Uploaded June 2025 | Updated September 2026, 4 days ago
00:06 I. Grave
10:01 II. Allegro bucolico
20:42 III. Lento
Erling Blöndal Bengtsson, cello
Stockholm Radio Symphony Orchestra conducted by Stig Westerberg
Gösta Nystroem (1890-1966) was considered one of the first Swedish modernist composers. For more on Nystroem, see my score video of his third symphony "Sinfonia del mare": youtube.com/watch?v=d1ckgXmrnXE
Nystroem's "Sinfonia concertante" was written in 1944, four years before the "Sinfonia del mare" (arguably his most famous work.) The two works are quite similar harmonically as well as in their overall character; although the "Sinfonia concertante" is in three distinct movements, it is still the middle section, sandwiched between two more intense parts of each work, where the brighter moments can be found.
As is customary for a concertante work (as opposed to a proper concerto). this piece demands neither great virtuosity nor a particularly individual role from the soloist, and it stands apart from much of Nystroem's work in being purely absolute music—although perhaps one can still hear some echoes of the sea, his perpetual inspiration.
00:06 I. Grave
10:01 II. Allegro bucolico
20:42 III. Lento
Erling Blöndal Bengtsson, cello
Stockholm Radio Symphony Orchestra conducted by Stig Westerberg
Gösta Nystroem (1890-1966) was considered one of the first Swedish modernist composers. For more on Nystroem, see my score video of his third symphony "Sinfonia del mare": youtube.com/watch?v=d1ckgXmrnXE
Nystroem's "Sinfonia concertante" was written in 1944, four years before the "Sinfonia del mare" (arguably his most famous work.) The two works are quite similar harmonically as well as in their overall character; although the "Sinfonia concertante" is in three distinct movements, it is still the middle section, sandwiched between two more intense parts of each work, where the brighter moments can be found.
As is customary for a concertante work (as opposed to a proper concerto). this piece demands neither great virtuosity nor a particularly individual role from the soloist, and it stands apart from much of Nystroem's work in being purely absolute music—although perhaps one can still hear some echoes of the sea, his perpetual inspiration.
