These days I'm "exploring" the 9 Symphonies; the ordered cpo box arrived last week. I already had the PC and VC, both on cpo, and am impressed by all these works, in particular the Rhapsody for Piano and Orchestra (opus 1!) and the PC.
Although sometimes with a hint of romantism, it's definitely 20th century tonal music. In certain passages I hear fragments of Bruckner, Mahler (or Rott), then Sibelius, but also Bartok, just to name a few. But in general my idea is that Atterberg is a composer in his own right.
I'm interested to learn your opinion. What do you think of Atterberg's music in general? His symphonies, concertos, chamber music, and so on? Do you think his music is unique? Is it Scandinavian (he used some folk music, like in his 4th)? What other CDs do you recommend?
IMO Atterberg is the real thing. His music is quite recognizable and, you're correct, ideally romantic. Every one of the works I've heard is lyrical and has lots of Scandinavian influences - power and lightness together.
Besides the symphonies, I particularly like his tone poem Älven - The River. This, a sort of northern version of Die Moldau, is a high point of Atterberg's output. Of course, it's never performed nor is it even hardly known.
Also the Autumn Ballads for Piano and the sonatas - violin & cello - are worthwhile and beautiful.
PS - If you can find the Musica Sveciae recording (Amazon has it) of Atterberg's Fifth Symphony (Stockholm PO/Westerberg) you will be enchanted by its discmates - a gorgeous piece called Sommarnatten by Edvin Kallstenius, and From the Great Forests by Oskar Lindberg. Magnificent!
The first music of Atterberg I ever encountered was the 6th "Dollar" symphony which immediately won me over. Brilliant work. Even though the ancient sound (Toscanini) was a hindrance, the sheer joyousness of the music comes through. The BIS recording is sensational soundwise.
I picked up a disk of chamber music on Marco Polo and what's this? The 6th symphony arranged as a piano quintet -- wonderful!
I've picked up all the Atterberg I could find. The symphonies are wonderful. Modern, but totally accessible. Too bad that no one ever seems to program the music. I did get the chance to play the 3rd symphony in concert a few years ago, and I can only hope and pray that someday I get to play the 6th.
Atterberg was one heck of a man: trained engineer, superbly trained musician, lived to a ripe old age. But sadly doomed to be known only to those of us who collect cds.
Hi all
I was literally about to open a new thread on Atterberg when I noticed I had been beaten to the punch! I am a great admirer of Atterberg and have virtually all his works, including the symphonies, the concertos and other orchestral works. I echo many of the sentiments already expressed on the forum. Reference has already been made to the 6th symphony, called the "Dollar symphony", so-called as it won a cash prize in America in a competition organised by Columbia. I would recommend people new to his music to start with this one. The 4th symphony likewise works very well and as already stated makes very effective use of folk music. I also particularly like his first, but my real favourite is the 8th symphony. I am especially fond of the beautiful Adagio, very moving! The concertos too are wonderful. I too express my dismay that Atterberg's music is not better known, especially as he was quite a prolific composer! Rather than simply reading these comments, try listening to the audio samples on either JPC or Amazon!
cheers
Dennis
Dear Atterberg friends,
If you happen to be in Helsingborg on the 14th of March next year you should attend the concert when the Helsingborg Symphony Orchestra under Gregor Bühl performs the fifth symphony of Atterberg, Sinfonia funebre (his finest symphony, IMHO).
A couple of years ago, I met an engineer from the Swedish Patent and Registration Office and asked her how Atterberg was remembered there nowadays. She told me that the older employees could recall anecdotes about him, and when the Office moved to a new location a few years ago music by Atterberg was played during the festivities. It's nice to know that he's remembered by his former employer.
Anders
Just look at the reviews on the internet. This boxed set is going to
the top of my 'must buy' list,along with more Raff!
Thanks for all your valuable posts (Dennis, sorry, or maybe we had some kind of a telepathic contact...).
So far both the PC and VC were immediately (at first hearing) appealing to me, but the symphonies are a harder nut to crack. Of course there are very beautiful movements, for example the 2nd of the 8th symphony, like Dennis said. But there are also some rather noisy passages. Well, I'm certainly not finished with exploring the symphonies.
Quote from: mbhaub on Thursday 12 November 2009, 03:10
The first music of Atterberg I ever encountered was the 6th "Dollar" symphony which immediately won me over. Brilliant work. Even though the ancient sound (Toscanini) was a hindrance
The symphony is one of his best, but that particular recording should be avoided.
