Atterberg: Symphony 5 & 6

 

Prelude

In this third Works Series entry of Kurt Atterberg's symphonies, I will be listening to Symphony no. 5 & 6 from CPO's 5CD set released in 2004. While the box set pairs an early symphony with a later one on each disc, I will be listening to Atterberg's symphonies chronologically instead, breaking up the original programming.

The sobriquet 'Sinfonia Funebre' might sound imposing, but have no fear, Swedish composer Kurt Atterberg is back to his cinematic profile in Symphony no. 5 in D minor. There might be more time given over to moody musical set pieces, yet Atterberg's technicolor approach to orchestral colors delight nonetheless.

For some reason, the music across this Fifth Symphony, particularly the first movement, brings to mind adventure on the high seas and seafaring dramatics in general to my imagination. I love Atterberg's use of piano in the orchestral texture, a musical element which grows as the work moves on.

While the first movement is full of big gestures to draw the listener in, ones which are either dramatic or sweeping in a Romantic way, some of the following central movement almost sounds exotic to my ears. It is the moments given over to the oboes which bring exoticism to mind, a portion which plays before the calm sustained tones take over the latter half of the movement by the strings. This latter part, though, is really quite lovely music making, with a massive crescendo building near the end of the movement.

I don't think I have mentioned that the three movements of this symphony play continuously without a break, although the listener can easily detect the contrasts of the sections. The third and last movement scampers animatedly, although not without a bit of turgid drama and airy atmosphere to draw out musical variety through the runtime. Just as I imagine this final movement is approaching its conclusion, Atterberg inserts a wickedly mocking Waltz, one which you might expect from the pen of someone akin to Shostakovich. This waltz moment is a great surprise, and its appearance makes the movement quite a bit longer than the previous two, although not unwelcomely so. The coda, too, is unexpected, mainly for the restive wavering tones and final plunk.

Perhaps because I greatly enjoyed Atterberg's first two symphonies, his Symphony no. 5 is like a homecoming of sorts. Many of the musical and textural elements of those early symphonies find there way here, again with a certain technicolor flair, although the composer is always finding ways to express his musical ideas in new and interesting ways.

I have decided I am rather taken with the playing of the Frankfurt Radio Symphony Orchestra in this series. The engineering is better, I think, while the playing is robust and colorful. While I am sure the NDR Philharmonic Orchestra shares players with the Frankfurt one, this team makes it work just that much better.

Speaking of nicknames, for a great many years I had wondered at the name 'Dollar Symphony' linked to Atterberg's Symphony no. 6 in C Major, usually tied to the cover art from Sir Thomas Beecham. My imagination ran wild - what would a program symphony describing money sound like? Alas, the nickname is actually tied to events surrounding the work, for which it was entered as a composition contender. I guess I will never hear that 'Money Symphony' after all.

I sense I wicked sense of humor in this music compared to the symphonies previous, along with a great joy present from the composer. In this way, Atterberg reminds me of Carl Nielsen in this Sixth Symphony, as if the weight on Atterberg's shoulders were lifted in creating this composition.

A marvelous horn solo takes much of the first portion in the opening movement, one which is lyrical but turns heroic as the music wends on. If my thoughts in this music turn to James Bond on his adventures abroad, such things would ring true as per my descriptions of his orchestral music thus far. Obviously, Atterberg employs structures and motives not found in film music, but it is in his way with a melody and the colors of his orchestrations which remind me most of the cinema in Atterberg's symphonies.

A haunting second movement begins at the edge of hearing, starting strings on their mutes amidst a plaintive clarinet solo. If piano was a major textural element in Symphony no. 5, here it is replaced by the harp, an effective change between works. This movement successfully settles the listener into a calm repose, with atmospheric textures and many wind solos.

I was going to mention the seepings of unusually clashing textures in the last movement of the Fifth Symphony, bringing to mind Respighi's Roman Carnivals, but it is here in Symphony no. 6 where Atterberg lets rip, done so in short, quixotic musical cells, bringing to mind that Respighi piece. The sound in this third movement is rather chaotic, especially coming from such a gentle central movement, again bringing to mind Carl Nielsen in his reaches into experimental sounds. Indeed, Atterberg even quotes other composers in this last area, so if you recognize a tune, it isn't just your imagination. Plus, the addition of bright percussion is quite a difference!

Due to this work winning a global composing competition, a fair number of high profile recordings have been made of Atterberg's Sixth Symphony. I have already mentioned Sir Thomas Beecham, but also none other than Arturo Toscanini have laid down recordings of the Dollar Symphony. I am not displeased with this account from Ari Rasilainen and the NDR Philharmonic Orchestra of Hannover. The soundstage might be a little too wide, as it was in Symphony no. 3, however, this symphony comes off better, I think.

Work Series
From Atterberg Symphonies on CPO


Works
Symphony 5 in D minor, op. 20 (34.23)
Symphony 6 in C Major, op. 31 (31.06)

Performers
Frankfurt Radio Symphony Orchestra
NDR Philharmonic Orchestra (op. 31)
Ari Rasilainen, conductor

Label: CPO
Year: 1999-2000; 2004 (set)

Find more Atterberg recordings HERE!