"The first movement 'Allegro con energia', is in the traditional sonata-allegro form. Without any introduction, the first theme group begins its passionate journey with a loud chord, and then quickly drops to piano. Berwald presents an abundance of motivic fragments, but as with Beethoven, his transitions seem to be just as significant as the primary themes. The more lyrical second theme calls to mind the earlier Romantic composer Carl Maria von Weber. A development section follows with bits of counterpoint utilizing transitional material from the first theme group. Prior to the 'official' recapitulation, Berwald sneaks in a statement of the second theme that, this time, is much more bold in character. The 'real' recapitulation unfolds in typical fashion, but unlike the serious opening in minor, the movement concludes with an exuberant flourish in major.
"As with most slow movements, the Allegro maestoso is in a ternary form (ABA). When hearing the solemn lyricism of the A section, with its chromatic lines and sustained pedal points, it is difficult not to think of the future works of Johannes Brahms and Carl Nielsen. In contrast, the B section is bolder and more dramatic. This leads into a development of sorts, before returning to the nobility of the opening.
"While not as facile and mercurial as many of Mendelssohn's scherzos, the third movement, 'Stretto', is, in essence, the typical scherzo movement: fast tempo, a meter of three, and the ABA form. Its themes drive it toward the more serene middle section. However, the second presentation of the A section dissipates rather than giving a sense of finality to the movement.
"Thematic material from the second movement serves as an introduction to the first theme group of the final movement. Again, sonata-allegro form is the large-scale structural determinant. The surging fervor of the second theme in the strings is contrasted and answered in the woodwinds. The development section has some truly contrapuntal moments using material from the first theme group to prepare the way for the recapitulation. From out of the wilderness, a valiant solo trombone signals the end of the muscular, energetic work." (Description of Symphony No. 1 in G Minor 'Sérieuse' by Rovi Staff for AllMusic. See here.)
"When Berwald's first symphony, the 'Symphony Sérieuse', was severely handled by the critics his second, 'Sinfonie capriciuse' had already been written. The composer never heard the work performed, the full score disappeared and only a 'short score' (i.e. not fully orchestrated) dated 18 June 1842 survived. The work was first performed in 1914 in a realization by Ernst Ellberg, and thereafter not until the 1960s in a realization by Nils Castergren. Since then it has taken its rightful place in the re-establishment of Berwald's music in today's symphonic repertoire. The symphony is well-named, its orchestral textures being light and airy. The first movement is swift, sunny and mainly in 3/4 time, rather like a fast waltz. The second is sweetly serious and melodic, with a Mozartean delicacy. The third movement, a scherzo, starts with short, fragmentary woodwind figures and continues on its good-humored way with quick interchanges between strings and woodwind, the brass only occasionally underlining the spirited rhythms. Today it is almost inconceivable that so original and enchanting a work could have been neglected for over 100 years." (Description of Symphony No. 2 in D Major 'Capricieuse' by Roy Brewer for AllMusic. See here.)
"Although Swedish composer Franz Berwald's Symphony No. 3, 'Sinfonie singulière' was completed in 1845, it did not receive its first performance until 1905. In fact, only one of Berwald's four symphonies was performed during his lifetime. Considered by many to be the first great Scandinavian composer, he has been described as a cross between Felix Mendelssohn, an acquaintance of Berwald's, and Finland's Jean Sibelius, born three years before Berwald's death.
"Not only is it widely held that the 'Sinfonie singulière' is Berwald's finest work, but that it may be the first great Scandinavian orchestral work. The symphony is unique for this time period in that it has only three movements rather than the traditional four. While Berwald's earlier symphonies are right at home in the German Romantic school of Schumann and Mendelssohn (Berwald lived in Berlin and Vienna at various times), this piece looks forward with the robust and rustic quality one associates with later Nordic composers such as Edvard Grieg, Sibelius, and Carl Nielsen or Nationalists such as Antonín Dvořák.