Quote from: Peter1953 on Wednesday 11 November 2009, 21:42
These days I'm "exploring" the 9 Symphonies; the ordered cpo box arrived last week
I picked up that box a few years ago in a local second hand shop, Wax Factor, in Trafalgar Street. Many subsequent events have faded from my memory, but I shall remember the joy of that discovery forever.
Of the nine symphonies, just two disappoint: the third, which started life as three tone poems that were later bundled together, fails to work as a symphony, and the ninth, which is a dreary setting of ancient Icelandic poetry. But that leaves seven gems.
Interesting. The middle movement of the 6th is very fine indeed and that movement alone makes the symphony worth hearing, But I actually prefer its disc-mate, the 3rd, even if it does not meld as a cohesive whole. To me, the 1st and 3rd movements of the 6th just sound like a hodge-podge of assorted composers thrown in a pot and stirred, with some nice (but trite) tunes in the mix. I'd pay a dollar for the middle movement, but not a dime for the other two.
Don't get me wrong. I like Atterberg. I've got the box of symphonies, the music fr piano and orchestra, the violin concerto, the 3rd suite, etc.
I guess I like him for different reasons than you guys. But maybe that's a mark of a good composer -- different people find different things to like about their music.
Quote from: Amphissa on Saturday 14 November 2009, 21:27
Interesting. The middle movement of the 6th is very fine indeed and that movement alone makes the symphony worth hearing, But I actually prefer its disc-mate, the 3rd, even if it does not meld as a cohesive whole. To me, the 1st and 3rd movements of the 6th just sound like a hodge-podge of assorted composers thrown in a pot and stirred, with some nice (but trite) tunes in the mix.
But didn't Atterberg do that on purpose? He took themes from other composers and wove them into the texture -- it was a personal joke he was pulling on the judging committee or something like that. I've never seen a thorough analysis of just how he did it. But I agree, that second movement is very deeply moving and honest. But the finale is a hoot!
I suppose it is just a problem I have. I don't really LIKE humor in classical music. But maybe I'll listen to it again with that specifically in mind -- that it was intended as a joke, and was not just poorly done homage.
*loads up the 3rd movement of the 6th*
Huh, I never knew that. I'm sure it says in the linar notes, though. It's a fun movement, but I *love* musical humor. In fact, one of my favorite pieces of music is Fantasia on Auld Lang Syne by Ernest Tomlinson. If you know the piece, you'd know why I bring it up here...
I've heard two of Atterberg's symphonies, and they've grown on me, though not quite as much as I hoped they would. If I had to choose between Atterberg and Edward Tubin (an Estonian who worked in Sweden), however, I'd go with Tubin, one of those rare composers whose talents were symphonic and whose symphonies have a hard-to-define grandeur of conception and execution, like Beethoven or Sibelius.
Yes indeed! I do like Tubin. His brass can be a bit hyperventilating at times, but he does "big" well.
Listened to Atterberg 8 today with great satisfaction. The outer movements seem almost tocattalike in their relentless activity, yet they have the dramatic shape of symphonic movements. The slow movement comes from a place I want to revisit.
Woah scary. I open this topic just as my playlist is playing the third movement of Symph 7.
I've finally decided to begin exploring the beautiful CPO box of Atterberg symphonies which arrived this week, starting at Symphony No.1. On first hearing, I must say that I'm quite bowled over by the quality of this music - quite clearly the work of a strong individual personality, but with the characteristic 'Scandinavian' sound.
Over the past year (in a concerted effort to break out into Europe and beyond) I've acquainted (or reacquainted) myself with quite a lot of Scandinavian orchestral music including Gade, Alfven, Stenhammar, Svendsen, Langgaard and Hamerik and so far I haven't come up against a single 'duffer'. As a consequence, I'm really looking forward to the August Enna and Natanael Berg which I hope to order soon.
Trying to place why quite a lot of this music sounds Scandinavian, I think that one key ingredient which gives their works a national flavour comes from a frequent use of the subdominant major within the tonic minor - you too can amaze your friends and create your own Norwegian (or Danish or Swedish) Mood at home by lightly strumming alternate chords of C minor and F major. ;)
Are there any other melodic or harmonic characteristics which might be said to create a 'Scandinavian' sound?
Glad you like what you've heard so far from Atterberg. I think the cpo-cycle is a real gem, Atterberg was clearly a master of the orchestra like his countryman Hugo Alfvèn.
