While I don't hear the piano begin in measure 1 as a texture in this recording, the score certainly has it written in there. After that, I don't think the piano rests until the movement breaks, and at its conclusion.
I really like the Piano Concerto's lush, tuneful setting; I daresay it reminds me of Rachmaninov. The work just sweeps me away, and I like that aspect about it.
I am not as convinced by the Violin Concerto, but it could very well be this recording. Tellefsen is more interested in the poring over the music, which is fine, but it never takes off for me. The violin is also harshly to the fore on this EMI recording, which might sway my thinking as well.
The included tone poems are lighter fare than the concertante works. I think Ulf Björlin is swifter and bolder with the three orchestral works than Sakari on Naxos, one I recently heard. The results here are more to my liking.
The Matrix series from EMI was a strange one. I like they commissioned artists to contribute, and the designs were certainly identifiable. The liner notes mention Peter Nevin silk-screened The Queen of Golconda; she is sad, so her face is blue, and her outlook is green, thus the background. While I greatly appreciate the generous mention of the cover art, it looks a bit on the nose to my troglodyte, art-appreciation eyes, at least per the description. Of course, I was never a great judge of these things.
A review from 2024
Berwald’s Piano Concerto just whisks the listener away and never stops. It is an indulgent Romantic Era composition, but a breathless one too, as the piano rarely stops, even when it isn’t in the spotlight. The Violin Concerto is more typical, if not less memorable than its concertante companion here.While the balance between Marian Migdal’s piano and the Royal PO is near ideal, Arve Tellefsen’s violin is far forward in the soundscape, enough for it to sound edgy and artificial in its sonic placement. Otherwise, the Piano Concerto is played with an freshly-spring dash and brio, where as Tellefsen takes his time to over Berwald’s music; perhaps that is the difference.
Three orchestral tone poems round out the rest of the program. The Queen of Golconda Overture is notable for those raucous trombones. Altogether, they are light, swirling pieces ala Mendelssohn, but perhaps without the last ounce of invention and memorability.
Otherwise, I find Ulf Björlin leads all of this music swiftly and with enough punch from the Royal Philharmonic Orchestra to not sound inconsequential, as the tone poems were on Naxos. Of course, all of these performances were reissued and collected together with Berwald’s symphonies on Warner.
Listen on YouTube
Works
Piano Concerto (20.35)
Violin Concerto (21.10)
Queen of Golconda Overture (7.12)
Bayadères Festival (11.37)
Serious and Joyful Fancies (8.13)
Soloists
Marian Migdal, piano
Arve Tellefsen, violin
Ensembles
Royal Philharmonic Orchestra
Ulf Björlin, conductor
Label: EMI
Year: 1977 / 1994
Total Timing: 69.07
The Piano Concerto really sweeps me and my imagination away.
The rest are fine, and I think Ulf Björlin handles this music better than some others. Of course, Sixten Ehrling is well liked too, but EMI's one is generally in better sound!
Find more Berwald recordings HERE!
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