CD Review: Swedish Overtures
Label: Sterling CDS-1009-2
Performers: St Petersburg Hermitage Orchestra, Kungl. Hovkapellet
Conductors: Mats Liljefors (Berwald), Stig Westerburg (Foroni, Randel, Norman, Söderman, Kraus)
Duration: 61:10
Release Date: October 2001
This compelling collection from Sterling, titled “Swedish Overtures,” serves as a vivid testament to the rich, yet often overshadowed, tapestry of 19th-century Swedish music. The disc features a selection of seven overtures by six composers, including the notable Franz Berwald, whose contributions to the genre are particularly well represented here. The recording not only showcases the artistry of these composers but also offers insight into the historical contexts that shaped their works.
The overture, as defined traditionally, serves as an introduction to a larger work, typically of a dramatic nature. However, the selections on this disc reflect a broader interpretation of the form, presenting concert overtures that stand on their own merits. This diversity is expertly navigated by the two orchestras, which display both technical proficiency and interpretative depth across the varying styles and moods represented.
Franz Berwald, often hailed as the father of Swedish Romantic music, is the most familiar name among the featured composers. His overture to The Dressmaker is an engaging piece, characterized by a lively and elegant character that belies the opera’s lack of success. This overture exemplifies Berwald’s deft orchestration, with its deft interplay between strings and woodwinds, creating an atmosphere of buoyancy. The conductor Mats Liljefors captures this spirit beautifully, ensuring that the lively themes are neither rushed nor overly sentimental, allowing the music’s inherent charm to shine through. The well-crafted motifs, particularly the playful exchanges between sections, reflect Berwald’s signature style and set the stage for an enjoyable listening experience.
Another highlight from this collection is the Overture No. 3 in A major by Jacopo Foroni. This piece radiates a Mendelssohnian freshness, marked by its rhythmic vitality and melodic inventiveness. The incorporation of a Bohemian art song with folk elements gives the work a delightful effervescence, which is expertly realized under Liljefors’s baton. The conductor’s attention to dynamic contrasts and phrase shaping brings out the overture’s engaging contrasts, particularly in the more lyrical passages, where the strings assume a singing quality that is simply delightful.
Ludwig Norman’s Festive Overture, composed for the centenary of the Royal Opera Orchestra, draws inspiration from the esteemed Brahms’s Academic Festival Overture. Here, Stig Westerburg’s direction emphasizes the piece’s celebratory nature while effectively balancing the dual themes of the Swedish National Anthem and an aria from Gustaf Wasa. The result is a work that, while structurally straightforward, offers moments of genuine excitement, particularly in the climactic passages where the orchestral forces unite in a jubilant crescendo.
Andreas Randel’s overture to The People from Vårmland showcases the composer’s ability to blend original material with folk influences, creating a rich tapestry that reflects the cultural milieu of his time. The orchestration is particularly noteworthy here, with lush horn passages that evoke the pastoral themes inherent in the opera, capturing the essence of Swedish folk music. The well-rounded sound of the Kungl. Hovkapellet in this piece allows the subtleties of Randel’s orchestration to emerge, lending the overture an air of authenticity.
Joseph Martin Kraus’s overture to Proserpine is another significant inclusion, revealing the composer’s forward-thinking harmonic language. Kraus, often overshadowed by his contemporaries, demonstrates a unique compositional voice that bridges the Classical and early Romantic eras. The overture functions almost as a prelude, seamlessly leading into the opera’s opening chorus. Yet, it holds its own, displaying a complexity that foreshadows the innovations of later composers. The recording captures the intricate textures and harmonic nuances with clarity, allowing listeners to appreciate the depth of Kraus’s artistry.
August Söderman’s The Devil’s First Tentative Efforts rounds out the collection with its charming operetta style, characterized by a blend of light-heartedness and lyrical poignancy. The thematic material is engaging, with clever orchestral effects that hint at the composer’s theatrical background. The interplay of themes and variations, especially in the woodwinds, is executed with finesse, showcasing the orchestra’s ability to navigate the operetta’s capricious nature.
The engineering quality of this recording is commendable, with a well-balanced mix that allows each orchestral section to shine, while maintaining the cohesiveness of the ensemble sound. The acoustic clarity enhances the listening experience, making it easy to discern the intricate interplay of instruments within the orchestral fabric.
In conclusion, this compilation of Swedish overtures is a significant contribution to the recording landscape, illuminating the achievements of composers who have long remained in the shadows of more widely performed repertoires. Each piece, while not necessarily a “masterpiece,” provides a window into the rich cultural heritage of Swedish music and deserves a place in the concert hall. Sterling’s thoughtful programming and production values ensure that these works are given their due attention, making this disc a valuable addition to any classical music collection. It serves as a reminder of the wealth of musical treasures that await rediscovery, and as such, I commend Sterling for their commitment to revealing these gems from obscurity.
