cantabile (6:06) - Variation II. Allegretto ma tranquillo (8:03) - Variation III. Con moto - Allegretto - Più tranquillo (10:45) - Variation IV. Con fuoco (14:26) - Variation V. Più largamente e maestoso (15:29) - Variation VI (16:16)- Variation VII. Allegretto con moto (17:32) - Variation VIII. Maestoso (19:56) - Bryde Kloster. Vivace (20:58)
Holmboe's Symphony No.3 was composed in 1941, a year after the Nazi invasion of Denmark. It was premiered on July 12 of 1948, performed by the Tivoli Concert Hall Orchestra conducted by Svend Christian Felumb. Holmboe's third is the second of four symphonies (Nos. 2-5) which relate to World War 2. It is structured in a single movement subdivided in three main sections. Bearing the subtitle "Sinfonia Rustica" (Rustic Symphony), it is based on Danish folk music; the outer parts taking Jutish folksongs as the basis while the middle is built on a medieval Danish song.
Holmboe apparently felt that folk music from Zealand and Funen was already well represented in Danish classical music, but that Jutland was underrepresented. He has also commented upon the special Jutish musical qualities of the work: "a musical dialect which had hitherto not been heard in art music, in which elements from Sjalland and Funen had traditionally figured. The Sjrelland dialect is friendly, accommodating, talkative — the Funen one is meek and mild but with hint of satire or irony — whilst the Jutish one is more severe, taciturn, earthbound, though also pathetic."
The first section introduces a vigorously rhythmic and animated main theme, based on a Jutish folksong whose Nordic flavour is clearly audible. The basic material undergoes a series of transformations, such as in the more melodic central part, before being fully restated and ending the section with a coda full of energy and vigour. The second section is structured as a theme and eight variations. It opens with a solemn theme on strings that, as said before, is based on a medieval Danish song. The first variation is broadly lyrical and contemplative, with the theme being shared between woodwinds in counterpoint. The second focuses on a four-note ascending motive derived from the theme, unfolding in a solemn and noble way also on woodwinds. The music rises in a passionate central climax before returning to the opening solemnity.
The third variation is dramatic in nature, opening with menacing brass fanfares that are answered by melodic phrases of woodwinds. These are soon contrasted in a contrapuntal passage of great expressive power, reaching a furious climax. Woodwind briefly repeat their phrases before leading to the next part. The fourth variation features a ferocious and dissonant transformation of the main theme on full orchestra, with bellicose marching rhythms and brass calls. The fifth is a continuation of the previous one, with the music now transformed into a grotesque and dissonant march. The sixth is a rather gloomy dialogue between trumpet and trombone over the timpani beat. The seventh variation offers great contrast, with the flute offering a bucolic, almost pastoral transformation of the tune that is soon joined by other woodwinds in a glowing counterpoint.
The eighth and final variation opens with a solemn recapitulation of the main theme on strings, with strong interjections in the form of menacing orchestral tuttis. A firm climax ends the theme and variations. The third section opens with a lively and animated theme on strings, based on a Jutish folksong. Unlike the first part, there is a substantial development of the material while retaining the music folkish flavour and quality. The music rises in vigorous dance-like climaxes, marking a strong contrast from the previous solemnity. A Dionysiac coda full of life and vigour ends the symphony.
Picture: "Gjern Country Road" (1940) by Danish painter Erik Raadal.
Musical analysis written by myself. Sources: tinyurl.com/26lcdeju and tinyurl.com/2bpqafvt
To check the score: tinyurl.com/22htk9y5
