FRANZ BERWALD’S QUARTET FOR PIANO AND WINDS: ITS HISTORICAL, STYLISTIC, AND SOCIAL CONTEXT

Document

Presented in Partial Fulfillment of the Requirements for the

Degree Doctor of Musical Arts in the Graduate

School of The Ohio State University

By

Hild Breien Peersen, BME, MM

*****

The Ohio State University 2005

Document Committee: Approved by

Professor James M. Pyne, co-advisor ______

Professor Charles M. Atkinson, co-advisor ______Professor Katherine Borst Jones Co-Advisors Graduate Program in Music i © Copyright by Hild Breien Peersen 2005

ii ABSTRACT

The Quartet in Eb for Piano and Winds by Franz Berwald (1796-1868) was written during a period and in a country that is under-represented in the clarinet literature.

Composed for the unusual ensemble of clarinet, horn, bassoon, and piano, the work was written in 1819 and premiered in 1821. The quartet is an attractive piece in its own right, and provides an opportunity to explore the artistic atmosphere in Stockholm in the early nineteenth century, particularly as it applies to wind playing. Research for this document has revealed that three prominent wind instrumentalists, Bernard Henrik Crusell, Frans

Carl Preumayr, and Johann Michael Hirschfeld, were the inspiration for this work as well as for works by other composers at this time. The document also explores Swedish history from roughly the period 1771 – 1872, highlighting the reign of Gustav III (1771-

1792), with a special emphasis on its patronage of the arts.

Franz Berwald is considered Sweden’s best Romantic composer, although he has not reached the stature of the other well-known Scandinavian Romantic composers Grieg,

Sibelius, and Nielsen. This document examines Berwald’s life and the social climate in which he lived in an attempt to achieve a better understanding of the circumstances that may have led to his relative obscurity.

The majority of the literature on Franz Berwald is written in either German or

Swedish. This document augments the English portion of Berwald research. It includes

ii in its appendices several English translations from Franz Berwald’s letters and other writings. The appendices also contain a family tree of the musical Berwald family.

Included in the document is an analysis of the Quartet in Eb for Piano and Winds.

The analysis explores Berwald’s compositional style as it pertains to form, melodic development and orchestration. A live recording of a 2004 performance of the Quartet at

The Ohio State University is available with the pdf file.

iii For Ken

iv ACKNOWLEDGMENTS

I would like to thank my advisor Professor James M. Pyne for his support during my studies at Ohio State. I sincerely express my gratitude to Professor Charles M.

Atkinson for his assistance in the writing of this document. His guidance in this process has helped me grow as a writer in ways that will surely benefit me greatly in future endeavors. In addition, I would also like to express my appreciation to Professor

Katherine Borst Jones for her encouragement.

I gratefully acknowledge the Bärenreiter Music Corporation for granting permission to reprint the musical examples used in Chapter Seven and the documents in the Appendices.

Heartfelt thanks are due to Professor Christopher Weait, Lynn Singleton and

Heidi Wick for performing the Quartet in Eb with me. After studying the piece at length it was a treat to be able to perform it with these fine musicians.

I am indebted to my father Dag Ryen for his translations of the Swedish texts. I would also like to thank my mother Lajla and the rest of my family for their support.

I owe a special “Thank you” to Jane Ellsworth for her friendship and good attitude, especially during the year of the ClarinetFest!

Lastly, I am most grateful to my husband, Ken Williams, for his patience, support, humor, and encouragement in the process of completing this document.

v VITA

September 14, 1970……………………….Born – Arendal, Norway

1993……………………………………….B.M.E. with High Honors, Michigan State University

1995……………………………………….M.M., Clarinet Performance, Arizona State University

1995-1997…………………………………Music teacher, Walled Lake Public Schools, Walled Lake, Michigan

1997-2000…………………………………Graduate Teaching Associate, The Ohio State University

2001-present……………………………….Instructor of Clarinet, The College of Wooster

2003 (Fall)…………………………………Visiting Instructor of Clarinet and Saxophone, Kenyon College

2004-present……………………………….Instructor of Clarinet, Mount Vernon Nazarene University

FIELDS OF STUDY

Major Field: Music

Studies in: Clarinet Performance and Pedagogy Music History

vi TABLE OF CONTENTS

Page

Abstract……………………………………………………………………………………ii

Dedication………………………………………………………………………………...iv

Acknowledgments…………………………………………………………………………v

Vita………………………………………………………………………………………..vi

List of Tables……………………………………………………………………………..ix

List of Figures…………………………………………………………………………….xi

Chapters

1. Introduction………………………………………………………………………..1

2. Review of the Literature…………………………………………………………..6

3. Swedish History: Royal Patronage and the Arts…………………………………11

4. The Life of Franz Berwald……………………………………………………….25

5. Musicians in Early Nineteenth-Century Stockholm……………………………..39

6. Chamber Works with Winds…………………………………………………….49

7. Analysis of the Quartet in Eb for Piano and Winds……………………………..55

8. The Premiere and Ensuing Literary Battle………………………………………93

9. Concluding Thoughts…………………………………………………………..106

vii Appendices

A. Letter From Franz Berwald to Ernst Leonard Schegel…………………………111

B. Review in Argus………………………………………………………………...117

C. Berwald’s Reply………………………………………………………………...122

D. The Critic Replies………………………………………………………………125

E. Berwald’s Last Word…………………………………………………………...130

F. Form of Movement One………………………………………………………...135

G. Form of Movement Three………………………………………………………138

H. Berwald Family Tree…………………………………………………………...141

Bibliography……………………………………………………………………………147

viii LIST OF TABLES

Table Page

7.1 Form of Allegro ma non troppo (movement one)………………………………..56

7.2 Exposition (primary theme group)……………………………………………….59

7.3 Recapitulation (primary theme group)…………………………………………...59

7.4 Exposition (secondary theme group)…………………………………………….61

7.5 Recapitulation (secondary theme group)………………………………………...61

7.6 Exposition (closing theme group)…………………………………………….….64

7.6 continued: Exposition (closing theme group)……………………………………64

7.7 Recapitulation (closing theme group)……………………………………………64

7.7 continued: Recapitulation (closing theme group)………………………………..64

7.8 Development (movement one)…………………………………………………...71

7.9 Form of Adagio (movement two)………………………………………………..75

7.10 Form of Finale (movement three)………………………………………………..79

7.11 Exposition (primary theme group)………………………………………….……81

7.12 Recapitulation (primary theme group)…………………………………………...81

7.13 Exposition (secondary theme group)…………………………………………….85

7.14 Recapitulation (secondary theme group)………………………………………...85

ix 7.15 Exposition (closing theme group)………………………………………………..86

7.16 Recapitulation (closing theme group)……………………………………………86

7.17 Development (movement three)…………………………………………………88

x LIST OF FIGURES

Figure Page

7.1 first movement, mm. 1-7 (Introduction)…………………………………………57

7.2 first movement, mm. 8-14 (theme 1P)…………………………………………...59

7.3 first movement, mm. 14-22 (theme 2P)………………………………………….60

7.4 first movement, mm. 31-34 (theme 1S)………………………………………….61

7.5 first movement, mm. 54-61 (theme 2S)………………………………………….62

7.6 first movement, mm. 81-86 (theme 3S)………………………………………….63

7.7 first movement, mm. 91-96 (theme 1K)………………………………………….65

7.8 first movement, mm. 104-106 (theme 2K)……………………………………….66

7.9 first movement, mm. 113-120 (theme 3K)………………………………….……66

7.10 first movement, mm. 113-120……………………………………………………67

7.11 first movement, mm. 124-127……………………………………………………68

7.12 first movement, mm. 319-321 (theme 4K)……………………………………….68

7.13 first movement, mm. 140-144……………………………………………………70

7.14 first movement, mm. 54-59 (theme 2S)- Original Form…………………………71

7.15 first movement, mm. 157-165 (theme 2S1)- Developed Form…………………...72

7.16 first movement, mm. 157-165 (theme 1P)- Original Form……………………...73

7.17 first movement, mm. 183-187 (theme 1P1)- Developed Form…………………..73

7.18 first movement, mm. 81-86 (theme 3S)- Original Form…………………………74

xi 7.19 first movement, mm. 189-192 (theme 3S1)- Developed Form…………..….……74

7.20 first movement, mm. 208-215 (theme N)………………………………...………74

7.21 second movement, mm. 1-5 (theme 1P)……………………………….….……..76

7.22 second movement, mm. 12-13 (theme 2P)……………………….….…………..77

7.23 second movement, mm. 22-24 (theme 1S)……………………….…..…………..77

7.24 second movement, mm. 26-27 (theme 2S)…………………………..…….……..78

7.25 third movement, mm. 1-5 (theme 1P)……………………….……….…….…….81

7.26 third movement, mm. 40-44 (theme 2Pa)…………………….….………………83

7.27 third movement, mm. 51-54 (theme 2Pb)…………………….….………………83

7.28 third movement, mm. 56-63 (theme 3P)………………………..………………..84

7.29 third movement, mm. 64-66 (theme 1S)………………………..………………..85

7.30 third movement, mm. 85-88 (theme 1K)………………………..……………….87

7.31 third movement, mm. 100-105 (theme 2K)……………………..……………….87

7.32 third movement, mm. 111-112 (theme 3K)……………………..……………….88

7.33 third movement, mm. 119-125 (theme 1N)……………………..……………….89

7.34 third movement, mm. 146-150 (theme 2N)………………………..…………….90

7.35 third movement, mm. 279-285 (theme 3N)……………………….….………….91

7.36 third movement, mm. 308-311 (theme 4N)…………………….……………….92

xii CHAPTER 1

INTRODUCTION

Denmark has Carl Nielsen, Finland has Jean Sibelius, Norway has Edvard Grieg and Sweden has Franz Berwald; a man who has been called one of the most neglected composers in music history.1 So obscure was he that in 1946 the Swedish postal service, given the choice between putting Franz Berwald or the Fourth Farmer’s Congress on a postage stamp, went with the farmers.2 Today he is considered Sweden’s best romantic composer and his music is gaining more prominence: Bärenreiter-Verlag will complete its set of Berwald’s Collected Works in 2005; scholars devoted a full symposium to him in 1996; noted conductors such as Herbert Blomstedt, Esa-Pekka Solonen and Paavo

Jarvi have come out with recent recordings of his orchestral works; the Swedish Radio

Symphony Orchestra plays in Berwaldhallen, named for Franz Berwald.

The Sweden Franz Berwald lived in saw tremendous change during the nineteenth century: politically, socially, and artistically. Sweden today has one of the highest standards of living in the world, aided by high-tech capitalism and extensive welfare

1 Eric Frederick Jensen, Walls of Circumstance (Metuchen, N.J.: The Scarecrow Press, 1992), 22.

2 Alf Thoor, “The Private Life of Mr. Franz Berwald,” trans. Harry D. Watson, Artes: An International Reader of Literature, Art, and Music, 3 (1996): 137. 1 benefits.3 The foundation for many of these democratic principles was set in place during

Franz Berwald’s lifetime. Sweden was swept up in the ideals of the French Revolution and as more liberal ideas took hold, Swedish society advanced industrially, educationally, artistically, and politically. An overview of this Swedish history, particularly as it pertains to the arts, is included. The foundation of Sweden’s artistic culture was laid during the reign of Gustav III. King of Sweden from 1771-1792, Gustav III established the Academy of Music and the Royal Opera and in the process of doing this brought many musicians to Stockholm; these immigrants included members of the Berwald family.

Franz Berwald’s life (1796-1868) spanned the first two-thirds of the nineteenth century, being born a year before Schubert and dying a year before Berlioz. A talented composer who was acclaimed in Vienna and Berlin, Franz Berwald searched in vain for his place in Stockholm’s musical society. When he was unable to make a living with his music he turned to other business ventures, successfully running an orthopedic institute in

Berlin, as well as two glassworks companies and a brick-making business in Sweden. It would take a lifetime for Berwald to be accepted by the musical establishment in

Stockholm; he was finally named a professor of composition at the Royal Academy of

Music a year before his death. Moreover, he would have frequent encounters with critics of his music and earn the reputation of being difficult. Fortunately, most of the music of

Franz Berwald has survived. Among his compositions are three chamber works that include the clarinet.

