Medal record
Men's swimming
Competitor for  Denmark
Olympic Games
Silver	1988 Seoul	200 m butterfly
World Championships (LC)
Bronze	1986 Madrid	200 m butterfly
European Championships (LC)
Silver	1985 Sofia	200 m butterfly
Silver	1987 Strasbourg	200 m butterfly
Bronze	1987 Strasbourg	100 m butterfly

Benny Leo Nielsen (born March 26, 1966 in Aalborg, Nordjylland) is a former butterfly swimmer from Denmark, who won the silver medal in the 200 m butterfly at the 1988 Summer Olympics in Seoul, South Korea.

External links[link]

• databaseOlympics
• sports-reference

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This biographical article related to a Danish swimmer is a stub. You can help Wikipedia by expanding it. v t e

Carl Nielsen in 1910

Carl August Nielsen (Danish pronunciation: [kʰɑːl ˈnelsn̩]), (9 June 1865 – 3 October 1931), widely recognised as Denmark's greatest composer, was also a conductor and a violinist.^[1] Brought up by poor but musically talented parents on the island of Funen, he demonstrated his musical abilities at an early age. While it was some time before his works were fully appreciated, even in his home country, Nielsen has now firmly entered the international repertoire.^[2] Especially in Europe and the United States, Nielsen's music is ever more frequently performed, with interest growing in other countries as well.^[3] Carl Nielsen is especially admired for his six symphonies, his Wind Quintet and his concertos for violin, flute and clarinet. In Denmark, his opera Maskarade and a considerable number of his songs have become an integral part of the national heritage.^[4] While his early music was inspired by composers such as Brahms and Grieg, he soon started to develop his own style, first experimenting with progressive tonality and later diverging even more radically from the standards of composition still common at the time. For many years, he appeared on the Danish hundred-kroner banknote.^[5][6]

Life[link]

Early years[link]

Carl Nielsen's childhood home

Nielsen was the seventh of 12 children in a poor peasant family in Nørre Lyndelse near Sortelung south of Odense on the Danish island of Funen. His father, Niels Jørgensen, was a house painter and amateur musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. All the children bore the surname Nielsen despite regulations by the Ministry of Church Affairs.^[7] Nielsen's own description of his childhood in his autobiography Min Fynske Barndom (My Childhood in Funen) written in his later life appears to be a rather over-romanticised account. His mother whom he recalls singing folk songs during his childhood was in fact the daughter of a well-to-do family of sea captains and his uncle was a composer and performer of popular music.^[8] Nevertheless, Nielsen's own account of his introduction to music where he tells us: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin" is probably authentic.^[9]

Nielsen aged about 14 in Odense.

Nielsen learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer notated in his autobiography. However, his parents apparently did not believe he had any future as a musician as he was apprenticed to a shopkeeper from a nearby village at age 14.^[7] By midsummer the shopkeeper had gone bankrupt and Carl had to go home to his parents. He also learned how to play brass instruments, which led to a job as a bugler and alto trombonist in the 16th Battalion at nearby Odense that opened up around the time his apprenticeship ended. Carl took up his new positions in the 16th Battalion on the first of November 1879.^[7]

While Nielsen did not give up the violin during his time in the military, for his first two years he usually only played it when he went home to appear at dances with his father.^[7] In 1881, he began to take his violin playing more seriously and began to take private lessons from Carl Larsen, who was the sexton at Odense Cathedral. It is not known how much Carl Nielson composed during his time in the military, but from his autobiography, it can be deduced that he wrote some trios and quartets for brass instruments, and that he had difficulty in coming to terms with the fact that brass instruments were tuned in different keys. One of his overseers, Klaus Berntsen, introduced him to Niels Gade, who was director of the Royal Conservatory.^[7] He was well received by Niels Gade, and Carl Nielson made sure that he could be released at a short notice from the military band. In January 1884, he went to Copenhagen for further studies at the conservatory.

He studied at the Royal Conservatory in Copenhagen from the beginning of 1884 until December 1886. Though not an outstanding student there and composing little, he progressed well in violin under Valdemar Tofte and received a solid grounding in music theory from Orla Rosenhoff, who would remain a valued adviser during Nielsen's early years as a professional composer. He also studied composition under Niels Gade, Denmark's revered composer, whom he liked as a friend but not for his music.^[2] Contacts with fellow students and cultured families in Copenhagen, some of whom would become lifelong friends, would become equally important. The patchy education resulting from his country background left Nielsen insatiably curious about the arts, philosophy and aesthetics. But, as David Fanning writes, it also left him "with a highly personal, common man's point of view on those subjects".^[10]

By September 1889, only three years after graduating from the conservatory, Nielsen had progressed well enough on the violin to gain a position with the second violins in the prestigious Royal Danish Orchestra which played at Copenhagen's Royal Theater. This position would sometimes cause Nielsen considerable frustration but he continued to play there until 1905. In between graduation and attaining this position, he gave violin lessons, made a modest income as a teacher and enjoyed continued support from patrons. Some of Nielsen's string chamber works were performed at this time, including a Quartet in F which he considered his official debut as a professional composer. However, the greatest impression was made by the Suite for Strings, which was performed at Tivoli Hall on 8 September 1888. Nielsen would designate this work his Opus 1.^[10]

Marriage[link]

Nielsen's wife Anne Marie

After less than a year at the Royal Theater, Nielsen won a scholarship of 1,800 kroner (£90^[a]), giving him the means to spend several months traveling in Europe. During this time he discovered and abandoned Richard Wagner's music dramas, heard many of Europe's leading orchestras and soloists and sharpened his opinions on both music and the visual arts. While revering the music of Bach and Mozart, he remained ambivalent about much 19th century music. In Paris, he met the Danish sculptor Anne Marie Brodersen, who was also traveling on a scholarship. They toured Italy together, marrying in the English Church of St Mark's in Florence on 10 May 1891 before returning to Denmark.^[11]

"As well as being a love match," Fanning writes, "it was also a meeting of minds. Anne Marie was a gifted artist.... She was also a strong-willed and modern-minded woman, determined to forge her own career."^[12] This determination would strain the Nielsens' marriage, as Anne Marie would spend months on location during the 1890s and 1900s, leaving Carl to raise their three young children in addition to composing and coping with his duties at the Royal Theater. While Carl suggested divorce in March 1905, the Nielsens remained married for the remainder of the composer's life. Carl sublimated his anger and frustration over his marriage in a number of musical works, most notably between 1897 and 1904, a period to which he sometimes referred as his "psychological" period.^[12] Fanning writes, "At this time his interest in the driving forces behind human personality crystallized in the opera Saul og David and the Second Symphony ("De fire temperamenter") and the cantatas Hymnus amoris and Søvnen.^[12]

Mature composer[link]

Carl Nielsen at his childhood home (1927)

At first, he did not gain enough recognition for his works to be able to support himself. During the concert which saw the premiere of his first symphony on 14 March 1894 conducted by Johan Svendsen, Nielsen played in the second violin section. However, the symphony was a great success when played in Berlin in 1896, contributing significantly to his reputation. Nielsen became increasingly in demand to write incidental music for the theater and cantatas to mark special occasions, both of which provided a welcome source of additional income. "A reciprocal relationship grew up between his programmatic and symphonic works," Fanning writes; "sometimes he would find stageworthy ideas in his supposedly pure orchestral music; sometimes a text or scenario forced him to invent vivid musical imagery which he could later turn to more abstract use."^[12]

Beginning in 1901, Nielsen received a modest state pension—800 kroner at first, growing to 7,500 kroner by 1927—to augment his violinist's salary. This allowed him to stop taking private pupils and left him more time to compose. From 1903, he also had an annual retainer from his principal publisher, Wilhelm Hansen Edition. Between 1905 and 1914 he served as second conductor at the Royal Theatre. From 1914 to 1926, he conducted the orchestra of Musikforeningen or the Music Society. In 1916, he took a post teaching at the Royal Danish Academy of Music in Copenhagen, and continued to work there until his death, in his last year as director of the institute.

The strain of dual careers and constant separation from his wife led Nielsen to more than one extra-marital affair. When the last one came to light, between Nielsen and his children's governess, the result was an eight-year breach in his marriage. During much of this time Carl and Anne Marie lived apart. The period led to a creative crisis for Nielsen, bringing about a powerful reappraisal of himself as a composer. This, along with World War I and professional developments in his life, would strongly influence his Fourth and Fifth Symphonies, arguably his greatest works.^[13]

For his son-in-law, the Hungarian violinist Dr. Emil Telmányi, Nielsen wrote his Violin Concerto, Op. 33 (1911).

