Leaving aside Grieg, neither Sibelius nor Nielsen has attracted much attention from non-Nordic pianists. True, among pianists of international standing both Kempff and Glenn Gould included Sibelius in their repertoire, but with the sole exception of John Ogdon (RCA – nla), none has taken up Nielsen’s cause. And although the Suite (Suite luciferique) was dedicated to Schnabel, the great pianist never played it in public. On record the finest advocate of the piano music has been Arne Skjold Rasmussen, whose three-LP set appeared fleetingly in this country in a Vox box during the 1960s. (I also recall with pleasure some impressive broadcast performances from him produced by Robert Simpson in the late 1950s and early 1960s.) Unfortunately he has never enjoyed much exposure in the concert-hall outside his native Denmark. Yet this music is quite wonderful and deserves the widest dissemination. Everyone to whom I have played it over the years has always expressed much admiration for its quality and even more amazement at its neglect.
Without the slightest disrespect to earlier exponents, I have to say that this music has at last found its true interpreter in the Norwegian Leif Ove Andsnes. He has the measure both of the fresh and charming early pieces, FS10 and 22, and the later more searching, other-worldly Suite and the Three Pieces. The luciferique of the former alludes, incidentally, to the messenger of light not the prince of darkness, and Nielsen subsequently withdrew the title. This is music of great substance and a deep and powerful originality. Andsnes has such a natural feeling for it that I never found myself questioning his interpretative judgements. He brings wit and subtlety to pieces like the “Spinning Top” and “Jumping Jack” from FS10, and there is always a splendid rhythmic grip, tonal sensitivity and variety of keyboard colour. He communicates real conviction to the listener, a feeling that this is the only way this music can sound. There is an impressive eloquence and nobility about here, and the recorded sound is in every respect exemplary. It is ‘present’, natural and lifelike. I hope Andsnes will follow this up with the Theme and Variations, FS81 and the Symphonic Suite, FS19 – and either the little pieces for children or, perhaps, some of Saeverud’s best miniatures.
Because this music is unfamiliar, collectors may be cautious or slow in exploring it. To judge from his Prom last year, Andsnes has a following and I hope he will lead his admirers on to this music which he has here served so well. '