3 Web site for the Central Intelligence Agency of the United States of America, (Accessed 21 November 2004), . 2 Berwald’s three chamber works with clarinet are the Grand Septet (1817, revised

1828), the Quartet in Eb for Piano and Winds (1819) and a Serenade (1825). The first two works include clarinet, horn, and bassoon and the last work includes clarinet and horn. All have unusual instrument combinations and depict Berwald’s unique composition style. Jensen cites a quotation from Berwald’s collected documents describing Berwald’s music in the following way: “All is well-developed, elegant, and original. Perhaps you will find that often the music is bizarre. Nonetheless, Berwald is ingenious in handling his distinctive ideas.”4 Berwald’s unusual treatment of melodic material is often cited in commentary on his music. His music contains multiple themes that shift frequently, and the ever-changing mood gives the music an operatic effect. This document provides an analysis of the Quartet in Eb for Piano and Winds. This piece demonstrates Berwald’s typical usage of melodic material and his approach to the construction of large-scale forms.

Franz Berwald did not receive many positive reviews for his music during his lifetime, especially in Stockholm. A negative review that appeared in 1821 led to a polemic exchange between the critic and Berwald in which two quite different sets of ideas and ideals on music clashed with each other. This exchange was published in a series of four journal editorials, two by the critic and two by Berwald; this document examines the contents of these articles and the context in which the arguments were made.

4 Jensen, 27. The original quotation is located in: Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 554. 3 Known works from the early nineteenth century--and especially works from early nineteenth-century Sweden--are under represented in the clarinet repertoire. Certainly pieces by Bernhard Henrik Crusell are well known, although his concertos are not as frequently played as the more popular concertos from roughly the same fifty-year time- span by Mozart, Stamitz, Weber, et al. The early nineteenth century saw an expansion in wind bands and the growth of music for the wind Harmonie.5 One city that experienced this surge of wind music was Stockholm, Sweden. The Opera Orchestra was performing all the latest operas by Weber and other composers, and small towns were starting their own wind bands to play at public functions. The need for exceptional wind players in these ensembles increased as the level of difficulty of the repertoire rose. With these players came composers who wrote works for them. A glance through Carl Nisser’s book, Svensk Instrumentalkomposition 1770 – 1830, Nominalkatalog, reveals a multitude of little-known Swedish wind works from this period.6 This document begins this exploration by discussing the most revered Swedish composer from this period, Franz

5 Harmoniemusik refers to small winds bands of European aristocracy which were prominent for roughly the period from the mid-eighteenth century to 1830. The core ensemble was two horns, two bassoons, and either two oboes or clarinets; this would later expand to an octet with doubles of horns, bassoons, oboes, and clarinets. Mozart’s wind serenades represent the pinnacle of repertoire for this ensemble. Many transcriptions were written for the group using operas arias as a popular source. (S. Sadie and J. Tyrell, The New Grove Dictionary of Music and Musicians [London: Macmillan, 2001], s.v. “Harmoniemusik” by Roger Hellyer).

6 Carl Nisser, Svensk Instrumentalkomposition 1770 – 1830, Nominalkatalog. (Stockholm: Åhlén & Åkerlunds Boktryckeri, 1943). There is a need for research here. This book contains the names of, and works by, many little-known composers whose manuscripts may be in the Swedish Archives. These composers were active in Stockholm between 1770-1830. 4 Berwald, his chamber pieces for clarinet, the players he wrote for, and the atmosphere in the Stockholm where he worked.

Three of the most outstanding wind players in early nineteenth-century Stockholm were Bernhard Henrik Crusell (clarinet), Johann Michael Hirschfeld (horn), and Frans

Carl Preumayr (bassoon). Much has been written of Bernhard Henrik Crusell in the clarinet literature. This document will focus on Crusell as a member of a trio of leading wind soloists whose reputations inspired multiple works for winds as chamber groups and solo instruments. Franz Berwald wrote his three chamber pieces with these players in mind and the three played the premieres of these works.

The appendices of this document include Dag Ryen’s English translations of the four articles previously mentioned, as well as a letter from Franz Berwald to his friend

Ernst Leonard Schlegel from 1839. These items are found in Berwald’s collection of documents and were available only in Swedish or German until now. The appendices also include tables of the form of the Quartet for Piano and Winds. A family tree of the large musical Berwald family is also included. Lastly, a live recording from The Ohio

State University of the Quartet can be found with this PDF document. The performance took place on November 19, 2004 and the players included: Lynn Singleton, piano; Hild

Peersen, clarinet; Professor Christopher Weait, bassoon; Heidi Wick, horn.

It is hoped that this document will further highlight the music of Franz Berwald and his place in the repertoire of chamber music for winds. The unusual works from an under-represented period in the clarinet repertoire make them welcome additions.

Stockholm in the early nineteenth century seems to have been an exciting place for wind players and more research holds the promise of unearthing hidden treasures. 5 CHAPTER 2

REVIEW OF THE LITERATURE

The bulk of the literature on Franz Berwald is in Swedish or German. Primary sources include the Sämtliche Werke1 published by Bärenreiter-Verlag that now includes

23 volumes and all 25 volumes are slated for completion in 2005. The volumes contain pertinent biographical information in addition to the critical scores. Furthermore,

Berwald’s collected letters and documents were published in 1979 in Die Dokuumente seines Lebens2 by Bärenreiter-Verlag; this volume includes all of Berwald’s extant correspondence.3 Five of these documents have been translated to English by Dag Ryen and can be found as Appendices in this document.

Four published biographies of Berwald exist. The first, Franz Berwald, En

Biografisk Studie4 by Adolf Hillman, was published in 1920 and is available only in

Swedish. 1959 brought the most authoritative biography in English with Robert Layton’s

1 Franz Berwald, Sämtliche Werke Vols. 1-23 (Kassel: Barenreiter Verlag, 1973).

2 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979).

3 The letters are published in both Swedish and German.

4 Adolf Hillman, Franz Berwald, En Biografisk Studie (Stockhom: Wahlström & Widstrand, 1920). 6 Franz Berwald.5 This book includes an in-depth study of Berwald’s life as well as a discussion of his compositional style in the latter half of the book.6 Layton also wrote portions of the Berwald article for the 2001 edition of the Grove Dictionary of Music and

Musicians. Ingvar Andersson published a Berwald biography7 in Swedish in 1970.

Andersson also has several histories of Sweden8 that have been translated to English.

1996 brought a book by Jan Lennart Höglund titled Franz Berwald: tonsättare, ortoped, glasbruksdisponent: et livv, en kunst.9 This book, also in Swedish, is accompanied by a compact disc compilation of movements from Berwald’s best-known works, including the Grand Septet and two of his symphonies. The book includes several pictures of

Berwald not found in the other literature, as well as facsimiles of concert programs and a diagram of one of his orthopedic devices. Other useful biographical sources are the

Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart, which contain short biographies of Berwald family members who were also musicians.

The 1949 edition of Die Musik in Geschichte und Gegenwart also has a graphed family

5 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959).

6 Another book by Layton entitled Franz Berwald, a Critical Study of the 19th Century Swedish Symphonist, published in 1968, was cited in Randall Edson Coffman’s thesis (“The String Quartets of Franz Berwald” [Masters Thesis, North Texas State University, May 1977]) but this author has been unable to locate it.

7 Ingvar Andersson, Franz Berwald (Stockholm: P.A. Norstedt & Söners Förlag, 1970).

8 Andersson, Ingvar, A History of Sweden, translated by Carolyn Hannay (New York: Frederick A. Praeger, Inc., 1968). ______and Jörgen Weibull, Swedish History in Brief (Södertälje: Nya Wiking Tryckeri AB, 1988).

9 Jan Lennart Höglund, Franz Berwald: tonsättare, ortoped, glasbruksdisponent: et livv, en kunst (Stockholm: Kungl. Musikaliska akademien, 1996). 7 tree that was helpful in producing the family tree seen in Appendix H of this document.

This Appendix was also helped immensely by the family tree published in the 1968 issue of Svensk Tidskrift För Musikforskyning.10

Two masters theses, by Randall Edson Coffman11 and Barbara Elizabeth

Fleming12 (1977 and 1993 respectively), have been completed on the string quartets of

Franz Berwald. Furthermore, Owe Ander13 completed a dissertation at the University of

Stockholm in 2000 dealing with Berwald’s symphonies in comparison with those of two other Swedish composers. No theses or dissertations on the wind works have been submitted to date.14

The only monograph devoted to Berwald, aside from the above-mentioned biographies and theses, are the proceedings from the 1996 Berwald Symposium titled

10 Sten Broman, “Franz Berwald’s stamträd,” Svensk Tidskrift För Musikforskyning 50 (1968): 7-50.

11 Randall Edson Coffman, “The String Quartets of Franz Berwald” (masters thesis, North Texas State University, May 1977).

12 Bonnie Elizabeth Fleming, “The String Quartets of Franz Berwald, An Historical Analysis” (masters thesis, University of Kansas, May 1993).

13 The Swedish title is “’Svenska sinfoni-fofattares karaktaristiska orkestra- egendomligheter’: Aspekter pa instrumentations-, orkestrerings- och satsteknik I Berwalds, Lindblads och Normans symfoniers.” Translated it is: “The orchestral peculiarities of Swedish symphony composers: Aspects of instrumentation, orchestration, and texture in the symphonies of Berwald, Lindblad, and Norman.”

14 The OCLC RILM database lists no dissertation on the wind works that has been submitted to date. 8 Berwald-Studien: Referate des Berwald-Symposions = Berwald studies: papers from the

Berwald symposium: Stockholm 1996.15

Several books contain a chapter devoted to Franz Berwald. Lina Lagerbielke,16 in

1908, published a biographical book titled Svenska tonsättare under nittonde

århundradet that contains a chapter on Berwald. Robert Layton published a chapter devoted to Berwald’s symphonies in the book entitled The Symphony, Vol. I Haydn to

Dvorak,17 ed. by Robert Simpson. Walls of Circumstance,18 by Eric Frederick Jensen, contains a chapter titled “The Roots of Nationalism: Franz Berwald and Henry Hugo

Pierson.” This chapter is useful for its concise brevity of important aspects of Berwald’s life as well as key aspects of his compositional style. Tonsättare om tonsättare19

(translated as Composers on Composers) published in 1993 by Reimers in Stockholm contains a chapter on Berwald by Hans Gefors. Lastly, Antony Hodgson’s book titled

Scandinavian Music20 has an informative section on Berwald.

15 Hans Åstrand, ed. Berwald-Studien: Referate des Berwald-Symposion = Berwald studies: papers from the Berwald symposium: Stockholm 1996 (Stockholm, Kungl. Musikaliska Akademien, 2001).

16 Lina Lagerbielke, Svenska tonsättare under nittonde århundradet (Stockholm: Wahlström & Widstrand, 1908).

17 Robert Wilfred Levick Simpson, ed., The Symphony, Volume one, Haydn to Dvorák (London: Penguin Books, 1966).

18 Eric Frederick Jensen, Walls of Circumstance (Metuchen, N.J.: The Scarecrow Press, 1992).

19 Sten Hanson and Thomas Jennefelt, Tonsättare om tonsättare (Stockholm: Reimers, 1993).

20 Antony Hodgson, Scandinavian Music: Finland & Sweden (Rutherford, NJ: Fairleigh Dickinson University Press, 1984). 9 Several journal articles exist in English that were useful for this document. Alf

Thoor’s article “The Private Life of Mr. Franz Berwald”21 offers personal information on

Berwald not found in other sources, as well as providing a sympathetic description of

Berwald and the life he led. Robert Layton has written an article on Berwald’s chamber music22 in an issue of The Musical Times in 1968. Likewise, Hans Eppstein’s article23 on the Grand Septet published in a 1985 issue of the Swedish journal Svensk Tidskrift För

Musikforskyning, was helpful in discussion of the septet and the controversy of whether the 1817 and the 1828 septet are actually the same work. Unfortunately, it is only available in Swedish, although there is an English synopsis available on the RILM on- line database. Another useful article was from the journal Swedish Music- Past and

Present. Titled “Between Beethoven and Berlioz- Franz Berwald”24 and written by Åke

Brandel, the short article offers a good introduction to Berwald’s stature in the history of

Swedish music.