After suffering a serious heart attack in 1925, Nielsen was forced to curtail much of his activity, although he continued to compose until his death. In 1927, he wrote My Childhood on Funen (Min Fynske Barndom), a delightful memoir of his childhood . He also produced a short book of essays entitled Living Music (1925). Both have been translated into English, and Min Fynske Barndom was made into a docu-drama in 1994. Nielsen died in Copenhagen in 1931.

Music[link]

Odd Fellows Mansion in Copenhagen where many of Nielsen's compositions were premiered

Nielsen is best known for his six symphonies. Other well-known pieces are the incidental music for Adam Oehlenschläger's drama Aladdin, the operas Saul og David and Maskarade, the three concertos for violin, flute and clarinet, the Wind Quintet, and the Helios Overture, which depicts the passage of the sun in the sky from dawn to nightfall.

The music initially had a neo-classical sound but became increasingly modern as Nielsen developed his own approach to what Robert Simpson called progressive tonality, moving from one key to another. Typically, he would end on a different key, sometimes as the outcome of a struggle as in his symphonies. His frequently blended melodic passages inspired by folk music with more complicated stylings including counterpoint and modern variations.^[14]

Like his contemporary, the Finn Jean Sibelius, he studied Renaissance polyphony closely, which accounts for much of the melodic and harmonic "feel" of his music.

Nielsen's works are sometimes referred to by FS numbers, from the 1965 catalogue compiled by Dan Fog and Torben Schousboe.

Symphonies[link]

Nielsen is perhaps most closely associated with his six symphones, which were written between 1892, when he was an aspiring young composer, and 1925, when he was already beginning to suffer from poor health. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heightens the dramatic tension.^[15]

From its opening bars, Symphony No. 1 in G minor (1890–92), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. Surprisingly, it begins in C major and hints at what Robert Simpson calls evolving or progressive tonality or the practice of beginning a work in one key and ending in another.^{[16][clarification needed]} The composer, who was playing in the second violins at the work's premiere, must have been gratified at the work's highly enthusiastic reception.^[17] From his manifestation of personal strength in the First Symphony, in the Second Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic and sanguine).^[18] The first and the third movements are reminiscent of the doleful style of Mahler.^{[citation needed]}

The Sinfonia Espansiva is understood by Robert Simpson to mean the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words.^[15] Symphony No. 4, "The Inextinguishable", written during the First World War is perhaps the most popular. In the last movement two sets of timpani are placed on opposite sides of the stage as a sort of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".^[1][19] Almost as popular is the equally dramatic Fifth Symphony, presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad lib and out of time, with the intention of destroying the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, inspiring interest in Nielsen's music outside Scandinavia.^[15][20] Finally, the Sixth Symphony, written 1924–25, is less aurally accessible than the previous five. The tonal language is similar to Nielsen's other symphonies, but the symphony soon degenerates into a number of cameos, some sad, some grotesque, some humorous. Even Robert Simpson was confused.^[21][15]

Operas and cantatas[link]

Carl Nielsen with the cast of Saul og David, Stockholm 1931

Nielsen's two operas are in very different styles. The four-act Saul og David (Saul and David), written in 1902 to a libretto by Einar Christiansen tells the Biblical story of Saul's jealousy of the young David while Maskarade (Masquerade) is a comic opera in three acts written in 1906 to a Danish libretto by Vilhelm Andersen, based on the comedy by Ludvig Holberg.^[22][23] While Saul og David is one of Denmark's most important musical works for the theatre, it is difficult to stage as the really dramatic episodes are often separated by longer, less dynamic sequences. The choral scenes are certainly among the opera's highlights. The music, which is both dramatic and lyrical, is free of any late Romantic effects.^[24] The much lighter Maskarade, on the other hand, is considered to be Denmark's national opera as a result of its lasting success and popularity. Its many strophic songs and wonderful dances have great appeal for Danish audiences as has its underlying "old Copenhagen" atmosphere. The ensembles such as the striking wind quartet at the end of the first act are full of life while the orchestration is the most balanced in all of Nielsen's works.^[25]

Nielsen wrote a considerable number of choral works but most of them were composed for special occasions and were seldom repeated. Three fully-fledged cantatas for soloists, orchestra and choir have, however, become part of the modern repertoire. Hymnus amoris (Hymn of Love) (1897) is inspired by Titian's painting "The Miracle of a Jealous Husband" which Nielsen saw on his honeymoon in Italy in 1891. On one of the copies, Nielsen wrote: "To my own Marie! These tones in praise of love are nothing compared to the real thing."^[26] Nielsen composed the work after studying the choral style of the old polyphonic masters. Its premiere at the Music Society in April 1897 was a great success.^[17] Søvnen (The Sleep), Nielsen's second major choral work, sets to music the various phases of sleep including the terror of a nightmare in its central movement which, with is unusual discords, came as an unwlecome shock to the reviewers at its premiere in March 1905.^[27] Fynsk Foraar (Springtime on Funen), completed in 1922, is often cited as the most Danish of all Nielsen's compositions as it extols the beauty of Funen's countryside.^[28][29]

Concertos[link]

Nielsen wrote three concertos: the Violin Concerto is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto of 1926 and the Clarinet Concerto which followed in 1928 are late works, influenced by the modernism of the 1920s and the product of "an extremely experienced composer who knows how to avoid inessentials."^[30] Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. There are three movements. The calm "Praeludium" is followed by a catchy tune for the orchestra providing opportunities for violin virtuosity. The long, slow Adagio leads to the final Scherzo which, as Nielsen commented, "renounces everything that might dazzle or impress."^[31][32] The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet who had performed in Nielsen's Wind Quintet (1922).^[33] In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the 1920s. The first movement, for example, switiches between D minor, E flat minor and F major before the flute comes to the fore with a cantabile theme in E major.^[34] Similarly, the Clarinet Concerto was specifically written for a member of the Copenhagen Wind Quintet, namely the clarinetist Aage Oxenvad. Nielsen seems to have had an uncanny understanding of the clarinet, stretching its abilities to the utmost. Unusually, the Clarinet Concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.^[35]

Orchestral music[link]

One of Nielsen's earliest works for orchestra is the immediately successful Suite for Strings (1888), rather reminiscent of Scandinavian Romanticism as expressed by Grieg and Svendsen. The waltzing Intermezzo develops an appealing sparkle leading into the Finale where Nielsen demonstrates his mastery of form by cleverly reintroducing the opening theme.^[36] The work marked an important milestone in Nielsen's career as it was not only his first real success but it was also the first of his pieces he conducted himself when it was played in Odense a month later.^[37]

The Helios Overture (1903) stems from Nielsen's stay in Athens which gave him the inspiration of a work depicting the sun rising and setting over the Aegean Sea.^[38] The score is written for three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings. A great showpiece for orchestra, it has been one of Nielsen's most popular works ever since.^[39] Saga-Drøm (Saga Dream), sometimes known as Gunnar's Dream, is a tone poem for orchestra based on the Icelandic Njal's Saga. In Nielsen's words: "There are among other things four cadenzas for oboe, clarinet, bassoon and flute which run quite freely alongside one another, with no harmonic connection, and without my marking time. They are just like four streams of thought, each going its own way — differently and randomly for each performance — until they meet in a point of rest, as if flowing into a lock where they are united."^[40]

At the Bier of a Young Artist (Ved en ung Kunstners Baare) for string orchestra was written for the funeral of the Danish painter Oluf Hartmann in January 1910. The four-minute piece in E flat minor was first performed by the Gade Quartet at Oluf Hartmann’s funeral on 21 January in the chapel at Holmen’s Cemetery in Copenhagen and was also played at Nielsen's own funeral.^[41] Pan and Syrinx (Pan og Syrinx), a vigorous nine-minute symphonic poem inspired by Ovid's Metamorphoses, was particularly well received at its premiere in 1911, Charles Kjerulf of Politken commenting: "For each note that was added it became more and more sublime."^[42]

The Rhapsodic Overture, An Imaginary Trip to the Faroe Islands (En Fantasirejse til Færøerne), is an occasional work which depicts a sea voyage from Denmark to the Islands. It draws on Faroese folk tunes but also contains freely composed sections.^[43]

Among Nielsen's orchestral works for the stage are Aladdin (1919) and Moderen, Opus 41 (1920). Aladdin was written to accompany a production of Adam Oehlenschläger’s fairy tale at The Royal Theatre in Copenhagen. The complete score, lasting over 80 minutes, is Nielsen's longest work apart from his operas but is now often performed as the shorter orchestral suite consisting of the Oriental March, Hindu Dance and Negro Dance.^[44] Moderen, written to celebrate the reunification of Southern Jutland with Denmark, was first performed on 30 January 1921 at the Royal Danish Theatre where it was well received. The text was basically a collection of generally patriotic verses written by Helge Rode for the occasion.^[45]

Chamber music[link]

	Wind Quintet, Op. 43 1. Allegro ben moderato 2. Menuetto 3. Praeludium: Adagio. Tema con variazioni: Un poco andantino Performed by James Galway (flute) with the Carion quintet
Problems listening to these files? See media help.

