Hugo Alfven's Stugan

[Brian]

The Prodigal Son suite is absolutely wonderful, truly top-notch Alfvén (if that doesn't sound paradoxical to you). It is a light ballet with nationalistic influences, but not just from Sweden. The second movement sounds remarkably Hungarian, like the more straightforward Bartók dance arrangements, while the polka (No. 6) could be straight out of Strauss Jr. A delightful concoction.

Unfortunately, the Symphony No. 2 is another often forgettable large-scale piece. The 18-minute slow movement, a funeral-march-like piece that builds to a mournful climax, is rather interesting, and the scherzo offers some vigorous, vaguely sinister fun. The finale is a big, pretentious prelude and fugue, with only momentary bits of interest.

I think it's pretty common for these sorts of generic romantic symphonic "statements" to be most interesting in the scherzo, where the composer feels freer to use a smaller form and generate more straightforward rhythmic and melodic interest. That's certainly the case here. Good scherzo, rather dour remainder. The Irish players do seem more engaged and "together" than their Scottish rivals were in Volume 1.

[Maestro267]

Sounds like I've been right to be hesitant about diving into Alfven's symphonies.

[Symphonic Addict]

For me, only the First Symphony is not up to the expectations, its material is not strong and it goes unnoticed, but the other 4 have more character and memorable ideas. The No. 4 has a dramatic and atmospheric feel to it that wouldn't leave indifferent to anyone keen on late-Romantic sound worlds. It could be my favorite along with the No. 3.

[kyjo]

As I've often said, the Third Symphony is undoubtedly my favorite work by Alfvén, and indeed it's one of my favorite symphonies of all time. It possesses a tuneful, life-affirming Dvorakian freshness married to a sumptuous, even Straussian harmonic language - an irresistible combination. The heart-on-sleeve slow movement is unforgettably beautiful. The Borowicz recording on CPO is particularly excellent, but I prefer Järvi's brisker tempo in the finale.

After the Third Symphony, my next favorite work by him is the colorful and dramatic ballet Bergakungen, which is surely one of the most significant Nordic ballets (there aren't many)! Like most others here, I enjoy the Fourth Symphony, but I do find it a bit too derivative of R. Strauss in places. The Second and Fifth have their moments (the Second has a lovely first movement), but don't quite hang together overall IMO and suffer from overly heavy orchestration at times. And, as Cesar mentioned, the First is undoubtedly the weakest of the bunch, notwithstanding its rather unique opening. Oh, and of course the three Swedish Rhapsodies are great fun, above all the famous first.

[lordlance]

I heard the Fourth symphony recently and it's the only time in my life where a piece of music has been genuinely creepy. The vocalizing is something else - I have never heard anything like it before.

Alfven wrote gigantic symphonies in true late Romantic fashion and I've so far heard the Fourth and Fifth symphonies. Need to revisit them eventually. I am probably going to go in reverse and finish the symphonies first though.

[Brian]

Picking up my Alfven cycle listen a year later, but better late than never. This CD features the 25-minute mammoth Dalecarlian Rhapsody, celebrating "the province where genuine folk-music tradition is at its strongest" (booklet), the 18-minute "A Skerry Saga," and the Symphony in E Major, an unusual and always welcome key. At 35 minutes, this is the most modestly sized symphony so far.

The late (1930s) Rhapsody begins with an offstage (?) solo for a woodwind instrument I can't quite identify; maybe something in the oboe family? (The booklet doesn't help.) It's primarily a wistful, nostalgic piece with a few jaunty happy episodes sprinkled throughout a generally slow canvas. I enjoy it as background music and would play it on a quiet day at home, but can't imagine giving it undivided concert-hall attention.

A Skerry Saga is a younger, more passionate work that follows a freeform fantasy/dream logic through different emotional episodes. It's vivid and descriptive, never exactly a masterpiece but always entertaining. I thoroughly enjoyed it. My personal translation is super-literal (En skärgårdssägen) - Naxos provides "Legend of the Skerries" and Qobuz suggests "A Tale from the Archipelago."

The Symphony's origin story is interesting and it's only daintily described in the booklet. The booklet says that in 1904, Alfven traveled to Italy and met his future wife, who was married to somebody else. In 1905, Hugo and his new wife returned to Italy. Hmmm. What happened there? How did the events proceed in between those trips? I want to know more!

Anyway, the symphony is his expression of joy and love and honeymoon happiness. The slow movement, particularly, has a very sentimental tone with a melody that sounds like a Christmas carol. As with the rest of the program, the Naxos booklet does not actually describe the music in any detail, just summarizes its happy nature, so I don't know if there is an explanation for this rather Hollywoody tune or its insistent repetition.

That movement kind of annoyed me, to be honest, but the faster ones are pleasant and cheery and energetic. I don't share kyjo's enthusiasm yet but I also didn't try his favored recording, so will try Borowicz and see if it brings me closer to finding some soul in the piece.

[Mapman]

The late (1930s) Rhapsody begins with an offstage (?) solo for a woodwind instrument I can't quite identify; maybe something in the oboe family? (The booklet doesn't help.)

