“Let me please introduce myself. I am a gentleman of wealth and taste. And I laid traps for troubadours….” So goes the Rolling Stones song, Sympathy for the Devil. Danish audiences never quite knew what to make of Rued Langgaard, at once romantic composer and obsessive throwback to apocalyptic Christianity. His Sixth Symphony, officially termed “The Heaven-Rending,” later came to be known as “The Antichrist.” The Danes, hearing the struggle in his music and perhaps a bit fundamentalist at the time, were never sure on which side Langgaard stood! Langgaard was passionately convinced Satan operated in modern life as power behind the scenes, devilishly pulling the strings of music, culture and government—and was ultimately responsible for the First World War. A special culprit and convert to this evil, in Langgaard’s eyes, was Carl Nielsen, the celebrated Danish composer of his day, whose modernism and humanism Langgaard alternately copied and excoriated. These views and other personal eccentricities, plus music which over time gradually became episodic and minimalistic, ensured Langgaard would remain unpopular in his home country.