Nielsen composed a number of chamber music works, some of them still high on the international repertoire. The Wind Quintet, one of his most popular pieces, was composed in 1922 specifically for the Copenhagen Wind Quintet. Robert Simpson writes, "Nielsen’s fondness of wind instruments is closely related to his love of nature, his fascination for living, breathing things. ... He was also intensely interested in human character, and in the Wind Quintet composed deliberately for five friends; each part is cunningly made to suit the individuality of each player."^[46]

The Fantasy Pieces for Oboe and Piano (Fantasistykker for obo og klavier) consists of two pieces which were first performed at the Royal Orchestra Soirée in Copenhagen on 16 March 1891. The oboist was Olivo Krause (to whom they are dedicated) and the pianist Victor Bendix. Transcriptions by Hans Sitt for violin and piano and for violin and orchestra have also remained popular.^[47] Nielsen's four string quartets are all part of the current repertoire. The First String Quartet No. 1 in G minor (1889) was innovative in the "Résumé" section which Nielsen included in the finale, bringing together themes from the first, third and fourth movements.^[48] The Second String Quartet No. 2 in F minor (1890) provides evidence of Nielsen's early experiments with tonality.^[49] The Third String Quartet in E flat major (1898) has remained one of Nielsen's more popular works, particularly in Denmark. The Fourth String Quartet in F major (1904) was initially criticised by the reviewers but is now recognised for its innovative approach.^[50]

Keyboard works[link]

Although Nielsen came to compose mainly at the piano,^[b] he only composed directly for it occasionally over a period of 40 years, creating five major works and several others, often with a distinctive style which slowed their international acceptance.^[51] One of his most successful compositions for piano is Chaconne, Opus 32, which Nielsen qualified as "a really big piece, and I think effective". It was premiered by Alexander Stoffregen on 13 April 1917 and was generally well received by its reviewers. On 11 February 1918, Christian Christiansen received an ovation when he played the piece during a concert of Nielsen’s orchestral works. Charles Kjerulf described the work as "a genuine Carl Nielsen piano-experiment".^[52]

All Nielsen's organ works were late compositions. Danish organist Finn Viderø suggests that this reflects the relative neglect of the organ during most of his life.^[53] This situation changed with the Orgeltagung (Organ Meeting) in Hamburg organised by Hans Henny Jahnn in 1925,^[54] which was a major stimulus for the Orgelbewegung (Organ reform movement), and the renewal of the front pipes of the Schnitger organ in the St. Jacobi Church by Karl Kemper from 1928–1930.^[54][55][53] Nielsen's last major work, Commotio, Opus 58, a 22-minute piece for organ, was composed between June 1930 and February 1931. The composer considered it to be one of his most important works.^[56]

Songs and hymns[link]

Over the years, Nielsen wrote the music for over 290 songs and hymns, most of them for poems written by well-known Danish authors such as N.F.S. Grundtvig, B.S. Ingemann, Poul Martin Møller, Adam Oehlenschläger and Jeppe Aakjær. In Denmark, many of them are still popular today, both with adults and children.^[57] Among the more popular ones are Farvel min velsignede Fødeby! (1914), Havet omkring Danmark (1907), Hvem sidder der bag Skjærmen (Jens Vejmand) (1907), Jeg ved en Lærkerede (c. 1924), Op al den Ting, som Gud har gjort' (c. 1914), Som en rejselysten Flaade (1921), Spurven sidder stum bag Kvist (1914) and Vi Sletternes Sønner har Drømme i Sind (1908).

Reception[link]

The Carl Nielsen memorial sculpted by his wife Anne Marie

Unlike his contemporary, the Finn Jean Sibelius, Nielsen's reputation abroad did not start to evolve until after World War II. For some time, international interest was largely directed towards his symphonies while his other works, many of them highly popular in Denmark, have only recently started to become part of the world repertoire.^[3][58]

Writing in the New York Times on the occasion of Nielsen's 125th anniversary in 1990, Andrew Pincus explained that 25 years earlier Leonard Bernstein had believed the world was ready to accept the Dane as the equal of Sibelius. He had spoken highly of "his rough charm, his swing, his drive, his rhythmic surprises, his strange power of harmonic and tonal relationships — and especially his constant unpredictability." But even in 1990, despite sporadic performances of his works, this "constant unpredictability" was still a bit too much for foreign tastes.^[59]

In London, the symphonies at least now appear to be well accepted. Paul Driver comments enthusiastically on the Colin Davis and London Symphony Orchestra performance of the Inextinguishable in May 2010: "Movement boundaries have become fluid; the expressive raison d’être is an evolving structure articulated by its emotional necessities rather than an externally valid architecture; and the journey from harmonic ambiguity at the opening to a stable key at the end is no mere vehicle for carrying ideas, but the whole point of the piece."^[60]

Within two months of its successful premiere at the Odd Fellows Concert Hall in Copenhagen on 28 February 1912, the Third Symphony was in the repertoire of the Royal Concertgebouw Orchestra in Amsterdam, and by 1913 it had seen performances in Stuttgart, Stockholm and Helsinki. The symphony was the most popular of all Nielsen's works during his lifetime and was also played in Berlin, Hamburg, London and Gothenburg.^[61]

An international breakthrough was made in 1962 when Leonard Bernstein recorded the Fifth Symphony with the New York Philharmonic Orchestra for CBS. This recording helped Nielsen's music to achieve appreciation beyond his home country, and is considered one of the finest recorded accounts of the symphony.^[62][63][64]

Historical recordings[link]

Nielsen did not record any of his works as he did not believe in the medium. However, three younger contemporary conductors who had worked with him, Thomas Jensen, Launy Grøndahl, and Erik Tuxen, did record his symphonies and other orchestral works, and their recordings are therefore considered to be the most "authentic" Nielsen available.

• Symphony No. 1: Thomas Jensen - 1952 (Decca)
• Symphony No. 2: Thomas Jensen - 1947 (EMI)
• Symphony No. 3: Erik Tuxen - 1946 (Decca)
• Symphony No. 4: Launy Grøndahl - 1951 (EMI)
• Symphony No. 5: Erik Tuxen - 1950 (EMI); Thomas Jensen - 1954 (Decca — first LP recording)
• Symphony No. 6: Thomas Jensen - 1952 (Tono, a Danish label)

These recordings are all with the Danish Radio Symphony Orchestra, and all have been re-released on CD by Dutton Records (GB), except No. 6 which was transferred to CD by Denmark's DANACORD Records.

"Objektivering"[link]

By this term Nielsen meant an aesthetic approach wherein the instruments, or the players operating them, are given leave to assert their individual intentions, as interpreted by the composer. At the time Nielsen was writing the Fifth Symphony, with its sometimes violent disruption by the snare drum, he also produced the Wind Quintet, Op. 43 for a group of wind players whom he knew well personally. He resolved to write a concerto for each man, but completed only the ones for flute and clarinet. The latter (1928) immortalizes a clarinettist known for being irascible, and uses this character as a means of commenting on the anxious world condition at the time.

Carl Nielsen's students[link]

From 1915, Nielsen taught at the Royal Conservatory where he became director in 1931, shortly before his death.^[58] He also had a number of private students in his earlier days in order to supplement his income. As a result of his teaching, Nielsen has exerted considerable influence on classical music in Denmark. Among his most successful pupils were:

• Thorvald Aagaard (1877–1937), who collaborated with Nielsen and Thomas Laub in publishing Folkehøjskolens Melodibog, a highly popular work grouping melodies for hymns and folksongs.^[65]
• Emilius Bangert (1883–1962), who assisted Nielsen in notating and transcribing a number of his compositions, wrote a symphony, overture, string quartet, sonatas, choral works and songs.
• Jørgen Bentzon (1897–1951) who composed a considerable number of works ranging from chamber music to a symphony.
• Nancy Dalberg (1881–1949), who was the first Danish woman to compose a symphony, helped Nielsen with orchestration and notation work, especially in connection with Fynsk Foraar. Her chamber music has become part of the Nordic repertoire.
• Knud Jeppesen (1892–1974), a composer and internationally recognised musicologist, who did much to promote Nielsen's music outside Denmark.
• Herman Koppel (1908–1998) who wrote 13 symphonies, numerous concertos, and 20 string quartets.
• Rudolph Simonsen (1889–1947), a disciple of Nielsen's, who became chairman of the Conservatory after Nielsen's death in 1931.
• Mogens Wöldike (1897–1988), one of Denmark's most influential conductors and choirmasters in the late 20th century, who made recordings of many of Nielsen's works.

Carl Nielsen concerts today[link]

Carl Nielsen's music is frequently performed not only at a host of venues around Denmark but also throughout the world, especially in Finland, Germany, Spain, Sweden, the United Kingdom and the United States.