21 Alf Thoor, “The Private Life of Mr. Franz Berwald,” translated by Harry D. Watson, Artes: An International Reader of Literature, Art, and Music 3 (1996): 132 – 145.

22 Robert Layton, “Berwald’s Chamber Music,” The Musical Times 109, no. 1502 (April 1968): 319-321.

23 Hans Eppstein, “Franz Berwald’s Septett—Fakta och Fraagor Kring Verkets Tillkomst,” Svensk Tidskrift För Musikforskyning 65 (1985): 53-58.

24 Åke Brandel, “Between Beethoven and Berlioz- Franz Berwald.” translated by Dick Litell. Swedish Music - Past and Present (Stockholm: Musikrevy, 1967): 43 – 44. 10 CHAPTER 3

SWEDISH HISTORY: ROYAL PATRONAGE AND THE ARTS

Nineteenth-century Europe saw an active period of change: politically, socially and artistically. Sweden experienced the beginning of broad social changes that would eventually lead to the well-educated, socially conscientious, and prosperous country that it is today; the rise of a strong middle class, the eventual virtual elimination of the poor peasant class, a vibrant cultural scene in Stockholm, educational reform, the flourishing of intellectual life, and a foreign policy that has kept Sweden out of costly conflicts for over 175 years. This set the stage for a modern society where all the citizens would reap the benefits. Many of these changes took root during Franz Berwald’s lifetime.

The eighteenth century had been costly for Sweden, having been involved in conflicts such as the American Revolution, where volunteers had joined the French in assisting the colonists,1 and several wars with Russia.2 When Gustav III ascended the throne in 1771 the Swedish economy had undergone a serious collapse. In order to pay for the wars, the banks printed more money than they had reserves for and thus sent

1 S.M. Toyne, The Scandinavians in History (London: Edward Arnold & Co., 1948), 224.

2 Alf Åberg, A Concise History of Sweden, trans. Gordon Elliott (Stockholm: Kristianstads Boktryckeri, 1994), 47, 50 & 61. 11 inflation out of control. It would take fifty years for Sweden to recover. To aid the recovery Gustav III invested in the navy fleet and shipping companies, as the merchant commerce had also been less affected by the economy of the mainland. As a result,

Sweden’s trade was able to flourish once again.

A war with Russia in 1790 brought the country to the brink of financial ruin once again. Fortunately, a crucial victory came when a key naval battle was won on July 9th,

1790 at Svensksund, which led to a peace treaty with Russia.3 This well-timed victory freed Sweden of political pressure from both Russia and France and allowed the nation to act in its own best interests instead of relenting to the wishes of other nations. The timing was fortuitous considering the French Revolution was about to send Europe into a tailspin. By the time Franz Berwald was born in 1796, Sweden had begun a slow economic recovery and gained political freedom on a continent that was undergoing monumental changes.

The French-educated Gustav III was a patron of the arts and a man whom many consider to be “the founder of Swedish culture.”4 He improved the cultural atmosphere in Stockholm by completing projects that had begun in previous decades but not finished.

His mother Lovisa Ulrika5, sister of Frederick the Great, instilled a love for the opera in him. She admired the court of Versailles and brought French and Italian musicians to

3 Åberg, 63.

4 Toyne, 225.

5 Prussian born, Lovisa Ulrika (1720-1782) married Sweden’s Crown Prince Adolf Frederick and ruled with him 1751-1771. She was champion of the arts and oversaw the building of Drottningholm Theater in 1754, as well as its re-building after a devastating fire 1762. In addition to musicians, she brought a well-known troupe of 12 Sweden in the 1750s; performances included works by Duni, Grétry and Philidor, all composers in the French court.6 One of the most influential composers brought to

Sweden by Lovisa Ulrika was Francesco Uttini (1723 - 1795), who was married to

Alessandro Scarlatti’s niece, the singer Rosa Scarlatti (b. 1716). Uttini came to

Stockholm in 1755 and wrote the opening opera for the Drottingholm Theater. His influence laid the foundations for the advances in Swedish opera performance and composition under the reign of Gustav III.7

Gustav III was in fact sitting at the Paris Opera when he received the news that he had ascended the Swedish throne. 1771, the first year of his reign, saw the founding of the Swedish Royal Academy of Music; the Royal Opera was inaugurated in 1773. It was the opera orchestra that brought the Berwald family to Stockholm this same year. Gustav himself wrote the text for the inaugural opera and wrote several more during his reign.

He surrounded himself with a group of talented writers who turned his prose into libretti.

French actors to Sweden; their productions included works by Voltaire, Racine and Moliere. The theater soon became the talk of Europe as performances were held for the court and visiting diplomats. (Antony Hodgsen, Scandinavian Music: Finland & Sweden [London: Associated University Press], 91-93.)

6 Ibid, 92.

7 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Uttini, Francesco Antonio Baldassare” by Bertil van Boer.

13 By all accounts, Gustav Wasa8 was his best work, and numerous composers, including

Berwald, set it to music.9

1782 brought the opening of the Royal Opera House in Sweden. This state-of- the-art opera house contained some of the most advanced machinery10 in all of Europe at the time. It took the renowned architect Carl Fredrik Adelcrantz seven years to build, starting with plans drawn by Gustav himself. The Royal Opera House is still in use today.11 The repertory of the Royal Opera under Gustav III was quite diverse with new productions by resident composers as well as better-known works by Mozart and Gluck; the productions of Gluck’s opera Orpheus och Euridice were noted for their authentic

8 Gustav Wasa (1496-1560) was king of Sweden from 1523-1560; Gustav III’s opera libretto was one of the first to have a strong Swedish nationalistic figure as the main character. The most successful opera using Gustav III’s libretto was by Johann Gottlieb Naumann.

9 This was Berwald’s first attempt at composing an opera and only the first act was ever performed; the premiere came in a concert in February of 1828 and the first act was performed again later that year. Berwald never completed the opera.

10 It is not clear who designed the machinery for the Royal Opera House, although Donato Stopani, a well-known Italian machinery designer, had collaborated with Adelcrantz on the machinery for the re-built Drottningholm Theater in 1766. The original theater was destroyed by a fire in 1762.

11 This period has prompted a fair share of scholarship spearheaded by Hans Åstrand and Bertil H. van Boer, Jr. An international conference entitled “The Gustavian Era: Opera and Dance 1771-1809” was organized by Hans Åstrand and held in Stockholm in1986. Since then a revivals of works by composers from this era (such as Joseph Martin Kraus, Francesco Uttini, and Abbé Georg Joseph Vogler) from this period have taken place in Swedish opera houses.

14 interpretation of Gluck’s score versus the modifications done by other European opera companies at the time.12

Another well-known Swedish theater at the time was the theater in Drottningholm

Castle, built for Lovisa Ulrika in 1754. Gustav III used this smaller theater for private productions to commemorate special occasions such as birthdays. Closed in the 1790s, this theater was re-discovered in the 1920s with all of the eighteenth-century machinery13 still intact. Moreover, the theater had been used as a storage facility for theater sets and various theater paraphernalia used in the Gustavian Era. Thanks to the work of Agne

Beijer the theater re-opened in 1922 and is still in use today.14

Gustav III’s support of the arts included bringing composers to Sweden; these included J.G. Naumann, J.M. Kraus, F. Uttini, and Abbé G.J. Vogler (Franz Berwald’s godfather). Many came from Germany and Italy and had been trained in places such as

Mannheim.15 These musicians were paid handsomely for their service and given much latitude for travel to the main continent. For example, Johan Martin Kraus (1756-1792)

12 Kathleen Kuzmick Hansell, “Gluck’s ‘Orpheus och Euridice’ in Stockholm: Performance Practices on the way from ‘Orfeo’ to ‘Orphée’ 1773-1786,” in Gustavian Opera: An Interdisciplinary Reader in Swedish Opera, Dance and Theatre 1771-1809 (Stockholm: Royal Swedish Academy of Music, 1991), 253.

13 The machinery was designed by the Italian designer Donato Stopani. (Stig Fogelmarck, “Gustav III and His Opera House,” in Gustavian Opera: An Interdisciplinary Reader in Swedish Opera, Dance and Theatre 1771 – 1809 [Stockholm: Royal Swedish Academy of Music, 1991], 83.)

14 Bertil van Boer, “Soliman II: A Musicologist’s Perspective,” in Gustav III and the Swedish Stage, Opera, Theatre, and Other Foibles: Essays in Honor of Hans Åstrand, ed. Bertil H. van Boer, Jr. (Lewiston, N.Y.: The Edwin Mellon Press, 1993), 5-6.

15 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Kraus, Johan Martin” by Bertil van Boer.

15 was sent on a four-year study journey to the music capitals of Europe. On his trip he met

Haydn, joined Mozart’s Masonic lodge, and was able to observe the latest trends in theater productions.16 Upon his return to Stockholm he was able to draw on these experiences and implement advances he had seen to the theaters in Stockholm; in a sense bridging the geographic distance between Stockholm and the rest of Europe. Many of these composers held important position as directors and teachers, such as Abbé Vogler with Franz Berwald. Their international perspective had influence on musical development in Stockholm at a time when Swedish composers were coming into their own.

Gustav III was both loved and hated by the Swedes. Certainly his lavish support of the arts, as well as costly military campaigns, took their toll on the Swedish economy.

It is also said that Gustav III was difficult to deal with and, at times, irrational. One scholar has attributed this behavior to possible schizophrenia, although I have been unable to validate this theory in the literature.17 He was seen as an aloof and despotic monarch, akin to Louis XVI, whom the nobility of Sweden began to despise.18 It was ultimately discontent over political issues, predominantly the war with Russia, which led to his betrayal and assassination at the Royal Opera house in 1792. His assassins’ plans for a coup d’état were foiled however, since Gustav III lived for eight days and was able

16 Ibid.

17 Elspeth Harley Schubert, “Gustaf III – Sweden’s Roi Soleil: Founder of the Royal Swedish Opera January 18, 1773,” in Tradition and Progress in Swedish Music (Stockholm: Boktryckeri AB Thule, 1973), 10.

18 Toyne, pp. 225-226.

16 to name his young son as heir to his throne. Verdi’s opera Un ballo in maschera is based on the events of Gustav’s assassination.

Gustav III’s successor and son Gustav IV Adolph (1778 – 1837) was not as enthusiastic in his support of the arts as his father.19 After he ascended to the throne in

1800, several of his uncles served as regents until Gustav was old enough, he withdrew funds for the arts that Gustav III had so lavishly supported. In 1806 he disbanded the

Royal Opera Orchestra20 and even considered tearing down the Royal Opera House.

Gustav IV Adolf’s short reign, 1800-1809, saw wars with both France and Russia, which resulted in the loss of Finland to Russia. Unlike his father, Gustav IV Adolf was not an admirer of France and “considered events in France to be insults to moral order” and held a “deep aversion to the revolutionaries and Napoleon.”21 In fact, Gustav IV delayed his coronation for four years because of a fear of Jacobinism22 and receiving the same fate as

19 Hodgson, 96.

20 The orchestra was later restored and Robert Layton’s biography on Franz Berwald is the source for this information. The exact date of when the orchestra was re- instated is unclear, although by Layton’s account the disbanding was temporary. Berwald’s father Christian was a member of this orchestra and, since the orchestra was the main source of his income, the closure put the large family into dire financial straits. In 1807, Christian petitioned the court and was awarded a pension for his years of service to the opera orchestra.

21 The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Sweden.”

22 The Jacobins, as a political group, became influential during the French Revolution. Originally representing the ideals of liberty and equality, they strove to protect the gains achieved during the revolution from the aristocracy. Later, in the aftermath of the Revolution, they supported Robespierre and became instrumental in the Reign of Terror. The term Jacobin was also applied to radical groups in other European countries during the time of the French Revolution. (The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Jacobinism.”) 17 Louis XVI of France. A failed foreign policy contributed to Gustav IV’s being deposed, and he and his heirs were forced into exile in 1809.

When Gustav IV was forced into exile, his uncle Charles XIII ruled until his death in 1818. He was childless as well as senile, and thus Sweden was left without an heir.

