Traditional music and dance
Far from being confined to folklore for tourists, Danish musical and choreographic traditions have retained their authentic aspect and significance. The Danish musical tradition dates back to the 17th century, when it was common for towns to have one or more municipal musicians - the only artists authorized to play for pay in a given territory - officiating at balls, festivals or processions. As these musicians considered certain instruments impure - drums, bagpipes or hurdy-gurdies - the period was conducive to the development of the violin.
The country's great choreographic tradition is the "chain dance". Various documents and testimonials record the existence and practice of these ceremonial dances, accompanied by bagpipes, drums and song, throughout the Middle Ages and up to the 19thcentury .
However, from around the 16thcentury onwards, medieval chain dances were replaced by couple dances. The oldest dances recorded in Denmark are the pols, a Polish dance variant generally performed in two parts, a slow march and a faster second part. In the 19th century, as in many other European countries, the waltz became established alongside the hopsa, a lively short couple's dance, the sveitrit or the schottish (similar to the polka, but slower).
Also worth mentioning is the songbook Højskolesangbogen, one of the best-selling books in Denmark, containing a collection of major songs from Danish heritage. The first edition dates from 1888, and Carl Nielsen and N.F.S Grundtvig are the most represented authors.
Another shining example of how well local traditions have been preserved are the Feringian dances(foryskur dansur). Direct descendants of the farandoles of the Middle Ages, these dances soon went out of fashion and were banned on European soil. But not in the Faroe Islands, probably one of the few places in the world where these steps are still practiced today. In this dance, the human chain forms and moves to the rhythm of traditional songs with endless verses, sung a cappella. A must-see during summer festivals, at Féringiennes evenings organized by tourist offices.
Also worth noting, for curious ears, is the group Enekk, a major figure on the Feringian music scene, who have endeavored to reinvent Feringian folklore in a more contemporary folk-rock style.
Classical music
From the 16th century onwards, Danish music owed a great deal to the monarchy, a great patron of the national arts. Christian IV (1577-1648), for example, invested considerable sums in training local musicians and importing great foreign masters. This is how Mogens Pedersøn (1583-1623), trained in Venice with Giovanni Gabrieli, became one of the most important Danish composers of his time, notably through his work Pratum spirituale. At the time, the country's music was particularly influenced by that of its German neighbor, as in the work of Dietrich Buxtehude (1637-1707), a prolific Danish composer and skilled organist, a proud representative of the Baroque period. His organ works occupy a central place in the instrument's standard repertoire, and his style inspired the work of famous composers, including Johann Sebastian Bach. Although little known today, Buxtehude was long considered one of the most important composers of the 17th century.
The German-Danish connection continued in the 19th century with Friedrich Kuhlau (1786-1832), a Danish pianist and composer; but, born in Germany, he fled to Denmark in 1810, fleeing the French annexation of Hamburg. Known for his numerous pieces for piano and flute, he is best remembered for his theater music, includingElvehøj, the first true work of national Romanticism and the first Danish national play.
The Danish Golden Age is, as its name suggests, an exceptionally prolific and creative period spanning the first half of the 19th century. This was the period when the Music Society (1836), an institution dedicated to promoting Danish music, and the Royal Danish Conservatory were founded by the composer Johann Hartmann (1805-1900), the initiator of this "Golden Age". Through his works Baldersdød(Baldur's Death), inspired by Norse mythology, and Fiskerne(The Fishermen), about the lives of contemporary fishermen and based on melodies from Scandinavian folklore, he laid the foundations for a great romantic nationalist movement. This movement was co-initiated by Niels W. Gade (1817-1890), then head of the Conservatory. He trained talented young musicians such as Thomas Laub (1852-1927), who also developed a "nationalist" style, marked by the rejection of German post-Romantic influence and inspired by the Nordic tradition.
But Niels Gade's most illustrious pupil, trained at the Conservatoire, was of course the great Carl Nielsen (1865-1931). A veritable icon of Danish classical music, this great violinist and composer of operas and symphonies is one of the few Danish musicians whose talent has transcended national borders. He was born and raised in the small village of Funen. Showing an early predisposition for music, he played with folk musicians as a child and later became a bugler in the army. In 1884, he entered the Copenhagen Conservatory of Music, first as a student, before replacing Gade as head of the institution around 1900. Author of six symphonies and several operas, including Maskarade (1906) - in three acts and based on a play by the great comic playwright Ludvig Holberg, considered to be the Danish national opera - Nielsen has been frequently performed since his lifetime. We particularly recommend the various recordings of Nielsen's Symphonies conducted by Leonard Bernstein and the New York Philharmonic. Simply remarkable.
