Wilhelm Berger - Symphony No.1 Op.71

[Ilja]

If we're talking about rapid development, Sibelius immediately springs to mind, from Kullervo > Lemminkaïnen (when we consider that to be a symphony) > First symphony > Second symphony, all within a timespan of a decade. Rachmaninoff is a contender, too.

However, can we tell when Berger started work on the 1st symphony? The publication date doesn't necessarily mean all that much if it was preceded by a Brahms-esque gestation period, and the work doesn't sound particularly advanced for its time. I purchased the recording as a download, which unusually did not include a booklet PDF.

[eschiss1]

We know the first symphony was performed (perhaps premiered) in 1898, so the 1899 publication date tells us less than we think to start with, and I don't know if manuscripts or correspondence exist to give a date when he began work on it or finished it.

[Alan Howe]

I'm talking about composers who wrote only two symphonies within a period of no more than 3-4 years, i.e a pair of mature, contrasting symphonies.

Berger's 1st was composed 1896-7, according to his biographer Gustav Ernest, p.119. His 2nd was first performed in May 1900 under Weingartner.

[eschiss1]

Thanks!

[eschiss1]

Belatedly, there's an earlier thread on this topic we may want to merge.

[Alan Howe]

Your wish...

[John Boyer]

My first impression was that of a large scale tone poem rather than a symphony. Even Mahler's sprawling forms are more symphonic in structure, I thought. And how unusual, I thought, to begin it with an almost Wagnerian adagio. Finally, the whole symphony seemed to go by in a flash, seemingly half as long as the 46 minutes billed on the back of the jewel case.

Then it hit me. This is a CPO recording. How often, John, have you had to dismantle the jewel case insert of a CPO issue and paste in the correct track numbers and timings? Sure enough, I had decided to listen to the symphony first and started it at track 4, which the back of the jewel case says is the beginning...but which the booklet informs us is actually the third movement.

OK, Johnny, let's try that again.

[eschiss1]

Weird. And the tracking @ this download site is weird in a different way. But yes, why would cpo list the concertpiece as taking 3 tracks?

[John Boyer]

But yes, why would cpo list the concertpiece as taking 3 tracks?

They just goofed, that's all.  I was a bit annoyed because I didn't want to restart the symphony from the beginning, so I switched to an old MDG recording of Krenek's 8th string quartet to clear my head.  Just last week I fixed a CPO recording of Eduard Erdmann's 4th symphony, which, like the Berger, is correct in the booklet but incorrect on the insert. 

[Alan Howe]

They certainly goofed. The Symphony starts at track 2.

[Alan Howe]

But don't be put off. Personally, I am all Mahlered-out (so to speak) so this wonderfully proportioned and memorable symphony is a real tonic for those looking for something a bit less fraught and a bit more thoughtful. Mind you, the slow movement is something else - a real cri de coeur made all the more moving for its relative restraint.

[Alan Howe]

Here's an interesting review at Amazon:
https://www.amazon.co.uk/Wilhelm-Berger-Konzertstuck-orchestra-Symphony/dp/B0BYR5F945/ref=sr_1_2?crid=3HOPAP43YMTPW&keywords=wilhelm+berger&qid=1688246772&sprefix=wilhelm+berger%2Caps%2C97&sr=8-2

<<Wilhelm Berger ( 1861 -1911 ), not to be confused with the later composer, Wilhelm Georg Berger, was born in Boston, U.S.A. in 1861 but his family moved back to Germany shortly after his birth. He was a child prodigy and had a number of compositions published when he was in his late teens. In 1878 he enrolled at the Royal Academy in Berlin, eventually becoming an instructor himself. From the following year he taught at the Scharwenka Conservatory, remaining there after the institute merged with Karl Klindworth's school in 1893. He died in 1911, at the age of 49, after complications resulting from a stomach operation. During his short life he produced a considerable body of music, mostly art songs and choral works.

