I see that there is no thread for Hugo Alfven. Well, I'm going to start one.
Someday soon, I'm also going to post something in it. :)
Shouldn't it be 'Alfven's Åldersdomshem'?
Why stop there? It could be Alfven's Grav, but why quibble?
Quote from: Vesteralen on July 16, 2012, 04:14:07 PM
Why stop there? It could be Alfven's Grav, but why quibble?
Yes, Alfven! I am a real bona fide fan of Swedish music from early to mid last century, in particular Rangstrom and Atterberg, wonderful music in the same mould as Alfven.
Here are Alfvens features on Wiki...
(http://upload.wikimedia.org/wikipedia/commons/5/5a/Alfven_Kroyer.jpg)
I hope he didn't look a grim bastard like that all the time. His music doesn't say so.
Quote from: Scots John on July 16, 2012, 04:38:40 PM
Yes, Alfven! I am a real bona fide fan of Swedish music from early to mid last century, in particular Rangstrom and Atterberg, wonderful music in the same mould as Alfven.
Here are Alfvens features on Wiki...
(http://upload.wikimedia.org/wikipedia/commons/5/5a/Alfven_Kroyer.jpg)
I hope he didn't look a grim bastard like that all the time. His music doesn't say so.
That is the Swedish National Pose! Brooding Man, mm,...
Quote from: Vesteralen on July 16, 2012, 04:14:07 PM
Why stop there? It could be Alfven's Grav, but why quibble?
:P You smelled like a svenska, so I was just ribbin' ya!
In honor I'm listening to all the Alfven I have, the Polka, the Midsummer piece, the Cow-Girl Dance, and the Elegi, a nice, cozy 25 minutes. The Elegi has a nice Sibeliaen feel, but is there anything more of substance to him? He sounds quite conservative,... grandpa would approve!
skºl
I've always liked the hauntingly atmospheric Symphony No 4.
Quote from: snyprrr on July 16, 2012, 06:24:12 PM
That is the Swedish National Pose! Brooding Man, mm,...
:P You smelled like a svenska, so I was just ribbin' ya!
Well, as I tell my wife (who's one quarter Swedish / one quarter Norwegian), "there are only two kinds of people in the world, Scandinavians and those who wish they were Scandinavian". I'm the latter. ;D
Quote from: snyprrr on July 16, 2012, 06:24:12 PM
In honor I'm listening to all the Alfven I have, the Polka, the Midsummer piece, the Cow-Girl Dance, and the Elegi, a nice, cozy 25 minutes. The Elegi has a nice Sibeliaen feel, but is there anything more of substance to him? He sounds quite conservative,... grandpa would approve!
skºl
Yeah, he wrote so many bon-bons, he's like a Swedish Offenbach to a lot of people, I guess.
I just got pulled into his music through the symphonies and tone-poems (getting the whole set on Naxos, though there's a really economical set I found later that I'm thinking about trying, too). He was a tremendous orchestrator and had some really powerful symphonic moments. Definitely worth exploring, IMHO.
Starting with his works for orchestra we have:
Symphony No 1 Op 7 (1896) 4
Symphony No. 2 Op. 11 (1897-98) 6
Swedish Rhapsody No 1 (Midsummer Vigil) Op. 19 (1903) 21
Symphonic Poem (A Tale from the Archipelago) Op. 20 (1904) 6
Symphony No. 3 Op.23 (1904-5) 4
Festspel Op. 25 (1907) 5 ?
Swedish Phapsody No 2 (Uppsala) Op. 24 (1907) 7
Drapa Op. 27 (1908) 3
Elegy: At Emil Sjogren's Funeral Op. 38 (1918) 1
Symphony No. 4 Op. 39 (1918-19) 5
Suite from "The Mountain King" Op. 37 (1923) 6
Swedish Rhapsody No. 3 (Delecarlia) Op. 48 (1931) 6
Gustaf II Adolf Suite Op. 49 (1932) 1
Four Tunes from Leksand (1934) ?
Suite from the music to the film "Synnove Solbakken" Op. 50 (1934) 2
Symphony No 5 Op. 55 (1942-52) 4
Festival Overture Op. 52 (1944) 1
Suite from the music to the film "Mans kvinna" Op. 53 (1945) 1
Suite from the ballet "The Prodigal Son" (1957) 2?
