Kurt Atterberg's Fifth Symphony dates from 1922—the same year as Nielsen's—and shows a greater concentration of purpose and more consistent unity of expression than its predecessors. The symphony is continuous, its three movements playing for just over half an hour, exhibiting Atterberg's undeniable technical mastery (not least in his early use of an orchestral piano). The work belies its funereal title: while the atmosphere is always sombre, tragic drama rather than rituals of the graveside prevails and the finale's dance of death has too much of the ballroom about it. None the less, this symphony must rank as one of Atterberg's most successful, and while not in the same league as Nielsen's Fifth, did much to further his cause abroad.
A close contemporary of Atterberg was Edvin Kallstenius (1881–1967), whose music is scarcely known even in Sweden. After studying science at Lund, he took up music and on the strength of an early string quartet was accepted by Leipzig Conservatory. As a composer his head was irrevocably turned to Screcker's Die Ferne Klang in 1913, although on the evidence of the present work, retained a delicacy of touch unusual for its time. in form, A Summer Night's Serenade is a tone poem, albeit episodic, not a traditional serenade, and its 15 minutes do not outstay their welcome. Of a similar length but of altogether greater stature, is Oskar Lindberg's symphonic poem From the great forests (1917). Readers may be familiar with Florez and Banzeflor (1913), available on a Streling LP coupled with Atterberg's Symphony No. 1 (S1010). The earlier work's impressionism is replaced here by a more robust Nordic lyricism building into a highly impressive whole. The Stockholm Philharmonic play with great conviction for Stig Westerberg and in the two smaller works seem to be enjoying themselves. Recommended.'