On the basis of information from the Carl Nielsen Society, the works currently most often performed are:^[3]

• Wind Quintet
• Helios Overture
• Symphony No. 5
• Masquerade Overture
• Symphony No. 4
• Aladdin Suite
• Suite for Strings
• Clarinet Concerto
• Flute Concerto
• Symphony No. 2
• String Quartet in G Minor

Family[link]

Carl Nielsen and his family at Fuglsang Manor, c. 1915

Carl Nielson headstone in Vestre Cemetery.

Nielsen's parents were Maren Kirstine Jørgensen, née Johansen (9 April 1833 – 28 January 1897) and Niels Jørgensen (22 January 1835 - 22 November 1915). He was one of 12 children. The brothers and sisters were Jørgine Caroline (1854–1879), Mathilde Sophie (born 1856), Karen Marie (1857–1876), Jørgen Peter (born 1859) emigrated to Australia, Johan Sophus (1861–1942) emigrated to USA, Christian Albert (born 1863) emigrated to USA, Carl August (1865–1931), Anders Jacob (born 1867) emigrated to USA, Helene Christine Louise (born 1869) emigrated to USA, Valdemar Emil (1871–1965), Julie Christine (born 1872), Anna Dusine (8 January to 2 April 1875).^[66]All the children bore the surname Nielsen despite regulations by the Ministry of Church Affairs.^[7]

He and his wife Anne Marie had two daughters and a son. Irmelin, his eldest daughter, had studied music theory with her father. In December 1919, she married Eggert Møller (1893–1978), a medical doctor who became a professor at the University of Copenhagen and director of the polyclinic at Rigshospitalet, the national hospital. Anne Marie, who graduated from the Copenhagen Academy of Arts, married the Hungarian violinist Emil Telmányi (1892–1988) in 1918 who contributed to Nielsen's music, both as a violinist and a conductor. Nielsen's son, Hans Børge, was handicapped as a result of meningitis and spent most of his life away from the family. He died near Kolding in 1956.^[67]

Shortly before Carl Nielsen met his wife, he had a son Carl August Hansen (8 January 1888 - 4 April 1963) by a housemaid, Karen Marie Hansen (4 September 1865 - 17 March 1949). Mother and son emigrated in December 1901 to New York, where Carl August qualified as a pharmacist. Although he returned to Denmark for a few years, he returned to the United States in June 1921 where he resumed his career as a pharmacist. He had three children by two different wives. There are living descendants.^[66]

See also[link]

• Serenata in vano

Notes[link]

References[link]

Citations

External links[link]

Wikimedia Commons has media related to: Carl Nielsen

• The Carl Nielsen Edition – index page to introductory information on many of Nielsen's works from the Royal Danish Library
• Carl Nielsen at Allmusic
• Carl Nielsen bibliography 1985–2005 at Det Kongelige Bibliotek (English).
• The Danish Carl Nielsen Society – provides lots of detailed information on the composer and his works, including an overview of upcoming concerts
• The Carl Nielsen Museum, Odense – "is a museum dedicated to the composer Carl Nielsen and to his wife, the sculptor Anne Marie Carl-Nielsen."
• Article about Nielsen's late music
• Carl Nielsen International Music Competition & Festival – an annual music event in Odense, celebrating the composer. Organised by the Odense Symphony Orchestra
• List of works
• Free scores by Carl Nielsen in the Werner Icking Music Archive (WIMA)
• Free scores by Carl Nielsen at the International Music Score Library Project
• Free scores by Carl Nielsen in the Choral Public Domain Library (ChoralWiki)
• The Mutopia Project has compositions by Carl Nielsen
• Carl Nielsen String Quartet Nos.1–4, sound-bites and discussion of works
• Listen to a free MP3 recording of Förunderligt och märkligt with Umeå Akademiska Kör
• Carl Nielsen at Pytheas Center for Contemporary Music
• European Archive Copyright free sound files of Carl Nielsen LPs at the European Archive (for non-American users only)

Benny Goodman
from the film Stage Door Canteen (1943)
Background information
Birth name	Benjamin David Goodman
Also known as	"King of Swing", "The Professor", "Patriarch of the Clarinet", "Swing's Senior Statesman"
Born	(1909-05-30)May 30, 1909
Origin	Chicago, Illinois, U.S.
Died	June 13, 1986(1986-06-13) (aged 77)
Genres	Swing, big band
Occupations	Musician, bandleader, songwriter
Instruments	Clarinet
Years active	1926–1986

Benjamin David “Benny” Goodman^[1] (May 30, 1909 – June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader; widely known as the "King of Swing".

In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."^[2]

Goodman's bands launched the careers of many major names in jazz, and during an era of segregation, he also led one of the first well-known racially-integrated jazz groups. Goodman continued to perform to nearly the end of his life, including exploring his interest in classical music.

Childhood and early years[link]

Goodman was born in Chicago, the ninth of twelve children of poor Jewish immigrants from the Russian Empire,^[1] who lived in the Maxwell Street neighborhood. His father was David Goodman, a tailor from Warsaw; his mother was Dora Grisinsky^[1] (from Kaunas, Lithuania). His parents met in Baltimore, Maryland, and moved to Chicago before Benny was born.^[3]

When Benny was 10, his father enrolled him and two of his older brothers in music lessons at the Kehelah Jacob Synagogue. The next year he joined the boys club band at Jane Addams' Hull House, where he received lessons from director James Sylvester. He also received two years of instruction from the classically trained clarinetist Franz Schoepp.^[4] His early influences were New Orleans jazz clarinetists working in Chicago, notably Johnny Dodds, Leon Roppolo, and Jimmy Noone.^[3] Goodman learned quickly, becoming a strong player at an early age: he was soon playing professionally in various bands.

Goodman attended Lewis Institute (now Illinois Institute of Technology) in 1924 as a high school sophomore, while also playing the clarinet in a dance hall band. (He was awarded an honorary LL.D. from IIT in 1968.) When Goodman was 16, he joined one of Chicago's top bands, the Ben Pollack Orchestra, with which he made his first recordings in 1926.^[3]

He made his first record on Vocalion under his own name two years later. Goodman recorded with the regular Pollack band and smaller groups drawn from the orchestra through 1929. The side sessions produced scores of sides recorded for the various dimestore record labels under an array of group names, including Mills' Musical Clowns, Goody's Good Timers, The Hotsy Totsy Gang, Jimmy Backen's Toe Ticklers, Dixie Daisies, and Kentucky Grasshoppers.

Goodman's father, David, was a working-class immigrant about whom Benny said (interview, Downbeat, February 8, 1956); "...Pop worked in the stockyards, shoveling lard in its unrefined state. He had those boots, and he'd come home at the end of the day exhausted, stinking to high heaven, and when he walked in it made me sick. I couldn't stand it. I couldn't stand the idea of Pop every day standing in that stuff, shoveling it around".

On December 9, 1926, David Goodman was killed in a traffic accident. Benny had recently joined the Pollack band and was urging his father to retire, since he and his brother (Harry) were now doing well as professional musicians. According to James Lincoln Collier, "Pop looked Benny in the eye and said, 'Benny, you take care of yourself, I'll take care of myself.'" Collier continues: "It was an unhappy choice. Not long afterwards, as he was stepping down from a streetcar—according to one story—he was struck by a car. He never regained consciousness and died in the hospital the next day. It was a bitter blow to the family, and it haunted Benny to the end that his father had not lived to see the success he, and some of the others, made of themselves."^[5] "Benny described his father's death as 'the saddest thing that ever happened in our family.'"^[6]

Career[link]

Goodman left for New York City and became a successful session musician during the late 1920s and early 1930s (mostly with Ben Pollack's band between 1926 and 1929). A notable March 21, 1928 Victor session found Goodman alongside Glenn Miller, Tommy Dorsey, and Joe Venuti in the All-Star Orchestra, directed by Nat Shilkret.^[7][8][9] He played with the nationally known bands of Ben Selvin, Red Nichols, Isham Jones (although he is not on any of Jones's records), and Ted Lewis. He recorded sides for Brunswick under the name Bennie Goodman's Boys, a band that featured Glenn Miller. In 1928, Benny Goodman and Glenn Miller wrote the instrumental "Room 1411", which was released as a Brunswick 78.^[10] He also recorded musical soundtracks for movie shorts; fans believe that Benny Goodman's clarinet can be heard on the soundtrack of One A. M., a Charlie Chaplin comedy re-released to theaters in 1934.

