Alfvén: Symphony 2 & Midsommarvaka Rhapsody

 

Some time just after the turn of the 20th Century, my grandparents emigrated Sweden to the US. I remember them as members of a Swedish Folk Dance troupe, with costumes and all, although I think they performed for the social aspect, rather than performance.

At one point in my youth, I asked my grandfather to help me translate the Swedish folk song Vem kan segla förutan vind? I recall him being surprised I didn't know it already, as if every US child was familiar with Swedish-language folk songs.

These recollections come to mind when listening to Hugo Alfvén's Swedish Rhapsody no. 1, a tripartite folk-based Fantasy. Indeed, I wish I knew of Alfvén and this work much earlier, for I am sure if my grandparents didn't know them already, would have enjoyed its music.

Interestingly, Midsommarvaka is not merely a potpourri of tunes, but a finely-structured symphonic poem. The pert opening melody, so full of springy joy, devolves into a stormy episode, only to transition to a slower, longing portion, with a curious harmonic movement. The work finishes off on a sturdy, drone-like final section, making the whole piece full of variety and a decent musical journey. Luckily, the music can be enjoyed for its winsome tunefulness or its fine craftsmanship.

If I didn't hear Alfvén's Swedish touches on his Symphony no. 1 in F minor (BLOG), perhaps it was because Midsommarvaka didn't precede it. Here, Symphony no. 2 in D Major immediately follows that First Swedish Rhapsody, which incidentally ends in the same key the symphony will begin in, and I easily hear Alfvén's orchestral colors carried through betwixt the two works.

At over 50 minutes, most of the symphony's four movements time well over 10 minutes each, and I am not entirely sure it successfully sustains such a length. I had trouble judging what Alfvén was going for in the first movement - moody seriousness or a sweet lightheartedness, neither of which really worked together in my mind, although I liked both ideas separately. The melodic material of this opening, though, is really strong, and a solid hook for listening.

As the symphony wears on, though, it is obvious there exists an earnest dichotomy in every movement, usually between a severe, Beethoven-ian, brassy atmosphere, opposite a delicate, Mendelssohn-ian, upbeat perkiness, sometimes with late-Romantic surges of strings.
With such contrast, Alfvén is able to involve each section of the orchestra, strikingly including the oft forgotten bassoons and low brass, as well as many others.

The final movement is a Prelude and Fugue, but hardly an mere academic exercise. I especially enjoy Alfvén's statements of a Chorale shared between the winds and brass, and once again, the dour Prelude is ably contrasted with the surging Fugue portion, ultimately concluding on a grim note.

The Royal Stockholm Philharmonic Orchestra impresses throughout, and Neeme Järvi whips up lovely colors and confident mood swings across the program. If I am not completely decided regarding Alfvén's symphonic voice, I have no qualms with these performances.

 

 

 

Works
Symphony 2 in D Major (53.18)
Swedish Rhapsody 1 'Midsommarvaka' (13.30)

Performers
Royal Stockholm Philharmonic Orchestra
Neeme Järvi, conductor

Label: BIS
Year: 1988; 2004
Total Timing: 67.33