The first choice was to bring in Danish prince Christian August of Augustenborg, who was loved by the lower classes. Unfortunately, he died suddenly and there was strong suspicion that Gustavian aristocrats had poisoned him. In fact, one of the leaders of the nobility was murdered by a mob during the funeral procession for Christian August.23

The decision, as a result of a daring scheme by Count Otto Mœrner,24 was made to ask

Crown Prince Jean-Baptiste Bernadotte from France to be king. He agreed, and in 1810 he became heir to the Swedish throne.25

Jean-Baptiste Bernadotte (1763 – 1844) was a marshal for Napoleon and had had a brilliant military career.26 He took the name Karl XIV Johan when he ascended to the throne in 1818. The Swedish Riksdag (parliament) undoubtedly hoped he would be able to help them recover from the military failures they had recently endured, and indeed he succeeded in securing a better future for Sweden, aided substantially by the addition of

Norway to the Swedish crown in 1815. The conflict that brought this about would

23 Victor Nilsson, Nations of the World: Sweden (New York: Peter Fenelon Collier, 1899), 366.

24 Ibid, 367.

25 Ragnar Svanström and Carl Frederik Palmstierna, A Short History of Sweden (Oxford: Clarendon Press, 1934), 323-325.

26 Andrew A. Stomberg, A History of Sweden (New York: The Macmillan Company, 1931), 625. 18 become Sweden’s last war, as Sweden has maintained neutrality in every major conflict since then. The 1830s and 40s brought important advances in agriculture and industry and, although he was considered a conservative monarch, the end of Karl IV Johan’s reign saw the beginning of important liberal social changes that would take place in

Sweden. This came about through the increasing power of the Liberal Party in the

Riksdag as well as important members of the rising middle class who were demanding change. The most important reform that came about during Karl IV Johan’s reign made education mandatory for all children and opened schools in every parish.27

The years generally dating from 1840 – 1866 are known as the Liberal Reform

Period in Sweden.28 This was a time of important social reforms that greatly enhanced the lives of the rising middle class. The first of these, as mentioned earlier, came in 1842 and made education compulsory for all children. Other important reforms included:29

1. 1845: equal inheritance rights for men and women

2. 1846: the introduction of free enterprise with the abolishment of guilds and

trade monopolies

3. 1847: lifting of bans on exports and imports

4. 1858: rights for unmarried women

5. 1855 – 64: more humane penal code

6. 1860: religious freedoms

27 Åberg, 70-71.

28 The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Sweden.”

29 Ibid. 19 7. 1862: establishment of local self-government

8. making the state responsible for building and maintaining railroads- this

greatly improved transportation

9. reform of the government- replaced the old Riksdag with a new parliament

consisting of 2 equal chambers. This ensured equal rights for more segments

of the population from farmers to entrepreneurs.

These reforms moved power away from the monarchy and into the hands of the citizens of Sweden; they promoted equal rights, equal opportunity, and equal voice in the government.

Karl XIV Johan’s son Joseph François Oscar (1799 – 1859) ascended the throne with the death of his father and became Oscar I (1844 –1859). A more liberal monarch than his father, he helped introduce and pass the social reforms listed above.30 He also instituted freedom of the press. Oscar I was a composer and a patron of the arts. He is said to have written around twenty works, including marches and songs.31 His son Prince

Gustav (1827-1852), also a composer, was made an honorary member of the Swedish

Royal Academy of Music in 1844. He wrote all his music between 1844 and 1850; two of his vocal quartets are still part of this repertory in Sweden today.32

30 The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Sweden.”

31 Kathleen Dale and Hans Åstrand: “Gustaf, Prince”, Grove Music Online ed. L. Macy (Accessed 11 October 2004), .

32 Ibid.

20 Oscar I was succeeded by two of his sons: Karl XV (1826-1872) and Oscar II

(1829-1907); both were avid supporters of the arts. Karl XV was king from 1859-1872 and oversaw important reforms including the reform of the Riksdag.33 He was also artistic, attaining some eminence as a painter and poet.34 While Karl XV was king literature began to flourish and the Swedish novel was born.35 These novels, by noted

Swedish writers such as Frederika Bremer (1801-1865), Victor Ryberg (1828-1895) and the poet Johan Ludvig Runeberg (1804-1877), wrote of the Swedish experience and the progress of social change. The Liberalism that took hold of society found its way into writings.

Oscar II became king in 1872 and was very influential in the arts during his long reign. A well-respected and learned monarch, a historian from 1902 wrote the following about him:

Historians, travelers, and biographers have united in describing His Majesty, Oscar II… as the most learned, gifted, courteous and charming gentleman they have ever met…. He is an orator, expressing his thoughts in beautiful and felicitous language. He is an admirer of art in its various branches, a promoter of science, and a patron of

33 The old Riksdag system with its four estates (nobility, clergy, burghers, and peasantry) was replaced by an equal two-chamber system in 1865. The First Chamber consisted of members chosen by indirect vote and consisted mainly of wealthy landowners and industrial entrepreneurs. The Second Chamber members were chosen by popular vote, although only property owners were allowed to vote. An improvement from the previous system, the new system still only included twenty percent of the population. (The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Sweden.”)

34 Wikipedia Online Encyclopedia, (Accessed 17 October 2004), .

35 Stomberg, 680-690.

21 education. He is easily approached by all of his subjects, and is indeed a father to his people.36

Before he became king, Oscar II served as president of the Royal Academy of Music from 1864 to 1872. In 1866 the academy was reorganized and became the Stockholm

Conservatory. It was also during his reign that Norway received her independence from

Sweden when Oscar II abdicated the Norwegian crown in 1905.37

The role of the artist evolved during the period between Gustav III and Oscar II, and indeed beyond. There was a transition from the court and church oriented system to a market-oriented one; a move from patronage-support to free-market support.38 In the first half of the eighteenth century court orchestras were a source of prestige for wealthy nobility, and many existed. The second half of the century saw their numbers diminish as wealth was reduced, due in part to costly conflicts such as the Seven Year War and the

Napoleonic Wars of the early nineteenth century. Moreover, these orchestras were becoming ever more expensive, as the best musicians commanded higher fees. Nobility were also paying a price for excessive outlays for their musical ensembles in previous

36 Neander N. Cronholm, A History of Sweden (Chicago: for the author, 1902), 302-303.

37 The Swedish-Norwegian Union had been a disappointment for Sweden as the union did not lead to a closer relationship between the countries. Norway in the late nineteenth century experienced a large economic expansion with its Merchant Navy as well as industrialization in its cities. Norway had instituted a parliamentary government in 1884, well ahead of Sweden whose present parliamentary government was established in 1917. Moreover, nationalism in Norway flourished at the end of the nineteenth century as the country experienced a Golden Age of art, literature, and music (Grieg). All these factors lead to Norway’s need for self-assertion and the union was peacefully dissolved in 1905. (Åberg, 86.)

38 F.M. Scherer, Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (Princeton, N.J.: Princeton University Press, 2004), 2. 22 years.39 There was also a generation change. As old patrons died, their heirs, facing new financial stresses, may have been less inclined to support the court musicians. Musicians had to look elsewhere for financial support and it was the rise of the middle class in the nineteenth century that would provide it.40

As social changes took root, Europeans became more affluent. The agricultural and industrial revolutions brought more people to cities where jobs, and culture, were more plentiful. Earnings for white-collar workers quadrupled between 1797 and 1851; sugar consumption, a sign of affluence, doubled in the first half of the nineteenth century.41 Scherer hypothesizes that as people became more affluent their demand for music increased.42 This certainly seems to have been the case in Stockholm, which saw an increase in music societies; these societies helped fund musicians and promote music.

Although begun with good intentions, many of these societies were, unfortunately, often dominated by dilettantism, therefore diminishing their effect in promoting advanced music study.43

Composers were also becoming self-promoters. In order to have their music heard they had to produce their own concerts; many relied on subscription concerts.44 In

39 Ibid, 40.

40 Ibid, 30-37.

41 Ibid, 31.

42 Ibid, 33.

43 Axel Helmer: “Sweden”, Grove Music Online ed. L. Macy (Accessed 17 October 2004), .

44 Scherer, 60. 23 order to offset the costs for hiring musicians and renting a concert hall, composers would sell subscriptions ahead of time. If an insufficient number of subscriptions were sold the concert would be cancelled.

Franz Berwald’s life reflects the transition from a patronage to a freelance system; his life as a musician was much different from his fathers. As a free agent he had choices, but he also had more responsibility for his own success. The Swedish monarchy consistently supported the arts, but as society changed the arts evolved as well. Although many composers, like Berwald’s cousin Johan Frederick, flourished, Franz Berwald’s inability to function within the artistic climate of Stockholm in the first half of the nineteenth century proved disastrous for him.

24 CHAPTER 4

THE LIFE OF FRANZ BERWALD

Early Years (1796 – 1828)

Franz Berwald1 came from a large musical family that was quite active in eighteenth- and nineteenth-century orchestras in Germany, Denmark, Sweden, and

Russia. The family can be traced back to Franz Berwald’s great great grandfather Johan

Daniel Berwald, said to have held a monopoly on music for weddings and funerals in the town of Königsberg in the eastern part of Germany.2 The latter’s grandson was Johan

Friedrich Berwald, a flutist, who married four times and fathered twenty-five children, including Franz’s father, Christian Friedrich Georg Berwald (1740 – 1825). A violinist,

Christian brought the Berwalds to Stockholm in 1773 when he joined the newly formed

Opera Orchestra of the Swedish monarch Gustav III. Franz Berwald, born in Stockholm on June 23, 1796, was the fourth of eight children (three died in infancy) born to his father and his second wife Agneta Birgitta Brunau (d. 1809).

1 The details of the following biographical sketch come mainly from Robert Layton’s biography.

2 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959), 17. 25 Franz and his brother August began violin study with their father by the age of five. Both showed promise, although not as much as their cousin Johann Frederik

Berwald (1787 – 1861), a violin prodigy who made his debut at the age of six and toured

Russia, Finland and Germany with his father before he was ten. The unavoidable comparisons between the cousins would last for many years, and served as a source of contention for Franz, whose talents, we now see, have better survived the test of time. By age nine Franz had his debut recital in Uppsala, which was followed the next year with performances in Vasteria and Stockholm. These recitals included works by Schobert3,

Viotti, Dupuy and Pleyell. At the time of these recitals, difficulties arose for the court orchestra in Stockholm.

In 1806 King Gustav IV Adolf closed the chapel and terminated the court orchestra positions, leaving the large Berwald family in a difficult financial position. It was only due to his many years of service in the Opera Orchestra that Christian was able to petition the court and establish a modest pension in 1807. The family was able to sustain itself, although it was a difficult few years, by means of Christian tutoring students and the selling of manuscript paper Christian lined himself. The family was already grieved by the suicide of Franz’s older brother George Frederich in 1805. This period of 1805-1809 was also the time when Franz received the little formal education he was going to get at an inexpensive private school; instruction ended when he threw a

3 Johann Schobert (1735-1767) was a Silesian harpsichordist and composer who is said to have had a great influence on Wolfgang Amadeus Mozart. He wrote a number works for harpsichord and violin and was employed at the court of Prince of Conti in Paris at the end of his life. Unfortunately, he and his family met an untimely end when they accidentally ate poisoned mushrooms. (S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians [London: Macmillan, 2001], s.v. “Schobert, Johann” by Herbert C. Turrentine.) 26 lump of wood at the teacher.4 He would never return to school, but rather learned music and reading on his own. The diverse career directions he took later in life lead one to believe he was bright, curious and self-sufficient.

In 1811 the court orchestra was re-established by King Charles XIII and Franz was able to begin formal violin lessons with Edouard Dupuy.5 Later that year he played

Dupuy’s violin concerto; the review that followed points to an able, yet not spectacular, talent.

It is by such means that the player shows he is in command of the whole bow and then can play variations with an abundant variety of bowings with which Berwald was certainly not acquainted…. It should be said to his credit that he played several passages quite cleanly and produced good tone on the E string which is the easiest in this respect, but on the other strings however he did not succeed in producing any tone at all which was the result of the above-mentioned bowing technique. Towards the end Berwald did an octave passage which is very difficult, well; but he does not raise any hope of being able to attain a talent the Swedish violinists we possess in both Stockholm and Gothenburg who are nevertheless less appreciated.6

4 The specific year(s) that Berwald attended school is not clear from the literature, although it was most likely a brief amount of time.