During this period as a successful session musician, John Hammond arranged for a series of jazz sides recorded for and issued on Columbia starting in 1933 and continuing until his signing with Victor in 1935, during his success on radio. There were also a number of commercial studio sides recorded for Melotone Records between late 1930 and mid-1931 under Goodman's name. The all-star Columbia sides featured Jack Teagarden, Joe Sullivan, Dick McDonough, Arthur Schutt, Gene Krupa, Teddy Wilson, Coleman Hawkins (for 1 session), and vocalists Jack Teagarden and Mildred Bailey, and the first two recorded vocals by a young Billie Holiday.

In 1934 Goodman auditioned for NBC's Let's Dance, a well-regarded three-hour weekly radio program that featured various styles of dance music. His familiar theme song by that title was based on Invitation to the Dance by Carl Maria von Weber. Since he needed new arrangements every week for the show, his agent, John Hammond, suggested that he purchase "hot" (swing) arrangements from Fletcher Henderson, an African-American musician from Atlanta who had New York's most popular African-American band in the 1920s and early 1930s.^[3]

Goodman, a wise businessman, helped Henderson in 1929 when the stock market crashed. He purchased all of Henderson's song books, and hired Henderson's band members to teach his musicians how to play the music.^[11]

In early 1935, Goodman and his band were one of three bands (the others were Xavier Cugat and "Kel Murray" [r.n. Murray Kellner]) featured on Let's Dance where they played arrangements by Henderson along with hits such as "Get Happy" and "Jingle Bells" from composer and arranger Spud Murphy.^[12] Goodman's portion of the program from New York, at 12:30 a.m. Eastern Time, aired too late to attract a large East Coast audience. However, unknown to him, the time slot gave him an avid following on the West Coast (they heard him at 9:30 p.m. Pacific Time). He and his band remained on Let's Dance until May of that year when a strike by employees of the series' sponsor, Nabisco, forced the cancellation of the radio show. An engagement was booked at Manhattan's Roosevelt Grill (filling in for Guy Lombardo), but the crowd there expected 'sweet' music and Goodman's band was unsuccessful.^[13] The band set out on a tour of America in May 1935, but was still poorly received. By August 1935, Goodman found himself with a band that was nearly broke, disillusioned and ready to quit.

Catalyst for the Swing era[link]

An eager crowd of Goodman fans in Oakland

In July 1935, a record of the Goodman band playing the Henderson arrangements of "King Porter Stomp" backed with "Sometimes I'm Happy", Victor 78 25090, had been released to ecstatic reviews in both Down Beat and Melody Maker.^[14] In Pittsburgh at the Stanley Theater some of the kids danced in the aisles.^[15] This had made little impact on the band's tour until August 19 when they arrived in Oakland to play at McFadden's Ballroom.^[16] There, Goodman and his artists Gene Krupa, Bunny Berigan, and Helen Ward found a large crowd of young dancers, raving and cheering the hot music they had heard on the Let's Dance radio show.^[17] Herb Caen wrote that "from the first note, the place was in an uproar."^[18] One night later, at Pismo Beach, the show was another flop, and the band thought the overwhelming reception in Oakland had been a fluke.^[13]

The next night, August 21, 1935 at the Palomar Ballroom in Los Angeles, Goodman and his band began a three-week engagement. On top of the Let's Dance airplay, Al Jarvis had been playing Goodman records on KFWB radio, and Los Angeles fans were primed to hear him in person.^[19] Goodman started the evening with stock arrangements, but after an indifferent response, began the second set with the arrangements by Fletcher Henderson and Spud Murphy. According to Willard Alexander, the band's booking agent, Krupa said "If we're gonna die, Benny, let's die playing our own thing."^[20] The crowd broke into cheers and applause. News reports spread word of the enthusiastic dancing and exciting new music that was happening. Over the course of the engagement, the "Jitterbug" began to appear as a new dance craze,^[21] and radio broadcasts carried the band's performances across the nation.^[13]

The Palomar engagement was such a marked success it is often exaggeratedly described as the beginning of the swing era.^[13] Donald Clarke wrote "It is clear in retrospect that the Swing Era had been waiting to happen, but it was Goodman and his band that touched it off."^[13]

In November 1935 Goodman accepted an invitation to play in Chicago at the Joseph Urban Room at the Congress Hotel. His stay there extended to six months and his popularity was cemented by nationwide radio broadcasts over NBC affiliate stations. While in Chicago, the band recorded If I Could Be With You, Stompin' At The Savoy, and Goody, Goody.^[13] Goodman also played three special concerts produced by jazz aficionado and Chicago socialite Helen Oakley. These "Rhythm Club" concerts at the Congress Hotel included sets in which Goodman and Krupa sat in with Fletcher Henderson's band, perhaps the first racially integrated big band appearance before a paying audience in the United States.^[13] Goodman and Krupa played in a trio with Teddy Wilson on piano. Both combinations were well-received, and Wilson stayed on.

In his 1935–1936 radio broadcasts from Chicago, Goodman was introduced as the "Rajah of Rhythm."^[20] Slingerland Drum Company had been calling Krupa the "King of Swing" as part of a sales campaign, but shortly after Goodman and crew left Chicago in May 1936 to spend the summer filming The Big Broadcast of 1937 in Hollywood, the title "King of Swing" was applied to Goodman by the media.^[13] Goodman left record company RCA for Columbia, following his agent and soon to be brother-in-law John Hammond.

At the end of June 1936, Goodman went to Hollywood, where, on June 30, 1936 his band began CBS's "Camel Caravan," its third, and, according to Connor and Hicks, its greatest of them all, sponsored radio show, co-starring Goodman and his old boss Nat Shilkret.^[7][8] By spring, 1936, bandleader Fletcher Henderson was writing arrangements for Goodman's band. He would disband his own group in 1939 and become a full-time arranger for Goodman. Other noteworthy arrangers in the Goodman band were Jimmy Mundy, 1935 to 1939 (overlapping with Henderson) and Eddie Sauter, the 1940s.

Carnegie Hall concert[link]

In late 1937, Goodman's publicist Wynn Nathanson attempted a publicity stunt by suggesting Goodman and his band should play Carnegie Hall in New York City. If this concert were to take place, then Benny Goodman would be the first jazz bandleader to perform at Carnegie Hall. "Benny Goodman was initially hesitant about the concert, fearing for the worst; however, when his film Hollywood Hotel opened to rave reviews and giant lines, he threw himself into the work. He gave up several dates and insisted on holding rehearsals inside Carnegie Hall to familiarize the band with the lively acoustics."^[23]

The concert was the evening of January 16, 1938. It sold out weeks before, with the capacity 2,760 seats going for the top price of US$2.75 a seat, for the time a very high price.^[23] The concert began with three contemporary numbers from the Goodman band—"Don't Be That Way," "Sometimes I'm Happy," and "One O'Clock Jump." They then played a history of jazz, starting with a Dixieland quartet performing "Sensation Rag." Once again, initial crowd reaction, though polite, was tepid. Then came a jam session on "Honeysuckle Rose" featuring members of the Count Basie and Duke Ellington bands as guests. (The surprise of the session: Goodman handing a solo to Basie's guitarist Freddie Green who was never a featured soloist but earned his reputation as the best rhythm guitarist in the genre—he responded with a striking round of chord improvisations.) As the concert went on, things livened up. The Goodman band and quartet took over the stage and performed the numbers that had already made them famous. Some later trio and quartet numbers were well-received, and a vocal on "Loch Lomond" by Martha Tilton provoked five curtain calls and cries for an encore. The encore forced Goodman to make his only audience announcement for the night, stating that they had no encore prepared but that Martha would return shortly with another number.^[24]

By the time the band got to the climactic piece "Sing, Sing, Sing", success was assured. This performance featured playing by tenor saxophonist Babe Russin, trumpeter Harry James, and Benny Goodman, backed by drummer Gene Krupa. When Goodman finished his solo, he unexpectedly gave a solo to pianist Jess Stacy. "At the Carnegie Hall concert, after the usual theatrics, Jess Stacy was allowed to solo and, given the venue, what followed was appropriate," wrote David Rickert. "Used to just playing rhythm on the tune, he was unprepared for a turn in the spotlight, but what came out of his fingers was a graceful, impressionistic marvel with classical flourishes, yet still managed to swing. It was the best thing he ever did, and it's ironic that such a layered, nuanced performance came at the end of such a chaotic, bombastic tune."^[25]

This concert has been regarded as one of the most significant in jazz history. After years of work by musicians from all over the country, jazz had finally been accepted by mainstream audiences. Recordings were made of this concert, but even by the technology of the day the equipment used was not of the finest quality. Acetate recordings of the concert were made, and aluminum studio masters were also cut.^[23]

Goodman took the newly discovered recording to his record company, Columbia, and a selection was issued on LP. These recordings have not been out of print since they were first issued. In early 1998, the aluminum masters were rediscovered and a new CD set of the concert was released based on these masters. The album released based on those masters went on to be one of the best selling live jazz albums of all time.^{[citation needed]}

Charlie Christian[link]

Pianist/arranger Mary Lou Williams^[27] was a good friend of both Columbia records producer John Hammond and Benny Goodman. She first suggested to John Hammond that he see Charlie Christian.^[28]

Charlie Christian was playing at the Ritz in Oklahoma City where [...] John Hammond heard him in 1939. Hammond recommended him to Benny Goodman, but the band leader wasn't interested. The idea of an electrified guitar didn't appeal, and Goodman didn't care for Christian's flashy style of dressing. Reportedly, Hammond personally installed Christian onstage during a break in a Goodman concert in Beverly Hills. Irritated to see Christian among the band, Goodman struck up "Rose Room", not expecting the guitarist to know the tune. What followed amazed everyone who heard the 45-minute performance.^[29]

Charlie was a hit on the electric guitar and remained in the Benny Goodman Sextet for two years (1939–1941). He wrote many of the group's head arrangements (some of which Goodman took credit for) and was an inspiration to all. The sextet made him famous and provided him with a steady income while Charlie worked on legitimizing, popularizing, revolutionizing, and standardizing the electric guitar as a jazz instrument.^[30]

Charlie Christian's recordings and rehearsal dubs made with Benny Goodman in the early forties are widely known and were released by Columbia.