The numbers after the titles refer to the number of recordings currently available according to Archiv Music.
I think one of the Leksand tunes may be very famous and often recorded, but I can't seem to find a recording of all four of them.
I apologize for any inaccuracies here, as I compiled this list by merging two sources.
Anyway, I'd say the man's orchestral works are very well represented on disc.
I can't say I'm an Alfven fan. There's not enough character in his music that makes him standout amongst other Swedish composers like Stenhammar, Rangstrom, Pettersson, or Atterberg.
Quote from: Mirror Image on July 17, 2012, 08:59:19 AM
I can't say I'm an Alfven fan. There's not enough character in his music that makes him standout amongst other Swedish composers like Stenhammar, Rangstrom, Pettersson, or Atterberg.
Just out of curiosity, do you say that based on extensive listening of his output or based on just a few things you've heard in passing?
I only ask the above question because my own first encounter with the music of Alfven was on this anthology disc:
(http://ecx.images-amazon.com/images/I/51-I0CvX4LL._SL500_AA300_.jpg)
And, though I enjoyed the CD, there wasn't anything on it that made me anxious to find more of the same.
However, my next encounter with Alfven's music was here:
(http://ecx.images-amazon.com/images/I/51D7E5DFPZL._SL500_AA300_.jpg)
and I found lots of "character" in this music. In fact, "The Legend of the Skerries" is one of my all-time favorite pieces.
As to comparing him with other Swedish composers - that's a field I personally haven't tapped deeply yet. But, I'm looking forward to it. I have a tendency to accept works on their own terms, though. So, things like anachronistic tendencies don't really bother me a lot. I know that's really unsophisticated, but I can't help being kind of a simple soul at heart. :)
Quote from: Vesteralen on July 17, 2012, 10:11:59 AM
Just out of curiosity, do you say that based on extensive listening of his output or based on just a few things you've heard in passing?
I've heard all of his symphonies. I own the Jarvi set of symphonies on BIS. It's been a couple of years since I listened to Alfven, so my opinion may have changed.
Quote from: Vesteralen on July 17, 2012, 10:39:30 AM
and I found lots of "character" in this music. In fact, "The Legend of the Skerries" is one of my all-time favorite pieces.
As to comparing him with other Swedish composers - that's a field I personally haven't tapped deeply yet. But, I'm looking forward to it. I have a tendency to accept works on their own terms, though. So, things like anachronistic tendencies don't really bother me a lot. I know that's really unsophisticated, but I can't help being kind of a simple soul at heart. :)
Well we all have own preferences. Interestingly enough, I don't really connect with most Scandinavian composers. In fact, most of these composers wouldn't even make it on my top 30 favorite composer list with the exception of Sibelius and Nielsen who I feel to be remarkable, but even now I don't listen to them very much. I'm much more into Russian, French, Latin American, and East European composers.
I have this:
(http://media.mdt.co.uk/media/catalog/product/cache/1/image/9df78eab33525d08d6e5fb8d27136e95/B/I/BISCD1478-80.jpg)
which is now cheaper as this:
[asin]B001716JR4[/asin]
Highly recommended (and very affordable). Lots of character and flavor, but most of all, it's enjoyable (well crafted and melodic) romantic music.
My introduction to Alfven on LP and still my favourite Alfven recording:
[asin]B000027DR3[/asin]
Pleased to see Alfvén finally has his own thread. My first encounter with his music was at last year's Proms when the Stockholm PO played the "Vallflickans dans" from Bergakungen as their encore. I then took a gamble on the Järvi/Brilliant Classics set - it was cheap and I'm a sucker for Scandinavian symphonies so I thought why not... And glad I did too, very likeable music with plenty of character!
Quote from: Mirror Image on July 17, 2012, 10:51:05 AM
Well we all have own preferences. Interestingly enough, I don't really connect with most Scandinavian composers. In fact, most of these composers wouldn't even make it on my top 30 favorite composer list with the exception of Sibelius and Nielsen who I feel to be remarkable, but even now I don't listen to them very much. I'm much more into Russian, French, Latin American, and East European composers.
Sibelius was Finnish.
Currently listening to Alfvén's 4th (Järvi) and liking it. My first exposure and based on what I'm hearing not likely to be my last. ;)
Quote from: DavidRoss on September 04, 2012, 08:43:25 AM
Sibelius was Finnish.
