Symphony No.2 in F major - Kurt Atterberg
ฝัง
- เผยแพร่เมื่อ 5 มิ.ย. 2024
- Frankfurt Radio Symphony Orchestra conducted by Ari Rasilainen.
I - Allegro con moto - Pesante - A tempo, tranquillo - Tempo I (subito) - Agitato - Tranquillo - Tempo I - Pesante - A tempo, tranquillo - Tranquillo - Maestoso - Largamente: 0:00
II - Adagio - Presto - Adagio - Presto - Tranquillo - Adagio: 12:52
III - Allegro con fuoco - Con moto - Tranquillo - Con moto - Adagio - Tempo I, furioso - Pesante - Tranquillo - Con moto - Tranquillo - A tempo, con moto - Maestoso: 28:51
Atterberg's Symphony No.2 was composed in 1911, being originally in two movements when it was premiered in Gothenburg on December 18 of 1912, performed by the Gothenburg Orchestral Society conducted by Atterberg himself. It was well-received, but the critic considered an unfinished work. Atterberg decided to add a finale between 1912-3, this version being premiered on July 27 of 1913 in Sonderhausen, by the Court Orchestra of Sondershausen conducted by Carl Corbac.
The first movement is structured in sonata form. It begins with a pastoral melody of great beauty, over which an impetuous and energetic main theme is constructed. After an intense climax, a peaceful and lyrical second theme is presented, derived from the main one. Follows a dramatic and stormy development section, in which triumphal climaxes rise from the nebulous harmonies. A brief pause leads us to the recapitulation of the themes. A placid, contemplative passage gradually grows more intense and passionate as a triumphal processional. However, a calm coda ends the movement.
The second movement is complex in form, being both a slow movement and a scherzo fused in one. It opens with a peaceful and lyrical main theme on strings, which unfolds in a gentle and romantic manner. The music culminates in an expressive climax of nordic grandeur. A rhythmic second theme is presented by the wood, taking the form of a scandinavian dance. It is then developed vigorously, before the calm lyrism of the beginning reappears for a while. The rhythmic dance then reappears, rising in a boisterous climax. The music again subsides in a contemplative passage, with a rhythmic ostinato constant in the background. The trumpet leads us to a triumphal passage that rises from the depths to the skies, with the main theme reappearing on brass in a Wagnerian way. A brilliant, massive coda ends the movement.
The third movement is structured in sonata form. It begins with a forceful main theme of heroic spirit, which rises in masculine climaxes. It is deeply contrasted by a lyrical second theme. The main theme reappears as it leads us to a dramatic and tense development, with the music constantly struggling between passages of great lyrism and others of violence and forcefulness. The recapitulation as the main theme burst out suddenly, followed by the second. A long and expecting crescendo leads us to an extensive coda of triumphal force, ending the whole work in a glorious blaze.
Picture: "The Judgement of Paris" (1852) by the French painter Gustave Moreau.
Musical analysis partially written by myself. Sources: bit.ly/3xtgGWQ and bit.ly/3xtJPRF
To check the score: bit.ly/3k9y9k7 - เพลง
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This performance is so much better than Neemi Järvi's. Järvi sounds like he's got a train to catch while Rasilainen gives the music time and space and absolutely nails it.
This is his most melodious symphony. A breathktaking work!
here because of Horn Concerto in A. This mans work is brilliant
Atterberg's symphonies are simply amazing. This, his 4th and 6th are my favorites out of the bunch.
26:04 onwards is why I wanted to be a French Horn player ~:)
I too play horn, and it is this rich music in the tradition of Mahler and Strauss that makes me love the horn even more.
Another remarkable composer that one never hears on Radio 3, the so-called classical station of the BBC. Thank you for posting this.
I am constantly in the hunt to add great works to my listening experience. I can't tell someone what makes a work great. I trust my experience in relationship to my listening. I am very satisfied that Symphony 2 meets my subjective expectations. Majestic came to mind.
