Search - Wilhelm Peterson-Berger, Michail Jurowski, Saarbrucken Radio Symphony Orchestra :: Wilhelm Peterson-Berger: Complete Symphonies [Box Set]

Five charming late romantic symphonies and several lovely or

Russ | Richmond, VA | 07/17/2006

(4 out of 5 stars)

"Wilhelm Peterson-Berger (1867-1942) was a Swedish music critic, conductor and composer. He was one of many twentieth century Swedish composers who wrote in a tuneful, approachable style, despite some of the revolutionary trends taking place on mainland Europe. Others such composers include, Alfven, Atterberg, Larsson and Rangstrom. CPO has been an advocate for these works, and has committed the complete symphonies of Atterberg and Rangstrom to disc. As a comparison for anybody who might be familiar with these other composers, Peterson-Berger's symphonies rank below Atterberg's amazing symphonies, but above those of Rangstrom. I would say, Peterson-Berger is less structured than Alfven, but not as pastoral as Larsson.



Peterson-Berger's musical influences included Wagner, Grieg and Swedish folk music. However, when looking chronologically at Peterson-Berger's works, the influence of Wagner appears to wane across time. Additionally, Peterson-Berger loved the mountains of Northern Sweden and was quite successful at depicting nature within his works. Peterson-Berger's music is tuneful, with the entire orchestral palette put to good use. The composer makes frequent use of brass and woodwind solos, and uses characteristic string scoring in creating a northern soundscape. The harp is often used to add color, while the piano is a notable addition to the later symphonies. Despite the use of attractive themes and distinctive orchestral colorings, the music occasionally drags a bit, as there is not a lot of development.



A brief summary of the works:



The Symphony No. 1 "The Banner" is an early work and displays the composer's admiration for Wagner, especially in the third movement ("At the hero's bier") with a prominent brass chorale. There are lighter moments however. The scherzo, for instance, opens with sprightly woodwinds bringing to mind Mendelssohn. The final movement wanders around a bit, with an extended melody popping out here and there. In the finale, there is a brass-heavy orchestral climax, in which it seems the composer is trying to emulate his Germanic role models. The movement is noteworthy for its powerful and affirmative final measures.



The Symphony No. 2 "The Journey on Southerly Winds" is a more mature work, but is a bit long winded (the movements average 15 minutes apiece here). Compared to the first symphony, there seems to be a reduced use of Wagnerian devices. The second movement, "The City of Roses - The Procession of Dionysus" is the most extraverted movement within all of Peterson-Berger's symphonies, featuring many charming, colorfully orchestrated, folk melodies. Although this movement lasts a little too long, the frenzied, virtuosic, ending really is exciting. The final movement is weightier; and tends to drag a little, despite a promising opening harp theme.



The Symphony No. 3 "Lapland," depicting the composer's love of Northern Sweden, is the most successful of the composer's symphonies. The work is notable for containing actual Lapp folk songs. The opening movement is definitely evocative of the Northern landscape, with a solo bassoon calling out over lower strings answered back by a solo French horn (this is a cool part). Peterson-Berger makes brilliant use of the piano in this symphony, creating some rather unique orchestral textures by placing the piano in unison with alternating instruments (flute, harp, pizzicato strings, timpani, etc.). The third movement, "Tranquillo - Summer Night" is especially beautiful, and can stand along side, or above, any of Atterberg's slow movements. The final movement is notable for its quiet, beguiling ending. This is an outstanding work, and should be better known.



The Symphony No. 4 "Holmia" is the shortest and least serious of all of Peterson-Berger's symphonies. As usual, there are charming melodies here, but to me this piece seems more of a suite with long movements, as opposed to a symphony. The piece was intended to be a "popular" symphony and contains a fox-trot and other dance elements. The symphony concludes with a powerful orchestral hymn that seems out of place on this work.



The Symphony No. 5 "Solitudo" is so called because it was conceived in the relative isolation of the composer's home on the island of Froso. The tranquil, and sometimes melancholy, first movement is meant to represent solitude. This is probably a coincidence, but I seem to hear the same haunting descending horn line two minutes into this symphony, that appears at the conclusion of the third symphony. The rest of the symphony is very lively and outgoing. The waltz-like second movement is very playful. The finale of the symphony is both rousing and heroic. At the climax, the music almost seems to be bombastic. The music does eventually calm down, though, and fades away to nothing.



The Other Works: The five symphonies actually constitute just slightly over half of the time on these CD's. There is also an outstanding violin concerto, four beautiful orchestral suites, as well as some miscellaneous orchestral works. Often the music of Peterson-Berger thrives when he doesn't have to worry about the pretentiousness of a "symphony." The lovely "Last Summer" suite, containing movements such as "The Pine Forest," "The Lake," and "The Mountain Stream," would be an outstanding addition to any "Swedish Favorites" program. The "Earina Suite" is another work that is evocative of nature, the wonderfully noble invocation, in particular. Another favorite is third movement of "The Flowers of Froso" suite, which contains some exotic, yet beautiful, harmonies. Such exotic harmonies also appear in the virtuosic violin concerto.



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If you get one Peterson-Berger CD, get the third symphony. However, I believe that the set, as a whole is worth having, especially at the discounted (per CD) price, as there are high moments within each of the symphonies. Further, many of the orchestral works, the "Last Summer" suite for instance, are also worth having. So, despite a handful of overextended ideas, lovers of late Romantic works, especially of the Swedish variety, should pick this set up.



CD 1: 69:44

CD 2: 69:43

CD 3: 70:55

CD 4: 65:55

CD 5: 62:48"