Franz Berwald - Grand Septet (1828)

 

 

Franz Berwald

(23 July 1796 – 3 April 1868) 

 Swedish Romantic composer who was generally ignored during his lifetime. He made his living

as an orthopedic surgeon and later as the manager of a saw mill and glass factory.

 

Septet for clarinet, bassoon, horn, violin, viola, cello & double-bass in B-flat major, "Grand"

(1817 rev. 1828) Dedicated: Ernst Leonard Schlegel

            

 

 

Grand Septet

"This three movement septet contains passages of great exuberance with many flashes of youthful vigour. It is a lively work that is instantly appealing to both performers and audience."

1. Adagio - Allegro molto (0:00)
2. Poco Adagio (7:48)
3. Prestissimo (11:59)
4. Finale: Allegro con spirito

Nash Ensemble
Live Radio performance

Description by Mona DeQuis [-]
Franz Berwald's Grand Septet, dedicated to Ernst Leonard Schlegel, is thought to be a reconstruction of an effort dating from 1818. Evidently, an earlier incarnation was not very successful, receiving an unfavorable review at its first performance, and impressions seem not to have improved after a second hearing more than a year later. That is difficult to believe, because this is a thoroughly delightful work in the early Romantic style of Johann Nepomuk Hummel, Felix Mendelssohn, Franz Schubert, and Louis Spohr.

It is obvious in this piece, and in others by Berwald, that he loved to use many short tunes. His works are chock full of melodies that are not long spun-out themes, but rather motivic fragments with potential for development. Structurally, the first movement, Adagio -- Allegro molto, is in the typical sonata-allegro form, with a twist. The lovely harmonic progression of the first theme, following a noble slow introduction underscored by pizzicatos in the strings, is heavenly. Berwald's transitions are just as interesting, if not more so, than the actual theme groups. He possessed a knack, much like Beethoven's, for manipulating and developing thematic material. The second theme in the clarinet complements the first theme rather than contrasting with it. Most traditional development sections tend to utilize previously heard material, but here Berwald introduces new theme fragments. The above-mentioned structural twist occurs with the appearance of the second theme before an actual recapitulation. The first theme finally arrives, but is followed by yet another statement of that charming second theme. Berwald expertly balances moments of calm and repose with agitated fervor.

The second movement, Poco adagio -- Prestissimo -- Adagio, is innovative in that, about four minutes into this section, Berwald drops a jaunty little scherzo, with a fugue no less, between the two adagios. This is a technique he used in the slow movement of his masterful Symphony No. 3 in C ("Sinfonie singulière), some 17 years later. The finale, Allegro con spirito, has an almost comically melodramatic quality that takes it further from the intimacy of chamber music and more toward the symphonic or operatic. Even during the moments of emotional intensity, Berwald seems to have his tongue firmly planted in cheek. There is plenty of fun-loving syncopation contributing to the highjinks as each instrument plays its "role." Again, as is so often the case with Berwald's music, there are many enchanting yet fleeting melodies. While not quite in the same class as Beethoven's Septet in E flat major or Schubert's Octet in F major (both for clarinet, horn, bassoon, and strings), this piece is an endearing introduction to the man many believe to be the greatest Swedish composer of the nineteenth century.