Adolf Fredrik Lindblad - Symphony No. 1 in C Major Op. 19 (1831)
Conducted by Gerard Korsten with the Uppsala Chamber Orchestra.
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| Adolf Fredrik Lindblad (Photo credit: Wikipedia) |
II. Presto - 9:44
III. Adagio E Molto Cantabile - 16:55
IV. Allegro Molto - 24:50
At that time symphonies were not something that interested Swedish audiences, unless they were by foreign composers. Ambitious Swedish composers admitted, with the exception of Franz Berwald, that they could not establish themselves as symphonists, a view borne out by actions of audiences and critics. They tended to compose on a smaller scale, above all undemanding songs and piano music. Such intimate music belonged in the homes of the middle class, rather than on the concert platform. Symphonic repertory was heard in such an environment, but not in orchestral form, rather as arrangements for piano duo or duet.
Lindblad was from the Swedish province of Östergötland. He learned to play the piano and flute, and at the age of fifteen had a flute concerto of his performed in Norrköping. Shortly after this, however, his well-intentioned foster-father sent him to learn a trade in Hamburg. On his return he divided his time between office work and piano lessons, but when he moved to Uppsala in spring 1823 he had decided to devote himself entirely to music. He received lessons in harmony for a year or so from one of Uppsala University's director musices, J.C.F. Haeffner, but with Malla Silverstolpe's help he was able to spend a year in Berlin, where he studied composition with Zelter and struck up a warm friendship with Zelter's star pupil, the seventeen-year-old Felix Mendelssohn.
In 1831 he completed a Symphony in C major. The first movement was performed the same year at the Riddarhuset in Stockholm, but the first complete performance of the symphony took place in the same location on 25 March 1832. The Symphony is an impressive début, of imposing proportions, so that with all repeats observed it takes around 40 minutes to perform. It is clear that Lindblad was inspired by models from the Viennese school of Classicism. One recognises the Mozart of Mozart's lasts symphonies, on occasions in almost literally borrowed motifs and phrases. Here and there one is reminded of Haydn and more often of the early symphonies of Beethoven. The movements are well-crafted in form and thematic material. Lindblad realised that the kind of pretty melody he so naturally fashioned for his songs would not be especially suitable for symphonic development, even in the slow third movement, and that a different kind of thematic material was called for, Lindblad's excellent orchestrations surprise, for as far as is known he never had any formal training in writing for an orchestra.
Symphony No. 2 in D Major (1855) by Adolf Fredrik Lindblad.
Conducted by Conducted by Gerard Korsten with the Uppsala Chamber Orchestra.
I. Maestoso - Allegro Molto - 00:00
II. Poco Allegretto - 9:14
III. Scherzo - Presto - 18:39
IV. Finale - Allegro - 25:12
It took many years and much effort on the part of Foroni, director of the Hovkapellet, to persuade Lindblad to write another symphony. Symphony No. 2 in D major was first performed on 6 May 1855 during a very long concert which also included, amongst other items, Beethoven's Ninth. It is perhaps not surprising that in such a context Lindblad' Second seemed somewhat pale and insignificant to the audience and that no publisher deemed it fit for publication. Artistically, however, Lindblad's Symphony No. 2 is in no way inferior to his First Symphony. It is very well constructed. The instrumentation is just as elegant, his mastery of form greater and the counterpoint more striking. The thematic material is carefully chosen. The musical language does not have a specifically nationalist colour, still basing itself on Mozart and Beethoven, but romantic influences now come more clearly to the fore; traces of Mendelssohn and Schumann can be heard. In the Scherzo there are elements which remind one of Berwald; quite by chance, for when would Lindblad have had the opportunity to hear Berwald's orchestral music, or even to study a score? Perhaps the symphony's closing moments sound familiar? Of course, it is Mozart. Cherubinio's aria from Act I of Le nozze di Figaro.
Adolf Fredrik Lindblad
Work: Symphony No.2 in D-major (1855)
Orchestra: Gävleborgs Symfoniorkester
Conductor: Mats Liljefors
Mov.I: Maestoso - Allegro molto 00:00
Mov.II: Poco allegretto 10:54
Mov.III: Scherzo: Allegro molto 19:53
Mov.IV: Finale: Allegro 27:53