Rued Langgaard (1893-1952) is the last, lesser-known name in musical nationalism. Despite the sometimes innovative nature of his music, he was generally misunderstood in his day. Fully recognized years after his death, this prolific composer left behind a repertoire of over 400 works reminiscent of both Anton Bruckner and Richard Strauss.
In the next generation, it's important to mention Vagn Holmboe (1909-1996), if only for his influence on contemporary musicians. They broke away from the modern Nordic aesthetic, which limited the scope of composition, and returned to Central Europe. Among the greats of this new wave, Per Nørgård, creator of "organic serialism", remains the most famous, his works regularly performed by prestigious ensembles such as the New York Philharmonic.
After the 1960s, the avant-garde ferment of the first half of the 20th century gave rise to a brutal movement of rupture and withdrawal, advocating a "new simplicity". The country's current musical flourishing (sometimes described as a "second golden age") was facilitated by a law passed in 1976 aimed at helping composers and subsidizing symphony orchestras, theaters producing chamber operas and so on. It was within this framework that the magnificent Copenhagen National Opera was built, and inaugurated in 2005 with a work by a Danish composer, Poul Ruders. Highly appreciated in Denmark, Ruders' symphonies and chamber music are undoubtedly the most widely performed contemporary Danish works. In 1994, the premiere in Copenhagen of a prodigiously successful "alternative opera" also contributed to the rise of Danish music, particularly represented by the demanding works of composers such as Bert Sørensen (b. 1958), Karsten Fundal (b. 1966) and Hans Abrahamsen (b. 1952). Since the death of Niels Viggo Bentzon (1919-2000), a hyper-prolific pianist and pillar of modern classical music, the most prominent Danish composer of the current period is undoubtedly pianist Frederik Magle, whose very free and mixed approach embodies the scholarly practice of the younger Danish generation.
And let's not forget to mention the Aldubáran Chamber Orchestra, the only professional ensemble of its kind in the Faroes, which performs classical music from the traditional repertoire, or commissions compositions from Faroese artists. The big name in classical music on the islands.
One of Denmark's top music venues is the fabulous Copenhagen Opera House. A jewel by Henning Larsen, it dominates the water on its small islet, exuding a certain serenity and elegance. With a beautiful auditorium that can accommodate over 1,500 music lovers, it is home to the Royal Danish Orchestra, conducted by Italian conductor Paolo Carignani. Although its reputation is excellent, it is no match for the country's most prestigious ensemble, the Danish National Symphony Orchestra, also conducted by an Italian: Fabio Luisi (formerly of the Metropolitan Opera). It's to this ensemble that anyone seeking the very best interpretations of Danish composers such as Niels Gade, Rued Langgaard or Per Nørgård should turn. The orchestra also performs at the Koncerthuset, Copenhagen's symphony hall designed by Jean Nouvel and part of the vast architectural complex of the DR-Byen, the headquarters of the Danish National Broadcasting Corporation. The velvety orange main auditorium has 1,800 seats, and removable panels modulate the acoustics of a truly extraordinary multi-level space. A must for classical music lovers.
Jazz
As jazz fans know only too well, the genre is a real Danish delight, and many excellent musicians come from here. Jazz emerged in Denmark in the 1920s with the first hits I've Got a Cross-Eyed Papa and In Bluebird Land, composed by Danish musician Valdemar Eiberg. The genre quickly caught on, and orchestras were formed, such as that of classical musician Erik Tuxen (1902-1957), and a first golden age of Danish jazz began to take shape in the hands of famous pianists Leo Mathisen (1906-1969) and Kjed Bonfils (1918-1984). Driven underground during the German occupation, it rose from the ashes at the end of the war, driven to its heights by bebop exponent Max Brüel (1927-1995) and bassist Erik Moseholm (b. 1930). But it was the effervescence of the early 1960s, linked to the creation of Jazzhus Montmartre, that brought the Danish capital into the international jazz gotha. The ambience and aura of the venue (as well as the atmosphere of the capital) attracted numerous American musicians such as Stan Getz, Dexter Gordon and Ben Webster. A Danish band made up of Kenny Drew, bassist Niels-Henning Ørsted-Pedersen (aka "NHØP", who was Oscar Peterson's regular bassist) and drummer Alex Riel built up a solid reputation. Free jazz is represented by John Tchicai (1936-2012), an immense avant-gardist, and composer and trumpeter Palle Mikkelborg (b. 1941). The world often remembers the latter as Miles Davis' collaborator on Aura in 1989.
