Symphony No.1 in B minor - Kurt Atterberg

Swedish Radio Symphony Orchestra conducted by Stig Westerberg.

I - Allegro con fuoco - Tranquillo - Tempo I - Tranquillo - Più mosso – Tranquillo - Più mosso - Molto pesante - Tempo I - Tranquillo - Tempo I - Tranquillo - Poco a poco più mosso: 0:00
II - Adagio - (attacca): 10:19
III - Scherzo. Presto - Pesante - Tranquillo - Tranquillo - Presto: 19:49
IV - Adagio - Allegro energico - Tempo I - Meno mosso - Tempo I - Largamente - Più pesante: 27:21

Atterberg's Symphony No.1 was composed between 1909-11, being premiered in Gothenburg on January 10 of 1912, performed by the Gothenburg Orchestral Society conducted by the composer himself. It was received with enthusiasm in all of Europe, despite being a youthful work. The great orchestras interpreted it as one of the most famous works written by a Swedish composer.

The first movement is written in sonata form. It begins with a powerful and passionate main theme, presented through a dense orchestration. It is contrasted by a deeply lyrical, almost pastoral second theme, derived from the main one. An intensely dramatic and romantic development takes place, full of a youthful vigour and energy. The music culminates in several climaxes of great forcefulness. The reappearance of the opening fanfare leads us to the recapitulation of the themes. A resolute coda ends the movement.

The second movement is written in ternary form. It opens with a lyrical and contemplative main theme on strings, soon taken by the wood. The music then unfolds in a rhapsodic manner, similar in style to Richard Strauss. The music culminates in a romantic climax of grand splendour. The central parts begins with a reflective second theme presented by the English horn and clarinet, rising in a dramatic and dissonant climax. The main theme then reappears in a triumphal recapitulation of nordic spirit. A dubious transition leads us into the next part.

The third movement is an unusual scherzo. It begins with a mocking ostinato motive, over which is built a rhythmic and forceful main theme. This repetition is based on a strict periodicity of four bars. There is no separate trio section, instead melodic phrases are introduced in counterpoint in the middle part. However, the motive still remains underground, keeping the momentum and moving the music towards a grand climax. Gradually the music calms down, seeming to end with a peaceful coda, before a sudden outburst ends the movement forcefully.

The fourth movement is structured in sonata form. It opens with a substantial slow introduction. A deeply lyrical theme is presented by violins, almost like a wordless love song, followed by the rest of the wood. After a brief pause, a masculine and heroic main theme is presented by the brass, contrasted by a bright and lyrical second theme. The development that ensues combines the sensuousness of the second theme and the masculine energy of the main one. An unresolved climax leads us to a recapitulation of the second theme. The main one is greatly anticipated, exploding in a massive climax. A victorious coda ends the work triumphally.

Picture: "Spectres from the North" or "Icebergs in Mid-Atlantic" (1890) by the American painter Thomas Moran.

Musical analysis partially written by myself. Source: https://bit.ly/3I7TvWZ

Unfortunately the score is not available.