Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2015 | 01 | Little Berwald | 20151223 | 20151221 (R3) | Donald Macleod explores Franz Berwald's early years, from his violin recital aged 9 in front of the Swedish Royal Court to his first compositions and his ever-robust response to reviewers. It was only after his death that Franz Berwald acquired his reputation as Sweden's great symphonist. During his lifetime his music was largely dismissed or ignored. To make ends meet he pursued several other careers alongside composition and proved to have a sharp business mind. He made a living as an early physiotherapist, dabbled in publishing and ran a saw-mill and a glass works. Once, when he was asked if he was a composer his reply was 'No, I'm a glassblower'. Both the man and his music were often misunderstood. We now appreciate his musical legacy, particularly his symphonies and opera overtures, his tone poems and his music for violin. But relatively little of his music was performed in his own lifetime - and that which was performed was sometimes badly received and reviewed. A reputation for arrogance and reserve probably didn't help either and he was outspoken in his criticism of the Swedish musical establishment. Yet he was also capable of great generosity to friends, students, and even to complete strangers. Donald Macleod tells the story of a composer whose work was too often neglected in his own lifetime but who was eventually hailed in Sweden as 'our most original and modern orchestral composer'. Today Donald Macleod explores Berwald's early years. Born in Stockholm into a family of musicians who hailed from Germany, he was soon encouraged to develop his own musical talents. He took up the violin and made his public debut at the age of 9. Soon after that 'Little Berwald', as he was known, played before the Court in Stockholm. As a young man his skills on the violin earned him a place in the Opera Orchestra in Stockholm but he soon put that aside to concentrate on composing and, in an early indication of his business acumen, to run a publishing venture. There's also Berwald's stinging retort to an early bad review and the origins of his life-long rivalry with his cousin Johann Frederik. Symphony Singuliere (No. 3 in C Major) - I. Allegro fuocoso Swedish Radio Symphony Orchestra Roy Goodman, conductor Violin Concerto in C Sharp minor, Op. 2 Tobias Ringborg, violin Swedish Chamber Orchestra Niklas Will退n, conductor String Quartet No. 1 in G minor - IV. Allegretto The Yggdrasil Quartet Elfenspiel - Tone Painting for Large Orchestra Danish National Radio Symphony Orchestra Thomas Dausgaard, conductor. Franz Berwald's early years, from child violin prodigy to composer. |
| 2015 | 02 | A New Career | 20151222 | Seeking escape from Sweden, Franz Berwald flees to Germany. Donald Macleod recalls the composer's encounter with Mendelssohn and his new career in Berlin - as a physiotherapist It was only after his death that Franz Berwald acquired his reputation as Sweden's great symphonist. During his lifetime his music was largely dismissed or ignored. To make ends meet he pursued several other careers alongside composition and proved to have a sharp business mind. He made a living as an early physiotherapist, dabbled in publishing and ran a saw-mill and a glass works. Once, when he was asked if he was a composer his reply was 'No, I'm a glassblower'. Both the man and his music were often misunderstood. We now appreciate his musical legacy, particularly his symphonies and opera overtures, his tone poems and his music for violin. But relatively little of his music was performed in his own lifetime - and that which was performed was sometimes badly received and reviewed. A reputation for arrogance and reserve probably didn't help either and he was outspoken in his criticism of the Swedish musical establishment. Yet he was also capable of great generosity to friends, students, and even to complete strangers. Donald Macleod tells the story of a composer whose work was too often neglected in his own lifetime but who was eventually hailed in Sweden as 'our most original and modern orchestral composer'. In 1829 Berwald had pulled together enough money to leave Sweden for Germany where, perhaps, he felt his music would be better appreciated. As Donald Macleod recalls, once in Berlin he struck up a friendship with another young Swede, Henric Munktell, who introduced him to Felix Mendelssohn. Unfortunately, the two composers didn't hit it off: Mendelssohn wasn't too