Review Summary: glorious, but outdated
Kurt Atterberg's
Piano Concerto in B Flat minor hides behind preeminent Nordic composer Edvard Grieg's shadow. Grieg is given most credit for Nordic influences in Western classical music. Many post-Romantic composers, no doubt producing compelling works, eluded public recognition when non-total music was popularized, and began dominating, consequently complicating other classical genres, or spaces, especially post-Romanticism. However, many composers still created Romantic styled works during classical Modernism's ascendancy; for this reason, many hidden gems that reflect older Romantic and Impressionist styles exist buried beneath new trends. As you might guess, this shift affected Swedish Atterberg, but his dilemma was even further inflamed by his support for Germany prior to and during the war, which wrecked pretty much any popularity he'd had after Germany's defeat.
Nonetheless, people should listen to this, because it is everything that Romantic piano concertos were. Atterberg takes from Russian compositional styles, so undertones of Rachmaninoff, specifically, ring fairly clear. In the last few minutes of the first movement, Pesante Allegro, the Russianisms are especially apparent; the movement weighs down, pushing onward with momentum, but not losing character. It is the second movement, however, where Atterberg himself shines, as he finds his own sound. It is typically Romantic, and rather comforting until it crescendos from soft and slow in the first half to powerful and anthemic afterward. Last movement, Furioso, begins with duality - equals parts cheer and intensity, it transitions into this dainty but flighty section that's more Nordic - very reminiscent of Grieg's
Piano Concerto in A Minor, but still triumphant, which reminds of the Russians, particularly early Scriabin.
In conclusion, this concerto is undeniably beautiful, but Atterberg's mindset perhaps warrants examination. Other than his Swedish imprint, which is very nearly non-existent,
Piano Concerto in B Flat Minor parrots. Even though criticisms for being unoriginal and staying within “ancient” boundaries seem unfair considering this concerto's particular beauty, they also explain 1900 non-tonal popularity, which was fresh. That said, this is wonderful out of context. In context, missing that extra umph to keep modern listeners on their toes,
Piano Concerto in B Flat Minor's obscurity is unsurprising.
Listen: https://www.youtube.com/watch?v=vMpw0zMCAgw
