Search - Johan Svendsen, Bjarte Engeset, Bournemouth Sinfonietta :: Johan Svendsen: Symphonies Nos. 1 & 2

A must get recording.

David A. Hollingsworth | Washington, DC USA | 06/19/1999

(5 out of 5 stars)

"It seems that many composers had a way of composing their first symphonies with freshness, excitment, somewaht bold but never exaggerated or flabbing, where their identity, although not yet materialized, always managed to prop up somehow.Johan Svendsen's First Symphony was a success due to the confidence in the musical thoughts & expressions, with an exciting Mendelssohn-Barthody like first movement, a meditative second movement (Andante) and a sparking like third movement. the Finale began with majesty & grandeur before festive optimism sets in & gave the work a resounding close. The symphony was such a success that Edvard Grieg withdrew his symphony & forbade it from ever being performed (I personally think that Grieg was wrong, for the work has originality, identity & confidence and conductors like Neemi Jarvi were right in performing and recording Greig's interesting work by the early 1980s).The Second Symphony is somewhat a more serious work although it shares the similiar passion & energy as its' predecessor. The structure & tempos are configured with similiarity & hints of Wagner are noticeable. Bjarte Engeset & the Bournemouth Symphony Orchestra gave a commited & an exciting performance. Although Jarvi's recording with the Gothenburg Symphony Orchestra under BIS performed with excitement & conviction, Engeset's recording under Naxos measures up to his. The Difference? The Naxos recording is about $12.00 cheaper than the BIS recording while the level of Engeset's & Jarvi's performance remained somewhat the same, with little distinguishments in their professionism as among the first-class orchestras.What do you think?Recommended."

SONG OF NORWAY

DAVID BRYSON | Glossop Derbyshire England | 04/16/2005

(5 out of 5 stars)

"Svendsen's first symphony impressed Grieg so much that he withdrew his own symphony. It's a fairly lightweight effort, but thoroughly professional in every way, and it shows a melodic gift that seems to me natural, genuine and spontaneous. I find nothing particularly Norwegian about it, which is not surprising as Svendsen had been trained in Leipzig. The second is much more attention-catching, with greater distinctiveness in both the themes and the scoring. This time there does seem to be a Norwegian flavour in the intermezzo, at least as I would understand 'Norwegian' from Grieg. The liner-note claims to detect some influence of Wagner in it, but frankly I doubt that. Like the earlier work, it is easy listening in a major key, cheerful and outgoing in expression for the most part but with a greater sense of depth in its first movement. Neither piece makes any great demands on the listener, and both make a thoroughly welcome change from the familiar repertory of late-romantic symphonies.



The performances strike me as admirable in every way, with accomplished orchestral playing and well-judged speeds throughout. The recording is faithful and clear. It would have benefited from being a little more 'forward', I felt, but there is no real problem with it. There is a helpful and informative liner-note with a useful potted biography of the composer and brief notes on both orchestra and conductor.



I take the opportunity, not for the first time, to thank Naxos for the enterprise they are showing in making such unfamiliar music available to us at such modest cost. I like to support projects like this and I hope they receive the backing they deserve from the musical public. This is music to be enjoyed, with no caveats or complications."