Classical music and theater
Most 18th-century Danish composers were German immigrants called to the royal court, like Mogens Pedersøn (c. 1580-1623) or organist Dietrich Buxtehude (1637-1707), a prolific composer who, during his stay in Elsinore between 1660 and 1668, created and hosted the "evening concerts" organized in the town until 1810. At the beginning of the 19th century, this was also the case for Christoph Weyse (1774-1842), famous for his romances, and Friedrich Kuhlau (1786-1832), known for his numerous flute pieces and for his theater music - includingElvehøj , considered the first Danish play.
TheDanish Golden Age saw the creation of the Music Society (1836) - an institution dedicated to promoting Danish music - and the Royal Danish Conservatory of Music, founded a few years later in collaboration with composer Johann Hartmann (1805-1900). Hans Cristian Lumbye (1810-1874), nicknamed the "Strauss of the North", was appointed conductor of the Tivoli on its inauguration (1843), and dedicated himself to disseminating the music of his colleagues. Then head of the conservatory, Niels Gade (1817-1890) helped train talented young musicians such as Victor Bendix and Thomas Laub (1852-1927). They developed a style sometimes described as "nationalist", rejecting German post-Romantic influence and drawing inspiration from Nordic tradition. This musical nationalism earned the brilliant composer Rued Langgaard (1893-1952) widespread misunderstanding, despite the innovative nature of his music. Another of Niels Gade's illustrious pupils from the Conservatory was Carl Nielsen, who became an icon of Danish classical music, composing six symphonies and several operas, including Maskarade (1906), considered to be Denmark's national opera.
Thenext generation includes Vagn Holmboe (1909-1996), if only for his influence on contemporary musicians. This generation broke away from modern Nordic aesthetics, which limited the scope of composition, and returned to Central Europe. Among the leading artists were Per Nørgård, creator of "organic serialism", Ib Nørholm and Pelle Gudmundsen-Holmgreen. After the 1960s, these avant-gardists provoked a brutal reaction with a "new simplicity". The country's current musical flourishing (some even speak of a second Golden Age) was facilitated by the Music Act passed in 1976, designed to help composers, subsidize symphony orchestras, theaters producing chamber operas, soloists and so on. It was within this framework that the magnificent National Opera was built, 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 works in the world. In 1994, the creation in Copenhagen of a prodigiously successful "alternative opera" also contributed to the rise of Danish music, marked in particular by the demanding works of Bert Sørensen (b. 1958), Karsten Fundal (b. 1966) or Hans Abrahamsen (b. 1952), or more recently, the composer and pianist Frederik Magle, whose very free and mixed approach reflects the practice of the young Danish generation.
The Danes' love of classical music is reflected in the architecture of theCopenhagen Opera House. A jewel by Henning Larsen, it towers over the water on its small islet, exuding sobriety and elegance thanks to its lines and materials. With a beautiful hall that can accommodate over 1,500 music lovers, it is home to the Royal Danish Orchestra (conducted since 2021 by Italian conductor Paolo Carignani). Another of the country's prestigious ensembles is the Danish National Symphony Orchestra, founded in 1925. Conducted by Italian Fabio Luisi (formerly at the Metropolitan Opera), it is the orchestra behind a number of works by Niels Viggo Bentzon, Marius Constant(Cyrano de Bergerac, 1988), Peter Maxwell Davies(Salomé, 1977), Pelle Gudmundsen-Holmgreen(SymphonyNo. 1, 1968), Anders Hillborg(Four Transitory Sorlds, 2009) and plays at the Copenhagen Symphony Hall built by Jean Nouvel. Called Koncerthuset in Danish, the venue is included in the vast architectural complex of DR-Byen, the headquarters of the Danish Société́ de la radiodiffusion nationale. The velvety orange main auditorium boasts 1,800 seats; removable panels modulate the acoustics of a space spread over several levels. A must for classical music fans.
A word about Danish theater
Little-known in France (and rarely, if ever, performed), Karl Adolph Gjellerup is one of the country's great authors, a poet, playwright and novelist who won the Nobel Prize for Literature in 1917. The Danish dramatist Adam Gottlob Oehlenschläger (1779-1850), a precursor of the Danish poetic revival, is the author of the national anthem and the text of Carl Nielsen'sAladdin (1805), regularly staged at the New Royal Theatre (known as Skuespilhuset or The Playhouse). Designed by Boje Lundgaard and Lene Trandberg, it was inaugurated in 2008. It comprises three beautiful halls and a large hall overlooking the water. The Théâtre Royal(Kongelige Teater) is home to the resident troupe of the Royal Danish Ballet.