Faded into the background after the eruption of rock and pop, Danish jazz survived thanks to government subsidies and a core group of enthusiasts. The veterans were still there, and new names appeared: tenor saxophonist Bent Jædig (b. 1935) and his young disciples Hans Ulrik (b. 1966) and Jacob Dinesen (b. 1968). NHØP studied with several outstanding double bassists, including Mads Vinding (b. 1948) and Thomas Ovesen (b. 1965). Guitarist Pierre Dørge (b. 1946) made a name for himself with his New Jungle Orchestra, as did violinist Kristian Jørgensen (b. 1967), while good old New Orleans swung with trombonist Ole "Fessor" Lindgren (b. 1938). Today, the Danish scene is as vibrant as ever, led by a particularly dynamic young guard. These include Paris-based Dane guitarist Hasse Poulsen, elegant pianist Magnus Hjorth and, on a more pop note, the eccentric Jeppe Zeeberg and the dreamy band I Just Came From the Moon. And let's not forget to mention Eivør Pálsdóttir, a great name in Faroese music, who has excelled in jazz, traditional music, pop and rock. While she favors English and Danish, it's not unusual for her to sing in her native Faroese.
If this jazz soul is everywhere in Copenhagen, nothing beats a visit to the famous Jazzhus Montmartre for a taste of its prestigious past. Still going strong, you couldn't find a more legendary club in town. Since its inception in 1959, it has played host to the likes of Dexter Gordon, Stan Getz and Kenny Drew. After being closed in 1995, the club reopened its doors at a new address, and once again, renowned musicians are flocking here. But the big European event for jazz lovers is, of course, the Copenhagen Jazz Festival. Every year in July, the event brings the streets, cafés and clubs of Copenhagen to life with over a thousand concerts over ten days - most of them free. Many of the performers are Danish jazzmen, and there are also great guests from all over the world.
And music lovers are not left out on the Faroe Islands with the Tórshavn Jazz Festival, held every August, a small event of great quality.
Current music
Unlike its Swedish neighbor, Denmark didn't export any international rock or pop stars in the second half of the 20th century. Denmark's first international hit came in 1998 with Aqua's Barbie Girl. After selling over 28 million records worldwide, the group disappeared in 2001, swept away by the end of boy bands and bubblegum dance.
Today, Danish pop, often very elegant and well produced, is particularly appreciated around the world. A scene ruled by women, where we come across the dark folk jewels of Agnes Obel, the electro-pop of Oh Land, of which Elton John is a fan, or the hit machine that is MØ. Denmark has a particular penchant for electronica; the figurehead of this scene is the very new wave Trentemøller, above all the most avant-garde. In Copenhagen, a whole constellation of very interesting artists and groups (Croatian Amor, Vanessa Amara, Lust for Youth, Puce Mary, Loke Rahbek) gravitate around the Posh Isolation label, a very chic house of experimental electro. Less dark but just as arty is the excellent Sofie Birch. Another Copenhagen figure is Elias Bender Rønnenfelt, an outspoken artist with a string of rock and post-punk projects, most famously the band Iceage. Breaking away from the general dark mood of local creation, let's mention Efterklang and its progressive jazz-rock, Erika de Casier and her very 90's R&B or Main Phase, Adam Emil Schierbeck's UK garage project, three names to listen to and remember. A little less vibrant but not mute either, contemporary Faroese creation is very well represented by Gestir, melancholy, soaring and dreamy indie rock not too far from Radiohead or Sigur Rós, sung in Faroese, or Týr, a progressive folk-metal band, steeped in traditional elements.
Young, artsy and dynamic, Copenhagen is a capital made for music lovers, and especially lovers of all kinds of music. There are venues to suit a wide range of tastes, including Spillestedet Stengade in the trendy Nørrebro district, popular with rock and alternative music fans, and the more electronic Rust, a hangout for clubaholics. One of the best clubs in town. Another popular address is the designer Vega, housed in a former trade union headquarters.
Of course, the summer season is naturally riddled with festivals in the capital, starting with the highly enjoyable Distortion Festival in June, which takes place in the streets of the capital, or Strøm, renowned for its cutting-edge programming.
In Odense's other major cities, you'll find Cafe Kræz, a trendy bar that regularly plays host to numerous Danish and international artists, and Teater Momentum, a theater originally dedicated to contemporary theater, but which also offers a fine musical program. In Aarhus, one of the locals' favorite venues is Musikhuset, a beautiful venue with a huge 2,000m2 glass facade and a wide-ranging program, as well as Train, one of Denmark's biggest nightclubs, renowned for its many rock, jazz and pop concerts and DJ performances.
Roskilde is also home to the country's biggest festival, the aptly named Roskilde Festival, considered the "Woodstock of Northern Europe" and a regular fixture on the XXL bill, featuring Iggy Pop, Rita Mitsouko, David Bowie and Daft Punk.. Less well known, but very enjoyable, is Smukfest, set in the heart of a poplar forest in Skanderborg since 1980, the perfect setting for programming a mix of all styles (rock, pop, folk, hip-hop, electro...).