impressed by Berwald's music and thought the young man arrogant. Soon after - and for the rest of the twelve years he spent in Berlin - Berwald abandoned music and embarked on a surprising new career in the emerging field of orthopaedics. He turned out to be a skilled practitioner and particularly successful working with children with spinal deformities. Concert Piece for bassoon and orchestra Academy of St. Martin in the Fields Sir Neville Mariner, conductor Reminiscences from the Norwegian Mountains Royal Philharmonic Orchestra Ulf Bj怀rlin, conductor Grand Septet B flat major - I. Introduzione: Adagio - Allegro Molto Berlinner Oktett The Battle of Leipzig - Tone Painting Malm怀 Opera Orchestra Niklas Will退n, conductor. Donald Macleod describes Berwald's encounter with Mendelssohn and his new career in Berlin | |
| 2015 | 03 | Serious And Joyful Fancies | 20151223 | Donald Macleod considers the most creative period of Franz Berwald's life, during which he composed the symphonies which are his lasting legacy. It was only after his death that Franz Berwald acquired his reputation as Sweden's great symphonist. During his lifetime his music was largely dismissed or ignored. To make ends meet he pursued several other careers alongside composition and proved to have a sharp business mind. He made a living as an early physiotherapist, dabbled in publishing and ran a saw-mill and a glass works. Once, when he was asked if he was a composer his reply was 'No, I'm a glassblower'. Both the man and his music were often misunderstood. We now appreciate his musical legacy, particularly his symphonies and opera overtures, his tone poems and his music for violin. But relatively little of his music was performed in his own lifetime - and that which was performed was sometimes badly received and reviewed. A reputation for arrogance and reserve probably didn't help either and he was outspoken in his criticism of the Swedish musical establishment. Yet he was also capable of great generosity to friends, students, and even to complete strangers. Donald Macleod tells the story of a composer whose work was too often neglected in his own lifetime but who was eventually hailed in Sweden as 'our most original and modern orchestral composer'. By the late 1830s, Franz Berwald had made a name for himself in Berlin - but not as a composer. Soon after he wrote his tone poem Serious and Joyful Fancies he had put aside his music to establish a very successful orthopaedic institute - a treatment at which he proved to be a skilled practitioner. However, by 1841 he was ready to embark on a new lease of life. He married Mathilde Scherer, who at 24 was nearly half Berwald's age, and the couple moved to Vienna where Franz once again took up music. Donald Macleod recounts the most creative period of Berwald's life, the years in which he composed his four symphonies - only one of which he would actually hear in his lifetime. Serious and Joyful Fancies - Symphonic Tone Poem Gavle Symphony Orchestra Petri Sakari, conductor Symphony Serieuse (No. 1 in G minor) - I. Allegro con energia Gothenburg Symphony Orchestra Neeme J䀀rvi, conductor String Quartet in E flat major The Fryd退n String Quartet Symphony Capricieuse (No. 2) - III. Finale: Allegro assai Malm怀 Symphony Orchestra Sixten Ehrling, conductor. Exploring the most creative period of Berwald's life, when he composed his symphonies. | |
| 2015 | 04 | I'm A Glassblower | 20151224 | Donald Macleod focuses on Franz Berwald's operas, the young musicians he nurtured and, beyond music, the business acumen which saw him managing a glassworks and later a saw-mill. It was only after his death that Franz Berwald acquired his reputation as Sweden's great symphonist. During his lifetime his music was largely dismissed or ignored. To make ends meet he pursued several other careers alongside composition and proved to have a sharp business mind. He made a living as an early physiotherapist, dabbled in publishing and ran a saw-mill and a glass works. Once, when he was asked if he was a composer his reply was 'No, I'm a glassblower'. Both the man and his music were often misunderstood. We now appreciate his musical legacy, particularly his symphonies and opera overtures, his tone poems and his music for violin. But relatively little of his music was performed in his own lifetime - and that which was performed was sometimes badly received and reviewed. A reputation for arrogance and reserve probably didn't help either and he was outspoken in his criticism of the