Currently listening to Alfvén's 4th (Järvi) and liking it. My first exposure and based on what I'm hearing not likely to be my last. ;)
Finally something can agree on David. It is a nice piece.
Quote from: Johnll on September 04, 2012, 05:44:40 PM
Finally something can agree on David. It is a nice piece.
Finally? Seeking common ground is always a good way to start. Once we realize how much we have in common and how many values we share, compassion comes easily ... and that makes us much more interested in understanding others rather than demonizing them just because they're not exactly like us. Celebrate diversity, even among composers! :D
Quote from: DavidRoss on September 04, 2012, 08:43:25 AM
Sibelius was Finnish.
Really? I thought he was Cambodian. ROFL.... ::)
Quote from: Mirror Image on September 04, 2012, 09:37:25 PM
Really? I thought he was Cambodian. ROFL.... ::)
No, you thought he was Scandinavian.
Quote from: DavidRoss on September 05, 2012, 02:20:39 AM
No, you thought he was Scandinavian.
Well Fennoscandia and Scandinavia are used pretty much interchangeably even in Fennoscandia.
Wikipedia has the following:
QuoteScandinavia[a] is a historical cultural-linguistic region in Northern Europe characterized by a common ethno-cultural Germanic heritage and related languages that includes the three kingdoms of Denmark, Norway, and Sweden. Modern Norway and Sweden proper[/b] are situated on the Scandinavian Peninsula, whereas modern Denmark is situated on the Danish islands and Jutland. The term Scandinavia is usually used as a cultural term, but in English usage, it is occasionally confused with the purely geographical term Scandinavian Peninsula, which took its name from the cultural-linguistic concept. The name Scandinavia historically referred vaguely to Scania. The terms Scandinavia and Scandinavian entered usage in the 18th century as terms for the three Scandinavian countries, their peoples and associated language and culture, being introduced by the early linguistic and cultural Scandinavist movement. Sometimes the term Scandinavia is also taken to include Iceland, the Faroe Islands, and Finland, on account of their historical association with the Scandinavian countries. Such usage, however, may be considered inaccurate in the area itself, where the term Nordic countries instead refers to this broader group.
It seems this discussion is Finnished.
Quote from: The new erato on September 05, 2012, 04:33:03 AM
It seems this discussion is Finnished.
Oh! That's a really bad (meaning good) one!!!!!! ;D
Quote from: The new erato on September 05, 2012, 04:33:03 AM
It seems this discussion is Finnished.
Ouch! ;D
I remember being set straight about it in no uncertain terms by a Finnish exchange student back in the '60s. She was rightly proud of her distinct culture and language, no more Scandinavian than the Basques are Spanish, despite several centuries of Swedish rule. Given Sibelius's participation in the Finnish nationalist movement of a century ago and his commitment to Finnish language and literature, I suspect he'd have felt the same. But per North Star it seems not all Finns feel so strongly a few generations later.
Interesting that the Wiki article doesn't include Iceland, which isn't Scandinavian only in the most limited geographic sense defined by continuous land mass.
Now listening to Alfvén,
Legend of the Skerries, the recording Vesteralen enjoyed so much, courtesy of Mog. :)
Quote from: The new erato on September 05, 2012, 04:33:03 AM
It seems this discussion is Finnished.
Does this mean that you want me out of here?
Yeah, Nordic countries is used for Iceland, Norway, Sweden & Finland
Quote from: DavidRoss on September 05, 2012, 05:23:26 AMI remember being set straight about it in no uncertain terms by a Finnish exchange student back in the '60s. She was rightly proud of her distinct culture and language, no more Scandinavian than the Basques are Spanish, despite several centuries of Swedish rule. Given Sibelius's participation in the Finnish nationalist movement of a century ago and his commitment to Finnish language and literature, I suspect he'd have felt the same. But per North Star it seems not all Finns feel so strongly a few generations later.
Well, that was during Cold War and much closer to Winter War and Continuation War - nationalism was obviously much stronger then. Interesting that you mention Sibelius's nationalism - he was very much a nationalist, but stopped active participation in the movement when the nationalists were fighting Swedish language - Sibelius's (and of just about all of the non-working class) mother tongue.
There had been a century of Russian rule - but that only solidified the control of the Swedish-speaking elite - Russians wanted a quick peace after conquering and didn't want rebellions.