Beyond swing[link]

Goodman continued his meteoric rise throughout the late 1930s with his big band, his trio and quartet, and a sextet. By the mid-1940s, however, big bands lost a lot of their popularity. In 1941, ASCAP had a licensing war with music publishers. In 1942 to 1944 and 1948, the musician's union went on strike against the major record labels in the United States, and singers took the spot in popularity that the big bands once enjoyed. During this strike, the United States War Department approached the union and requested the production of the V-Disc, a set of records containing new and fresh music for soldiers to listen to.^[31] Also, by the late 1940s, swing was no longer the dominant mode of jazz musicians.^[32]

Bebop, Cool Jazz[link]

By the 1940s, jazz musicians were borrowing advanced ideas from classical music. The recordings Goodman made in bop style for Capitol Records were highly praised by jazz critics. When Goodman was starting a bebop band, he hired Buddy Greco, Zoot Sims, Wardell Gray and a few other modern players.^[33]

Benny Goodman (third from left) in 1952 with some of his former musicians, seated around piano left to right: Vernon Brown, George Auld, Gene Krupa, Clint Neagley, Ziggy Elman, Israel Crosby and Teddy Wilson (at piano)

Goodman enjoyed the bebop and cool jazz that was beginning to arrive in the 1940s. When Goodman heard Thelonious Monk, a celebrated pianist and accompanist to bop players Charlie Parker, Dizzy Gillespie and Kenny Clarke, he remarked, "I like it, I like that very much. I like the piece and I like the way he played it. [...] I think he's got a sense of humor and he's got some good things there."^[33]

By 1953, Goodman completely changed his mind about bebop. "Maybe bop has done more to set music back for years than anything [...] Basically it's all wrong. It's not even knowing the scales. [...] Bop was mostly publicity and people figuring angles."^[35]

Forays into classical repertoire[link]

Goodman's first classical recording dates from April 25, 1938 when he recorded Mozart's Clarinet Quintet in A major, K. 581, with the Budapest Quartet. After his bop period, Goodman furthered his interest in classical music written for the clarinet, and frequently met with top classical clarinetists of the day. In 1946, he met Ingolf Dahl, an emigre classical composer on the faculty of the University of Southern California, who was then musical director of the Victor Borge show. They played chamber music together (Brahms, Milhaud, Hindemith, Debussy) and in 1948 Goodman played in the world premiere performance of Dahl's Concerto a Tre.^[36]

In 1949, when he was 40, Goodman decided to study with Reginald Kell, one of the world's leading classical clarinetists. To do so, he had to change his entire technique: instead of holding the mouthpiece between his front teeth and lower lip, as he had done since he first took a clarinet in hand 30 years earlier, Goodman learned to adjust his embouchure to the use of both lips and even to use new fingering techniques. He had his old finger calluses removed and started to learn how to play his clarinet again—almost from scratch.^[37]

Goodman commissioned and premiered works by leading composers for clarinet and symphony orchestra that are now part of the standard repertoire, namely Contrasts by Béla Bartók, Clarinet Concerto No. 2, Op. 115 by Malcolm Arnold, Derivations for Clarinet and Band by Morton Gould, and Aaron Copland's Clarinet Concerto. While Leonard Bernstein's Prelude, Fugue, and Riffs was commissioned for Woody Herman's big band, it was premiered by Goodman. Woody Herman was the dedicatee (1945) and first performer (1946) of Igor Stravinsky's Ebony Concerto, but many years later Stravinsky made another recording, this time with Benny Goodman as the soloist.^[38]

He made a further recording of Mozart's Clarinet Quintet, in July 1956 with the Boston Symphony String Quartet, at the Berkshire Festival; on the same occasion he also recorded Mozart's Clarinet Concerto in A major, K. 622, with the Boston Symphony Orchestra under Charles Munch. He also recorded the clarinet concertos of Weber and Carl Nielsen.^[3]

Other recordings of classical repertoire by Goodman are:^[39]

• Premiere Rhapsodie for Clarinet by Claude Debussy
• Clarinet Sonata No. 2 in E flat by Johannes Brahms
• Rondo from Grand Duo Concertant in E flat by Weber, and
• An arrangement by Simeon Bellison of Beethoven's Variations on a theme from Mozart's "Don Giovanni".

Touring with Armstrong[link]

After forays outside of swing, Goodman started a new band in 1953. According to Donald Clarke, this was not a happy time for Goodman.

Goodman with his band and singer, Peggy Lee, in the film Stage Door Canteen (1943)

Movies[link]

Benny Goodman's band appeared as a specialty act in major musical features, including The Big Broadcast of 1937, Hollywood Hotel (1938), Syncopation (1942), The Powers Girl (1942), Stage Door Canteen (1943), The Gang's All Here (1943), Sweet and Lowdown (1944) and A Song Is Born (1948). Goodman's only starring feature was Sweet and Lowdown (1944).

Goodman's success story was told in the 1955 motion picture The Benny Goodman Story^[41] with Steve Allen and Donna Reed. A Universal-International production, it was a follow up to 1954's successful The Glenn Miller Story. The screenplay was heavily fictionalized, but the music was the real draw. Many of Goodman's professional colleagues appear in the film, including Ben Pollack, Gene Krupa, Lionel Hampton and Harry James.

Personality and influence[link]

Goodman was regarded by some as a demanding taskmaster, by others an arrogant and eccentric martinet. Many musicians spoke of "The Ray",^[42] Goodman's trademark glare that he bestowed on a musician who failed to perform to his demanding standards. Guitarist Allan Reuss incurred the maestro's displeasure on one occasion, and Goodman relegated him to the rear of the bandstand, where his contribution would be totally drowned out by the other musicians. Vocalists Anita O'Day and Helen Forrest spoke bitterly of their experiences singing with Goodman.^[43] "The twenty or so months I spent with Benny felt like twenty years," said Forrest. "When I look back, they seem like a life sentence." At the same time, there are reports that he privately funded several college educations and was sometimes very generous, though always secretly. When a friend once asked him why, he reportedly said, "Well, if they knew about it, everyone would come to me with their hand out."^[44]

Goodman is also responsible for a significant step in racial integration in America. In the early 1930s, black and white jazz musicians could not play together in most clubs or concerts. In the Southern states, racial segregation was enforced by the Jim Crow laws. Benny Goodman broke with tradition by hiring Teddy Wilson to play with him and drummer Gene Krupa in the Benny Goodman Trio. In 1936, he added Lionel Hampton on vibes to form the Benny Goodman Quartet; in 1939 he added pioneering jazz guitarist Charlie Christian to his band and small ensembles, who played with him until his death from tuberculosis less than three years later. This integration in music happened ten years before Jackie Robinson became the first black American to enter Major League Baseball. "[Goodman's] popularity was such that he could remain financially viable without touring the South, where he would have been subject to arrest for violating Jim Crow laws."^[46] According to Jazz by Ken Burns, when someone asked him why he "played with that nigger" (referring to Teddy Wilson), Goodman replied, "I'll knock you out if you use that word around me again".

John Hammond and Alice Goodman[link]

One of Benny Goodman's closest friends off and on, from the 1930s onward was celebrated Columbia records producer John H. Hammond, who influenced Goodman's move from RCA to the newly created Columbia records in 1939.^[3]

Benny Goodman dated John H. Hammond's sister Alice Frances Hammond (1913–1978) for three months. She had previously been married to British politician George Duckworth, from whom she obtained a divorce. She and Goodman married on March 14, 1942. They had two daughters, Benjie and Rachel.^[3]

Both daughters studied music, though neither became the musical prodigy Goodman was.

