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The present time will be looked upon by our posterity as a golden age in Danish music. Not only do we see a generation of young talents more voluptuous than perhaps ever before, but we also notice new and surprising tendencies in the musical output. Simon Steen-Andersen manages to create something completely new and successful every time. Ouvertures is a significant example. And the pipeline is veritably bursting of young artists who embrace concert music, but also performance, interactive installation and electronic music of all kinds in their production. See works by Rune Glerup, Christian Winther Christensen, Li-Ying Wu, Nicolai Worsaae, Lars Kynde, Martin Stig Andersen and many, many others.
Late 20th Century
The post-WW2 era is characterized by a certain reluctance to let in the new tendencies that came from the South. Darmstadt. Cologne. Some young composers, like Pelle Gudmundsen-Holmgreen, Ib Nørholm and Per Nørgård, were experimenting, however, with new formats and techniques and were keeping up with recent developments. In the case of Pelle Gudmundsen-Holmgreen, for instance, this lead to a very personal and highly original musical attitude, later named New Simplicity (see e.g. the work Repriser from 1965). The simplistic style developed throughout the 1970s among many composers, but as the decades moved forward, new generations of composers brought new ideas and became perhaps more curious of what happened outside. Ivar Frounberg introduces stochastics in music, Svend Nielsen brings out a new form of lyricism… The catalogue is full of surprises and treasures from that period.
Early 20th Century
During the first half of the 20th century, especially from around the time of WW1, new music was emerging in Europe. Danish music life, however, seemed to have built a mental wall around itself, celebrating it’s great composer, Carl Nielsen who went in a completely different direction with his music. The dominating position in Danish music life which Nielsen, and especially his influential supporters, enjoyed during that period made it difficult for composers with other musical preference to have their voices heard. Most significantly, Rued Langgaard suffered from this, devoting himself to a Late Romantic, German oriented (but sometimes also prophetically modern) style in a large number of fantastic works; and was only recognized after his death in 1952.
Pre 19th Century and 19th Century
Edition·S was originally founded in 1871, when Brahms, Wagner, Liszt, Grieg and Tchaikovsky were dominating the European classical music scene, and Niels W. Gade was the local superstar whose works were praised throughout the continent. Gade wrote his 8th Symphony that year, and the first series of publications of the young publishing house comprised works by F. Kuhlau, J.P.E. Hartmann (one of Gade’s celebrated contemporaries) and several others. There are a number of Classical and Romantic gems still to be found in the catalogue – and occasionally we put out selected works from that era as e.g. the songs with piano by C.E.F. Weyse which appeared in a new, critical two-volume edition as late as 2007.