Symphony No.5 in D minor "Funebre" - Kurt Atterberg
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- เผยแพร่เมื่อ 20 มิ.ย. 2024
- Frankfurt Radio Symphony Orchestra conducted by Ari Rasilaien.
I - Pesante allegro - Molto più mosso - Subito allargando molto - Tempo I - Più vivo - Subito poco largamente - Tempo I - (attacca): 0:00
II - Lento - (attacca): 9:10
III - Allegro molto - Tempo vivo - Un poco meno mosso - Adagio - Allegro - Adagio - Allegro - Tempo vivo - Tempo di Valse - Poco tranquillo - Subito poco largamente - Tempo di Valse - Molto tranquillo - Lento: 19:00
Atterberg's Symphony No.5 was composed between 1917-22, being later revised in its orchestration in 1947. He explained that this long composition process was due to the doubts that he had in his own creative capacity. It was premiered in Berlin on January 12 of 1923, performed by the Berlin Philharmonic Orchestra conducted by Atterberg himself. It was very well-received all over Germany and his natal Sweden.
While the work is not programmatic in nature, its subtitle denotes a state of mental turmoil and great sadness, both in Atterberg's life and the world surrounding him after the horrors of the Great War. The composer preceded the score with the following motto: "For each man kills the thing he loves". It comes from Oscar Wilde's "Ballad of Reading Gaol". The poem is based on thoughts about the execution of a prisoner in Reading prison, accused of killing the woman he had loved. The phrase chosen by Atterberg belongs to the verses cited below:
Some love too little, some too long,
Some sell, and others buy;
Some do the deed with many tears,
And some without a sigh:
For each man kills the thing he loves,
Yet each man does not die.
The first movement is structured in sonata form. It begins a series of dramatic chords, which will be present through the work. A tragic and rhythmic main theme is presented by cellos over nervous violins. After a bitter climax, a lyrical but melancholic second theme is presented in a manner reminiscent of Sibelius. The following development section opens with the chords of the beginning, being very violent and dramatic. The recapitulation opens with the lyrical second theme before the forceful main one, resulting in a symmetrical structure. A thunderous, hopeless coda closes the movement and a sustained note of the piano takes us to the next part.
The second movement is a funeral lento in for of an arch. It opens with an elegiac main theme on strings, which unfolds in an expressive manner over a simple march rhythm as oboes take it. The heckelphone (a kind of baritone oboe) introduces a new idea, before the main theme is taken by strings, which slowly grows until leading to a powerful climax. Brass and percussion enter as painful screams before they calm down. A hopeless transition leads us to the next part.
The third movement is written in a modified sonata form. It begins with the work's opening chords, leading us to a furious, forceful main theme. After an extensive exposition of this material, an eerie, haunting second theme is presented by low strings over figurations of the wood. A dynamic development then begins with great urgency, full of dissonances and menacing gestures. The recapitulation begins in form of a sardonic waltz, a kind of danse macabre. Material from the second movement reappear in a brief remembrance, interpreted in an elegiac way by the string. The opening chords reappear once again, put against two repetitive notes. A low-key pizzicato chord ends the work.
Picture: "See you in Valhalla" (2015) by the German concept artist Mateusz Katzig.
Sources: bit.ly/3IRe2j9, bit.ly/3xTsG4b and bit.ly/41pHHbx
To check the score: bit.ly/3xWgrE1 - เพลง
Jesus, that's beautiful. I've never ever heard of this composer nor this symphony, but words can't express how much i'm in love with this one. Thanks Sergio.
In the fifties, Atterberg was famous for his Swedish Rhapsody #1 which in a truncated version was on the pop charts. It wasn’t until the seventies that I discovered that he wrote other music. Thanks to Sergei for enlighting us all to his music.
I like intense dramatic symphonic works. This qualifies.