5 Jean Baptiste Edouard Louis Camille Dupuy (1770-1822) first came to Stockholm in 1793 to play violin in the court orchestra. He had been banished from the Prussian court of Count Prince Henrich at Rheinsberg the previous year for riding a horse into a Sunday church service in the spirit of Voltaire. In 1795 he joined the Swedish Academy of Music and wrote several compositions for the Swedish Opera. Unfortunately, for political reasons, Dupuy had to leave Stockholm in 1799; he went into exile in Copenhagen. There he continued composing and directing operas, conducting the Scandinavian premiere of Mozart’s Don Giovanni in 1807. Scandal erupted in 1809 when Dupuy was caught in bed with the Crown Princess Charlotta Frederika and was given a two-hour notice to vacate Denmark. He went to Paris where he met Jean Baptiste Bernadotte and was invited to join his court when he ascended the Swedish throne in 1811. Dupuy became conductor of the opera orchestra in 1812. In addition to conducting he sang major operatic roles including Figaro and Don Giovanni. (S. Sadie and J. Tyrell, The New Grove Dictionary of Music and Musicians [London: Macmillan, 2001], s.v. “Dupuy” by Klaus Neiiendam.)

6 Layton, 27. 27 He did impress Dupuy, however, who appointed him to the Royal Opera House Orchestra in 1812, where Franz would stay until 1828.

Through the opera orchestra Franz was exposed to the operas of Mozart, Rossini and Weber, as well as music by Swedish composers such as Dupuy and Naumann. It is not clear when he began composing, but his earliest known manuscript is an Introduction,

Theme and Variations in Bb dated December 24-29, 1816.7 Another piece from this year includes a set of variations on themes from Don Giovanni and Die Zauberflöte. The first concert of Berwald’s music came in January 1818 with premieres of three of his works: an orchestral fantasia, a concerto for two violins, and the septet for strings and winds.

The review from this concert, published on March 4, 1818, had the following to say about

Berwald:

On the 10th a concert on behalf of Mr. Franz Berwald. He is a member of the Royal Opera House Orchestra, and a promising young man…. one might wish the young, truly talented man would become more friendly with the rules of harmony and composition; that will take him more surely and faster to his goal.8

The year 1818 was also when Berwald produced the first volume of his

Musikalisk Journal, a periodical containing piano works and songs by other composers as well as himself. This venture into the publishing world was probably inspired by a visit to Count Frederik Bogislaus von Schwerin (1764 – 1834) that he took during a leave from the orchestra.9 Franz had been granted a travel scholarship to visit Count von

7 Franz Berwald, Sämtliche Werke: Konzertante Werke, Vol. 7 (Kassel: Barenreiter Verlag, 1984), xii.

8 Ibid, xiii.

9 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Franz Berwald” by Daniel M. Grimley. 28 Schwerin, Dean of Sala, and was likely inspired to write his own journal through contact with the Count’s intellectual circle.10 Franz was evidently confident enough of the success of the new journal that he left his position in the opera orchestra. In all there were six volumes of the Musikalisk Journal published between 1818-1819, as well as three volumes of an additional publication entitled Journal de musique. Although Franz spent a great deal of time publishing and distributing the journal, and despite the fact it was well received in Scandinavia, he was unable to penetrate the crucial continental

European market. After the publication of the three volumes of the Journal de musique

Berwald stopped production as he was unable to secure funding to keep the endeavor going.

In early 1819 Franz completed a set of string quartets and, although he could have published them in Sweden, he sent them to Peters of Hamburg for publication. He had hopes of broadening his audience with a continental publisher. In a letter submitted with the manuscripts he writes:

During the six years I have been with the (Royal Opera) Orchestra, I have always endeavored to develop my small talents and branch out on new paths and this is already reaping its own rewards since a monthly Musical Journal that I edit, has been favourably received. I hope, Messrs. Peters, that you view it advantageous to publish the (two) quartets and I leave it to you to offer me roughly what you would like; I do this only for my own satisfaction although I have not laid down so much work for nothing.11

10 Ibid.

11 Layton, 31. 29 It is not known if Franz received an answer from Peters, and Peters may not have been permitted to publish the works. The quartets had been played several times in Sweden12 and perhaps these performances made it difficult for Peters to publish the works, since they were no longer considered new.

By 1820, out of funds and unable to maintain a steady income with his publications, Berwald returned to the opera orchestra. He continued composing and organized a second premiere concert in 1821. It included a Symphony in A Major (all but the first movement has been lost), a violin concerto, and the Quartet for Piano and

Winds. The review of this concert and the polemical exchange between Berwald and the reviewer will be discussed in chapter eight.

The early 1820s brought more dissatisfaction with the remoteness of Stockholm;

Franz knew that the true test of success would come on the main continent. In February he made an unsuccessful bid to the court for funding to study in Berlin. This was followed by the death of his beloved teacher Edouard Dupuy in April. Things did not improve when Franz’s cousin Johann Frederik was appointed as Dupuy’s replacement.

Relations between the cousins had always been competitive since the days when both were young violinists. Johann Frederik had clearly been considered the stronger of the two when they were children and this supposition seems to have continued, although his tenure with the orchestra (1822 – 1843) was largely uneventful.13

12 Franz Berwald, Die Dokuumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 45.

13 Layton, 38. 30 The disappointments of these years prompted Franz to leave the opera orchestra once more in 1823 for one year before he returned, again for financial reasons, this time as a violist. Compositions from this time include a Serenade.14 Franz regarded this work, with its unusual combination of instruments, as one of his best compositions up to that time. In fact in a letter to his sisters from Berlin in 1829 he writes: “Of the music I have left behind in Sweden, none should be performed apart from the Septet and the Serenade, you must remember that.”15

In 1825 came the death of Franz’s father, Christian Berwald, leaving the financial responsibility of the family to Franz and his brother August. There were a total of four sisters living at home, and it is not clear if any of them married; Franz would continue to help support them throughout his life. Berwald’s next compositions of note came in 1827 with the completion of his Bassoon Concertino and a large portion of his opera Gustaf

Vasa. Then came the tone poem The Battle of Leipzig and what is generally accepted as a re-working of the earlier Grand Septet in 1828.16

Berlin (1829 – 1842)

Franz was finally able to travel abroad in 1829, although it took a public announcement in the newspaper to secure the funding:

14 Franz Berwald, Sämtliche Werke: Profane Vokalwerke I, 22 (Kassel: Barenreiter Verlag, 1999), Preface written by Owe Ander and Karin Hallgren.

15 Layton, 49.

16 Hans Eppstein, “Franz Berwald’s Septett—Fakta och Fraagor Kring Verkets Tillkomst,” Svensk Tidskrift För Musikforskyning, 65 (1985): 53-8. 31 Herr Berwald, the composer of the opera Gustaf Vasa and other works, has lodged an application with the Government for a grant towards the expenses of a journey abroad which he intends to undertake for the broadening and development of his talent.17

He chose to go to Berlin, where his father had studied violin and where he evidently had some rich relatives. He refers to them in a letter from July 20, 1829 as “…rather wealthy” and “…well-to-do.”18 He apparently began work on an opera and attended concerts, since he writes:

I am terribly busy with work, and hope that in October or the beginning of November to have my opera complete….In Berlin I have had the opportunity of hearing much new music or rather music that is new to a Swede.19

In Berlin, Franz made the acquaintance of a young Swede named Henric

Munktell. The two became companions, and through Munktell’s letters we are able to draw a portrait of Franz during his Berlin years. Munktell writes:

Berwald is regarded in Sweden as an unbearable and conceited individual: I regarded him in the same light at first but through closer acquaintance with him I have been won over and now enjoy going home with him after the theatre and have a little fish and potatoes with their jackets on. After the frugal Swedish fare we nevertheless sleep much better than if we had made gluttons of ourselves at large parties given by dreary people.20

Another letter from Munktell to his parents in January 1830 gives us a good view of his friendship with Franz:

It only remains to say a few words about Berwald with whom I had daily and intimate contact, but if I were to embark on that subject I should be too long. That person is neither known in a few days nor described in a few words. Suffice it to say that I

17 Layton, 50.

18 Ibid, 57.

19 Ibid.

20 Ibid, 58. 32 believe him to be a good fellow since I have learned to know him better and I am therefore pleased to have made his friendship.21

Munktell introduced Franz to the Mendelssohn family and the two were often guests in their home. They had the opportunity to meet Felix Mendelssohn on several occasions, including Christmas Eve in 1829. Unfortunately, the two Swedes made the faux pas of neglecting to bring a gift and were most likely embarrassed by the generosity of their host’s gifts to them. During this visit Franz played part of his opera for Felix but it failed to make an impression.22 It is thought that Felix Mendelssohn, known for his refined style, was put off by what he perceived as arrogance in Franz’s personality.23 The two did not meet again after Munktell left Berlin in 1830.

Franz’s life in Berlin is not documented well, as only nineteen letters exist from this period. He seems to have had a few acquaintances, and those were mainly his relatives, Genserik Brandel (the Swedish minister who administered his scholarship) and a few Swedish friends. He wrote to his sisters in 1831, about the time his scholarship was to expire and he was expected home: “…going to the country in order to work better…for four, six, or perhaps eight months. If you are pestered by inquiries concerning me and my activities, you need only reply: we don’t know.”24

How Berwald spent the next two years is not known. We do know that in 1835 he opened an orthopedic institute in Berlin based on the school founded by Pehr Henrik Ling

21 Ibid, 59.

22 Ibid.

23 Ibid.

24 Ibid, 60. 33 (1766 – 1839) in Stockholm in 1813.25 Ling was not a doctor, but rather a fencing and gymnastics teacher whose principles involved the use of calisthenics and movement to treat orthopedic and other medical problems. Institutes based on Ling’s methods could be found in Vienna, Paris, Berlin, London and New York.26 By all accounts, Franz’s

Berlin institute was quite a success. Although he was not a doctor, he received accolades from those in the medical profession in Berlin. Other teachers of the Ling method would come to Berlin to see the apparatuses Franz designed for the clinic.27 The business kept him very busy, and time for composition was scarce. He employed a young lady, Rosine

Wilhemme Mathilde Scherer (1817 - 1888), to help at the institute; what began as an employer/employee relationship soon blossomed into a close friendship. In 1841 Franz sold the institute and went to Vienna, taking the young Mathilde with him. They were married shortly thereafter.

In Vienna Berwald was at first busy consulting with orthopedic doctors, but he was nonetheless able to devote more time to composition. His works were well received in Vienna and a review of a concert there remarked on his original talent.

Such a musician…is Herr Berwald, no longer a young man but already well known; here he shows himself to be equipped with a real creative talent which does not need

25 Ibid, 63.

26 Charles Fayette Taylor, Theory and practice of the Movement Cure: Treatment of Lateral Curvature; Paralysis; Indigestion; Constipation; Consumption; Angular Curvature, and other Deformities; Diseases Incident to Women; Derangements of the Nervous System; and other Chronic Affections, by the Swedish System of Localized Movements (Philadelphia: Lindsay & Blakiston, 1861), 293-294.

27 Layton, 60.

34 to follow the footsteps of others but has the capacity to produce something individual and pursue its own course.28

Franz and Mathilde stayed in Vienna for a year before returning to Stockholm in March of 1842. The reception in Vienna was one of the most encouraging experiences Franz would receive in his entire career.

Later Years (1842 – 1868)

Berwald is best known for the four symphonies he composed between 1842 and

1846. Begun in Vienna and probably inspired by his success there, they were completed during the next three years in Sweden. Of the four works, Berwald heard only one performed in his lifetime, a disappointing performance of his Sinfonie Sérieuse conducted by his cousin Johan Frederick in 1843.29 The music scene in Stockholm at the time, as one author has described it, was “dilettante-ridden, cliquish, and bigoted”30 and Berwald continued to have trouble finding support and success there; he was ready to return to the continent by the mid-1840s.

