The first movement is incredible. It is Sibelius from 1845. The way the music constantly returns to the opening theme (which itself sounds like a primordial coming into being) and generates more music from that incredibly simple germ is just something else. Some one else below said the orchestration was simple but good. That is wrong. It is remarkable. Where, in a symphony, are you going to hear trombones grab the theme like that in 1845? Maybe Berlioz. Gorgeous use of the woodwinds prefiguring Sibelius by 60 years. It is one of the weirdest and most organically beautiful symphonies I’ve heard from the Romantic era. Stunning.
Absolutely right - so different from the contrivances of "motto themes". The moment there is stillness, there is that quiet onward urging, pulsing underneath, like a spring of water seeping through grass... though why did he call it "fuocoso"?
I first heard the Berwald 3rd on a flight from Los Angeles to Honolulu. It was the only work on the plane's classical channel. I must have listened to it at least half a dozen times. By the time we landed In Hawaii I swore I'd never listen to it again. That was more than 40 years ago. I have long since overcome my distaste: I can now hear the "Singulière" with pleasure. Great pleasure, in fact.
I shall admit that Franz Berwald is the best composer ever searched by me between the panoply of relegated ancient music from the past. His style, their melodies and his natural cadence should put him into the glorious podium of musicians who they deserve better qualifications.
Almost unknown, today, and under appreciated in his time, there is something very modern about Berwald and his approach to composition. By no means a large catalogue, but full of exemplary music.
He is interesting because he hardly has themes, let alone melodies, but develops rhythmic motifs. His pieces are still very coherent. Maybe that is the 'modern aspect'. Definitely some weird connection with Bruckner.
Roger Ascham: My aim, after the BBC Northern Lights week and Composer of the Week (not before time!!) over Xmas, my aim is to get the 4 Berwald Symphonies performed at the |BBC Proms and to establish them (esp nos 3 & 4) in the British concert repertoire.
Underappreciated because he was in the wrong place at the wrong time. Stuck in Sweden, outside the mainstream of emerging romanticism in Germany, England, Austria, Italia, etc., he was a maverick in a backwater that was still stuck in the Mannheim school,
I never understood the titles that Berwald gave to his four symphonies. I do not understand what is "odd" in this symphony. The fact is that it is an excellent classic work:.The architecture is solid, the themes are firmly drawn, the developments are logical, the orchestration is simple but very efficient. All in all, an excellent classical symphony. Berwald should not be forgotten by our organizars of concerts.
Many organizers of concerts continually ignore an enormous amount of first class music, particularly from early to mid 20thc composers such as Stenhammar, Magnard, Poulenc, Honnneger, Madetoja, Bate, Arnell, Bantock etc. Hard to believe that until fairly recently even Carl Nielsen was seldom played outside Scandinavian countries!
Perhaps "odd" is the wrong translation of the French expression "singulière". Probably Berwald used the word in the meaning "special" or "not repeatable", "not like other symphonies".
I was also introduced to this wonderful symphony by way of the Nonesuch LP back in the Sixties which Pere4grine mentioned. It remains for me one of the most "singular" symphonies ever written, and I agree with all of the comments about how it remains woefully neglected in spite of its excellent quality. I especially remember the Nonesuch recording because it was one of the very first recordings of an "unknown composer" for me, in high school at the time.
Nonesuch Records was wonderful for its affordable, superbly recorded performances of little known composers. Long before RU-vid, Nonesuch brought the rich but obscure European symphonic and chamber music traditions back to life.
Bought a lot of tapes. ( The Nonesuch Singuliere he mentions, iirc, was a fine old Sixten Ehrling release from Sweden) No knock on them . They became, through brains and hard work, a major force in Classical despite a less than major budget @@barrymalkin9031
Thanks so much for the upload of this symphony I love it that you always give the orchestra playing the piece as well as the conductor Makes it easier trying to find the cd on Amazon Thanks again 🎼🎼🎼
This Symphony by a relatively obscure Swedish composer seems to show an affinity in places with the music of the much more famous Finnish (but originally Swedish-speaking) composer Jean Sibelius especially in the second theme of the second movement which Berwald uses throughout the rest of the work. It is hard to know if there was a direct influence of Berwald on Sibelius or whether there was only something in the Nordic waters, but their styles are strikingly similar here!
Edward Gold I think you're not far from the truth, I share your opinion. And generally I find Berwald's music quite insignificant... but this symphony is highly inspired.
Fantastic symphony from an amazing composer. It is hard for me to understand why he is not more famous. The first movement of his first symphony and Symphony no 4 are as great as well I think.
A very fine work simply lost in a sea of fine works. If it wasn't for the RU-vid trend, I would have never heard of the composer or gotten a chance to listen to this work. RU-vid is also its curse for it is just another fine work only to found by those of us looking for these.
What a refreshing symphony , teeming with invention. In a blindfold test I’d have placed it later than 1845. I’ve just listened to the Scharwenka Symphony in C minor which is much later and completely undistinguished so this was quite a joy to behold.
Wow, just started listening to the theme a the beginning and it is definitely ahead of its time. I can say the same about the Symphonies of Robert Schumann during that same era. Great themes. This one should be in the standard repertoire. I might add, I've been investigating some other Swedish composers, with Berwald as the earliest, then Wilhelm Stenhammer (Sometimes called the Swedish Brahms), and Hugo Alfven I hear is also a great Swedish composer. Some also say Petersson is good for more of a late 20th century composer.
Of all the forgotten and neglected works, this is the one I think that ought to be played and heard most often. The first movement especially is a beautiful and lively masterpiece. I like this so much I bought the complete set of Berwald symphonies by the Berlin Philharmonic, but must say this Helsingborgs Symfoniorkester version is superior.
Eine der Musikalisch interessantessten und schönsten Sinfonien die jemals geschrieben wurden. Sie ist voll mit Tonalen folgen und phrasen welche sehr ansprechen sind.
Very obviously he had his own symphonic style, which is quite advanced for the time. Nothing like Mendelssohn or Schumann, certainly foretells Sibelius and even smatterings of Bruckner. Fascinating. This certainly should be placed as an important romantic symphony..
Long time ago I bought a record (Nonesuch) with Symphony #1 on one side, and #3 on the other. I much prefer #3 to #1, but I can never remember which I prefer, so I (usually) listen to #1 first. After listening for a bit, I realize it doesn't grab me (although it IS familiar), so I switch to #3, and after a few moments sit back with pleasure, knowing this is THE ONE (but it doesn't remind me of Keanu Reeves). It's not Beethoven, but then, so few things are. But it has more than a touch of beauty.
Lovely, third Symphony by Berwald ... dat chord progression (e.g. ~5:00 - 5:29, then recurring) may be the "singular," special, populist trait in the Symphony; i.e. it might be the harmony in several passages that stand out (?) Wonderful work overall: construction, counterpoint, development, energy, lyricism, and orchestral color !
You think it indeed? The brasses do not have so much role in that score. I think that the inspiration comes mainly from the viennese classics, with a serious personality in the melodic expression.
Beerwald sa en gång att musiken och dess tematiska utveckling måste vara oväntad för bästa resultat. Från en takt till en annan ska man bli överraskad. Visst låter det bra?