I know I have commented so many times, but I can never get over this piece. The second movement in particular. I always think myself being on a little log cabin up on the top of a hill in a rocky, bitterly cold taiga (could be Scandinavia, Canada, or northern Minnesota) as a snowstorm comes in as the sun sets. The spruce trees are blanketed with snow and the wind gets super fast and the snow is blowing. Part of it may be the painting, but that is what I see with the synesthesia stuff.
A tremendous symphony from start to finish.
It's like one of those dreams you don't wanna wake up from.
From its expansive opening to its tragic ending, this dramatic symphony held my attention. Its sincerity ensures a total lack of pretentiousness. Its debt to Sibelius is noticeable to me only in its outer movements, and that only slightly; Atterberg's originality permeates the score throughout, culminating in a magnificent finale.
Another great composer you'll never hear on Radio 3.
was on last Sunday morning !!! (December 4, 2022)
13:42-18:09 everything here is just glorious. Please listen.
Damn 17:29 we spend the whole movement building up in this beautiful soaring A major melody, only to resolve to this Eb/D# minor chord. This whole piece is just so majestic. It makes me feel like I am up north in Scandinavia.
Couldn't agree more with you, such an bitter anticlimax!
@ I like to compare Atterburg to Sibelius in the way where it seems to be one stream of sound that is gradually changing. I really like how it progresses in a way that feels like the sunset.
Superb symphony. A great composer to be studied.
Großartig! Es gibt keine Sinfonie Atterbergs, die ich nicht mag. Alle besitzen diese unglaublich dramtischen Wendungen, griffige Melodieführung. Danke Herr Atterberg, danke für's Posting! --- Pardon mein German.
Heartmeldingly lovely. What a unique, emotional, insistent, gentle, compelling sound. Really effective use of piano and woodwinds/violins/horns as texture.
It simply blows my mind.
Intensa e sofferta composizione.Memorabile.
Grandioso quel valzer 'trasfigurato' , un motivo già utilizzato da Mahler nella 5a sinfonia.
Le battute conclusive hanno molto in comune con la Patetica di Tchaikowsky.
Un ottima esecuzione una gran bella inserzione.
Thanks for your detailed write-up! I like his piano concerto, need to check out his symphonies
gracis por darnos la posibilidad de escuchar esta sinfonia y ademas de describir su historia. muy buena musica
BRAVO desde Mexico City!
Majestic. Thank you for posting this symphony.
Overwhelming !
29:56 amazing melody
damn dude I see you a lot in classical music comment sections. And again, a big fan of yours xd
İbrahim Cem YILDIRIM good, my plan is working! I plan to be the justin Y of classical music lol
Now that's dedication
@ btw thank you for uploading Kurt Atterberg
@Shostacovid-19 I wouldn't say very russian, but very musicfilm like, rigth?
Wonderful work! Thank you!
that is marvelous!
Great work. So powerfull. Thumbs up. Hats off...
Dopamine symphony
Creo que después de la tercera, ésta es mi favorita! Una joya!
This is his Op. 20.
One of the great "black" symphonies of the 20th century, along with Sibelius' and Shostakovich's 4th and Mahler's and Prkofiev's 6th.
Then you have to hear Pettersson's cycle of 17 Symphonies.
@No thanks...I prefer to live! 😉
@@francescofurlan3098 Understandable, hahaha!
gute Sendung
4:34
3:51
7:50
16:59
17:28
It's called a heckelphone.
Thanks to you, Sergio Cánovas, for having posted this magnificent and hauntingly dark even in its most extreme outbursts symphony. 🤍🖤🤎💜💙💚💛🧡❤💌
Kurt Atterberg is banned in his country, Sweden. His music is never played. even if he is the the best composer ever in the land, but he is forgotten.
Why is he banned?
@@NoelleCanty Allegedly for his opinion on the right and collaboration with german composers in nazi-Germany. No evidence of nazi sympathy was shown but Atterberg is anyway since then out in the cold.