Berwald - CotW w/c 21/12/15

[aeolium]

I've enjoyed the two episodes so far on Berwald, featured as part of the Northern Lights season. As well as being quite interesting as a composer, he had quite a versatile life outside composition, as a publisher, as a practitioner in orthopedics, as well as his business involvements with a glass-blowing factory and brick manufacture. Listening to the music, it wasn't so surprising to learn that his music didn't find a ready audience both in his lifetime and since (only 1 performance of any of his works at the Proms, according to Suffolk's stats). There's an unevenness of quality, a fondness for abrupt changes of mood and direction, as if he wanted to turn off and explore some byway off the beaten track. But there was still much to delight the ear, that wistful opening to the Sinfonie Singuliere, some of the wind writing in the symphonies and tone poems which seem to foreshadow Dvorak though written decades earlier, the lovely extract from the Grand Septet (though surely that Allegro Molto was taken far too pedestrianly by the Berlin Octet), the bizarre appearance of the theme from Home Sweet Home in the Concert piece for bassoon and orchestra. I like his chamber music best of the music I have heard, though I'm glad to be hearing orchestral work of his I didn't know. For me, definitely a composer deserving of more exposure on R3 and in the concert hall.

[vinteuil]

... I found that these two twofers from hyperion were a really good introduction to Berwald -

http://www.amazon.co.uk/dp/B000EFTE8U

.

http://www.amazon.co.uk/dp/B0001ZXMOU

[aeolium]

Yes, there are extracts from both those twofers scheduled during this week's programmes. I have Järvi and the Gothenburg SO in the symphonies, also very good.

[jayne lee wilson]

Did someone mention Berwald?
Berwald!

I do love the symphonies, some of the catchiest and most lovable in musical creation. Highly original and structurally ingenious (ingenuity within spontaneity...) too.

And there's a golden rule:
There's Sixten Ehrling; then there's all the rest. His BIS Malmo SO set is one of those late, great miracles of maturity-meets-freshness that only comes along very rarely. Ehrling always finds a little more time and space to express, or reveal, each phrase; he shapes each movement with instinct born of age and wisdom, and the glorious recording is one of BIS's very best, with an especially gratifying richness and warmth in the bass strings.
But you do need to hear his 1968/1970 classics on Bluebell too (No.1 with the SRSO; 3&4 with the LSO of the loud and fast vintage): almost unimprovable in their feel for the phrase, tempi and orchestral palette (until he returned to all 4, 30 years later...). CDs - rare and often expensive. You'll find the excellent-sounding lossless downloads at Qobuz or Presto. Try the 2nd and 4th movements of the SRSO in No.1.... you see? It's just there; this is how it goes.

The silver rule: of all the other cycles, Roy Goodman on Hyperion is by far the most original, freshest and best-recorded. A genuinely alternative view, sharp-tipped and bright-eyed as a red fox in the Swedish snow. And Goodman has the Berwald orchestra, and Tony Faulkner at the controls: so!

I almost see them as pop classics, these symphonies; each time you return, you might feel you're through them and out the other side pretty fast; so seek out Ehrling (BIS/Suff/Kipfer) in Malmo: he's the one to show you their true depth, breadth and hidden secrets; the one to love, and to live with.

[richardfinegold]

Did someone mention Berwald?
Berwald!

I do love the symphonies, some of the catchiest and most lovable in musical creation. Highly original and structurally ingenious (ingenuity within spontaneity...) too.

And there's a golden rule:
There's Sixten Ehrling; then there's all the rest. His BIS Malmo SO set is one of those late, great miracles of maturity-meets-freshness that only comes along very rarely. Ehrling always finds a little more time and space to express, or reveal, each phrase; he shapes each movement with instinct born of age and wisdom, and the glorious recording is one of BIS's very best, with an especially gratifying richness and warmth in the bass strings.
But you do need to hear his 1968/1970 classics on Bluebell too (No.1 with the SRSO; 3&4 with the LSO of the loud and fast vintage): almost unimprovable in their feel for the phrase, tempi and orchestral palette (until he returned to all 4, 30 years later...). CDs - rare and often expensive. You'll find the excellent-sounding lossless downloads at Qobuz or Presto. Try the 2nd and 4th movements of the SRSO in No.1.... you see? It's just there; this is how it goes.

The silver rule: of all the other cycles, Roy Goodman on Hyperion is by far the most original, freshest and best-recorded. A genuinely alternative view, sharp-tipped and bright-eyed as a red fox in the Swedish snow. And Goodman has the Berwald orchestra, and Tony Faulkner at the controls: so!

I almost see them as pop classics, these symphonies; each time you return, you might feel you're through them and out the other side pretty fast; so seek out Ehrling (BIS/Suff/Kipfer) in Malmo: he's the one to show you their true depth, breadth and hidden secrets; the one to love, and to live with.

