An Energetic Analysis of the First Movement of Nielsen’s Sinfonia Espansiva

The Espansiva as an expression of force, space, accumulation and acceleration

Abstract

The first movement of Nielsen’s Third Symphony, the Espansiva, has over the years given rise to a wide range of analyses as it at one and the same time seems to follow and yet diverge from standard sonata form. The main question is: if this is a sonata form, where do we place the recapitulation?

I attempt to answer this question through an ‘energetic’ analysis based on the theories of Hans Mersmann. The core ideas of Mersmann are that everything in its essence is energy or force. What Mersmann does is to categorise different types of energy and setting them up in polar pairs, such as ‘expansive-centripetal’. The thought is not unfamiliar to Nielsen, as the ideas of the energetic movement in many ways coincide with the so-called ‘vitalistic’ trend, which Michael Fjeldsøe has shown to have great significance for Nielsen. Fjeldsøe demonstrates this through analysis of Espansiva.

I show how the energetic approach can clarify Fjeldsøe’s analysis. The energetic approach demonstrates also why spotting the recapitulation point has led to disagreements between theorists; and it shows a certain energetic technique that penetrates the foreground structure of the movement, namely the phenomena of ‘damming up’ and ‘letting loose’: in Mersmann’s terms: ‘accumulation’ and ‘acceleration’.

A Mersmannian reading of the Allegro espansivo reveals an energetically hierarchical music that underneath an overall arch of ‘expansive’, ‘centripetal’ energy reveals smaller arches of ‘force’ and ‘space’ which again characterise the main energy levels of a foreground unfolding through waves of ‘accumulation’ and ‘acceleration’.