Although Berwald has come to dominate our view of mid-19th- century Sweden, there were many composers active at the time, and Sterling is unreservedly to be praised in continuing to bring so many of them to light. Ludvig Norman (Fredrik Vilhelm) was important as both composer and conductor. In the latter capacity he gave many prestigious first performances in Stockholm, including Berwald’s Estrella di Soria, Schumann’s Piano Concerto (1853), Rienzi, The Flying Dutchman and Lohengrin, Carmen and La traviata. As a composer he tended to larger forms such as the symphony, concerto and string quartet, eschewing the salon genres and songs then much in vogue in Sweden.
His First Symphony (1857-59) shares with Walton’s the dubious distinction of having been premiered without its finale – indeed, enjoying several performances in this truncated form. The finale is the least successful (and longest) movement, reflecting Norman’s difficulties in writing it. The best is the folk-based second, Andantino quasi allegretto, beautifully orchestrated. The opening Allegro vivace and Scherzo rattle along in fine post-Beethovenian fashion, with the odd hint of Norman’s beloved Schumann. Symphony No 3 (c 1881) is outwardly similar (slightly longer) but more consistent in quality throughout. The slow movement is again most impressive, without outstripping the others in the way No 1’s did, especially as it follows a far more imposing opening movement than before. The finale is also more successful, shorter and to the point.
I have not previously encountered the National Symphony Orchestra of South Africa, but it gives a good account of itself, for which Mika Eichenholz must share the credit. The sound is a touch studio bound (the climaxes have little reverberation and tend to fall flat), but is perfectly clear.'