Swedish musical establishment. Yet he was also capable of great generosity to friends, students, and even to complete strangers. Donald Macleod tells the story of a composer whose work was too often neglected in his own lifetime but who was eventually hailed in Sweden as 'our most original and modern orchestral composer'. By 1849 Berwald was struggling financially. A second journey abroad to develop his music and build an audience had achieved little and he returned home to Stockholm, disheartened and disappointed. The Swedish musical establishment once again turned its back on him and he was overlooked for two key musical posts which might have brought him financial security. He had to look elsewhere for employment and found himself managing the Sand怀 glassworks in the north-east of Sweden. He was very successful in the role and was soon offered partnership in the firm. He later diversified into running a saw-mill. Donald Macleod also recalls how Berwald supported and nurtured the careers of young musicians, including the pianist Hilda Thegerstr怀m and the soprano Christina Nilsson. Den 4 Juli 1844 (Konung Oscar) Anne Sofie von Otter, mezzo-soprano Bengt Forsburg, piano By Dark Thoughts Eternally Tormented' - Aria from Estrella di Soria Helsingborg Symphony Orchestra Lena Nordin, soprano Stig Westerberg, conductor Piano Trio No.1 in E flat major Bernt Lysell, violin Ola Karlsson, cello Lucia Negra, piano Piano Quintet No.1 in C minor - III. Allegro assai e con spirito The Gaudier Ensemble Susan Tomes, piano Queen of Golconda' - Overture Swedish Radio Symphony Orchestra Roy Goodman, conductor. Exploring Berwald's operas, his struggles with the establishment and his business acumen. | |
| 2015 | 05 LAST | Feeling And Reason | 20151225 | Donald Macleod explores Franz Berwald's last years, in which he sees his opera Estrella de Soria staged and is finally admitted as a Fellow of the Swedish Royal Academy of Music. It was only after his death that Franz Berwald acquired his reputation as Sweden's great symphonist. During his lifetime his music was largely dismissed or ignored. To make ends meet he pursued several other careers alongside composition and proved to have a sharp business mind. He made a living as an early physiotherapist, dabbled in publishing and ran a saw-mill and a glass works. Once, when he was asked if he was a composer his reply was 'No, I'm a glassblower'. Both the man and his music were often misunderstood. We now appreciate his musical legacy, particularly his symphonies and opera overtures, his tone poems and his music for violin. But relatively little of his music was performed in his own lifetime - and that which was performed was sometimes badly received and reviewed. Donald Macleod tells the story of a composer whose work was too often neglected in his own lifetime but who was eventually hailed in Sweden as 'our most original and modern orchestral composer'. Today Donald explores Berwald's lifelong love of opera. Sadly, it was a largely unrequited love: it took over twenty years for his romantic grand opera Estrella di Soria to be performed. At the time Berwald was running a brick-making factory. He wrote his last opera, the Queen of Golconda with his talented pupil Christina Nilsson in mind for the title role of the beautiful, widowed queen. Sadly, Berwald never saw Nilsson - or indeed anybody else - playing the queen - the opera was never performed in his lifetime. Although Berwald stuck his contemporaries as arrogant and reserved, underneath the forbidding, haughty exterior there was actually a man of compassion, generosity, even humour. He once said, 'Art may be coupled only with a cheerful frame of mind. The weak-willed should have nothing to do with it. Even if interesting for a moment, in the end every sighing artist will bore listeners to death. Therefore: liveliness and energy - feeling and reason Overture to Estrella de Soria Stockholm Philharmonic Orchestra Sten Broman, conductor Du hatar ej den sorg (You hate not the grief) - Aria from Queen of Golconda Royal Orchestra Stockholm Elizabeth S怀derstr怀m, soprano Stig Westerberg, conductor Symphony No. 1 in G minor (S退rieuse) - II. Adagio maestoso San Francisco Symphony Orchestra Herbert Blomstedt, conductor String Quartet in A minor - Finale: Allegro molto The Fryd退n String Quartet Symphony No. 3 in C Major (Singuli耀re) - II. Adagio & III. Finale: Presto Hans Schmidt-Isserstedt, conductor. Exploring Berwald's last years, in which he saw his opera Estrella de Soria staged. |