Berwald and his wife traveled back to Vienna via Paris in 1846, and by 1847 he had been inducted into the Mozarteum in Salzburg. Sources disagree on Berwald’s degree of success during this second trip to Austria. Robert Layton refers to these years as the “happiest in Berwald’s life;”31 the Grove Dictionary includes a quotation of a

28 Ibid, 68.

29 Franz Berwald’s Sinfonie singulière, often considered his best work, was not premiered until 1905.

30 Layton, 73.

31 Ibid, 74. 35 negative review painting Berwald “as a composer lacking creative power and fantasy;”32 and Alf Thoor refers to the “thunderous applause”33 Berwald received in Linz. This was a time of turbulence in Europe, with important developing social changes, such as mandatory education and reforms of government systems, and revolutionary uprisings such as the February Revolution in Paris in 1848. Most likely the Berwalds ran into financial difficulties, for in 1849 they returned to Sweden destitute, having to petition the king for funds for the journey.34

Upon returning to Sweden and with a growing family (son Hjalmar was born in

1848) Franz Berwald took a position as head of a glassworks company in northern

Sweden. He had a good head for business and successfully ran the glassworks company when it was open in the summers. He would spend winters in Stockholm. Later he would also successfully run a brick manufacturing business.35 These non-music positions provided financial security, and allowed Franz to find time to compose. Berwald completed several choral works during this period, and showed a renewed interest in chamber music, composing four piano trios and three quintets for piano and strings.36 In

1862 Berwald’s opera Estrella de Soria was premiered, and in 1864 he finished his opera

32 Grimley, 478.

33 Alf Thoor, “The Private Life of Mr. Franz Berwald,” trans. by Harry D. Watson, Artes: An International Reader of Literature, Art, and Music, 3 (1996): 141.

34 Ibid, 142.

35 Ibid, 85.

36 These works can be found in the Sämtliche Werke volumes 11 and 12.

36 The Queen of Golconda. This was also the year he was elected a fellow at the Royal

Academy of Music, despite his public campaign against the institution’s leadership.37

In 1867, Franz Berwald was finally elected to be a professor of composition at the

Academy. Although he was one of Sweden’s most recognized international composers,

Franz’s late appointment points to his lack of stature and support in Stockholm’s music circles. He simply was not appreciated, and seems to have had no qualms in voicing his opinion on the musical worth of others. Robert Layton relates a story of Berwald presenting a Bach fugue as his own composition to a “Bach specialist” in Stockholm to see if he would recognize the hoax. The specialist, who did not recognize the error, was so incensed when he realized the hoax that when “the question of Berwald’s election to the Board of the Royal Academy of Music came up, the ‘Bach specialist’ who was ill at the time, had himself carried from his sick bed to the Academy so he could cast his vote against Berwald.”38

Berwald was not able to enjoy his new professorial status for long, as he contracted pneumonia and died on April 3, 1868. It would be another forty years before the first performance of his Symphonie singulière, considered his finest work,39 presented in 1905 by the Konsertföreningen (Concert Society) of Stockholm. This performance was enthusiastically received, and thanks to Tor Aulin, other performances occurred in

Germany between 1906 and 1912. A review from a Berlin performance said:

37 Berwald had suggested reforms to the leadership of the school in hopes of having a more eminent musician come to Stockholm. His suggestion was Niels Gade.

38 Layton, 73.

39 Eric Frederick Jensen, Walls of Circumstance (Metuchen, N.J.: The Scarecrow Press, 1992), 22. 37 The symphony is notable for its wealth of original poetic ideas, combined with exceptional expressive power to produce an exemplary economy of form. The stylistic unity of the three movements is unique, the polyphonic, transparent treatment of the orchestra admirable.40

The Danish publisher Wilhelm Hansen published this symphony in 1911. It would be even longer before scholars in Sweden and Germany realized the depth of Franz

Berwald’s compositions and his stature in the history of Swedish music. Bärenreiter-

Verlag began publishing the Berwald’s complete works in 1967, with the project slated for completion in 2005.

40 Franz Berwald, Sämtliche Werke: Sinfonie singulière, 3 (Kassel: Bärenreiter- Verlag, 1967), xii-xiii. 38 CHAPTER 5

MUSICIANS IN EARLY NINETEENTH-CENTURY STOCKHOLM

The best orchestral musicians in Stockholm in the early nineteenth century played in the Royal Opera Orchestra. Many of these musicians had immigrated or were descendents of immigrants to Sweden from the main continent, having come there in order to perform in the Opera Orchestra after Gustav III ascended the throne in 1771; this group of immigrants included members of the Berwald family. When the Royal Opera

House opened in 1782, its orchestra was one of the largest in Europe, with 30 strings, 4 flutes, 3 oboes, 2 clarinets, 2 bassoons, 2 trumpets and timpani.1 The eighteenth century also saw the emergence of musicians’ guilds in small towns throughout Sweden. These guilds brought notoriety to musicians resulting in higher levels of musicianship and the demands for more repertoire. The wind band was a popular ensemble that would play at public functions, church services and on market days.2 Town bands in places like

Göteburg were in high demand, and their appearances resulted in a greater public interest

1 Antony Hodgson, Scandinavian Music: Finland & Sweden (London: Associated University Press, 1984), 94.

2 Ibid, 85. 39 for music.3 With this increase in music consumption came music societies,4 forming throughout Sweden, to promote music making. Along with the music societies, Par

Bricole,5 a secretive order with a strong musical bent, proved to have lasting influence, often attracting writers, artists and musicians.

Par Bricole6 was formed as an alternative to the Free Masons. Founders felt the

Masons were too serious and formal in their societal activities and wanted a group that would better suit their outspoken, playful, and natural personalities. The term Par Bricole translates as “by chance” and is a French billiards term referring to a billiards shot where another ball is hit in addition to the one intended. Many of its members were active in the arts and meetings were held in taverns throughout Stockholm.

Carl Michael Bellman (1740-1795) was one of the founders of Par Bricole and considered its spiritual leader.7 One of Sweden’s most gifted poets, he gained fame in the

3 Ibid, 85.

4 One of these societies, The Concert Society, would later become the Stockholm Philharmonic Orchestra. Franz Berwald was invited to join this society in 1860. Music societies also included chamber music such as the society formed by the merchant Johan Mazer (1790-1847).

5 This society is still active today with branches in Stockholm (1779), Göteburg (1801), Vänersborgs (1839), Borås (1860), Malmö (1878), Jönköpings (1879), and Sundsvalls (1985). The date indicates the year of conception.

6 Information on Par Bricole comes from the society’s web site and was translated from Swedish to English by Dag Ryen, who relayed the information to me in a phone conversation on 8 November 2004.

7 Other founders include Carl Israel Hallman and Olof Kexel. Kexel was the main administrator of the society and the group would not have survived had it not been for his organizational skills. 40 1760s for his satirical drinking songs;8 Gustav III employed him as a composer and singer in his court. Bellman composed parodies and is noted for his complex use of rhythm and daring verses; some of his best-known collections include Fredmans epistle and Fredmans sånger, songs about drunken men and loose women.9

The Players at the Premiere

Three of the leading soloists in Stockholm in the early nineteenth century were

Frans Carl Preumayr, Johann Michael Hirschfeld, and Bernhard Henrik Crusell, all members of Par Bricole. The three held solo positions in the Opera Orchestra and were renowned for their chamber performances. Chamber music was blossoming in

Stockholm at this time, and the trio played many performances of new music as well as the Mozart Serenades and the Beethoven Septet.10 The Beethoven was so popular that

Crusell arranged it for military band. The three musicians also inspired many new compositions by composers such as Berwald, Dupuy, and Crusell.11 It is these three musicians who played the premieres of Berwald’s wind chamber works.

8 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Bellman, Carl Michael” by J. Massengale.

9 Hodgson, 95. The name Fredman in the titles was an actual person; a royal watchmaker who had fallen out of grace with Gustav III and spent the rest of his life drinking in the taverns of Stockholm.

10 Lennart Stevensson: “The Hirschfeld Epoch- 30 Golden Years of Swedish Horn History, Swedish Horn Society web site (Accessed 7 November 2004), .

11 Carl Nisser’s music catalogue titled Svensk Instrumentalkomposition 1770 – 1830, Nominalkatalog published in Stockholm in 1943 by Åhlén & Åkerlunds Boktryckeri is an excellent source for a listing of instrumental works from this period. 41 The bassoonist for the premiere of the Quartet for Piano and Winds was Frans

Carl Preumayr (1782-1853) who came from a German family of musicians; he had two brothers who also played bassoon.12 Preumayr played principal in the Royal Opera

Orchestra from 1811-1835.13 He also played the premiere of Berwald’s Konzertstück Op.

2 for bassoon and orchestra. In addition to his orchestra duties, Preumayr conducted two wind bands: the Swedish Lifeguards and the Kalmar Regiment. Bernard Henrik Crusell wrote several pieces for him, including a Concertino and a set of variations for three bassoons, which has been lost.14

Johann Michael Hirschfeld (1776-1841), who played horn in the Berwald Quartet premiere, was one of Sweden’s most outstanding musicians of the time. In 1800, he moved to Stockholm from St. Petersburg, and in 1801 was appointed solo horn in the

Opera Orchestra. Hirschfeld’s tone and musicianship were legendary and a well-known cultural figure at the time, Erik Gustav Geijer (1783-1847), had this to say about him:

A duet for horn and piano was performed and I thought it was "quite beautiful". These instruments fit so well together, but where would Hirschfeld's horn not fit? When a horn is played as he plays, at least I think that it is the most beautiful of all wind instruments, perhaps the most beautiful of all instruments I have ever heard. All the other wind instruments have the fault that they are too carnal. They tickle the ear

12 Brother Johan Conrad (1775-1819) also played bassoon in the Royal Opera Orchestra. The other brother Carl Josef played bassoon and cello in the orchestra and was also an actor and singer. Among his roles in Mozart operas were Sarastro in Zauberflöte, Osmin in Die Entführung aus dem Serail and Commendatore in Don Giovanni. This brother was also a member of Par Bricole.

13 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Preumayr, Frans Carl” by William Waterhouse.

14 Preumayr also married Crusell’s daughter Sophie.

42 and in time, exhaust it, they are promiscuous, if one would pardon me for this expression. The horn is the only innocent among them.15

A number of composers at the time wrote numerous pieces for Hirschfeld. These include pieces by Crusell who wrote a set of variations for horn and orchestra, a concerto, and a set of horn quartets.

The Opera Orchestra held Hirschfeld’s playing in such high regard that in 1809 they began paying him as much as the concertmaster.16 This orchestra, under the baton of

Franz Berwald’s cousin Johan Frederik Berwald, played major operas coming from continental Europe. When they were preparing the Stockholm premiere of Carl Maria von Weber’s Der Frieschütz in 1823 Johan Frederik recalled the following scene with

Hirschfeld:

I recall a humorous event during the rehearsals for this opera which only goes to show how we can remain locked in our old musical habits. One was used to the fact that up to now, pairs of horns always accompanied one another in the same key, for example 2 in C and 2 in E flat. In the Wolf’s Glen scene, Weber had written in 4 separate keys for the horns. At one rehearsal Hirschfeld came to me and exclaimed, that horns do not play in four different keys and that it must be a mistake by the copyist. When I assured him that, it was quite correct and that the gentlemen ought take home the parts in order to learn them in those four separate keys, he was amazed and said that he had never seen anything like that before. Finally after several rehearsals, they had it under their fingers.17

Hirschfeld was inducted into the Academy of Music in 1820 and was a very influential teacher whose students continued the fine “Swedish Horn Tradition” he established.18

15 Stevensson, .

16 Ibid.

17 Ibid.

18 Ibid.

43 Bernard Henrik Crusell (1775-1838) was one of the finest clarinetists of the nineteenth century; renowned as a performer, teacher and composer. Born to bookbinders in Finland, he discovered the clarinet at age four when he heard a shop boy practicing, and he returned to the shop day after day to listen.19 At age eight he began playing himself when a classmate and Crusell traded clarinet lessons for writing lessons.20

Formal training came in 1788 when Crusell left his family to join a military band; connections with the conductor of this band brought Crusell to Stockholm in 1791.

By 1793, Crusell was a member of the Royal Opera Orchestra; he would play with the group until 1833.21 As a clarinetist he studied in Berlin in 1798 with Franz Tausch, who helped Crusell develop a beautiful tone,22 and later with Jean Xavier Lefèvre in Paris during a visit in 1803. Crusell studied composition with Abbé Vogler and Daniel Böritz and later with Gossec during his visit to Paris in 1803.

