This three-CD set makes a valuable supplement to the new recording of the Fourth Symphony (reviewed on page 90). Only two performances here have been available before on commercial issues: the Orpheus in Town ballet and The Holy Night, both recorded in the 1940s. These works were subsequently re-recorded, Orpheus in Town by Stig Westerberg on a Caprice LP (6/74—nla) and The Holy Night (under Eric Ericsson) on a mono LP published by Swedish Radio.
The first disc brings us the more eclectic Rosenberg: the sophisticated man-about-town Orpheus ballet, a delightful piece that is inventive and witty, and the neo-classical Sinfonia concertante for violin, viola, oboe, bassoon and an orchestra comprising two trumpets, horns and strings (1935). The latter is a worthwhile work and though not as well recorded as the ballet, is played with spirit and enthusiasm. The early First Violin Concerto (1924) has imaginative moments yet is not Rosenberg at anywhere near his best. It is good, however, to have an example of his piano playing in a 1935 recording (remarkably fine it is, too) of an early ''Pastorale'' from the Suite for violin and piano.
The second disc, on the other hand, brings us major works: Rosenberg's own account of the Third Symphony and fragments from the first performance (in 1940) of the Fourth. The Third (1939) originally bore the subtitle, The Four Ages of Man and drew on Romain Rolland's Jean Christophe for its inspiration. Indeed, at its first performance the symphony was given with narration between each of the four movements. The first movement opens with a rather angular motive that makes use of all 12 notes of the chromatic scale, but arranged in such a way that the sense of key is never undermined (as with Frank Martin in the Petite symphonie concertante). It generates writing of great expressive power, and the second group, with its muted colours and transparent scoring, is one of Rosenberg's most delicately-imagined inspirations. After the first performance he had second thoughts about the scherzo, making some revisions and excising a fugal section, and also withdrew the subtitle. (When I asked him in the 1950s why he had done this, he expressed—or perhaps feigned—surprise that I had remembered the fugue, which I had heard in a post-war BBC broadcast, and contented himself by saying that he thought the whole movement needed shortening! I must say his performance was something of a revelation: his approach in this 1948 account with fugue included is more atmospheric in feeling and broader in tempo than a once available excellent HMV Blomstedt performance. The first movement gains by being allowed more space.
It is interesting to hear fragments of the 1940 premiere of the Revelation of St John the Divine with narrator rather than baritone, and sounding somewhat better than one has any right to expect considering its date of recording. The choral forces are small and, again, the interpretation is spacious and unhurried. The Fifth Symphony (1944) for soprano, choral and orchestra is also Biblical and subtitled Ortagardsmastaren (''The Gardener'') and is arguably Rosenberg's masterpiece. The open textures and serenity of its beginning are deceptive, for from this unpromising material evolves a distinct and individual world, though there are occasional reminders of Nielsen! It is a work of great beauty and has been broadcast only twice in this country: the BBC mounted a studio performance under Richard Hickox in the early 1980s, which I had the privilege of producing. The original 78s of The Holy Night come over well. The invention is much thinner, but the recording brings us a fine reminder of the singing of Erik Saeden, who chose not to pursue the international career to which his gifts entitled him.
Carl-Gunnar Ahlen's invaluable booklet lists all Rosenberg's recordings as well as his operatic activities in the early 1930s from Figaro, Die Zauberflote and Martha to Gounod's Romeo et Juliette and Adam's Si j'etais roi, as well as his own Resa till Amerika (''Journey to America''). It also lists his extensive incidental music for both theatre and cinema, as well as his appearances in the Swedish Radio studios. There is also a complete list of works updated from Peter Lyne's 1977 catalogue, and excellent essays. A most valuable addition to the catalogue. Although allowances must naturally be made for the sound-quality, they are well worth making for the musical rewards are considerable. Recommended.'