It's soprano saxophone or oboe: the score is available to view on the publisher's website:
https://www.wisemusicclassical.com/work/20756/Dalarapsodi-Svensk-Rapsodi-no3--Hugo-Alfv%C3%A9n/
(From the note it's not clear which Alfvén preferred. The end of the piece clearly calls for saxophone.)

I just listened, and found the piece quite fun. I used Sakari's recording on Chandos.

[Roasted Swan]

Picking up my Alfven cycle listen a year later, but better late than never. This CD features the 25-minute mammoth Dalecarlian Rhapsody, celebrating "the province where genuine folk-music tradition is at its strongest" (booklet), the 18-minute "A Skerry Saga," and the Symphony in E Major, an unusual and always welcome key. At 35 minutes, this is the most modestly sized symphony so far.

The late (1930s) Rhapsody begins with an offstage (?) solo for a woodwind instrument I can't quite identify; maybe something in the oboe family? (The booklet doesn't help.) It's primarily a wistful, nostalgic piece with a few jaunty happy episodes sprinkled throughout a generally slow canvas. I enjoy it as background music and would play it on a quiet day at home, but can't imagine giving it undivided concert-hall attention.

A Skerry Saga is a younger, more passionate work that follows a freeform fantasy/dream logic through different emotional episodes. It's vivid and descriptive, never exactly a masterpiece but always entertaining. I thoroughly enjoyed it. My personal translation is super-literal (En skärgårdssägen) - Naxos provides "Legend of the Skerries" and Qobuz suggests "A Tale from the Archipelago."

The Symphony's origin story is interesting and it's only daintily described in the booklet. The booklet says that in 1904, Alfven traveled to Italy and met his future wife, who was married to somebody else. In 1905, Hugo and his new wife returned to Italy. Hmmm. What happened there? How did the events proceed in between those trips? I want to know more!

Anyway, the symphony is his expression of joy and love and honeymoon happiness. The slow movement, particularly, has a very sentimental tone with a melody that sounds like a Christmas carol. As with the rest of the program, the Naxos booklet does not actually describe the music in any detail, just summarizes its happy nature, so I don't know if there is an explanation for this rather Hollywoody tune or its insistent repetition.

That movement kind of annoyed me, to be honest, but the faster ones are pleasant and cheery and energetic. I don't share kyjo's enthusiasm yet but I also didn't try his favored recording, so will try Borowicz and see if it brings me closer to finding some soul in the piece.

to the bolded - there speaks someone who is not a string player!! 

[Albion]

This lovely 5 CD set conducted by Neeme Jarvi (Brilliant Classics) has probably already been mentioned but it is well worth seeking out -



All the performances are excellent and vividly recorded, and besides the symphonies and rhapsodies you also get "Drapa", "Andante religioso", "The Prodigal Son" suite, "A Legend of the Skerries", "The Mountain King" - suite and "Elegy".

Also very worthwhile are the four symphonies by Christian Sinding conducted by Ari Rasilainen (Warner Apex)...

[Maestro267]

It's the same as the BIS set, just cheaper.

[Albion]

It's the same as the BIS set, just cheaper.

I know. Brilliant Classics are very shrewd in their licensing, e.g. Jean-Philippe Collard's Faure from EMI and Thomas Dausgaard's Berwald from Chandos. I always keep a look out to see what they are issuing as there is usually something of interest...

[Maestro267]

Indeed. I'm not sure how or why the bigger companies allow them to do what they do but I'm here for it.

[Albion]

Indeed. I'm not sure how or why the bigger companies allow them to do what they do but I'm here for it.

And so say all of us! I've just picked up the well-regarded 3-disc set of Grieg's complete "Lyric Pieces" by Hakon Austbo for £2.16 on Amazon. What Brilliant Classics saves on your wallet it more than makes up for in diminishing shelf-space...

 

[foxandpeng]

Well, whatever the general consensus, I am a huge fan of Alfven. I find him tuneful, attractive, and without being overly thought-provoking or challenging, relaxing and distracting. There is a place for simple beauty, I think, and for me this qualifies.

I have the Naxos releases and with the advent of Spring just around the corner, anticipate enjoying his entertaining symphonies while the days get longer and the world comes back to life!

[Albion]

Well, whatever the general consensus, I am a huge fan of Alfven. I find him tuneful, attractive, and without being overly thought-provoking or challenging, relaxing and distracting. There is a place for simple beauty, I think, and for me this qualifies.

I have the Naxos releases and with the advent of Spring just around the corner, anticipate enjoying his entertaining symphonies while the days get longer and the world comes back to life!

Me too. Virtually 90% of my CD collection consists of works by composers who are not regarded as "front-rank" in the skewed hegemony which we seem to be mired in. I couldn't give a tinker's toss if most of the "standard classics" were placed on an embargo for the next 50 years so that listeners could EXPLORE THE REPERTOIRE and maybe even experience live performances of neglected works...