Many clarinetists of the early nineteenth century played with the reed up; it has been stated that Crusell played with the reed up in 1800 and then switched to reed down.23 This poses the question of when he made this switch since his two major

19 Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale & Company, 1971), 68.

20 Ibid.

21 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Crusell, Bernhard Henrik” by Fabian Dahlström.

22 Weston, 70.

23 Dahlström, 744. 44 teachers Tausch and Lefèvre each taught a different approach. Lefèvre’s tutor24 promoted the reed-up approach and Tauch taught with the reed-down approach. Since

Crusell studied with Lefèvre after Tausch, and we know that he made a switch in the early part of the nineteenth century, there is a discrepancy as to when this actually occurred. Pamela Weston mentions Crusell in the quotation below regarding Tausch’s technique:

Tausch played with the reed underneath, because the wide leaps and many fast notes repeated notes in his compositions, together with his reputed ‘soft, caressing tone and stylish delivery’ could not have been achieved the other way about. If this assumption is correct, then Tausch was one of the first to use this method and would have undoubtedly passed it on to his pupils who included both Heinrich Baermann and Crusell.25

Since the reed position had a huge impact on the type of tone a clarinetist was able to produce (smooth cantabile playing is much easier with the reed down) there is a question as to when Crusell would have made the switch. We do know that he performed quite extensively as a soloist in the years 1812-181926 and, as he was known for his beautiful tone, he was most likely playing with the reed down at this point.

Crusell kept up with the instrument modifications that came in the nineteenth century. In 1811 he acquired an eleven-key clarinet from the Dresden instrument maker

24 T. Eric Hoeprich, “Clarinet Reed Positions in the 18th century,” Early Music, 12, no. 1 (February 1984): 48-55.

25 Pamela Weston, More Clarinet Virtuosi of the Past (London: Halston & Co., Inc., 1977), 253.

26 Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale & Company, 1971), 72.

45 Heinrich Grenser;27 this instrument is preserved at the Nordiska Museet in Stockholm.

The Grenser clarinet was designed using the standard five-key system with added keys to facilitate trilling, and improve tone quality and intonation.28 These new keys were not necessarily meant to improve speed, and players would resort to the technique used with the basic five-key-instrument structure when faced with difficult passages. They did however make certain trills easier, as well as better pitch on some notes.

Crusell composed most of his clarinet works between 1803 and 181229 including three concertos, a set of variations on Swedish songs, and three quartets for clarinet and strings. He also wrote works for horn and bassoon with Hirschfeld and Preumayr in mind; these include a horn concerto and concertino for bassoon and orchestra. Two works for the trio of clarinet, horn and bassoon by Crusell exist: a Concert Trio and a

Concertante, Op. 3 with orchestra. In addition, he composed and arranged numerous works for military band, with which he was involved in the summers from 1817-1838 in

Linköping. In 1837 he was awarded the Swedish Academy Gold Medal, the highest honor available for a musician in Sweden. The following was written about him for this event.

He united in himself both the genius of the composer and a successful poetic sense, together with a highly aesthetic education, and so he has, through this by no means common amalgamation undoubtedly the right to recognition by this Association, which cannot be withheld from anything that contributes to the growth of Swedish art

27 Dahlström, 744.

28 Nicholas Shackleton, “The Development of the Clarinet,” in The Cambridge Companion to the Clarinet, ed. Colin Lawson (Cambridge: The Cambridge University Press, 1995), 23-24.

29 Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale & Company, 1971), 71. 46 or by the way of Swedish speech to the creation of a sense of beauty and the development of good taste.30

Franz Berwald, upon hearing of Crusell’s death in 1839, wrote the following to his friend

Ernst Leonard Schlegel on August 21, 1839:

I read in the newspapers that Crusell has died. Had he lived in another time and under different circumstances, he might have reached further than the bottom stair to the muse of song’s temple. Courtesy, in its saccharine guise and adorned like a doll in the market, had already in his youth lured him into social relationships that made any serious pursuit of art impossible. The graceful wife had to be lulled to sleep, the young lady needed some tender notes for her melancholy, the ensign in the guard needed a trill by which to perform his pirouette, and finally the man of the house himself demanded a score of variations – and the clarinet was to imbue all these wonderworks with its own compositions. And wherein lay the reward for so many servile courtesies? Why, in our flattery and praise. There is no harm greater than the harm done by having so much talent so poorly employed. With somewhat less talent and somewhat greater focus, Crusell would surely have achieved a higher artistic level. However, we should primarily regard his escapades, and those of several other geniuses, as a shining legacy of the gaudy French cloth that Gustav III, may he rest in peace, left in Sweden. However, despite my great antipathy toward that age and its consequences until the year 1810-1812, I readily admit that it has become less intolerable that the whole sect of a later era’s “phosphorists”31 -- and, one could never have known in 1669, upon the discovery of phosphor, that 140 years later a group of untrimmed Uppsala lights would have the temerity to steal the name for its deformed products. Once again, the name Crusell, and peace be with his ashes.32

Berwald held strong opinions on composers whom he felt catered to the musical whims

30 Ibid.

31 The Swedish Romantic movement known as the Phosphorists were a group of poets (namely Atterbom, Hammarskoeld, and Palmblad). The name refers to the chemical Phosphor which is a solid materials that illuminates. They came at a time when poets in Sweden were divided into two camps: the Gothics (Eric Gustav Geiger was a member of this group) and the Phosphorists. The Gothic poets advocated a study of the “Gothic” past and many poems drew on Norse Mythology. The Phosphorists ideals came from German Romanticism (Schiller and Goethe) and stood in contrast to the traditional school of thought- the Gothics. (The New Encyclopeadia Brittanica, Macropaedia- Knowledge in Depth, 2002 ed., s.v. “Scandinavian Literature.”)

32 The letter can be found in the Appendix A of this document. It was translated from the original Swedish by Dag Ryen. The original was taken from: Franz Berwald Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979). 47 of others. From the preceding quotation, it seems Berwald had great respect for Crusell, but felt his talent was misused as he wrote for the whims of the court and society.

48 CHAPTER 6

CHAMBER WORKS WITH WINDS

Franz Berwald wrote three chamber works that included winds:

1817 (revised 1828): Grand Septet in Bb for Winds and Strings

clarinet, bassoon, horn, string quartet

1819: Quartet in Eb for Piano and Winds

clarinet, horn, bassoon, piano

1825: Serenade

tenor, piano, clarinet, horn, viola, violoncello, double bass

Berwald considered these works to be among his best early compositions. In 1828, while in Berlin, Berwald wrote to his sister: “Of the music that I have left behind in Sweden, none should be performed apart from the septet and the Serenade, you must remember that.”1

1 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959), 49.

49 The Grand Septet has the same instrumentation as the Beethoven Septet that was performed regularly by Crusell, Preumayr, and Hirschfeld.2 The first performance of

Berwald’s septet came on January 10, 18183 on the first concert of premieres of his own music.4 The septet was performed again in 1819, but then seems to have disappeared as no further performances have been noted. On December 6, 1828, a septet was performed that was designated as “new;” however, there is reason to speculate that this work was the same as -- if not a re-working of -- the original septet from 1819.5 The septet in the

Berwald critical edition is reproduced from this 1828 version, although there is an appendix with what is thought to be the finale from the earlier 1817 version.

The Grand Septet contains three movements: Adagio- Allegro molto; Poco adagio;

Finale: Allegro con spirito. The clarinet has a lead role in this piece although the other instruments have prominent parts as well. There is much dialogue between the clarinet and violin. Movement one is in sonata-allegro form and features circle of fifths modulations in the opening melody. Berwald divides the instruments into two groups with all instruments sharing melodic material: the winds versus the string quartet. The cantabile melody in the opening of movement two, played by the clarinet and violin,

2 Lennart Stevensson: “The Hirschfeld Epoch- 30 Golden Years of Swedish Horn History, Swedish Horn Society web site (Accessed 7 November 2004), .

3 The other works on the program were Berwald’s Fri Fantasi för Orkester and a concerto for two violins and orchestra which no longer exists. Franz and his brother August played the violin concerto.

4 The review of this concert as well as reviews for a subsequent concert will be discussed in detail in chapter 8 of this document.

5 Franz Berwald, Sämtliche Werke: Septett, 10 (Kassel: Barenreiter Verlag, 1985), xi. 50 speaks to the beauty of playing of Crusell, who is believed to have inspired the clarinet writing in this work. Likewise, the virtuosic bassoon writing gives us a view of

Preumayr’s abilities, and the strength and yet sensitive playing by the horn to the mastery of Hirschfeld. The most striking aspect of movement two is the inclusion of a scherzo in the middle, a feature found also in Berwald’s Sinfonie singulière (1845). Antony

Hodgson describes this moment as:

The only work of undoubted genius to emerge was the beautiful and melodious Septet- scored for the “Beethoven” combination of clarinet, bassoon, horn, violin, viola, cello, and double bass. Here, as in many of his works of large scale and vision, the slow movement incorporates a Scherzo section. This is a totally characteristic blueprint of Berwald and it is a highly individual notion which, in formal terms, gives an eloquent symmetry to his music. Most Berwald Scherzi are written with the lightest of touch, usually in the deft Mendelssohnian style and the subtle breaking into a faster tempo, seemingly in mid-slow movement, is always an exciting moment.6

The third movement is also in sonata-allegro form. This movement best exhibits the interplay between the two groups of instruments. Long string melodies are juxtaposed with short staccato bursts in the winds and the motion is constantly moving forward.

Franz Berwald’s Quartet in Eb for Piano and Winds was completed in 1819 and received its premiere in 1821. Using the same winds from the Septet, Berwald replaced the strings with the piano. Undoubtedly he had the same wind players in mind when he wrote this three-movement work. The score is notated as Ouevre 1, although this was definitely not his first work; why it was marked this way is not known, and the work was never printed in Berwald’s lifetime.7 An analysis of the quartet is found in chapter seven of this document. Moreover, the premiere of this work prompted a series of literary

6 Hodgson, 98.

7 Franz Berwald, Sämtliche Werke: Klavierquartet und Klavierquintette, Vol. 13, (Kassel: Barenreiter Verlag, 1973), xiv. 51 arguments between Franz Berwald and a critic who heard the concert. These articles will be discussed in chapter eight of this document.

The Serenade for tenor and instrumental ensemble, composed in 1825, received its premiere on April 8, 1826 in a concert8 celebrating the arrival of Crown Princess

Josefina, wife of Oscar I, to Sweden. Although the reviews and announcements do not give the identity of the tenor, there is strong speculation that the part was sung by Per

Sällström (1802-1839), as he was already singing the tenor part in the cantata.9 Its unusual orchestration (tenor, piano, clarinet, horn, viola, violoncello, and double bass) is quite similar to the instrumentation of the septet. The text is about a young war hero who is unafraid until he discovers a noble woman and, upon falling in love, becomes weak.

When he set the text Franz Berwald considered it his “best work to date,”10 although there appears to only have been one more performance of it in 1827, when Berwald and the tenor Jan van Boom went on a tour of Norway.11

The Serenade is in one movement and contains three verses. The lyrics deal with a brave war hero who cannot be conquered until he sees a beautiful woman and falls in love.

8 The concert took place at Stora Börssalen and the other piece on the program was a Cantata by Berwald. Soloists for the Cantata were Sofia Sevelin, Henriette Widerberg, Per Sällström, Issac Cederberg, Frederik Kinmansson, and Carl Joshua Preumayr.

9 Franz Berwald, Sämtliche Werke: Profane Vokalwerke I, 22 (Kassel: Bärenreiter-Verlag, 1999), xiii.

10 Layton, 47.

11 Franz Berwald, Sämtliche Werke: Profane Vokalwerke I, 22 (Kassel: Barenreiter Verlag, 1999), xiii. 52 Ja! Alt är nu åter stilla; Yes, now all is quiet again; lät oss Serenaden börja. Let us start the Serenade. Ej mod ej kraft mig felar I lack not courage nor strength i krigets gyn och vapenbrak in the clashes and noise of war. Jag faran gerna delar I gladly share danger Och vet det är en hjeltes sak and I know it is a hero’s duty att våga alt för fosterlandets väl. to dare his all for his country

Men när mitt öga skådar But it is when my glance falls on Dig, ädla sköna qvinna You, noble, beautiful woman, Och hoppet hjertat bådar and Hope tells my heart att åter kärelek finna, that it might yet find love Då likt barnet rädd och svag then like a weak and fearful child jag bäfvar. I tremble.

