Gade: Novelletter for String Orchestra in F Major, Op. 53 (1874)

Novelletter for String Orchestra in F Major, Op. 53 (1874)

Niels Wilhelm Gade
(1817-1890)

Until quite recently the name of Niels Gade would be most familiar to those whose early piano lessons included learning of some of the little pieces comprising Robert Schumann’s “Album for the Young” – one of which uses the musical letters G – A – D – E (spelled out in the title) to form its thematic material. Long little known outside his native Denmark, recently Gade’s work has begun to be be heard in a series of fine recordings of his symphonies and orchestra pieces, some of which have frequently been heard on FM stations in this country.

As a young man Gade became a close friend of Schumann and Mendelssohn, the latter launching the young Danish composer on his way with performances of his works by the Gewandhaus Orchestra in 1843. He was soon appointed assistant conductor of the Leipzig orchestra, and became a teacher at the Leipzig Conservatory, which had recently been established by Mendelssohn. Following Mendelssohn’s death in 1847 Gade was appointed chief conductor of the Gewandhaus Orchestra. But he held the position only for a year, deciding to return home when war broke out between Prussia and Denmark in 1848. Settling in Copenhagen, Gade became the focus of a remarkable development of the musical culture in his native country, composing a wide range of stage works, orchestral music (eight symphonies), choral works, chamber music, songs and piano music. He was the most prominent composer to emerge in Denmark before the appearance of Carl Nielsen in the early 20^th century.

Gade composed two works for string orchestra bearing the Schumannesque title Novelletter

(“Novellettes”) in the form suites of contrasting movements exhibiting a lyrical grace and elegant detail which inevitably brings to mind the works of his beloved colleagues, Mendelssohn and Schumann.

Opening with a short, dreamy introduction, the first movement is animated allegro, with a lively, syncopated scherzando principal theme, followed by a secondary theme of sweet lyricism which seems to look ahead to the music of Gade’s fellow Scandinavian composer, Grieg. There is some easy-going development, followed by a recapitulation of the opening elements. The Scherzo is an atmospheric, “things that go bump in the night” movement in D minor, featuring springy tiptoe melodic figures on tiptoe, contrasted by bustling string writing of great brilliance and imagination. The intermezzo-like andantino con moto is a brief interlude of gentle songfulness, rather in the manner of one of Mendelssohn’s “Songs Without Words.” The finale (allegro vivace) is a toccata-like movement, with spirited virtuosic fugal string writing reminiscent not only of Mendelssohn’s characteristic dashing finales (as in the famous Octet), but even the famous fugal finale to Beethoven’s String Quartet, Op. 59, No. 3. Like those two famous examples of whirlwind string music, Gade whips his players onward to an exciting conclusion.

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