Wilhelm Berger - Symphony No.1 Op.71

[Reverie]

The third movement of Berger's first symphony (Langsam) has the feel of a funeral procession which at times borders on the macabre; rendolent of Mahler perhaps? There are moments of great passion, the last of which subsides to a sweet, folorn phrase on the oboe fading into the final dying bars.

That's my attempt at a short programme note over! Here's the link:

https://www.youtube.com/watch?v=EwddihmQQqQ

[Alan Howe]

Thanks for doing this. I'll be giving it my fullest attention...

[tpaloj]

You're doing invaluable work Reverie! Thank you once more.

[Mark Thomas]

Oh, wonderful! I was hoping that you'd carry on and complete your work on this fine symphony.

[Alan Howe]

This is, I am convinced, great music. For one thing, it clearly fits into the great Austro-German symphonic tradition, but it doesn't really sound like anyone else - in other words Berger is no epigone. What pathos, what anguish there is in this relatively brief movement.

This is clearly going to be in total a (roughly) 45-minute work. The first three movements come in at just over 33 minutes.

Thank you!

[Reverie]

Here is the final movement.

It begins joyfully with a fugal exposition. Again it puts me in mind of Mahler. The wind section have prominence in a military type march.

After the erratic / elfin-like development the movement ends triumphantly.


I make no apologies for repeating my claim that Wilhelm is one of the most original, accomplished unsung composers.

The link:

https://www.youtube.com/watch?v=nLm7PaXC9VE

[Alan Howe]

Great - thanks. A 47-minute symphony, then.

I really don't hear much Mahler in Berger, however. If there are likenesses, they are purely coincidental, in my view. What Berger entirely lacks is the sarcasm that one finds in Mahler; his is much more straightforward sensibility. It's true that there are 'spooky', even martial episodes in this finale, but we don't have to attribute these to any Mahlerian influences. Spookiness, after all, is part of the very warp and woof of musical romanticism, from Weber onwards.

[tpaloj]

So now it's finally possible to listen to the full symphony from beginning to end. Thank you a lot for your hard work Reverie. I see you've already made a playlist of the full work, which is helpful to have.

https://www.youtube.com/playlist?list=PLimfvh-IS22wQtyRLau5Sy7O86jlrhYV0

[Justin]

This week I am on vacation in Switzerland, and today I had the pleasure of listening to a radio recording of this symphony with the Basler Orchester-Gesellschaft, conducted by Hans Vogt. It dates from June 15, 1959.

It is performed well, especially the third movement with that funeral aspect. It sounds fantastic with little hiss. Unfortunately it is only available for listening at one of the Swiss National Sound Archive computer stations located throughout the country.

If this was reissued as a historical recording, I think it would certainly prove quite popular. Of course it still deserves a modern recording.

[Mark Thomas]

What a shame the recording isn't more generally available, but then the same is true of many recordings in the Swiss National Sound Archive.

[Alan Howe]

How frustrating! Wonder why the recording couldn't be licensed for general release? Vogt died in 1992.

[eschiss1]

Isn't that assuming the same laws for c apply for recordings as for print things? This is not true for copyright in the US, where first publication 96 years ago means (1925 or earlier, now) or 1922, whichever is first, means nonrenewability for scores and poems/novels afaik but not sound recordings.

[Justin]

How frustrating! Wonder why the recording couldn't be licensed for general release? Vogt died in 1992.

Yes it is. The third movement was performed at roughly the same tempo as Martin's realization, but of course with the gorgeous sound of authentic strings. It's stuck in my head and I am back in the US which makes it even more annoying to grasp. 

[Justin]

Isn't that assuming the same laws for c apply for recordings as for print things?.

The Archive states that it is a SRF 2 (Swiss radio station) recording. Any inquiries would have to be made to them rather than the Archive.

I also recall hearing some movement of chairs/players adjusting their seating, so it may have been a live recording somewhere.

[eschiss1]

btw here is the basically direct evidence I kept looking for of a 1898 performance.
I let slide the opportunity to describe Berger as a true Boston Bremen, so I might as well now.