I am an unknown composer from Okinawa. I have been paying attention to this composer for over 10 years. However, as a composer, ATTERBERG is still not highly regarded around the world. I hope that ATTERBERG's reputation will be properly raised in the future.
Une belle découverte ! Une symphonie qui mériterait vraiment d'être jouée plus souvent . Un compositeur très inspiré, tombé hélas dans l'oubli comme tant d'autres ... Eine wirklich melodische Sinfonie, die es verdienen würde, öfter gespielt zu werden ! Leider ist dieser begabte Komponist , wie andere, in Vergessenheit geraten ... Man kann es also nur bedauern ....Für mich, eine erfreuliche Entdeckung !
I'm not sure what is meant by memorable themes. It does seem quite tuneful, that is melodically attractive even if melodic = tunes and you are expecting a certain kind of melody. It reminds me most of early Nielsen, which is hardly a bad thing. It is very attractive music. I've never given Atterberg much of a chance and I suppose mainly when I was shopping for 20th century symphonists and happened upon Atterberg I was looking for something a little more modern sounding. It's important to take every composer on their own terms. What I'm getting so far is an approach between motivic and melodic. Somebody used the term almost melody for the tune that opens the Adagio and that may be accurate...but motivic treatment of a melody aids development...a melody that is too pretty and too complete can sometimes lock a composer into a developmental rut. Examples: Slow movement of Shostakovich 1...He sort of runs that melody into the ground and Borodin's famous tune from his string quartet. The question for a composer at this time and for a listener's interest is whether a composer has attained her/his own sound or idiom and do they have something interesting to say...To me there is not a question of tonality or doing something completely original...or music of the past versus new music...we all live in the continuous present where every listener has the ability to relive the entire history of classical music in one's lifetime. Beethoven and Bach are as relevant as Penderecki or Ligeti. What if Kurt Atterberg were the 1st classical composer you encountered and came to understand the symphony by....While it is useful to look at Western classical music from a historical perspective...seeing who was influenced by who and knowing if a composer is quoting or being influenced by a composer. Yet, I doubt most people go in such a strict order when discovering music....in fact I know they don't when it comes to pop music....There is such a thing as perspective and somebody from another planet and time who was not given to the biases of our musical canon, could come to very different conclusions about what was better, greater or more important music...In the end the most important music is the kind that speaks to you....Bach may be the greatest ever and his genius yet unequaled however he stood in a place and time where he had the advantage of being able to discover; while each generation after had more received tradition to fight through to distinguish themselves. This has gotten harder and harder. So there are thousands of composers from Bach's day to the present whose work we have not heard, or at least would not have heard but for folks like Sergio who are bringing them to light. What a great and generous thing to do for us all.
@@SergioCánovasCM I certainly will I already had a brief list to No. 5 1st mvmt. I'm sure there is a much more distinct sense of who Atterberg is musically.
@@katjao.h.321 I don't think he was inspired by any particular kind of foreign music, except the German romantics, who had a great ammount of influence in his music.
@@SergioCánovasCM hm, I guess we disagree there. We all draw inspiration from different composers and different cultures, it is inevitable. No one wakes up one day and composes completely new music ;) From my personal experience, I hear a lot of Swedish folk, German (like you said), Russian and in this particular piece Spanish or Mexican (not to sure exactly which country) musical inspiration that is embedded in Atterbergs music
I'm afraid that this symphony didn't overly impress me, due mainly to its' lack of memorable themes. The adagio's "almost" melody came closest to attaining distinction, but my interest waned even during this movement. Too often the symphony seemed "full of sound and fury, signifying nothing" - but then, there was that familiar tune showing up at 16:19 (why can't I remember what other work has it?) to strengthen it, and the climactic moment at 17:12 is quite effective. Also, the extended passage beginning at 24:50 is impressive and inventive, and the concluding measures of the Symphony end it in grand fashion. So after all, I really do like this Symphony a little, it seems!
@@ronaldbwoodall2628 Lol! You’re not wrong; I am a fairly comedic person by nature. But I apologize for such a scathing rebuttal of your initial comment. It’s just so easy to critique, but much harder to actually compose a symphony, right?
Good assessment Ronald, and one I concur with. I'm just discovering Atterberg's work and I definitely think there's potentially a really good composer to be found here, but none of it is *quite* as brilliant as I'd hoped (from what I've heard thus far). I will certainly keep listening though. Your comments about that second movement having a great "almost melody" is spot on. SO close to deliciousness! However, I do like the second movement of his 4th Symphony a lot, with its dolorous, grace-note-addled folk melody for woodwinds and bleating, yearning strings - an attractive, crepuscular-sounding bit of music. Do give that one a listen if you haven't yet!
I feel so glad to have heard this magnific symphony, people don't know what they're missing
What a great melodist and orchestral colorist Atterberg was !! Guess he was a model for film composers ...
I am an unknown composer from Okinawa. I have been paying attention to this composer for over 10 years. However, as a composer, ATTERBERG is still not highly regarded around the world. I hope that ATTERBERG's reputation will be properly raised in the future.
Une belle découverte ! Une symphonie qui mériterait vraiment d'être jouée plus souvent . Un compositeur très inspiré, tombé hélas dans l'oubli comme tant d'autres ...
Eine wirklich melodische Sinfonie, die es verdienen würde, öfter gespielt zu werden ! Leider ist dieser begabte Komponist , wie andere, in Vergessenheit geraten ... Man kann es also nur bedauern ....Für mich, eine erfreuliche Entdeckung !