Jazz
Jazz arrived in Copenhagen in 1923, when musician Valdemar Eiberg recorded the first two songs of the genre, "I've Got a Cross-Eyed Papa" and "In Bluebird Land". The Danes were soon hooked. Classical musician Erik Tuxen (1902-1957) founded a local orchestra. A number of musicians made a name for themselves, embodying the first golden age of Danish jazz, such as the famous pianists Leo Mathisen (1906-1969) and Kjed Bonfils (1918-1984). Reduced to theunderground during the German occupation, jazz made a comeback with 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 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 comprising Kenny Drew, bassist Niels-Henning Ørsted-Petersen (known as NHØP) and drummer Axel Ried also made a name for itself. Free jazz was represented by John Tchicai, an immense avant-gardist - as well as composer and trumpeter Palle Mikkelborg (b. 1941).
Having faded into the background with the arrival 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 the good old New Orleans style survived thanks to 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 the more pop and eccentric Jeppe Zeeberg.
While this jazz soul can be found everywhere in Copenhagen, nothing beats a visit to the famous Jazzhus Montmartre for a taste of its prestigious past. Still going strong today, this club is undoubtedly the city's most legendary. 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 at a new address, and once again, renowned musicians are flocking here. Another Copenhagen jazz mecca is the Copenhagen Jazz House. For lovers of live jams and improvised jazz, La Fontaine is the place to be. Or the Palæ Bar, where you'll find some great bands in a great atmosphere. And don't miss the Copenhagen Jazz Festival. A major international jazz event, every year in July the streets, cafés and clubs of Copenhagen come alive. On the program: over a thousand concerts over ten days - most of them free - with many Danish jazzmen and great guests from all over the world.
Current music
Unlike its Swedish neighbor, Denmark has not produced any lasting international stars in either rock or pop, despite a very active current scene (with MØ or Oh Land as figureheads). Among the pioneers, the psychedelic folk-rock band Steppeulvene (The Coyotes), who appeared in 1967 with their album Hip, is clearly the first icon of Danish pop culture. Also worth mentioning is Savage Rose with singer Annisette Hansen, a band formed in 1958 and still active today. In the 1970s, it was Gasolin', a rock band from the Christianshavn district, who made the headlines, and their album Midt om Natten (1983) still holds the best-selling record. The era also saw the emergence of singer-songwriters, the best-known of whom were Sebastian (b. 1949) and Anne Linet (b. 1953).
Subsequently, the Pretty Maids group, formed in 1981, enjoyed a few international successes, but nothing compared to Aqua and the worldwide success of its "Barbie Girl" in 1998: over 28 million records sold worldwide before the group disappeared in 2001, swept away by the end of boy bands and bubblegum dance. Today, Danish pop, often very noble 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 (no less), or the hit machine that is MØ.
As the city is very much into electronics, let's also mention a pure product of Copenhagen, the Posh Isolation label, a very chic house of electro, new wave and avant-garde. This label is linked to the great figure of the localunderground, Elias Bender Rønnenfelt, considered the Danish Nick Cave and leader of the punk rock band Iceage. Artists to listen to with your eyes closed. Finally, let's not forget the indie synth-pop of duo First Hate, whose track "Girls in the Club" has had fans dancing all the way to Paris, where they regularly take over small venues.
Scenes to know
Copenhagen is a city for music lovers of all kinds. There are numerous addresses to suit a wide range of tastes. Among them, the Børneteater is one to watch out for. The smallest venue in Christiania, but also the most underground, it programs excellent hip-hop, rock and electro concerts. The same goes for Spillestedet Stengade in the trendy Nørrebro district. On the more electronic side, there are two very popular addresses: the designer Vega, housed in a former trade union headquarters, and Rust, dedicated to clubaholics, still one of the best clubs in the district (Nørrebro), if not in the city.
Finally, the summer season is naturally riddled with festivals, including Roskilde, considered the Woodstock of Northern Europe, with its XXL line-up (including Iggy Pop, Rita Mitsouko, David Bowie and Daft Punk), Distortion Festival in June, a popular and highly enjoyable electronic event held in the streets of the capital, and Strøm, renowned for its cutting-edge programming.