Hammond had encouraged Goodman to integrate his band, persuading him to employ pianist Teddy Wilson. But Hammond's tendency to interfere in the musical affairs of Goodman's and other bands led to Goodman pulling away from him. In 1953 they had another falling-out during Goodman's ill-fated tour with Louis Armstrong, which was produced by John Hammond.^[3]

Goodman appeared on a 1975 PBS salute to Hammond but remained at a distance. In the 1980s, following the death of Alice Goodman, John Hammond and Benny Goodman, both by then elderly, reconciled. On June 25, 1985, Goodman appeared at Avery Fisher Hall in New York City for "A Tribute to John Hammond".^[47]

Later years[link]

Benny Goodman in concert in Nuremberg, Germany (1971)

After winning numerous polls over the years as best jazz clarinetist, Goodman was inducted into the Down Beat Jazz Hall of Fame in 1957.

Goodman continued to play on records and in small groups. One exception to this pattern was a collaboration with George Benson in the 1970s. The two met when they taped a PBS salute to John Hammond and re-created some of the famous Goodman-Charlie Christian duets.^[3]

Benson later appeared on several tracks of a Goodman album released as "Seven Come Eleven." In general Goodman continued to play in the swing style he was most known for. He did, however, practice and perform classical clarinet pieces and commissioned compositions for clarinet. Periodically he would organize a new band and play a jazz festival or go on an international tour.

Despite increasing health problems, he continued to play until his death from a heart attack in New York City in 1986 at the age of 77, in his home at Manhattan House, 200 East 66th Street. A longtime resident of Pound Ridge, New York, Benny Goodman is interred in the Long Ridge Cemetery, Stamford, Connecticut. The same year, Goodman was honored with the Grammy Lifetime Achievement Award.^[48] Benny Goodman's musical papers were donated to Yale University after his death.^[4]

He is a member of the National Association of Broadcasters Hall of Fame in the radio division.^[49]

His music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.^[50][51][52]

Discography[link]

(This discography combines LP and CD reissues of Goodman recordings under the dates of the original 78 rpm recordings through about 1950)

Noted sidemen[link]

• Noni Bernardi (1911–2006), big-band musician and member of the Los Angeles, California, City Council, 1961–93

Notes[link]

References[link]

• Firestone, Ross (1993). Swing, Swing, Swing: The Life & Times of Benny Goodman. New York: Norton. ISBN 0-393-03371-6. 

External links[link]

Wikimedia Commons has media related to: Benny Goodman

Music portal

• Benny Goodman official site
• Benny Goodman web biography with audio
• Benny Goodman scores, Music Division, New York Public Library for the Performing Arts.
• Benny Goodman papers (the bulk of the musician's estate) in Irving S. Gilmore Music Library of Yale University
• Benny Goodman Audio Collection, Institute of Jazz Studies, Dana Library, Rutgers University, Newark, NJ.
• Benny Goodman biography
• the Benny Goodman Sextet performing live in 1950 as regulars on the DuMont network TV series Star Time

Dexter Gordon
In concert with Dizzy Gillespie, Toronto August 19, 1978 Photo: Jean-Luc Ourlin
Background information
Also known as	Long Tall Dexter, Dexter "The Sound" Gordon
Born	(1923-02-27)February 27, 1923 Los Angeles, California, U.S.
Died	April 25, 1990(1990-04-25) (aged 67) Philadelphia, Pennsylvania, U.S.
Genres	Swing, bop, hard bop
Occupations	Composer, bandleader, musician, actor
Instruments	Tenor saxophone
Years active	1940–1986
Labels	Blue Note, Savoy, Columbia
Associated acts	Dizzy Gillespie, Gene Ammons, Wardell Gray, Lionel Hampton, Billy Eckstine
Website	www.dextergordon.com

Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist and an Academy Award-nominated actor (Round Midnight, Warner Bros, 1986). He is regarded as one of the first and most important musicians to adapt the bebop musical language of people like Charlie Parker, Dizzy Gillespie, and Bud Powell to the tenor saxophone. His studio and live performance career were both extensive and multifaceted, spanning over 50 years in recorded jazz history.

Gordon's height was 6 feet 6 inches (198 cm), and so consequently he was also known as "Long Tall Dexter" and "Sophisticated Giant." He played a Conn 10M 'Ladyface' tenor ^[1] until it was stolen in a Paris airport in 1961. He then switched over to a Selmer Mark VI. His saxophone was fitted with an Otto Link metal mouthpiece, which can be seen in various photos. Gordon died on April 25, 1990 in Philadelphia, Pennsylvania.

Biography[link]

Early life[link]

Gordon was born and grew up in Los Angeles, where his father was a doctor who counted Duke Ellington and Lionel Hampton among his patients. He played clarinet from the age of 13, before switching to saxophone (initially alto, then tenor) at 15. While still at school, he was playing in bands with such contemporaries as Chico Hamilton and Buddy Collette.^[2]

Between 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshall Royal. In 1943 he made his first recordings under his own name, alongside Nat Cole and Harry Edison. During 1943-44 he featured in the Louis Armstrong and Fletcher Henderson bands, before joining Billy Eckstine.

By 1945, Gordon had left the Eckstine band and was resident in New York, where he was performing and recording with Charlie Parker, as well as recording under his own name. Gordon was a virtuoso particularly famous for his titanic saxophone duels with fellow tenorman Wardell Gray, that were a popular live attraction and that were documented in several albums between 1947 and 1952.

Many would characterize Gordon's sound as being 'large' and spacious and his tendency to play behind the beat is discernible. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane during the 1940s and 1950s. Coltrane's playing, however, during his early period from the mid to late '50s or early '60s influenced Gordon's playing from then onward. Similarities in their styles include their clear, strong, metallic tones, their tendencies to bend up to high notes, and their abilities to single-tongue and still swing. One of Gordon's idiosyncrasies was to recite the lyrics of each ballad before playing it.

Blue Note recordings[link]

Dexter Gordon in Amsterdam (1980)

Gordon was a saxophonist for the L.A. production of the Jack Gelber play The Connection in 1960, replacing Jackie McLean who performed and recorded the Freddie Redd score in New York City. By this time he had begun recording for Blue Note Records a collaboration that was to produce some of his most highly-regarded work on the albums Doin' Alright, Dexter Calling..., Go, and A Swingin' Affair. The first two, his Blue Note debuts, were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan and others. The last two were recorded in August 1962 just before Gordon left for his extended stay in Europe. On these albums the rhythm section was Blue Note staples Sonny Clark, Butch Warren and Billy Higgins.

Years in Europe[link]

After that, he spent 15 years in Europe, mostly in Paris and Copenhagen, where he played regularly with fellow expatriate jazzmen such as Bud Powell, Ben Webster, Freddie Hubbard, Bobby Hutcherson, Kenny Drew, Horace Parlan and Billy Higgins. Gordon also visited the States occasionally for further recording dates with Blue Note Records. From this period Our Man in Paris, One Flight Up, and Gettin' Around are regarded as among his finest sessions. Our Man in Paris was a Blue Note session recorded in Paris, France in 1963 with a quartet including pianist Bud Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up features an extended solo by Gordon on the track "Tanya" recorded in Paris in 1964 with trumpeter Donald Byrd, while Gettin' Around was recorded during a visit back to the US in May 1965, as was the unreleased album Clubhouse.

Less well-known, but of similar quality, are the albums he recorded during the same period for the Danish label SteepleChase (Something Different99, Bouncin' With Dex, and a few dozen others). They feature American sidemen but also such Europeans as Spanish pianist Tete Montoliu and Danish bassist Niels-Henning Ørsted Pedersen.

Gordon found Europe in the 1960s a much easier place to live, saying that he experienced less racism and greater respect for jazz musicians. Furthermore in America he had experienced drug addiction and imprisonment (twice), and must have found the change of location helpful. While in Copenhagen, Dexter Gordon and Kenny Drew's trio appeared onscreen in Ole Ege's theatrically released hardcore pornographic film Pornografi (1971), for which they composed and performed the score.^[3]

From 1965-1973 he switched from Blue Note to Prestige Records but stayed very much on the hard-bop track; while the rest of the jazz-world was getting funky, Gordon was making classic bop albums like 1972's Tangerine with Thad Jones, Freddie Hubbard, and Hank Jones. Some of the Prestige albums were recorded during visits back to North America while he was still living in Europe. Others were made in Europe, including live sets from the Montreux Jazz Festival. The American recordings included The Chase, a tenor battle with Gene Ammons cut in Chicago in 1970.

Homecoming[link]

at The Village Vanguard in 1977

Gordon finally returned to the United States for good in 1976. He appeared at the Village Vanguard, NY, for a gig that was dubbed as his 'homecoming;' and was recorded and released under that title. He noted "There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move"^{[citation needed]}.