And calling Basques Spanish is quite a different matter - Scandinavia refers to the geographic area.
Is there really Norway to Finnish this OT discussion ? ;D
Quote from: North Star on September 05, 2012, 05:56:31 AM
Is there really Norway to Finnish this OT discussion ? ;D
Ouch, again! ;D
Yes, "Scandinavia" refers to the geographic area. "Scandinavian" refers to the people or their culture. And my recollection of Sibelius's bio is that he participated in the Finnish language movement, studied Finnish (which was not his native tongue as he was raised in the upper middle-class speaking Swedish), and set some of his greatest works to Finnish texts. But I've been wrong before, Dane it! ;)
Quote from: DavidRoss on September 05, 2012, 06:49:59 AM
Ouch, again! ;D
Yes, "Scandinavia" refers to the geographic area. "Scandinavian" refers to the people or their culture. And my recollection of Sibelius's bio is that he participated in the Finnish language movement, studied Finnish (which was not his native tongue as he was raised in the upper middle-class speaking Swedish), and set some of his greatest works to Finnish texts. But I've been wrong before, Dane it! ;)
There's nothing wrong in those facts, but he wasn't against Swedish language, like the group that he associated with was then. Many of his choral pieces were commissions by the group.
Quote from: DavidRoss on September 05, 2012, 02:20:39 AM
No, you thought he was Scandinavian.
I thought you had me on ignore or something and now you're talking to me? I don't understand you at all.
Perhaps discussing Alfven's music would Sweden up this thread...
So far what I've heard has been beautiful and pleasant -- not fashionable, I know, but I've nothing against these qualities. I'm not sure how well it will wear for me, but plan to keep listening.
I have collected Alfven's Symphonies on Naxos and finally got around to listening to them this weekend - I must admit I was rather disappointed :-\ . Does anyone know if there is much difference between the Willen and the Jarvi performances on Bis? I felt I would have liked the music a lot more if the interpretations had a harder edge to them.
Thanks for any replies :)
Quote from: Conor71 on September 08, 2012, 08:50:22 PM
I have collected Alfven's Symphonies on Naxos and finally got around to listening to them this weekend - I must admit I was rather disappointed :-\ . Does anyone know if there is much difference between the Willen and the Jarvi performances on Bis? I felt I would have liked the music a lot more if the interpretations had a harder edge to them.
Thanks for any replies :)
I think maybe a fairer question is did you
really enjoy the music? Do you really think the interpretations played a role in your disappointment or was it perhaps the music itself? I think these are fair questions to think about. For me, there's no question that it's the music that is disappointing. I own Jarvi's set and listened to it off/on for an entire year and never bothered to revisit it. The main reason being is that there's nothing in Alfven's music that gives me the slightest bit of satisfaction. I found all of the symphonies to be nothing more than washes of faint Romanticism. There's just no character in Alfven's music. If want to hear a composer who embraced Romanticism in the 20th Century I'll listen to Shostakovich or RVW. These composers had great musical voices. I need only hear a few bars from each of these composers to know it is their music I'm hearing. Alfven lacks distinction and a personal voice. If we're talking about Swedish composers, then I would take, and cringe just saying this, Pettersson over Alfven any day of the week. At least with Pettersson I know I'm getting something that's truly personal. I may not like the dissonant sludge I'm hearing pour forth from the speakers, but I know it's one-of-a-kind dissonant sludge. ;) All of this, IMHO, of course.
Quote from: Mirror Image on
Today at 01:19:21 PM (http://www.good-music-guide.com/community/index.php?topic=20719.msg657803#msg657803)
I think maybe a fairer question is did you
really enjoy the music? Do you really think the interpretations played a role in your disappointment or was it perhaps the music itself? I think these are fair questions to think about. For me, there's no question that it's the music that is disappointing. I own Jarvi's set and listened to it off/on for an entire year and never bothered to revisit it. The main reason being is that there's nothing in Alfven's music that gives me the slightest bit of satisfaction. I found all of the symphonies to be nothing more than washes of faint Romanticism. There's just no character in Alfven's music. If want to hear a composer who embraced Romanticism in the 20th Century I'll listen to Shostakovich or RVW. These composers had great musical voices. I need only hear a few bars from each of these composers to know it is their music I'm hearing. Alfven lacks distinction and a personal voice. If we're talking about Swedish composers, then I would take, and cringe just saying this, Pettersson over Alfven any day of the week. At least with Pettersson I know I'm getting something that's truly personal. I may not like the dissonant sludge I'm hearing pour forth from the speakers, but I know it's one-of-a-kind dissonant sludge. ;) All of this, IMHO, of course.