The "product description" on this page says that Berger's music points the way towards Reger. Well, perhaps, but you won't think of Reger as you listen. The main influences on the "Konzertstück for piano and orchestra", Op. 43a, which was only Berger's second orchestral piece, are the early German Romantics, Schumann in particular. This really is a very fine piece, strong thematically and very well worked out. It easily sustains its half hour length. There is no real originality but this is good, solid music which, had it been written by a composer of repute, would have entered the repertory. Instead it has never even been published. This Konzertstück is, broadly speaking, a sonata structure. The lengthy introduction ( make sure you pick up the opening six note motif ) contains the seeds of the principal theme, a fine extended melody first heard at 3' 57". Many other ideas are included in the mix, the most important of which is heard at 7' 13". Its opening five notes are to feature prominently in various guises. What may be termed the exposition concluded with a tutti at 10' 8". It may be a good idea to listen to this section a few times before you proceed as the highly imaginative and ingenious development which follows may otherwise seem a little aimless. In fact, it is anything but. Although Berger was classed as one of the "Berlin Academics" there is no trace of academicism here. What may be termed the recapitulation begins at 18' 15", the principal theme now in the lower strings. The main subsidiary idea returns at 21' 49". There is a substantial cadenza, notable for its lack of empty rhetoric although Berger does allow himself a burst of double octaves towards the end. The subsidiary melody returns poetically and is then transformed into a scherzo-like variant, bringing the music to a rousing virtuoso conclusion. This is a terrific piece and Oliver Triendel, that great champion of forgotten German composers, and the Württemberg Orchestra do it full justice. Don't miss it!

The First Symphony, which was premiered in 1898, is another fine work. However, though strong melodically and very well written, it is a very lightweight work emotionally and it is hardly surprising that, although it was often played before World War 1, it disappeared from the repertory soon afterwards. It must have seemed like a relic of a bygone age. To a modern audience, though, it may come as a welcome change from all the serious angst-ridden symphonies of the time. Again there is very little originality here and you can have fun spotting the influences...Dvorak is, perhaps, the most obvious one. Brahms, Tchaikovsky and Mendelssohn are also present. The 14 1/2 first movement is built on two lyrical melodies. The second theme, first heard on a clarinet, is particularly lovely. It is soon repeated by the lower strings. I haven't been able to see a score but there is, I imagine, an exposition repeat indicated at 5' 43". The development section does manage to generate a little tension. The recapitulation begins at 8' 56". This time the flutes are given the second theme before it is taken over by the lower strings. The tempo picks up for the final bars.

The spirit of Mendelssohn or Raff hovers over the 9 minute scherzo. Its perky principal idea is contrasted with a more lyrical phrase. The central section is not a formal trio but is instead built on a variant of the main idea. This is another fine movement, colourful and entertaining. It avoids entirely the sectional feel that is characteristic of symphonic scherzi.

The easy lyricism of the 10 minute slow movement will make you think of Dvorak. ( Its textures and harmonic progressions kept reminding of the Romance for Violin and Orchestra, Op.11 ). A more chromatic idea adds a little stiffness to the proceedings. Later the woodwind writing decorating the string lines is very much in the manner of Tchaikovsky. Again, throughout this movement, Berger is at pains to disguise structural divisions.

The "Berlin academic" begins his 12 1/2" finale with a short fugue built on another perky idea. Again there is some contrasting lyrical material, heard in various guises. ( Berger knew something of Lisztian thematic transformation. ) This is another expanded sonata structure, the development section beginning at 4' 06". Later, a fanfare adds a certain amount of gravitas but it makes little difference; the music retains its high spirits. The symphony concludes with a march-like variant of the main idea. The performance is excellent and it has been beautifully recorded.

The Konzertstück demands to be heard, then, but the symphony is also worth returning to on those days when a Mahlerian roller-coaster is not what you need. By the way, for a great Romantic symphony which will boost your spirits, try Ludolf Nielsen's second....the "Symphony of Joy".>>

[Alan Howe]

It's a perceptive review of the Symphony. However, the assessment of the slow movement seriously underestimates its poignancy, made all the more moving by the positivity of the surrounding movements.

[Mark Thomas]

It's a fair review. I can't say that I feel the First Symphony has the stature or originality of the Second, enjoyable though it undoubtedly is, and the reviewer gives an accurate impression of it. For me, the Konzertstück was a slow burn and I didn't initially warm to it at all but I now appreciate it's thematic quality and Berger's sheer craft in incorporating such variety within a large single movement structure whilst maintaining a recognisably formal structure. It's a very strong work.   

[Alan Howe]

The two symphonies are very different from each other. The composer's biographer, Gustav Ernst, comments on the happy circumstances during which Berger composed his 1st Symphony which are reflected in the work itself.

For anyone who hasn't heard the symphony, the cpo recording can be heard on YouTube, here:
https://www.youtube.com/watch?v=fh3hPDLVREQ
(The glorious and very touching slow movement starts at 24:00)