It was the first work in this CD
that really attracted my attention. Swedish composer Kurt Atterberg’s Barocco: Suite
no.5 for chamber orchestra op.23 is a splendid example of neo-classical music.
The piece was produced at the same time as he was writing incidental music for
a production of Shakespeare’s A Winter’s
Tale. It was a pattern. The music from several plays were later re-presented
as Suites. Would that other composers had done this: I think of Norman O’Neill
and Benjamin Britten. So much music has been lost because it was deemed
ephemeral.
Atterberg has written (in his
unpublished memoirs) that in his younger days he enjoyed the keyboard Sonatas
of Scarlatti and Corelli’s violin music. In fact, he often used the latter’s
music in his incidental music to Shakespeare’s plays. The Barocco Suite is pure
pastiche nodding to these composers (and others). It contains six short movements
with ‘historical’ titles: Entrata, Sarabande, Gavotta, Pastorale-Gagliardi,
Siciliana and Giga. Kurt Atterberg has created music that delights by being
ancient and modern at the same time. There are plenty of beautiful melodies, charming
harmonies and rhythmic delights with just a little ‘bite’ here and there.
The Sinfonia for strings is a
different kettle of fish. This work can be played by either a chamber orchestra
or a string quintet. It was composed in 1955. Rob Barnett has wisely noted that
when this piece was premiered, it would have been regarded as reactionary. It
seems that at this time, the composer began to feel that his music was no
longer being appreciated. However, according to the liner notes, the work was a
success and led to the composition of the Symphony no. 9 in 1957. Certainly, there is not a whiff of serialism
to be heard. Romanticism seems to be the order of the day. Expansive tunes and
rich harmonies are heard alongside passages that are occasionally a little
‘grittier.’ The work is cast in four movements with the slow movement being
third. It is a considerable work that lasts just over the half-hour. I guess
that if the listener likes Frank Bridge’s Suite for Strings or Michael
Tippett’s Concerto for string orchestra, they will love this work.
There is a story that somewhere,
somehow, in the heart-breakingly beautiful slow movement the composer has
embedded the phone number of an ‘opera lady’ after becoming infatuated with her
at a party given to celebrate the premiere of his opera The Storm. It is a lovely thought.
The main event on this CD is the
premiere recording of Atterberg’s Double Concerto for violin, cello and
orchestra, op.57 composed in 1960. According to the composer, it is the last
piece of his music worth performing. In fact, apart from a Suite based on music
from The Storm and a chamber version
of this present concerto, there does not seem
to be much else.
The liner notes suggest that the
genesis of the concerto was a Small Suite of Swedish Tunes composed in 1957.
The Concerto is presented as a single movement, with several sections or
episodes. The track listing presents this progress divided by bar number, which,
without the score, is a wee bit pointless. But I get the idea.
When I first listened to this
piece, I was underwhelmed. Yet on further reflection, I see that it is
deliberately understated and is created without dramatic gestures. It is an
‘old and experienced man’s wise reflections.’ Although, I hasten to add, 73
years of age is hardly old! The soloists, Amus Kerstin Andersson, violin and
Mats Levin, cello perform this intimate concerto with understanding and
enthusiasm.
The playing in these three pieces
is brilliant. The recorded sound, despite being nearly quarter of a century
old, is clear and vibrant in all the pieces, most especially the Sinfonia per
archi. The liner notes put all three works into context with copious quotations
from the composer’s unpublished memoirs. Surely, publication of this document
must be an important project for students of Swedish and Scandinavian music.
This is a splendid CD of music by
one of the great post-Romantic composers from Sweden It makes a valuable
contribution to the growing catalogue of his music currently available on CD or
download.
Track Listing:
Kurt ATTERBERG (1887-1974)
Barocco: Suite no.5 for chamber orchestra op.23 (1923)
Concerto for violin, cello and orchestra, op.57 (1960)
Sinfonia per archi, op.53 (1951-53; 1955)
Amus Kerstin Andersson (violin), Mats Levin (cello)
Örebro Chamber Orchestra/Thord Svedlund
Rec. Örebro Concert Hall, Sweden 8-9 June 1995
DANACORD DACOCD
836
2 comments:
Thank you for drawing my attention to this recording. I first heard the music of Atterberg over 50 years ago when a friend played me Beecham's recording of the sixth symphony - on 78s! I then trawled Henry Stave (remember that shop?) for every available LP (not many) of his music, and that of Stenhammer, Larsson and similar composers. I have loved his music ever since. All his symphonies are now on CD, and I urge anybody who still doesn't know them to remedy that as soon as possible.
Andrew
Where could I find Atterberg's unpublished memoirs, if at all?
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