After this appearance, Gordon recorded several more albums that proved he was as good if not better than before his years in Europe, and he finally gained appreciation as one of the great jazz tenors. The increased attention that he received because of Columbia Records promotions has been seen as a turning point in jazz because they focused on acoustic jazz rather than the commercial cross-over styles which had been heavily promoted during the first part of the 1970s.

Gordon made several notable film appearances. The first occurred, oddly enough, while he was in prison for possession of heroin. He portrayed an inmate playing in the prison band in Unchained, though the soundtrack was later overdubbed. In 1986, Gordon starred in the movie Round Midnight as 'Dale Turner', an expatriate jazz musician much like himself; the role might even be a thinly veiled biography of him, though Lester Young and Bud Powell were its main inspirations. Gordon received a nomination for Academy Award for Best Actor for his portrayal. In addition, he had a non-speaking role in the film Awakenings, which was released after his death. Between these two roles, Gordon made a guest appearance on the Michael Mann series Crime Story.

Gordon died of kidney failure in Philadelphia, PA on April 25, 1990, at age 67. He was voted musician of the year by Down Beat magazine in 1978 and 1980, and in the latter year was inducted into Down Beat's Jazz Hall of Fame.

Family[link]

Gordon's maternal grandfather was Captain Edward L. Baker, one of the five Medal of Honor winners (9th Cav.) in the Spanish-American War and served in the 9th and 10th Cavalries - in the group known as the Buffalo Soldiers.

Gordon's father, Dr. Frank Gordon, M.D., was one of the first prominent African-American physicians and a graduate of Howard University.

Dexter Gordon had a total of six children, from the oldest to the youngest: Robin Gordon (Los Angeles, CA), James Canales Gordon (Oakland, CA), Deidre (Dee Dee) Gordon (Los Angeles, CA), Mikael Gordon-Solfors (Stockholm, Sweden), Morten Gordon (Copenhagen, Denmark) and Benjamin Dexter Gordon (Copenhagen, Denmark), and five grandchildren, Raina Moore (Brooklyn, NY), Jared Johnson (Los Angeles, CA), and Matthew Johnson (Los Angeles, CA) Maya Canales (Oakland, CA), Jared Canales (Oakland, CA)

When he lived in Denmark, he became friends with the family of the future Metallica drummer Lars Ulrich, and subsequently became Lars' godfather.^[4]

Gordon is also survived by his widow and former manager-producer Maxine Gordon.

Discography[link]

• Dexter Rides Again (1945)
• The Hunt w Wardell Gray (1947)
• The Chase w Wardell Gray (1947)
• The Duel w Teddy Edwards (1947)
• Daddy Plays the Horn (1955)
• Dexter Blows Hot and Cool (1955)
• The Resurgence of Dexter Gordon (Riverside, 1960)
• Doin' Allright (1961), Blue Note
• Dexter Calling... (1961), Blue Note
• Go! (1962), Blue Note
• A Swingin' Affair (1962), Blue Note
• Our Man in Paris (Paris 1963), Blue Note - w Bud Powell
• One Flight Up (Paris, 1964) - Blue Note
• King Neptune (1964)
• Clubhouse (1965)
• Gettin' Around (New York, 1965)
• The Squirrel: Live at Montmartre (1967)
• Take The "A" Train (1967)
• Tower of Power (1969) - w James Moody
• More Power (1969)
• The Panther (1970) w Tommy Flanagan and Alan Dawson. Prestige Records
• The Chase (1970) w Gene Ammons Prestige
• The Jumpin' Blues (1970) w Wynton Kelly
• Tangerine (1972) hard bop with Freddie Hubbard and others - Prestige
• "Ca'Purange" (1972) with Thad Jones, Hank Jones, Stanley Clarke and Louis Hayes
• "Generation" (1972) with Freddie Hubbard, Cedar Walton and others - Prestige
• The Apartment (1974) - SteepleChase
• Something Different (1975), SteepleChase
• Bouncin' with Dex (1975), SteepleChase
• Homecoming: Live at the Village Vanguard (1976)
• True Blue w/ Al Cohn (1976; Xanadu Records)
• Silver Blue w/ Al Cohn (1976; Xanadu Records)
• Biting The Apple (1976) - SteepleChase
• Sophisticated Giant (1977) with 11-piece big-band including Woody Shaw, Slide Hampton, Bobby Hutcherson - Columbia Records
• Manhattan Symphonie (1978), Columbia Records—with Rufus Reid - bass, Eddie Gladden - percussion, and George Cables - keyboard
• Gotham City (1980), Columbia Records
• American Classic [featuring: Grover Washington Jr. and Shirley Scott] (1982) Elektra Entertainment
• Round Midnight (1986), Columbia Records
• The Other Side of Round Midnight (1986) Blue Note Records
• Live at Carnegie Hall (1998), Columbia Records – Recorded in 1978
• The Rainbow People with Benny Bailey (2002), Steeplechase Records - Released in 2002

References[link]

External links[link]

Biography portal

Wikimedia Commons has media related to: Dexter Gordon

• Official website
• Sophisticated Giant: The Dexter Gordon Discography
• Dexter Gordon at Allmusic
• Dexter Gordon at the Internet Movie Database
• Dexter Gordon Multimedia Directory
• Dexter Gordon: 12 Essential Tracks by Eric Novod (www.jazz.com)
• Dexter Gordon at the Notable Names Database
• "Dexter Gordon". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6946855. Retrieved August 30, 2010. 

Lars Gullin 1964.

Lars Gunnar Victor Gullin (4 May 1928, Sanda, Gotland – 17 May 1976, Vissefjärda) was a Swedish jazz baritone saxophone player, occasional pianist and composer closest in playing style to United States Cool school players, with a full tone, but also a lightness uncommon with baritone saxophonists and an influence from Swedish folk music, which helps make his music unique.

Career[link]

Lars Gullin was a child prodigy on the accordion. At age thirteen, he played clarinet in a military band and later learned the alto saxophone, but after moving to Stockholm in 1947 became a professional musician as a pianist. He planned on a classical career, studying privately with classical pianist Sven Brandel. Although he actually filled the baritone chair in Seymour Österwall’s band in 1949 by chance, it was enough for him to decide that it was an instrument with possibilities, influenced too by hearing the United States baritone saxophonist Gerry Mulligan for the first time on the Birth of the Cool recordings. He worked as a member of Arne Domnérus’s septet (initially co-led by the trumpeter Rolf Ericson) for two years from 1951; the group mainly performed at Nalen, a leading dance spot in Stockholm.

At the same time he began to work with visiting American musicians, recording with James Moody, Zoot Sims and Clifford Brown. Most importantly, he first performed with Lee Konitz in 1951, an association which was to be repeated several times in future years.

He formed his own group in 1953, probably the only regular group he was to lead. It was short-lived, breaking up that November, after Gullin was responsible for causing the group to be involved in an automobile accident, although no one was seriously hurt. The next year, 1954, he won the best newcomer award in the United States Down Beat magazine, after two March 1953 Swedish sessions were leased and issued by Contemporary Records as a 10” LP. Later Gullin albums were leased to Atlantic Records in the United States. Gullin toured several European countries with Chet Baker in October 1955, in a group which was marred by tragedy; it was Gullin who found the body of the group's pianist Dick Twardzik, was found a victim of a heroin overdose, on October 21, in a Paris hotel room.

The remainder of Gullin’s career was blighted by his own narcotics problems, and sometimes he survived on artists’ grants from the Swedish government. He was restricted by illness for much of the later part of 1958. During most of 1959 Gullin was active in Italy, he played with Chet Baker again and with the jazz alto saxophonist (and businessman) Flavio Ambrosetti, making radio broadcasts with him in Lausanne, Switzerland.

In the 1960s he continued to work occasionally with leading American players, including Archie Shepp, with whom he recorded in 1963. One of his last major statements was his Aeros aromatic atomica suite recorded in 1973.

He died of a heart attack, brought on by his long-term addiction to methadone. A recording jointly led by Lee Konitz and pianist Lars Sjösten, Dedicated to Lee … Play the Music of Lars Gullin was recorded in 1983, and issued by Dragon Records, who have also issued ten CDs of Gullin’s recordings. The film Sven Klang's Combo (Sven Klangs kvintett, 1976) is a fictionalised version of the Swedish jazz scene of the 1950s, and the saxophonist Lars is indeed based on Gullin.

His son, Peter Gullin, (12 April 1959, Milan, Italy – 7 October 2003, Uppsala, Sweden) was also a baritone saxophonist and composer. The elder Gullin’s composition "Peter of April" was dedicated to him. The classic tune "Danny's Dream" was dedicated to his second son Danny Gullin and "Gabriella" to his daughter, Gabriella Gullin (born 1961), a composer and conductor.

External links[link]

• Dragon Records
• The Lars Gullin Society website