"The first movement, 'Allegro fuocoso', is in the traditional mid-nineteenth century sonata-allegro form. But, Berwald combines the organic compositional technique of Beethoven with one resembling tone painting to establish an atmosphere. Starting quietly, there is a feeling of great anticipation. Utilizing the interval of a fourth in various guises, Berwald uses motivic development and transformation rather than long, spun-out melodies, creating a sense of transition and evolution. This is a section of 'gestation' rather than introduction in the traditional sense. The middle movement, in ternary form (ABA), begins with a heartfelt, Brahmsian 'Adagio'. With a startling thump in the tympani about four minutes in, Berwald breaks into a scherzo that would have made Mendelssohn envious. Playful exchanges between winds and strings show Berwald's skill as an orchestrator and his mastery of manipulating thematic fragments. His not so subtle harmonic sequences are very much like Bruckner's in that they do not always advance the tonal scheme, but are, nonetheless, terrifically appealing. After a few minutes, the 'Adagio' returns as abruptly as it disappeared. The final movement is highly charged and dramatic. Another Brucknerian moment occurs with a soft woodwind chorale over pizzicato strings, which flowers into a grand statement of this same theme. There is a quotation of the middle movement's 'Adagio' melody about five minutes in, followed by a new lyrical theme that precedes a recapitulation of the beginning of this movement. A quiet return of the woodwind chorale in minor explodes into a joyfully victorious final statement, back in major, bringing this richly Romantic symphony to an end. In Franz Berwald's 'Sinfonie singulière' one can hear some of the stylistic qualities that anticipate later composers such as Brahms, Bruckner, Sibelius, and Dvořák." (Description of Symphony No. 3 in C Major 'Singulière' by Mona DeQuis for AllMusic. See here.)
"Berwald spent the early part of the year 1842 in Vienna, where his music was very well-received and where he wrote his first two symphonies, those with the nicknames 'Sérieuse' and 'Capricieuse'. Later that year he returned to his native Sweden hoping to continue his string of successes. But his music didn't make much of an impression there. Nevertheless he continued his composing, completing his other two symphonies - the so-called 'Singulière' and 'Naïve' - in the year 1845. He went to Paris in 1846, hoping to interest composer-conductor Daniel-François Auber in premiering the 'Sinfonie Naïve'. Nothing came of that, though, and the symphony, now sans title (by Berwald's choice) and simply known as the Symphony No. 4, waited until April 9, 1878, for its first performance. That premiere was conducted by Ludvig Norman, who did more than anyone else to keep Berwald's music before the public in the decades after the composer's death.
"Whether called 'Sinfonie Naïve' or Symphony No. 4, the work radiates a feeling of contentment and lightheartedness. The first movement, somewhat misleadingly marked 'Allegro risoluto', begins in a rather relaxed mood. A playful staccato figure leads into the peaceful second idea, which becomes the basis of the following development. This movement, and the work as a whole, displays Berwald's distinctive, pungent harmonic sense and melodic freshness. The noble, pastoral second-movement 'Adagio' leads without pause into an energetic scherzo, whose elfin quality calls the music of Felix Mendelssohn to mind. Rhythmic playfulness marks the 'Finale', an 'Allegro vivace' that concludes with a sudden acceleration and exciting coda." (Description of Symphony No. 4 in E-Flat Major by Chris Morrison for AllMusic. See here.)
Performers: Göteborgs Symfoniker, Neeme Järvi
1.1. Symphony No. 3 In C Major 'Singulière': I. Allegro Fuocoso
1.2. Symphony No. 3 In C Major 'Singulière': II. Adagio – Scherzo: Allegro Assai – Adagio
1.3. Symphony No. 3 In C Major 'Singulière': III. Finale: Presto
1.4. Symphony No. 2 In D Major 'Capricieuse': I. Allegro
1.5. Symphony No. 2 In D Major 'Capricieuse': II. Andante
1.6. Symphony No. 2 In D Major 'Capricieuse': III. Finale: Allegro Assai
2.1. Symphony No. 4 In E-Flat Major: I. Allegro Risoluto
2.2. Symphony No. 4 In E-Flat Major: II. Adagio
2.3. Symphony No. 4 In E-Flat Major: III. Scherzo: Allegro Molto
2.4. Symphony No. 4 In E-Flat Major: IV. Finale: Allegro Vivace
2.5. Symphony No. 1 In G Minor 'Sérieuse': I. Allegro Con Energia
2.6. Symphony No. 1 In G Minor 'Sérieuse': II. Adagio Maestoso
2.7. Symphony No. 1 In G Minor 'Sérieuse': III. Stretto
2.8. Symphony No. 1 In G Minor 'Sérieuse': IV. Finale: Adagio – Allegro Molto
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