Thanks for your response MI :) - yes it could just be the music. I did'nt really find any it that inspiring. I followed up my session of Alfven with a Disc of Atterberg (who it could be argues doesnt set the world on fire either) and I found there was a world of difference to me. I guess I am just used to liking most all Composers I've had the chance to listen to so I was a bit suprised that I didnt really warm to Alfven. Maybe I can just add him to the list of Composers which includes the likes of Stockhausen and Messiaen who I just dont really appreciate that much! :D
Let me add hat I also find Alfven relatively bland.
Quote from: Conor71 on September 08, 2012, 09:25:22 PMThanks for your response MI :) - yes it could just be the music. I didn't really find any of it that inspiring. I followed up my session of Alfven with a Disc of Atterberg (who it could be argues doesnt set the world on fire either) and I found there was a world of difference to me. I guess I am just used to liking most all Composers I've had the chance to listen to so I was a bit suprised that I didnt really warm to Alfven. Maybe I can just add him to the list of Composers which includes the likes of Stockhausen and Messiaen who I just dont really appreciate that much! :D
Atterberg is much better than Alfven. No argument there from me. I would also venture to say I like Stenhammar a lot more than Alfven. Stenhammar's
Serenade is better than anything Alfven has composed. As for your distaste for Stockhausen and Messiaen, well I feel your pain. If I never heard either of these composers again in my life, I would be happy. :)
I visited the Alfven museum, Alfven-Gården near the town of Leksand, a couple of weeks ago, on my 27-day cycling trip in Sweden.
The place has a website too
http://alfvengarden.se/wp/
It´s in the picturesque region of Dalarna, traditionally seen as quintessentially representing Swedish folk culture, and also the preferred home of artists like the painters Carl Larsson and Anders Zorn, and the author Selma Lagerlöf often popping in there too.
Alfvengården is probably less known than the Peterson-Berger museum further north, near Östersund, and right now, it doesn´t even have a single TripAdvisor review (!).
Entrance includes a well-informed, service-minded guide (staff comprises several people on the spot) and the possibility of viewing a short film about the composer. Contrary to the situation in a good deal of Swedish museums (including Zorn´s and Larsson´s) one is allowed to take photos inside, but most of mine was taken with a camera using too much MB, so the photo below is just from my phone.
Not particularly good-looking, Alfvén must however have possessed an immediate charm, since he was known as a womanizer, tended to spend his earned money quickly, loved cars but was miserable at driving and even at changing gears on the way, etc. His possibility for staying in the house was only made possible through a public collection of money for this purpose.
The house has a lived-in atmosphere, with lots of musical memorabilia, and some very nice examples of his painterly talents, including water-colors from Italy and Sweden. He even re-created a South-Italy en miniature in one of the smaller, sunlit rooms in the house, painting the walls white, supplementing with green plants, Italian ceramics, and pictures, etc.
There were several pianos, and a lot of scores, obviously due to Alfven´s conducting career, but it´s not a lavish or rich home otherwise, compared to Zorn´s luxurious, hi-end one at Mora, or Larsson´s densely decorated, collector-loaded one in Sundborn.
When I was there, the Swedish pianist Melker Stendahl was there, having given a concert there the day before (they offer a lot of concerts), on one of Alfven´s pianos. He was recording some music there, and we talked about a possible CD release, since Alfven´s piano music is generally neglected
https://sv.wikipedia.org/wiki/Hugo_Alfv%C3%A9n#Pianomusik
Given the appearance of the Naxos Alfvén box, and given my ongoing adventure through the much darker, gloomier world of Kalevi Aho, I decided to also do a listening tour of his A-mate.
(https://static.qobuz.com/images/covers/23/62/0730099496223_600.jpg)
The Festival Overture is an admirable example of its kind. Just 5 minutes, very catchy and happy, reminiscent of Tchaikovsky's polonaise from 'Onegin' or the Nielsen Maskarade. Good stuff. Willen draws a suite of four bits from the Bergakungen ballet, and the performance is adequate, nothing more. (The shepherd girl's dance is one of Alfvén's two big "hits," and this rendition is at a rather safe tempo.)
