Kurt Atterberg (1887-1974) is best known for his nine symphonies, the first eight being, for the first time I believe, available since Sterling released Nos 7 and 8 (2/99). In recent years his instrumental and chamber works have also fared well on disc, and contain much of his finest music. Only his concertos for horn (10/89) and cello (2/98) were in the catalogue prior to this enterprising new issue.
Often criticised for being conservative, Atterberg's Piano Concerto certainly endorses the charge. Written fitfully between 1927 and 1935, a period also spanned by the composition of Rachmaninov's Fourth Concerto and the Paganini Variations, it is full-bloodedly romantic. Lasting more than half-an-hour, it should appeal to anyone who likes his concertos lush, even with a whiff of Hollywood (think Korngold or Addinsell).
The Violin Concerto, by contrast, completed on the eve of the First World War, is more of a piece from its time, less overblown and, to my way of thinking, the finer of the two works on offer. The lovely central Adagio cantabile is a good deal shorter than the outer movements, its simplicity and modesty of stature making the perfect foil for the relative complexity of the others. Christian Bergqvist - and Franklin Smith in the Piano Concerto - proves an ideal exponent, and the Gavle orchestra accompanies both soloists admirably under the firm direction of B Tommy Andersson. Recommended to those who do not insist on their 20th-century music having bite above all else.'