Welcome back and Seasons Greetings, JLW.
My introduction to Berwald was hearing Ehrling guest conduct the Detroit Symphony in the Sinfonia Singuliere when I was around 18 or thereabouts. I remember enjoying the piece and I was relatively new to Classical Music and didn't appreciate how rare it is to hear a Berwald work in concert. I am interested at the prospect of a Berwald cycle led by Ehrling.

[Roehre]

Good to see you back, JLW

[BBMmk2]

Welcome back JLW! :)

[EdgeleyRob]

Did someone mention Berwald?
Berwald!

I do love the symphonies, some of the catchiest and most lovable in musical creation. Highly original and structurally ingenious (ingenuity within spontaneity...) too.

And there's a golden rule:
There's Sixten Ehrling; then there's all the rest. His BIS Malmo SO set is one of those late, great miracles of maturity-meets-freshness that only comes along very rarely. Ehrling always finds a little more time and space to express, or reveal, each phrase; he shapes each movement with instinct born of age and wisdom, and the glorious recording is one of BIS's very best, with an especially gratifying richness and warmth in the bass strings.
But you do need to hear his 1968/1970 classics on Bluebell too (No.1 with the SRSO; 3&4 with the LSO of the loud and fast vintage): almost unimprovable in their feel for the phrase, tempi and orchestral palette (until he returned to all 4, 30 years later...). CDs - rare and often expensive. You'll find the excellent-sounding lossless downloads at Qobuz or Presto. Try the 2nd and 4th movements of the SRSO in No.1.... you see? It's just there; this is how it goes.

The silver rule: of all the other cycles, Roy Goodman on Hyperion is by far the most original, freshest and best-recorded. A genuinely alternative view, sharp-tipped and bright-eyed as a red fox in the Swedish snow. And Goodman has the Berwald orchestra, and Tony Faulkner at the controls: so!

I almost see them as pop classics, these symphonies; each time you return, you might feel you're through them and out the other side pretty fast; so seek out Ehrling (BIS/Suff/Kipfer) in Malmo: he's the one to show you their true depth, breadth and hidden secrets; the one to love, and to live with.

I thought Berwald might see you back here posting Jayne.
Hope you are able to have a good Christmas
I love Berwald's music to bits

[Barbirollians]

I thought Berwald might see you back here posting Jayne.
Hope you are able to have a good Christmas
I love Berwald's music to bits

I have the Jarvi accounts and although Robert Layton regarded them as a but too brisk I am very fond if them.

[jayne lee wilson]

I have the Jarvi accounts and although Robert Layton regarded them as a but too brisk I am very fond if them.

Everything, in life as in art, is modified by what comes after, BB. No-one who loves these works, who takes the trouble to aquire it and live with it (in CD or lossless, please...) - will ever regret the purchase of Ehrling's late & great Malmo Berwald cyle...

The Neeme Jarvi set was for many years the only CD-stereo cycle of any quality; hence its slightly exaggerated reputation (cf. - Blomstedt's SFSO Nielsen...).
Jarvi recorded far too much, and it's a wonder so much of it turned out... quite good, really... but distinctive, memorable? Goodman in Sweden does everything that Jarvi does (and more), does it better & is better recorded (Tony Faulkner....!).

You need something more than "quite good" in a symphonic cycle you end up living with.... especially one this lovable.
Ehrling recorded very little. But his Berwald at least is distinguished by its fidelity to the musical cause, its devotion, its character and its sheer beauty. Thank heavens BIS caught this bird while it was on the wing....

[verismissimo]

Did someone mention Berwald?
Berwald!

I do love the symphonies, some of the catchiest and most lovable in musical creation. Highly original and structurally ingenious (ingenuity within spontaneity...) too.

And there's a golden rule:
There's Sixten Ehrling; then there's all the rest...

Your post sent me back to Berwald and Ehrling, JLW, after, what? 30 years? Thanks!

I've had his 3 and 4 with the LSO on LP since the late 60s, and they come up fresh as paint.

To me, the world they inhabit is closest to Mendelssohn, whose work he presumably became familiar with in Berlin.

[DublinJimbo]

And there's a golden rule:
There's Sixten Ehrling; then there's all the rest. His BIS Malmo SO set is one of those late, great miracles of maturity-meets-freshness that only comes along very rarely. Ehrling always finds a little more time and space to express, or reveal, each phrase; he shapes each movement with instinct born of age and wisdom, and the glorious recording is one of BIS's very best, with an especially gratifying richness and warmth in the bass strings.

The silver rule: of all the other cycles, Roy Goodman on Hyperion is by far the most original, freshest and best-recorded. A genuinely alternative view, sharp-tipped and bright-eyed as a red fox in the Swedish snow. And Goodman has the Berwald orchestra, and Tony Faulkner at the controls: so!

I have the 3-disc EMI set with Ulf Bjorling conducting the Royal Philharmonic. This includes the Piano and Violin Concertos and a generous selection of other fillers, and was my doorway to Berwald. Your recommendation is enough for me to add both Ehrling and Goodman to my collection for alternative views on this fine music.