ATTERBERG: Symphony
No. 1 in B minor, Op. 3. Symphony No. 4 in G minor,
Op. 14
PETERSON-BERGER:
Symphony
No. 3, in F minor ("Lapland").
Earina
Suite. Chorale and Fugue from The Doomsday Prophets Peterson-Berger's is not negligible -- he was too proficient for that -- but
it was old-fashioned for his own time, and certainly so in ours. If it's nature
pictures and paeans to Sweden you want, then stay with the music of his slightly
younger contemporary, Hugo Alfvén, who wrote a helluva lot more (and more
characterfully). P-B's "Lapland" Symphony of 1913-15 ("Same Ätnam" in Swedish) has pleasant moments in the four movements
that last 42 minutes, which include a piano among the instruments -- hardly
common for the time. But the 1917 suite Earina (from the Greek earinos,
meaning spring-like) is more engaging, the opening section especially that
suggests sea swells, although the music is a paean to the warm climate of
Mediterranean lands. The appended Chorale and Fugue from a comic opera composed
between 1912 and 1917 (P-B's tribute to Die Meistersinger) leaves no
lasting impression beyond a dutiful nod to baroque rules. Michail Jurowski, a Russian born and trained conductor, gets spirited and
disciplined performances from one of Sweden's seven professional orchestras,
although not quite on the level of Gothenberg or Malmo heard on discs that have
circulated stateside. The recording, however, is agreeably spacious without
gimmickry, and the packaging first-class. Atterberg, who was born 20 years after
Peterson-Berger (1887-1974), ranks with Alfvén and Hilding Rosenberg as a
leading Swedish composer despite his
protean career as a conductor, critic and electrical engineer in the Stockholm
Patent Office. (His name, by the way, is pronounced "Ah-ter-berry").
He came on strong with Symphony No. 1 at age 23, then became a composition
student at the Conservatory at Gothenberg! He had a particular talent for
symphonic scherzos, yet also a lyrical vein that yielded memorable music in the
slow movements on this CPO disc. He was a born rhythmician, and a
composer of such sophistication that his Sixth Symphony won the first world
prize -- no less than $10,000, a munificent sum worth surely 15 times that
amount today -- offered by the Columbia Gramophone Company of England for music
commemorating the 1928 centennial of Schubert's death. Glazunov and Nielsen were
two of the judges on a stellar panel that made the final determination, although
a year later Atterberg confessed that the music was a send-up, designed to touch
every national style represented on the panel. Sir Thomas Beecham recorded it
for English Columbia, and I wish we could hear it today. Of all the Swedish composers of his generation, I have found Atterberg the
most stimulating -- a musician who lacked only the gift of indelible melody. But
everything else is there, and these enlivening performance by a Finnish
conductor (yet another of Jorma Panula's gifted pupils at the Helsinki Academy)
plus one of Germany's best regional radio orchestras do him honor as well as
justice. Again, CPO's sound is hall-ambient and wonderfully lucid,
even in loud tutti passages. In sum, recommended for anyone sick to death of
Beethoven and Brahms cycles in our deplorably dumbed-down time. |