Hugo Alfven's Stugan

[lunar22]

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.

[Brian]

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  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:



Actually one of those looks like the same Naxos painting, but restored or in better lighting.

[Brian]

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.

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.

As promised, I tried a different recording of Symphony No. 3.



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.

[Duke Bluebeard]

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.

[Roasted Swan]

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.

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.

[foxandpeng]

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.

Shoutouts to Blomdahl, Wirén and Rehnqvist, for me. After AP  of course. 

[Duke Bluebeard]

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.

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.

[Roasted Swan]

Shoutouts 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!

[foxandpeng]

ooh!  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.

[kyjo]

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.

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...)

[Roasted Swan]

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...)

of course you are right - but pre-existing fine versions of repertoire on other labels has never stopped Naxos in the past!