Adolf Fredrik Lindblad -Symphony No. 1,2

Adolf Fredrik Lindblad

 (1801-1878 / 순조 2년-고종 15년) was a Swedish composer from the Romantic era.

He is mostly known for his compositions of Swedish song or lieder, of which he produced over 200. His other well-known compositions include his Symphony No. 1 in C major, Symphony No. 2 in D major, and an opera titled Frondörerna (The Rebels). He was a well-respected friend of Felix Mendelssohn, and had a collaborative relationship with the famous Swedish soprano, Jenny Lind.

 

 

 

 

* Symphony No.1 in C-major, Op.19 (1832 /31세)  

 

Mov.I: Allegro con brio 00:00
Mov.II: Presto 09:42
Mov.III: Adagio e molto cantabile 16:52
Mov.IV: Allegro molto 24:46

Orchestra: Uppsala Kammarorkester
Conductor: Gérard Korsten

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* Symphony No.2 in D-major (1855 / 55세)

Mov.I: Maestoso - Allegro molto 00:00
Mov.II: Poco allegretto 09:12
Mov.III: Scherzo: Presto 18:36
Mov.IV: Finale: Allegro 25:08

Orchestra: Uppsala Kammarorkester
Conductor: Gérard Korsten

Lindblad's studies under Zelter for a year in Berlin may have been his biggest musical influence. Lindblad also appears to have been influenced by composers of Viennese Classicism such as Mozart, Ludwig van Beethoven, and Haydn. Lindblad's style as a result sounds very late Classical to early Romantic, which is particularly apparent in his Symphony No. 1 in C major and Symphony No. 2 in D major.

Many elements of the First Symphony are reminiscent of Beethoven's Eroica and Weber's First Symphony. The resemblance is heard especially in the opening horn fanfare in the first movement. The particular use of the horn in the "Scherzo" is also comparable to Haydn's Hornsignal Symphony. The third movement, “Adagio e molto,” is described as bearing resemblance to late works of Mozart. In the final movement, Lindblad explores various styles, opening with a fugue and abruptly changing to a lyrical melody played by flutes. A motif is also very similar to the “terrace” motif in Beethoven's Ninth.^[13]

In Symphony No. 2 in D major, many of the same influences can be found despite its being composed nearly 25 years after his First. Lindblad employs many stylistic qualities found in late Mozart, Haydn, and Beethoven. When listening to the work, one can hear a short use of a motif similar to the four-note motif of Beethoven's Fifth Symphony. The second movement brings a dance-like quality that could have been influenced by Haydn's “walking” themes with a hint of Romanticism.^[14] The "Scherzo" can be argued to be evoking Schumann. In the final movement of Symphony No. 2, Lindblad expresses an appreciation for Mozart by quoting Cherubino's aria from Le nozze di Figaro.^[15]

Lindblad's style of orchestration has been praised as excellent, despite Lindblad's not being known to have seriously studied proper orchestration technique.