Kurt Atterberg Piano Concerto, Sofia Church, Stockholm
… beautifully asserted himself as a musical collaborator with his sensitive ear, strong sense of style, and fine musicianship.
CONCERT
Sofia Kyrka
Sofia Kammerorkester
Conductor: Arne Johansson
Soloist: Dan Franklin Smith
Kurt Atterberg outlived himself. After having been Sweden’s most-performed composer both at home and abroad during the 20’s and 30’s, during his last years he witnessed the establishment’s blatant avoidance of his work. Even the piano concerto from 1935 drowned in silence, despite the fact that many had it as part of their repertoires. Olof Wilbergh and Fritjof Eberson, as well as the Germans Hermann Hoppe and Charlotte Parruchen. However, after Jacob Moscowiczs’ radio recording of about fifteen years ago, a possible record recording came under discussion.
The ordinarily quick composer Atterberg needed in this case all of nine years for this work from the time of the original idea which was first intended for the Dollar Symphony, with a traditional prelude, a sentimental middle section, and a banal finale, according to Atterberg himself. Both of the last sections were composed after the first, which was first performed separately, in conjunction with Radiotjänst’s ten-year anniversary.
Last year the American pianist Dan Franklin Smith made his European debut in Sofia Kyrka in Stockholm. In preparation for last Sunday’s return visit and in accord with Stockholm as European Culture Capitol 1998, he searched for Swedish piano concerto scores in his hometown. The New York Public Library had only Ruben Liljefors and Atterberg. In the Washington, D.C., Library of Congress he found the piano score.
Thus it was chance that led to his choice. The result, however, was more than anyone could wish for, particularly since the acoustical echo under Sofia Kyrka’s 30-meter ceilings is heavy as original sin. The room’s acoustics drowned out all instruments including Arne Johansson’s well-cared-for baby, the outstanding chamber orchestra. Despite the fact that many details were thus washed away, Dan Franklin Smith kept his bearings and beautifully asserted himself as a musical collaborator with his sensitive ear, strong sense of style, and fine musicianship.
—Carl-Gunnar Ahlen, Svenska Dagbladet, October 14, 1998