[foxandpeng]

Me too. Virtually 90% of my CD collection consists of works by composers who are not regarded as "front-rank" in the skewed hegemony which we seem to be mired in. I couldn't give a tinker's toss if most of the "standard classics" were placed on an embargo for the next 50 years so that listeners could EXPLORE THE REPERTOIRE and maybe even experience live performances of neglected works...

We stand on similar ground.

I value this forum for many reasons, but a major cause of my affection is the lack of expectation that listeners must appreciate a certain standard repertoire. I like, that however great the 'obvious' composers may be, they are not forced upon our community. If you love Mozart, we'll and good; if you prefer his lesser known contemporary who wrote two suites for triangle, then equally good. I appreciate that this is a safe place to explore B roads and single tracks, as well as motorways, and others will be patient with ignorance and foolish questions.

I do think Alfven has lots to offer and am glad I'm hardly alone 🙂

[Albion]

We stand on similar ground.

I value this forum for many reasons, but a major cause of my affection is the lack of expectation that listeners must appreciate a certain standard repertoire. I like that, however great the 'obvious' composers may be, they are not forced upon our community. If you love Mozart, we'll and good; if you prefer his lesser known contemporary who wrote two suites for triangle, then equally good. I appreciate that this is a safe place to explore B roads and single tracks, as well as motorways, and others will be patient with ignorance and foolish questions.

I do think Alfven has lots to offer and am glad I'm hardly alone 🙂

You certainly aren't. Today I've been listening to York Bowen's solo piano music (in the marvellous set by Joop Celis on Chandos), orchestral Reznicek on CPO (yes, the ones that come with incomprehensible booklet notes that could have been dictated from a psychiatrist's couch) and Suppe overtures on Marco Polo. Tomorrow I've lined up Arthur Bliss, Vincent d'Indy and Daniel Jones. The RECORDED repertoire is such a smorgasbord and I only hope that the industry won't implode like a red giant and transmute into a black dwarf. As I don't stream or download I wonder just how long physical product will continue to be viable for many companies...

[Brian]

Well, whatever the general consensus, I am a huge fan of Alfven. I find him tuneful, attractive, and without being overly thought-provoking or challenging, relaxing and distracting. There is a place for simple beauty, I think, and for me this qualifies.

Completely agree with this description! I think, for me, the smaller forms often showcase these qualities better than the "big stuff." Which brings me to this...



First ever listen to any of this music, a mix of songs (44 minutes) and solo piano miniatures (23 minutes), recorded on Alfven's own 1908 Steinway in his house. BIS likes to do this concept - Folke Grasbeck's Sibelius recital in his house on his own piano is a classic.

This one is very charming too. You can really tell it was recorded in a house, with the smaller, living-room-like acoustic and the very intimate piano sound. The tunes are charming and I love the piano solo material, which is obviously influenced by Grieg's Lyric Pieces. Elin Rombo is honestly a little bit loud/dramatic for the domestic setting but she has a very appealing voice and she's given some lovely music to work with.

This makes me want to explore more of the chamber/miniature side of Alfven, for sure.

[Mapman]

The Prodigal Son suite is absolutely wonderful, truly top-notch Alfvén (if that doesn't sound paradoxical to you). It is a light ballet with nationalistic influences, but not just from Sweden. The second movement sounds remarkably Hungarian, like the more straightforward Bartók dance arrangements, while the polka (No. 6) could be straight out of Strauss Jr. A delightful concoction.

Unfortunately, the Symphony No. 2 is another often forgettable large-scale piece. The 18-minute slow movement, a funeral-march-like piece that builds to a mournful climax, is rather interesting, and the scherzo offers some vigorous, vaguely sinister fun. The finale is a big, pretentious prelude and fugue, with only momentary bits of interest.

I think it's pretty common for these sorts of generic romantic symphonic "statements" to be most interesting in the scherzo, where the composer feels freer to use a smaller form and generate more straightforward rhythmic and melodic interest. That's certainly the case here. Good scherzo, rather dour remainder. The Irish players do seem more engaged and "together" than their Scottish rivals were in Volume 1.

I just listened to the same recording of Alfven's 2nd. Overall, I also wasn't particularly impressed. I think the first movement with its lovely melodies was my favorite.

[lunar22]

Unfortunately, the Symphony No. 2 is another often forgettable large-scale piece. The 18-minute slow movement, a funeral-march-like piece that builds to a mournful climax, is rather interesting, and the scherzo offers some vigorous, vaguely sinister fun. The finale is a big, pretentious prelude and fugue, with only momentary bits of interest.

well, that's possibly the first time I've heard such a view, although I know not everyone likes it. My own opinion (and one shared by a number of people on a different music forum) is that it's one of the greatest of Swedish symphonies. Certainly it's Alfven's most sophisticated, although I do like both 1 and 3 (only no.4 of the completed ones is rather wishy washy and shows a reduction in his imaginative powers). I must admit the Prodigal Son, in comparison, never made a great impression so I suspect we have very different ideas about Alfven. Segerstam is a more passionate reading which is perhaps the basis on which this symphony should be judged.

I should add that as my grandfather was a personal friend of Alfven, I'm in general predisposed to like the composer -- just possibly my favourite Swede overall.