Uploaded August 2025 | Updated September 2026, 2 weeks ago
Camerata Nordica conducted by Ulf Wallin.
I - Con moto (đť…ž = 108-12): 0:00
II - Allegro molto (đť…ź. = 96) - Trio I - Trio II. Poco meno mosso - Allegro molto: 6:45
III - Tranquillo (đť…ź = 80) - Molto tranquillo - Tempo primo: 13:02
IV - Allegro molto e ritmico (đť…ź. = 116) - Tranquillo: 22:20
Atterberg's Symphony for Strings (Sinfonia per archi) began as a string quintet composed between 1952-3, which he later expanded into a full symphony for strings in 1955. The quintet version was first played in Dresden on February 3 of 1955, while the string orchestra version was premiered in Malmö on October 25 of 1955. The latter was the most successful, with further performances taking place in Dortmund, Prague and London. The work had little impact in Atterberg's natal Sweden, as he had largely fallen out of fashion after the end of the war.
Atterberg was a proponent of the idea that romantic music should portray and strengthen national identity, while opposing modern music as transnational and cosmopolitan. By 1953, Atterberg's characteristic brand of Nordic postromanticism was seen as a relic of a bygone era, even reactionary by the views of modernist composers, who deemed such music no longer being acceptable. In addition, he was accused of being a Nazi sympathizer, which an investigation from the Swedish Royal Academy of Music failed to either confirm or dismiss. He was marginalized and ostracized by at least some of his fellow Swedish composers. Swedish audiences no longer had any appreciation for such music, and Atterberg's works almost only found success outside of the country.
The first movement is structured in sonata form. It begins with a lyrical and nostalgic main theme presented by cellos over violin ascending scales, before passing onto full strings in a richly romantic way. A more urgent and rhythmic second theme is then introduced, before a sudden diminuendo leads to the next part. The development starts with a return to the main theme, before the second one reappears in a dramatic and expressive way, leading to a climax. The ensuing recapitulation of the material is inverted, beginning with the second theme before the main one. The coda features said theme fragmenting itself in a melancholic way.
The second movement is kind of a scherzo written in rondo form (A-B-A'-C-A). It opens with a restless and agitated main theme, like a distorted Nordic dance tune that eerily modulates through multiple keys. The first trio is very short and a slight variation of the main material, hardly contrasting in nature. The scherzo then continues with its fast and vigorous rhythms. The second trio section introduces a calmer and more melodic secon theme on violins, passing onto cellos. The main part of the scherzo is repeated da capo before ending the movement.
The third movement is structured in form of an arch. It begins with an expressive an eerily mysterious main theme, again embodying Atterberg's characteristic Nordic melancholy. This theme slowly grows and develops, with a dance-like second theme appearing on violins in counterpoint. After a climax, the cello restates the main theme in pianissimo, followed by the violin. The second theme is recapitulated as well, leading to a gentle and consolatory coda.
The fourth movement is largely monothematic in form. It opens with a lively and vigorous main theme on full ensemble, which resembles another folkish Nordic dance tune. We find no real development nor contrasting material, but a series of variations in rhythm, harmony and dynamics as it is repeated through the movement with the main melody unchanged. The work ends with an extensive slow coda, in a similarly pensive and nostalgic mood as the work itself began.
Picture: "Landscape of Tyresö" by the Swedish painter Richard Bergh.
Analysis and description largely written by myself. Source: tinyurl.com/2xn33bjc
To check the score: tinyurl.com/24fqjsgr
Camerata Nordica conducted by Ulf Wallin.
I - Con moto (đť…ž = 108-12): 0:00
II - Allegro molto (đť…ź. = 96) - Trio I - Trio II. Poco meno mosso - Allegro molto: 6:45
III - Tranquillo (đť…ź = 80) - Molto tranquillo - Tempo primo: 13:02
IV - Allegro molto e ritmico (đť…ź. = 116) - Tranquillo: 22:20
Atterberg's Symphony for Strings (Sinfonia per archi) began as a string quintet composed between 1952-3, which he later expanded into a full symphony for strings in 1955. The quintet version was first played in Dresden on February 3 of 1955, while the string orchestra version was premiered in Malmö on October 25 of 1955. The latter was the most successful, with further performances taking place in Dortmund, Prague and London. The work had little impact in Atterberg's natal Sweden, as he had largely fallen out of fashion after the end of the war.
Atterberg was a proponent of the idea that romantic music should portray and strengthen national identity, while opposing modern music as transnational and cosmopolitan. By 1953, Atterberg's characteristic brand of Nordic postromanticism was seen as a relic of a bygone era, even reactionary by the views of modernist composers, who deemed such music no longer being acceptable. In addition, he was accused of being a Nazi sympathizer, which an investigation from the Swedish Royal Academy of Music failed to either confirm or dismiss. He was marginalized and ostracized by at least some of his fellow Swedish composers. Swedish audiences no longer had any appreciation for such music, and Atterberg's works almost only found success outside of the country.
The first movement is structured in sonata form. It begins with a lyrical and nostalgic main theme presented by cellos over violin ascending scales, before passing onto full strings in a richly romantic way. A more urgent and rhythmic second theme is then introduced, before a sudden diminuendo leads to the next part. The development starts with a return to the main theme, before the second one reappears in a dramatic and expressive way, leading to a climax. The ensuing recapitulation of the material is inverted, beginning with the second theme before the main one. The coda features said theme fragmenting itself in a melancholic way.
The second movement is kind of a scherzo written in rondo form (A-B-A'-C-A). It opens with a restless and agitated main theme, like a distorted Nordic dance tune that eerily modulates through multiple keys. The first trio is very short and a slight variation of the main material, hardly contrasting in nature. The scherzo then continues with its fast and vigorous rhythms. The second trio section introduces a calmer and more melodic secon theme on violins, passing onto cellos. The main part of the scherzo is repeated da capo before ending the movement.
The third movement is structured in form of an arch. It begins with an expressive an eerily mysterious main theme, again embodying Atterberg's characteristic Nordic melancholy. This theme slowly grows and develops, with a dance-like second theme appearing on violins in counterpoint. After a climax, the cello restates the main theme in pianissimo, followed by the violin. The second theme is recapitulated as well, leading to a gentle and consolatory coda.
The fourth movement is largely monothematic in form. It opens with a lively and vigorous main theme on full ensemble, which resembles another folkish Nordic dance tune. We find no real development nor contrasting material, but a series of variations in rhythm, harmony and dynamics as it is repeated through the movement with the main melody unchanged. The work ends with an extensive slow coda, in a similarly pensive and nostalgic mood as the work itself began.
Picture: "Landscape of Tyresö" by the Swedish painter Richard Bergh.
Analysis and description largely written by myself. Source: tinyurl.com/2xn33bjc
To check the score: tinyurl.com/24fqjsgr