The Uppsala Rhapsody, Swedish Rhapsody No. 2, is not as catchy and instantly likeable as Rhapsody No. 1, nor as enormous and dramatic as No. 3. It's just genial background music, with an inappropriately serious fugue shoved into the middle. I like to keep this kind of harmless, gentle music on in the background while I focus on work, and it is adequate for that purpose: not too good to distract me from my job, not too bad to be annoying. Perfectly fine.
Symphony No. 1 is in stark contrast to the rest of the music here. In F minor, it has pretentions of being a Very Serious Piece, clearly by a composer who felt intimidated by the symphonic form and thought he needed to use it to do something Really Big. It starts with a drum roll, a glum cello solo, and then a slow introduction. Bass drum underpins the acceleration into the first movement. And the rest...is not memorable. The finale starts with the same chord as Beethoven's Egmont overture. But otherwise, this music is just...okay. There is a little bit of a Nordic folk influence to a couple of melodies, but not nearly enough to rescue this from the ranks of the dozens of other totally generic Germanic romantic symphonies. The orchestra is not always perfectly rehearsed.
It is perhaps an advantage of the Naxos series' programming that the good stuff and less good stuff are distributed evenly across each disc. Or maybe that's because Alfvén's symphonies are all 38-50 minutes long, which means they can't be coupled with each other and must be paired with the shorter works he did better.
I do think the Festival Overture deserves a spot on some overture albums, but there is much better music coming on later volumes of this series.
(https://static.qobuz.com/images/covers/21/72/0747313507221_600.jpg)
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.
Sounds like I've been right to be hesitant about diving into Alfven's symphonies.
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.
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.
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.
(https://static.qobuz.com/images/covers/20/29/0730099472920_600.jpg)
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! ;D
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.
Quote from: Brian on February 13, 2024, 10:00:56 AMThe 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.
Quote from: Brian on February 13, 2024, 10:00:56 AM(https://static.qobuz.com/images/covers/20/29/0730099472920_600.jpg)
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! ;D
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!! ;D
This lovely 5 CD set conducted by Neeme Jarvi (Brilliant Classics) has probably already been mentioned but it is well worth seeking out -
(https://m.media-amazon.com/images/I/818UN9yWeAL._AC_SX679_.jpg)
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)...
It's the same as the BIS set, just cheaper.
Quote from: Maestro267 on February 14, 2024, 05:18:53 AMIt'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...
Indeed. I'm not sure how or why the bigger companies allow them to do what they do but I'm here for it.
Quote from: Maestro267 on February 14, 2024, 06:18:25 AMIndeed. 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...
8)
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!
Quote from: foxandpeng on February 14, 2024, 11:52:31 AMWell, 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...
Quote from: Albion on February 14, 2024, 01:01:59 PMMe 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 🙂
Quote from: foxandpeng on February 14, 2024, 01:16:14 PMWe 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...
Quote from: foxandpeng on February 14, 2024, 11:52:31 AMWell, 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...
(https://static.qobuz.com/images/covers/lc/de/qkz1end9gdelc_600.jpg)
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.
Quote from: Brian on January 11, 2023, 09:46:56 AM(https://static.qobuz.com/images/covers/21/72/0747313507221_600.jpg)
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.
Quote from: Brian on January 11, 2023, 09:46:56 AMUnfortunately, 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.
Just a quick addendum -- I briefly wondered whether I had done the "Prodigal Son" an injustice but listening to it again, if anything it's even more insipid than my memory and only confirms the widespread critical opinion that Alfven, unlike many other composers, became increasingly routine as he got older. I know the 4th symphony (nothing like as late as PS)is one that seems quite controversial as it often seems rather liked in English speaking countries and certainly has its own atmosphere -- nevertheless the very distinctively Swedish fieriness and passion, so present in many of his earlier works, is rather missing even by this stage and the work has a few less than inspired sections.
Incidentally, some of Alfven's programme music, and particularly the Dalarapsodi is indeed passionate and invigorating so I don't dislike all his lighter stuff.
(https://static.qobuz.com/images/covers/23/84/0747313228423_600.jpg)
The Fourth was my favorite Alfven symphony before starting this now two-year-long relistening project. It might still be, but I'm going to listen to a non-Naxos recording of No. 3 before saying that. It's a rhapsodic series of tone pictures of the archipelago outside Stockholm. When I first heard this piece as a college student, I thought that area must be really wild, mysterious, colorful, even scary. Now I know that it's mostly upper-middle-class Swedes' summer cabins ;D But surely there is some wild weather...
