Album insights
Franz Berwald's reputation primarily rests on his four symphonies composed between 1840 and 1845, particularly on the "Sinfonie singulière," which is highly original and rightfully named. While his chamber music takes a backseat in the repertoire, except for the notable Grand Septet of 1828, it is rarely heard in concert halls worldwide except for occasional performances in the composer's native Sweden.
Berwald, whose musical acceptance was delayed until this century, found an early supporter and promoter in Wilhelm Stenhammar. However, one may wonder why his music faced limited success both in Sweden and elsewhere, and why he was rigorously rejected by the Swedish musical establishment. Part of the explanation lies in Berwald turning away from Stockholm during crucial career moments, missing opportunities to promote his music there. Furthermore, his social interactions likely didn't work in his favor. His demeanor, encountered by Mendelssohn in early 1830s Berlin and leaving an impression of arrogance, may have contributed to his lack of esteem. Additionally, the few works performed in Sweden during the 1840s were seen as lacking in character, and many shows were inadequately prepared. Despite operettas and cantatas staged in Stockholm during that time, they contrast starkly with the legacy left by the composer's well-crafted four symphonies.
During that era in Stockholm, there wasn't a top-tier symphony orchestra. Except for the royal Opera Orchestra where Berwald played between 1810 and 1830, there was no permanent orchestral ensemble until the 1870s to regularly perform symphony concerts. Consequently, Berwald strived for a successful career as an opera composer, creating over eleven operas, with the most notable, "Estrella de Soria" and "Drottningen av Golconda," premiering in 1862 and 1968, respectively. Even his Piano Quintet No. 1 from 1853, first publicly performed in 1895 and presented to Liszt in Weimar in 1857, left a lasting impression on the great composer.
Born in Stockholm to a German descent family, Berwald demonstrated remarkable creativity and versatility from a young age. Having worked on non-musical projects due to financial constraints, Berwald moved to Berlin in his thirties, where he struggled to find recognition in the musical world. In turn, he established an orthopedic institute there, showcasing advanced technological principles. Despite lacking a formal education, Berwald's innovations in medical devices continued well into the 20th century. As his musical career waned in Sweden, he turned to diverse non-musical activities, showcasing progressive thinking and compassion.
Quartet for Piano and Winds in E-flat Major
The Quartet for Piano and Winds in E-flat Major, composed in 1819 when Berwald was in his twenties, adds a valuable contribution to chamber music, characterized by individuality and wit. Although not a central work in Berwald's oeuvre, it enriches the chamber music repertoire with its blend of traditional form and innovative elements.
Trio for Piano, Violin, and Cello No. 2
Composed in 1851, the Trio for Piano, Violin, and Cello No. 2 in F Minor epitomizes Berwald's craft with originality and rhythmic vitality, showcasing a blend of Mendelssohnian elegance and distinct Berwaldian ornamentation.
Grand Septet in B-flat Major
Among Berwald's early standout works is the Grand Septet in B-flat Major (1828), a masterpiece demonstrating formal inventiveness and hinting at the innovative spirit later prevalent in his works. This composition adeptly integrates a Scherzo within the Allegro movement, foreshadowing his unique symphonic style.
Piano Quintet No. 1 in C minor
Turned to chamber music due to unperformed orchestral works, Berwald's Piano Quintet No. 1 in C minor, completed in December 1853, showcases his self-borrowing technique. Although initially composed in the 1840s, the public premiere of the work was delayed, with notable influences from his symphonic poem, "Wettlauf."
Duo in D Major for Violin and Piano
The Duo in D Major for Violin and Piano, composed between 1855 and 1860, portrays Berwald's neglected yet captivating chamber music oeuvre. Its three movements flow seamlessly, transitioning from a Romanza to a lively finale, incorporating Berwald's signature charm.
Trio for Piano, Violin, and Cello No. 4 in C Major
Written in 1853, the Trio for Piano, Violin, and Cello No. 4 in C Major stands as a testament to Berwald's melodic finesse and inventive techniques, embodying his unique musical voice among his various chamber works.