Stenhammar: Symphony 1

Stenhammar's 1st Symphony dates from 1902-03 and received its first performance in December 1903. A performance by Hans Richter and the Halle Orchestra in Manchester had been planned but Stenhammar withdrew the symphony. He had heard Sibelius' 2nd Symphony in the autumn of 1903 and been overwhelmed. It's not clear why Stenhammar withdrew his symphony but it seems likely that in Sibelius' symphony he had heard a totally new work with a flavour which he took to be genuinely Scandinavian. In contrast, his symphony now seemed to be hardly more than an unoriginal and derivative betrayal of his heritage. Stenhammar intended to revise the symphony but, a little tinkering with the orchestration apart, never got round to it. He quickly transformed his style and, when his well-known G minor Symphony appeared in 1915, he didn't even call it "No. 2"

The 1st symphony is indeed highly derivative, the most obvious influences being Wagner and Brahms with a suggestion of Bruckner. However, anyone familiar with Stenhammar's later work will recognise the same composer in parts of the 1st Symphony. Some of the harmonic progressions are characteristic and the wonderful string phrase first heard at 1 min in the first movement and which later becomes, in modified form, part of the first thematic group of the finale, couldn't be by anyone else. Furthermore, Stenhammar's use of the horns (they're at least as important as the strings in leading the melodic line) gives the symphony a distinctive flavour.

After more than a hundred years, the fact that the symphony is so stylistically derivative matters not at all. What you will hear is a superbly constructed and, above all, beautifully sustained work full of wonderful lyrical ideas. It is the work of a natural symphonist.

The booklet's analysis of the symphony is very sketchy so, as this is a substantial work (53 mins), I'll give a few pointers. After the melodic horn-led introduction to the first movement, the allegro proper begins at 4 mins 22 secs. It's not long before Brahms takes over from Wagner, the second subject arriving at 6 mins 14 secs. A fine development section begins at 7 mins 51 secs. It concerns itself almost exclusively with the main theme of the allegro. The tonic key and the recapitulation are reached at 11 mins 5 secs. After the return of the second subject a reflective coda built on the music of the introduction begins at 14 mins 6 secs. If you know the 2nd Piano Concerto (and its first movement in particular) you will recognise the same composer here.

The second movement is no less fine and Stenhammar considered publishing it by itself. It approximates a sonata structure but, as well as the usual two themes, there is a dotted note idea which is often heard, in the first and central "development" sections, in combination with the main theme. After a fine climax the second theme returns but the movement's last pages are again dominated by the first theme. In this movement, by the way, you'll notice Stenhammar's particular brand of poignancy coming through at 3 mins 32 secs and again at 7 mins 49 secs.

The lovely third movement is again masterful. It's the usual ternary structure, the outer sections consisting of a relaxed sequence of lovely ideas. The central "trio" section, beginning at 3 mins 22 secs, is led by a pair of clarinets, for once the horns being kept very much in the background. It is heartachingly beautiful. Gradually the movement's main rising and falling idea makes its presence felt again and the fairly regular "recapitulation" begins at 5 mins 40 secs. The final pages combine the main theme of the outer sections with that of the "trio" section in a most affecting way.

The finale, in common with so many symphonic finales, may not quite match the other movements in quality but it still provides a most satisfying conclusion. It begins with a speeded up version of the symphony's opening idea, complete with that wonderful string phrase, to form the first subject group. A second subject arrives at 2 mins 17 secs. The development section (beginning at 3 mins 42 secs) makes particular use of the second subject. The recapitulation begins at 7 mins 50 secs. The second subject now adopts a more assertive tone. It is subjected to a fine sequential development at 8 mins 28 secs. In the coda, the symphony's opening theme returns complete with Wagnerian murmuring strings and then, to the rhythm of the main allegro of the first movement, the orchestra marches into Valhalla.

Recorded live in Gothenburg in 1982 and complete with applause, this is a splendid performance of a wonderful symphony which seems to demonstrate that Brahms and Wagner could have coexisted afer all! The recording is spacious and well balanced, although the upper strings sound just a little acidic.

Make no mistake. This is a terrific symphony and you must get to know it.

Am I right in thinking Stenhammar suppressed this work while he was alive. That Symphony No.2 was the only one published? I have that idea in my head.

Over fifty minutes in duration, but no hardship to listen to, this symphony is very pleasing but it wears its influences on its sleeve - Schumann for one, Bruckner for another. Still, one doesn't often come across a symphony that begins with a movement marked molto tranquillo, and the allegro amabile is most beguiling. Jarvi's direction is characteristically wholehearted.

I heard the last few minutes of this symphony driving home, and couldn't place it. I finally settled on some lesser-known (by me, not by the true afficianado) Mahler piece. It's so unrushed in its lyrical development (at least in the last few minutes), the Titan was the closest comparison I could come up with. Then the announcer edified us: Stenhammar, who composed it at age 30, premiered it with the orchestra of which he was the conductor, then withdrew it. So I rushed inside to find out more, and was delighted to see that Amazon has it available. If the first 3.5 movements are of similar quality as the ending, I'm in for a treat. You probably will be, too.