Anyway, this symphony has vocalise tenor and soprano, and was written eight years after Nielsen's Third Symphony, so it clearly takes inspiration from Nielsen. There's a lovely Mendelssohn-meets-Atterberg scherzo, and the slow movement ends with a Straussian thunderstorm that leads directly into the finale. The finale is the most disappointing section; after a few stormy moments that just can't measure up to the Alpensinfonie or Atterberg's Third (also written before this one), the music fades to a nicely spooky quiet ending.
Mostly, the score is really colorful throughout. Some episodes may not be as entertaining - I think there is altogether too much singing in the middle section of the 19-minute slow movement, and I don't love the finale - but the first half is a lot of fun. It was also interesting to return to this symphony after years of familiarity with its predecessors, Nielsen 3 and Atterberg 3, both of which leave a much stronger memory for their different reasons.
The Festive Overture was written in 1944, a very late piece indeed, and the big melody, which arrives around 2', could be described as "naive" or pops-y. Not essential.
EDIT: Cover painting by August Strindberg. Strindberg paintings also grace the covers of some BIS Stenhammar albums:
(https://static.qobuz.com/images/covers/pa/j3/u7sazmcq8j3pa_600.jpg) (https://static.qobuz.com/images/covers/lc/b1/xt9bxafplb1lc_600.jpg) (https://static.qobuz.com/images/covers/yc/7a/csmm2d6ds7ayc_600.jpg) (https://static.qobuz.com/images/covers/nb/as/zv9u8bzfzasnb_600.jpg) (https://static.qobuz.com/images/covers/wc/qy/zshkqv5noqywc_600.jpg)
Actually one of those looks like the same Naxos painting, but restored or in better lighting.
(https://static.qobuz.com/images/covers/22/12/0747313261222_600.jpg)
Symphony No. 5 is a monster (48 minutes under Jarvi, 54 under Willen), and it's full of sound and fury, starting with a gloomy, harmonically complex fugal intro. Storms roil the first movement for its whole length, including a totally unnecessary, very long exposition repeat which feels like if you repeated a chunk of a Strauss tone poem. Though the tumult is entertaining, I did cringe in irritation when the recapitulation arrived for a third go-through of the same material. It's just not suitable for sonata form.
The slow movement is calming - and useful since more stormy effects (fluttery flutes, string swells, xylophone) will appear in the scherzo. Hurwitz has pointed out the rather cute fact that Alfven allows himself exactly one percussion instrument (in addition to timpani) in each movement: tam-tam in the first, xylophone in the scherzo, triangle in the celebratory finale, where the clouds have parted and the festivities can begin. (EDIT: Actually he missed one single cymbal crash on the last chord, the only time a third percussionist is required through the whole piece.) Though this symphony was finally finished, after years of revisions, in 1958, the finale especially sounds like it could have come from 1893. In fact, at times it seems modeled on the finale of Mahler 1.
At least it is charming and energetic in its anachronism. I don't mind it but I hope that when Borowicz records it, he omits the repeats.
The Andante religioso is a soft, sweet, sentimental but well-crafted miniature for string orchestra and celesta. A nice encore. The painting is again by Strindberg.
Quote from: Brian on February 13, 2024, 10:00:56 AMAnyway, 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.
As promised, I tried a different recording of Symphony No. 3.
(https://static.qobuz.com/images/covers/ib/73/s1vrby01473ib_600.jpg)
This one has much better, closer, warmer sound, and it is
very slightly slower in the three fast movements. Borowicz plays up the weird dissonant moment midway through the first movement exposition and his woodwind soloists offer more characterful playing that make this sound even more folksy and Swedish than the Willen recording. The clarinet solos in the first movement, especially, are more prominent and better played.
Overall, there is a lovely pastoral/rustic feel to the fast music, and a decided Swedishness that is totally agreeable. The greater clarity in sound also helped me appreciate the super-tightly written development sections (and tuba part). The real question was whether I'd like the slow movement better this time around. Ultimately, the restatement of the Big Tune strikes me as a little cheesy, but the closer, more detailed recorded sound proves surprisingly important here, as you can hear much more complexity in the accompaniment and it takes a little bit of the syrup out of the melody.
