Atterberg Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Kurt (Magnus) Atterberg
Label: Marco Polo
Magazine Review Date: 9/1993
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 8 223405
Tracks:
Composition | Artist Credit |
---|---|
Piano Quintet |
Kurt (Magnus) Atterberg, Composer
Ilona Prunyi, Piano Kurt (Magnus) Atterberg, Composer New Budapest Qt |
Suite No. 1, 'Orientale' |
Kurt (Magnus) Atterberg, Composer
András Kiss, Violin Ferenc Balogh, Violin György Kertész, Cello Ilona Prunyi, Piano Kurt (Magnus) Atterberg, Composer |
Sonata for Horn and Piano |
Kurt (Magnus) Atterberg, Composer
Ilona Prunyi, Piano Imre Magyari, Horn Kurt (Magnus) Atterberg, Composer |
Author:
This disc is not quite what it appears to be at first glance. Although all three works sound like originals, those who know their Atterberg will recognize Op. 31 as the infamous Dollar Symphony (1927–8), which won the Columbia Graphophone Company's Schubert Centenary Competition in 1928, Op. 27 (1925) as the sonata designed for a single string instrument (violin, viola or cello) with piano accompaniment, whilst the Oriental Suite is the first of several for orchestra that Atterberg composed throughout his career. This reduction of the sixth of a his nine symphonies was made in 1942. Robbed of the original's scintillating orchestration, the music bears up well within the more severe chamber medium as a work full of character and charm. The more impressionistic Oriental Suite was arranged at about the same time as the Quintet and derives from incidental music written in 1913. The unusual disposition of piano, two violins and cello lends the music a peculiar brightness of timbre.
The Horn Sonata was transcribed in 1955 and is perhaps the happiest of all the arrangements recorded here. Atterberg's language was never radical and his late romantic idiom was well-suited to the potentialities of the horn (for which he wrote a concerto in 1926). The Hungarian performers make out a good case for all three works, with plenty of commitment evident. The CD back cover gives Atterberg's dates erroneously as 1837–1914, although the booklet inside is correct: 1887–1974.'
The Horn Sonata was transcribed in 1955 and is perhaps the happiest of all the arrangements recorded here. Atterberg's language was never radical and his late romantic idiom was well-suited to the potentialities of the horn (for which he wrote a concerto in 1926). The Hungarian performers make out a good case for all three works, with plenty of commitment evident. The CD back cover gives Atterberg's dates erroneously as 1837–1914, although the booklet inside is correct: 1887–1974.'
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