Gothenburg Symphony Orchestra conducted by Neeme Järvi.
I - Drammatico. Lento - Molto vivo - Andante - Andante molto tranquillo - Molto vivo - Cantando - Lento - Vivacissimo : 0:00
II - Semplice. Andante - Un poco più lento - A tempo I - Tranquillo : 12:37
III - Feroce. Allegro - L’istesso tempo, pesante - (Un poco meno mosso) - (Tranquillo) - (Con moto) - (Tempo I) - Animando al fine: 21:14
Atterberg's Symphony No.7 was composed between 1941-2, based on themes from his 1932 opera "Fanal". He originally conceived a work in three movements, but later decided to add a fourth. It was premiered in Frankfurt on February 14 of 1943, conducted by Hermann Abendroth. After the performance, the conductor said that the last movement was too long, in which Atterberg agreed. In a later undated revision, he eliminated the fourth movement as well as a central episode of the first movement.
The fourth movement was then reworked into a piece called "Vittorioso" in 1962, and Atterberg wrote a note saying that it could be optionally performed as fourth movement of Symphony No.7. He also wrote that the first movement could be performed independently, but then it would have to incorporate the central episode Atterberg deleted for the three-movement version. When the work was performed in Copenhagen on April 8 of1943, it received numerous negative reviews. The composer himself said that he titled it, anachronistically, as "Sinfonia Romantica" to annoy even further the critics who attacked romanticism.
The first movement is structured as a sonatina. It begins with a dramatic and sombre introduction, dominated by the brass and of key importance. An energetic and expansive main theme is presented by the cellos, it is then developed through a brief fugato. The introduction material reappears lyrically, leading us to a lyrical second theme on the English horn, Nordic and melancholic in nature. It is the aria called Aria-Berceuse from the music of the opera. There is no development section, instead, the introduction reappears again, leading us to the recapitulation of the themes. An epic coda, based on the introduction material, ends the movement brilliantly.
The second movement is written in ternary form, using motives associated with the two lovers from the opera. It opens with a lyrical main theme of pastoral nature, presented by the English horn over chromatic harmonies. It is expressively taken by strings, leading to an intimate passage. The middle section opens with the flutes with an impressionistic second theme, which grows in a voluptuous climax, full of desire and yearning. The main theme is then recapitulated. A calm coda ends the movement.
The third movement is structured as a rondo (A-B-A'-C-B'-A''-C'-Coda). It is based on an orgy of revolutionary events in the first act of the opera. It begins with a lively main theme in form of a popular Swedish dance, bordering the grotesque. It is followed by a more solemn second theme in form of a march, becoming more rhythmic. The main theme is then suddenly recapitulated. A lyrical and passionate third theme then appears, bringing strong contrast against the parodic elements. The martial second theme is recapitulated, followed by the main one. These two themes then are put in counterpoint. The romantic third theme bursts out in a grand climax, leading us to a vivacious coda.
Picture: Photograph of the sculptures "Angels playing music" (Millesgården) by the Swedish sculptor Carl Milles.
Musical analysis partially written by myself. Sources:
https://bit.ly/3kxa5Yx and
https://bit.ly/3IYruD1To check the score:
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