Speaking of the Scandinavian sound, a lot of composers use folk melodies in their works. Atterberg took great interest in folk music from his home country and his 4th symphony is a good example of this. The Andante is absolutely gorgeous.
Otherwise than that I'm not too much into musical terms to say anything sensible about Scandinavian sound..
But the encyclopedia can! I quote: "Music based on traditional Norwegian form usually includes minor or modal scales (sometimes mixed with major scales), making a sober and haunting sound." Does it make any sense?
If you enjoy Atterberg, I strongly recommend Erland von Koch's Symphony no. 2 recorded on Phono Suecia:
http://www.jpc.de/jpcng/classic/detail/-/art/Erland-von-Koch-Symphonie-Nr-2/hnum/3391648 (http://www.jpc.de/jpcng/classic/detail/-/art/Erland-von-Koch-Symphonie-Nr-2/hnum/3391648)
Morten
Thanks for your recommendation of the von Koch CD, Morten. Duly ordered!!
The other three Atterburg discs on CPO are just as good, BTW. Especially the Piano Concerto disc.
Quote from: Alan Howe on Saturday 12 March 2011, 18:18
Thanks for your recommendation of the von Koch CD, Morten. Duly ordered!!
...and if you like the von Koch symphony you will probably also like YngveSköld's 2nd symphony, too!
http://www.amazon.co.uk/Symphony-No-Violinkonsert-Yngve-Sköld/dp/B000088EF0/ref=sr_1_7?s=music&ie=UTF8&qid=1300023907&sr=1-7
Hab' schon (got it)! as the Germans would say. Thanks for the reminder, though. I must give the CD another listen!
I downloaded Atterberg's Ballad Without Words (the BIS recording) some days ago, since it's not included in cpo's wonderful Atterberg-records. A substantial piece of music close to 19 minutes long, and one of his last orchestral works, written as late as 1958.
After an introduction, the music quiets down, and Atterberg present us a lovely tune (at about 4:30 and onwards). I felt sure that I've heard this tune before, and after doing some Detective work I found the same theme used in the 3rd Symphony's second movement - Storm. In this movement the tune appears towards the end in an entirely different setting (at about 7:40 and onwards) before the music fades away.
Can anyone (perhaps owners of the BIS-recording with access to the booklet) tell me what Atterberg's Ballad Without Words is all about, and if there are more music from earlier works used in it?
By the way, I think Atterberg not only was a master of handling the orchestra but he had a incredible strong melodic gift. Almost every work of his contains one tune or more that really sticks to your mind for a long time. I must say I'm very impressed by this composer.
I think his music is closer to the music of Hugo Alfvèn than any other Swedish composer.
Morten
Quote from: Albion on Saturday 12 March 2011, 15:01
I've finally decided to begin exploring the beautiful CPO box of Atterberg symphonies which arrived this week, starting at Symphony No.1. On first hearing, I must say that I'm quite bowled over by the quality of this music - quite clearly the work of a strong individual personality, but with the characteristic 'Scandinavian' sound.
Over the past year (in a concerted effort to break out into Europe and beyond) I've acquainted (or reacquainted) myself with quite a lot of Scandinavian orchestral music including Gade, Alfven, Stenhammar, Svendsen, Langgaard and Hamerik and so far I haven't come up against a single 'duffer'. As a consequence, I'm really looking forward to the August Enna and Natanael Berg which I hope to order soon.
Trying to place why quite a lot of this music sounds Scandinavian, I think that one key ingredient which gives their works a national flavour comes from a frequent use of the subdominant major within the tonic minor - you too can amaze your friends and create your own Norwegian (or Danish or Swedish) Mood at home by lightly strumming alternate chords of C minor and F major. ;)
Are there any other melodic or harmonic characteristics which might be said to create a 'Scandinavian' sound?
Have you tried Berwald's music too? Though not a national romantic composer, he is, in my opinion, one of the first composers with a Scandinavian feel to his music. The symphonies - especially the Sinfonie Singulière - is the place to start!
Time to revive this thread! I'm going to be making my way once again through the CPO set of Atterberg's symphonies over the next couple weeks or so. It'll be a labor of love, because Atterberg's music just speaks so well to me. I've explored scores of lesser-known composers, but none have trumped Atterberg as being the most unjustly neglected composer in my view.
Am I alone in thinking that the climax in the gorgeous final movement of his Symphony no. 3 is one of the most overwhelming and inspiring moments in all music? (The whole symphony is breathtaking, really.)