This work took me to excellence as a listener.
This heroic melody is splendid
Excelente! Una buena oportunidad de revisitar el ciclo de Atterberg, el cual posee varias sinfonías gloriosas....muchas gracias Sergio!
magnificent!
Attraente sinfonia che paradossalmente la considero la meno conservativa....Bravo.
Complimenti per il bell'inserimento.
genial
Nice. Thanks!
The Moment at 29:58 came out of nowhere! it just hits you with emotion and just goes away...weird.
I'm not sure what is meant by memorable themes. It does seem quite tuneful, that is melodically attractive even if melodic = tunes and you are expecting a certain kind of melody. It reminds me most of early Nielsen, which is hardly a bad thing. It is very attractive music. I've never given Atterberg much of a chance and I suppose mainly when I was shopping for 20th century symphonists and happened upon Atterberg I was looking for something a little more modern sounding. It's important to take every composer on their own terms. What I'm getting so far is an approach between motivic and melodic. Somebody used the term almost melody for the tune that opens the Adagio and that may be accurate...but motivic treatment of a melody aids development...a melody that is too pretty and too complete can sometimes lock a composer into a developmental rut. Examples: Slow movement of Shostakovich 1...He sort of runs that melody into the ground and Borodin's famous tune from his string quartet.
The question for a composer at this time and for a listener's interest is whether a composer has attained her/his own sound or idiom and do they have something interesting to say...To me there is not a question of tonality or doing something completely original...or music of the past versus new music...we all live in the continuous present where every listener has the ability to relive the entire history of classical music in one's lifetime. Beethoven and Bach are as relevant as Penderecki or Ligeti.
What if Kurt Atterberg were the 1st classical composer you encountered and came to understand the symphony by....While it is useful to look at Western classical music from a historical perspective...seeing who was influenced by who and knowing if a composer is quoting or being influenced by a composer. Yet, I doubt most people go in such a strict order when discovering music....in fact I know they don't when it comes to pop music....There is such a thing as perspective and somebody from another planet and time who was not given to the biases of our musical canon, could come to very different conclusions about what was better, greater or more important music...In the end the most important music is the kind that speaks to you....Bach may be the greatest ever and his genius yet unequaled however he stood in a place and time where he had the advantage of being able to discover; while each generation after had more received tradition to fight through to distinguish themselves. This has gotten harder and harder. So there are thousands of composers from Bach's day to the present whose work we have not heard, or at least would not have heard but for folks like Sergio who are bringing them to light. What a great and generous thing to do for us all.
Thanks for your comment! You may want to check his ninth symphony, it sounds much more distinctive
@@SergioCánovasCM I certainly will I already had a brief list to No. 5 1st mvmt. I'm sure there is a much more distinct sense of who Atterberg is musically.
Ottima sinfonia.
37:11
37:22
37:54
35:13
35:04
36:29
23:21
20:29
20:50
21:50
02:09, 03:22, 05:19, 08:15, 14:56, 38:58 spanish much?
You mean that those parts sound Spanish? If so, not really.
@@SergioCánovasCM Which part of the world do you think Atterberg got inspiration from when he wrote that part?
@@katjao.h.321 I don't think he was inspired by any particular kind of foreign music, except the German romantics, who had a great ammount of influence in his music.
@@SergioCánovasCM hm, I guess we disagree there. We all draw inspiration from different composers and different cultures, it is inevitable. No one wakes up one day and composes completely new music ;) From my personal experience, I hear a lot of Swedish folk, German (like you said), Russian and in this particular piece Spanish or Mexican (not to sure exactly which country) musical inspiration that is embedded in Atterbergs music
I can't spot any Latin influences in any of the parts you mentioned. Does it remind you of a specific composer?
I'm afraid that this symphony didn't overly impress me, due mainly to its' lack of memorable themes. The adagio's "almost" melody came closest to attaining distinction, but my interest waned even during this movement. Too often the symphony seemed "full of sound and fury, signifying nothing" - but then, there was that familiar tune showing up at 16:19 (why can't I remember what other work has it?) to strengthen it, and the climactic moment at 17:12 is quite effective. Also, the extended passage beginning at 24:50 is impressive and inventive, and the concluding measures of the Symphony end it in grand fashion. So after all, I really do like this Symphony a little, it seems!
at 16:19 I can hear rachmaninoffs 2nd in my head
Well, the symphony certainly signifies more than your criticisms do, so there's that haha!
@@maxgregorycompositions6216 I'll bet you're always good for a laugh! I do agree with you, however.
@@ronaldbwoodall2628 Lol! You’re not wrong; I am a fairly comedic person by nature.
But I apologize for such a scathing rebuttal of your initial comment.
It’s just so easy to critique, but much harder to actually compose a symphony, right?
Good assessment Ronald, and one I concur with. I'm just discovering Atterberg's work and I definitely think there's potentially a really good composer to be found here, but none of it is *quite* as brilliant as I'd hoped (from what I've heard thus far). I will certainly keep listening though. Your comments about that second movement having a great "almost melody" is spot on. SO close to deliciousness! However, I do like the second movement of his 4th Symphony a lot, with its dolorous, grace-note-addled folk melody for woodwinds and bleating, yearning strings - an attractive, crepuscular-sounding bit of music. Do give that one a listen if you haven't yet!