I think it's fair to revise my estimation of No. 3 up to being my favorite of the five, but I'm also wondering if I listened to the wrong cycle and need to try again with another conductor! Borowicz has also recorded 1 and 2. For 4 and 5, it looks like the top competition so far is the Jarvi set.
Thanks for the write-up, Brian. Alfvén has never been a composer that particularly impressed me. If we're talking about Swedish composers, then Stenhammar, Atterberg and Nystroem are more up my alley. I should dig out that Neeme Järvi BIS set and see if any of the music sticks this time around.
Quote from: Duke Bluebeard on January 13, 2025, 02:47:34 PMThanks for the write-up, Brian. Alfvén has never been a composer that particularly impressed me. If we're talking about Swedish composers, then Stenhammar, Atterberg and Nystroem are more up my alley. I should dig out that Neeme Järvi BIS set and see if any of the music sticks this time around.
I find Alfvén a bit variable but his finest music is excellent - Symphony No.4 is just lovely - another Westerberg LP introduced me to this piece. The Naxos and BIS cycles both make a pretty good case for him - don't know the CPO survey. I wonder why Naxos never investigated more Stenhammar? I would add Ture Rangstrom to my list of interesting Swedish composers.
Quote from: Roasted Swan on January 13, 2025, 11:04:28 PMI find Alfvén a bit variable but his finest music is excellent - Symphony No.4 is just lovely - another Westerberg LP introduced me to this piece. The Naxos and BIS cycles both make a pretty good case for him - don't know the CPO survey. I wonder why Naxos never investigated more Stenhammar? I would add Ture Rangstrom to my list of interesting Swedish composers.
Shoutouts to Blomdahl, Wirén and Rehnqvist, for me. After AP of course.
Quote from: Roasted Swan on January 13, 2025, 11:04:28 PMI find Alfvén a bit variable but his finest music is excellent - Symphony No.4 is just lovely - another Westerberg LP introduced me to this piece. The Naxos and BIS cycles both make a pretty good case for him - don't know the CPO survey. I wonder why Naxos never investigated more Stenhammar? I would add Ture Rangstrom to my list of interesting Swedish composers.
I'll definitely have to revisit the 4th symphony from Alfvén since you rate it so highly. As for Naxos not recording more Stenhammar, I haven't the foggiest idea. They haven't explored Nystroem either and I figured this composer would be up their alley since he's not well-known. Now that you mention him, Rangström is another composer that Naxos should explore, but haven't.
Quote from: foxandpeng on January 13, 2025, 11:43:50 PMShoutouts to Blomdahl, Wirén and Rehnqvist, for me. After AP of course.
ooh! don't know Rehnqvist at all! One to add to the list for sure!
Quote from: Roasted Swan on January 14, 2025, 08:52:06 AMooh! don't know Rehnqvist at all! One to add to the list for sure!
I started with 'On a Distant Shore', but you probably can't go far wrong with any of her work.
Quote from: Der einsame Einsiedler on January 14, 2025, 06:37:50 AMI'll definitely have to revisit the 4th symphony from Alfvén since you rate it so highly. As for Naxos not recording more Stenhammar, I haven't the foggiest idea. They haven't explored Nystroem either and I figured this composer would be up their alley since he's not well-known. Now that you mention him, Rangström is another composer that Naxos should explore, but haven't.
Well, to be fair, BIS have done an excellent job of recording the majority of Stenhammar's and Nystroem's outputs, and CPO has for Rangstrom's. Stenhammar, especially, has been quite well-served on record with multiple recordings of his major works. (Of course, his music - like that of virtually every Nordic composer except for Sibelius - is still a rarity on concert programs...)
Quote from: kyjo on January 15, 2025, 07:12:33 AMWell, to be fair, BIS have done an excellent job of recording the majority of Stenhammar's and Nystroem's outputs, and CPO has for Rangstrom's. Stenhammar, especially, has been quite well-served on record with multiple recordings of his major works. (Of course, his music - like that of virtually every Nordic composer except for Sibelius - is still a rarity on concert programs...)
of course you are right - but pre-existing fine versions of repertoire on other labels has never stopped Naxos in the past!
Alfvén's complete orchestral songs. To be released on 19 September:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTc4NTg1My4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3NTEyOTIyMjJ9)