Wonderful symphony, like all Atterberg's symphonies! The second movment lets me without words, so beautiful it is!
MERCY!! That second movement....
Music to die with
Awesome music!
I heard this on my car radio while driving. I usually don't listen to music while driving, but there's a station for symphony music, and this is the first song I've willingly listened to while driving. Very captivating, and 35:26 blew my school socks off.
A wonderfully beautiful symphony, epic, magical, iridescent. Take us on your overwhelming sound journey ...
Agree with comments below: this work is massively lush, tuneful, powerful (that brass ... !), and lively. In less than a year, I've discovered (in channels such as this one) Swedish composers that have written some very intense 20th-century Symphonies --especially those by Atterberg, Skold, and Hanson (the only one I knew before this year)! As far as I remember, these composers also include W.P.-Berger, Stenhammar, Alfven, Rosenberg, Fernstrom, Wiren, L-E. Larson, and likely others! To me, however, of these composers, Atterberg's symphonies unite immensely attractive qualities: lush, Romantic, Impressionist, and/or pastoral harmony; great brassy, fanfare-like, "cinematic vistas"; immense tunefulness; and great orchestral color !!!! Thanks to Sergio Canovas for the great channel ! Prospero Año Nuevo !
+ Berwald
Hugo alfven symphonies are quite enjoyable to listen to also..I happen to like his no. 2
The triumphant brass in the coda of the second movement almost reminds me of Holst's Jupiter...
Those Adagio sections in Movement II, starting at 12:51, are intense ... !
Un capolavoro.Una moltitudine di materiale tematico superbamente conciso in tre movimenti di grande splendore eroico e glorioso.Stupenda la direzione orchestrale.Grazie per questo superbo inserimento!
Bless you sir, for sharing this brilliant recording of an underrated yet utterly gorgeous work with the rest of the world.
Agree, this music is amazing !
A wonderful symphony from start to finish. That second movement! Sublime.... I also whistle the main theme of the 3rd movement; my wife - "what is that?!" My main question, why aren't Atterberg's symphonies more widely known and played?
Atterberg creó partituras verdaderamente maravillosas. Sin duda ese "Adagio-Presto" es glorioso.
What a great symphonist !
Straight fire.
brilliant!
glorious
21:17
21:41
22:11
22:26
22:53
26:04
Is that a .. painting 🖌️🎨..???
It would appear so.
😮
Perhaps it is the less-than-distinguished melodic content of this symphony that makes its' majestic nature seem somewhat pretentious, even ponderous. Or perhaps the reason lies in the fact that the second movement shares a likeness with the third movement of Tchaikovsky's 6th in its air of finality, and Atterberg lacked the inspiration that made Tchaikovsky's "Pathetique" the masterpiece that it is. Nonetheless, this 2nd does have some fine moments, the return of the majestic theme at 26:03 perhaps being the high point of the symphony.
The only pretentious one is you - shut up and enjoy the music for what it's worth.
Less than distinguished melodic content? Your ears must have been freshly tinned the day you wrote that comment.
@@andrewpetersen5272 Totally agree. This symphony has nothing BUT great, memorable melodic content. Although this particular rendition is so annoyingly slow in the first and second movements, the effectiveness of the melodies are lost. It's "ponderous" when performed too slowly, as this is most of the time. This is a great "modern" symphony.
@@BobBeverage If you don't like this performance there is always Neeme Järvi. To me Järvi sounds rushed and perfunctory and he has a lot of form for driving music too hard but if he's more to your taste that's your prerogative. Personally I wouldn't change a thing about Rasilainen's performance.
@@davebarclay4429 I DO much prefer Järvi's interpretation to this one. Just a matter of taste. We should note that Rasilainen's tempos are much closer to the tempos indicated in the score which are, of course, what Atterberg intended. I still believe faster tempos in certain sections do work fine, however.
Now go find a recording of Atterberg conducting his 6th symphony. It's so fast, the orchestra sounds they are hanging on by their fingernails and can barely keep up with him.