Cello Concerto in C minor - Kurt Atterberg

NorrlandsOperan Symphony Orchestra conducted by Kristjan Järvi. Truls Mørk as the cellist. I - Andante cantabile - Allegro - Allegro molto - (attacca): 0:00 II - Adagio - (attacca): 13:24 III - Allegro - Tranquillo - Allegro - Molto allegro: 23:00 Atterberg's cello concerto was written between 1917-22, a composition process constantly interrupted by artistic successes but also with deep family problems, when he divorced his first wife. It was premiered in January 6 of 1923, performed by the Berlin Philharmonic Orchestra conducted by the own composer, with Hans Bottermund as the soloist. The work is divided in three movements performed countiously. The piece was coldly received because, unfortunatelly for Atterberg, the soloist decided to write his own cadenza, an unusually long one it seems. To critics of the day it was more or less evident that the concerto was inspired by the general mood during the war years but this was a view that Atterberg vigorously rejected. It could be perhaps a reflection of the moods of the composer himself, as he went through the moments of highest success in his career but also of his greatest familiar disarray. The first movement is structured in a heavily modified sonata form, which also encompasses the rest of movements. It opens with an extensive introduction, with an expressive theme presented by the soloist over the tremolos of the strings. A nostalgic transition leads us to the main allegro. A romantic and passionate main theme is presented by the cello, derived from the material of the introduction. The orchestra rises in a strong climax. A heavy and melancholic second theme is finally presented by the cello, offering adequate contrast. A dialogue is established between the cello and the woods, leading to a brilliant climax. Instead of a development, an eerie transition leads us to a scherzo-like passage of great rhythmic strenght. The soloist showcases his skills with great virtuosity; chords, harmonics, double-stops and the like. A transition leads us to the next part. The second movement is structured in ternary form, being the true development section of this large-scale sonata form. It begins with an ominous opening of the brasses, followed by a lyrical and expressive main theme of nordic character, presented by the soloist. As it progresses, it becomes more radiant and hopeful. The middle section begins with a more rhythmic variation of said theme, led by the cello and supported by the orchestra. The main theme is then recapitulated in a varied way. A meditative transition leads us to the next part. The third movement is very free in form. It begins with a portentous orchestral introduction, followed by a virtuosistic cadenza for the soloist, full of a melancholic expression and in which motives from the first movement's introduction and scherzo are heavily present. Then the main theme from the first movement is recapitulated, followed by the second, thus completing this unusual large-scale sonata structure. The music culminates in a brilliant climax lead by the virtuosity of the soloist. After a brief calm section, a crescendo leads us to a joyful coda. Picture: "Nordic Summer Evening" (1889-1900) by the Swedish painter Richard Bergh. Musical analysis written by myself. Sources: https://bit.ly/3pS3fMJ and https://bit.ly/3KoMxME