Tänk om vaknad från drömmen What if, awakened from my dream, alt I annat skick jag såg all seemed strange to me. O! menniskor, ej glömmen Oh, men, do not forget att om hjelten fjettrad låg, that if the hero fettered lay, det Amor var, som honom öfvervan, Love it was that conquered him, ja, som honom öfvervan. yes, that conquered him.12

The Serenade opens with an Adagio and moves quickly to an Allegro assai section that serves as the introduction to the vocal part. The mood in this section is turbulent depicting the “clashes and noise of war” stated in the lyrics. The tenor enters with a recitative after the long introduction. Then the verses are sung at a poco Allegretto tempo, and there is an immediate shift in mood to a cantabile style, similar to those found in nineteenth-century art song. There is a lengthy instrumental section in the middle where the clarinet, piano, and viola each have a solo virtuosic section accompanied by the other instruments. These solo passages are offset by a ritornello-type section played by

12 The author of the text is unknown and the Bärenreiter edition does not contain an English translation of the text. The following translation by Kerstin Swartling is from a Naxos compact disc (8.553714). The CD contains all of Berwald’s wind chamber works- Grand Septet, Serenade and the Quartet for Piano and Winds. 53 all instruments. The work ends with an instrumental Allegro con spirito section in which the clarinet has a lead role in a dialogue with the piano, horn and strings. Musical dialogues are common in works by Berwald, as is treating the instruments in groups. In the Serenade the piano, clarinet, viola (only in its solo section), and the horn have significant parts. The other strings play an accompaniment role throughout the work.

Berwald’s instrumentation in this work is unusual and his treatment of the instruments, especially the horn and the clarinet, points to the strength of the players he had in mind when writing the piece. Berwald’s use of moods in the Serenade depict the lyrics well, and the work flows smoothly even though the melodic material shifts often.

The use of diverse melodic materials is typical for Berwald and this will be explored further in the next chapter through an analysis of the Quartet in Eb for Piano and

Winds.

54 CHAPTER 7

ANALYSIS OF THE QUARTET IN Eb FOR PIANO AND WINDS

The Quartet in Eb for Piano and Winds is a three-movement work. Tempo markings are the typical fast-slow-fast tempi found in three-movement works from the

Classical period. Berwald’s specific markings are: 1) Allegro ma non troppo 2) Adagio

3) Allegro. The following discussion will show how Berwald uses compositional elements from the Classical period to develop his own unique Romantic style.

Movement One (Allegro ma non troppo)

Movement one is cast in a relatively conventional sonata-allegro form. As is true of so many examples of the form, this movement includes primary, secondary, and closing theme groups in the Exposition. A detailed diagram of Movement One can be found in Appendix F; a condensed version is shown here.1

1 Analytical nomenclature is based on: Jan LaRue, Guidelines for Style Analysis (New York: W.W. Norton & Company, Inc., 1970). 55 Intro. Exposition Dev. Recapitulation Coda O P S K P S K ~ V I V V mod. I V IV – I I

Table 7.1: form of Allegro ma non troppo (movement one)

Most unusual in the harmonic scheme is the inclusion of the subdominant in the closing section of the Recapitulation. A prominent role for the subdominant in the Recapitulation is not unprecedented. It can be heard in the music of Franz Schubert, e.g. Symphony No.

5 as well as numerous sonatas, and also in Mozart’s Piano Sonata in C Major K. 545.2

These two composers would begin the Recapitulation in the subdominant and then move to the tonic in the secondary and closing sections. By contrast, in Berwald’s quartet the subdominant makes its appearance in the closing section. Utilizing the subdominant forms another tonic – dominant relationship where the original tonic (Eb) becomes the dominant of the subdominant (Ab). Berwald returns to Eb, although not through a plagal cadence, but rather by going through Bb and forming a perfect authentic cadence.

Juxtaposition of short, diverse themes that change often is characteristic of

Berwald’s style. The reviewer at the premiere described the music as “constant summersaults from one isolated thought to another,” and indeed the themes are plentiful.

Berwald writes in thematic groups and the primary, secondary, and closing sections have two, three, and four themes respectively. As we shall discover below, the use of the word

2 Don Michael Randel, ed. The Harvard Dictionary of Music, ed. (Cambridge, MA: The Belknap Press of the Harvard University Press, 2003), s.v. “Sonata form” by Eugene K. Wolfe. 56 “isolated” in the review may be a bit exaggerated, as Berwald makes ample use of harmonic, rhythmic and melodic material to create transition between the various themes.

The Introduction

The seven-measure introduction is harmonically ambiguous, not uncommon in the

Romantic style.

Figure 7.1: first movement, mm. 1-7 (Introduction)3

The work is in Eb major, yet the tonic chord is not heard until mm. 8. The first measure outlines the tonic and dominant of Eb, leading one to expect a resolution to the third of the chord in measure 2. Instead, Berwald goes to an F in the winds, serving as a pedal point to the harmonic progression in the piano, oscillating between iv and I (a tonic- dominant relationship in ab). Measure four implies a tritone relationahip as the ab7 (iv7)

3 This and all subsequent music examples are taken from: Franz Berwald, Quartet in Eb Major for Piano and Wind Instruments (Kassel: Bärenreiter-Verlag, 1973), reprinted by permission. 57 chord resolves to a d dim 7th (viio7) through the lowering of Eb to D (the fifth of the chord) on beat one in measure four. From here Berwald moves to a fo (iio) in measure five and then to another ab7 (iv7); now serving as the dominant to the do. The return of the f7, beat three m. 6, is the glue that brings the final Bb (V) chord at the end of the introduction. This Bb chord cadences to the tonic chord at start of the Exposition; a iv7 – ii7 – V – I cadence.

Exposition and Recapitulation

The Exposition and Recapitulation of Movement One are remarkably similar, hence they will be considered together here. Berwald’s use of melodic repetition, at times literal or with a slight change in the instrumentation and/or the harmonic center, makes the Primary and Closing sections in the Exposition and Recapitulation almost identical; this melodic repetition accentuates Berwald’s talent for use of instrumental colors. The truncation of the Secondary section in the Recapitulation creates the greatest difference between the two parts. In the discussion below each of the three Theme

Groups will be discussed separately. The repetitions will be indicated using the following key (the shapes are helpful when colors are not available):

∆ Red: measures that are a literal repeat

 Green: measures that are melodically the same but harmonically different

Primary Theme Group

Berwald did not change this area in the Recapitulation, but rather restates it as if there were merely a dal segno printed in the music.

58 1P 2P 1T I (ii)-IV I ∆ 8-13 ∆ 14-23 ∆ 23-31

Table 7.2: Exposition (primary theme group)

1P 2P 1T I (ii)-IV I ∆ 234-240 ∆ 241-249 ∆ 250-258

Table 7.3: Recapitulation (primary theme group)

Both Exposition and the Recapitulation open with a bassoon solo (1P) in the tonic of Eb.

Figure 7.2: first movement, mm. 8-14 (theme 1P)

Striking here is Berwald’s manipulation of the pulse, similar to what Brahms would do later in the nineteenth century, where beat four becomes beat three in a two-beat anacrusis to a perceived downbeat on two. He achieves this by employing notes from the tonic chord as the first of each three-note group, as well as putting a two-quarter-note accompaniment in the horn and clarinet parts where it is natural to play this pattern as

59 strong-weak. The true pulse becomes evident only when 2P is introduced in measure 14 on beat one, creating a surprising interruption.

Figure 7.3: first movement, mm. 14-22 (theme 2P)

Many of Berwald’s themes in the Quartet in Eb are composed of simple short sequences. The opening pattern of the dotted quarter followed by two sixteenths that appears throughout this theme is the impetus for the forward motion. Berwald adds to the texture of the main melody, initially heard in the clarinet, by either doubling or echoing parts of the main motive in the other three parts, thus enlivening the simple sequence.

Berwald’s manipulation of the pulse is enhanced by his melodic style. The simple 1P melody is heard in a sweeping duple, while, 2P is better heard in a quick four pattern; the juxtaposition of the two produces a marked contrast. 2P reappears in measures 66 – 73, this time in sequence by all four instruments, serving as the transition to the Closing

Theme Group of the Exposition. The variation of instrumental colors in this sequential pattern propels the piece into the next section.

A quasi-cadenza pattern in the piano (m. 22) ushers in the transition to the

Secondary Theme Group. The transition material borrows the staccato quarter notes

60 from 2P as well as foreshadowing the sixteenth followed an eighth noted pattern seen in

1S.

Secondary Theme Group

There is a 42-measure difference in length between the Exposition and

Recapitulation. The discrepancy is created in the Secondary Thematic Area, which is considerably shorter (38 measures) in the Recapitulation.

1S 2S Bridge 2P Bridge 3S V I IV mod. ∆ 32-53 54-61 62-65 66-76 77-79 79-90

Table 7.4: Exposition (secondary theme group)

1S Bridge V mod…. ~ I ∆ 259-267 268-279

Table 7.5: Recapitulation (secondary theme group)

Theme 2S, introduced by the clarinet, clearly in the dominant key of Bb, opens the Secondary Theme Group.

Figure 7.4: first movement, mm. 31-34 (theme 1S)

61 This opening motive (1S) is followed by references both to 1P (bassoon line mm. 35 –

38) and 2P, the staccato quarter notes in the winds, and then the 1S motive reappears in mm. 49, again in the clarinet. As with the Primary Theme Group, the 1S section is repeated exactly in the Recapitulation. The alteration between the Exposition and the

Recapitulation comes at the end of this theme.

In m. 54 of the Exposition, Berwald introduces 2S in Eb:

Figure 7.5: first movement, mm. 54-61 (theme 2S)

Berwald’s melodies typically use either step-wise or triadic motion; 2S uses both.

Another common trait is that his melodies often have an interval of a fourth or fifth when utilizing anacrusis notes, emphasizing the tonic – dominant relationship; we see that here as well. Although 2S does not appear in the Recapitulation, its opening rhythm and interval play a crucial role in the Development. 2S is followed by a three-measure

62 transition passage, mm. 62 – 65, which moves the harmony to the subdominant (Ab) for a restatement of 2P. The transition material in mm 62 – 65 foreshadows 3S.

Figure 7.6: first movement, mm. 81-86 (theme 3S)

The sequential writing is unwavering with a harmonically active rhythm of two measure segments. This type of sequential writing with similar short slurred rhythmic patterns, often including pairs of eighth notes, can be found in other chamber works by Berwald.4

Here, 3S begins in F major and then progresses through bb minor, Db major, eb minor and C major, finally ending on F major (mm.90), the V/V of the tonic Eb. Preparation is set for the dominant key of Bb in the Closing Theme Group of the Exposition.

In the Secondary Theme Group of the Recapitulation 2S and 3S are omitted. At the end of the 1S theme new transition material is introduced. Dominated by a chromatic pattern in the piano and a forward-moving chorale in the winds, this transition goes back to the tonic through a circle of fifths modulation. The culmination is a fermata on an Eb chord, mm. 279, setting up the opening of the Closing Theme Group.

Closing Theme Group

Aside from differences in tonality, the Closing Theme Group of the Exposition and the Recapitulation follow the same thematic framework in terms of the order of themes and the length of each theme. Below are tables comparing the two parts. In

4 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959), 101-102. 63 Table 6.6 the  Green refers to measures that are melodically the same but harmonically different.

1K 2K 3K 1K 3S 4K V – V/V V VI – V/V V/V – V mod. V/V  91-103  104-112  113-119  120-123  124-129  130-137

Table 7.6: Exposition (closing theme group)

Bridge 1S 2T V V  138-144  145-148 149-156

Table 7.6 continued: Exposition (closing theme group)

1K 2K 3K 1K IV IV V – I – i I – IV  280-292  293-301  302-308  309-312

Table 7.7: Recapitulation (closing theme group)

3S 4K Bridge 1S mod. V I  313-318  319-326  327-333  334-340

Table 7.7 continued: Recapitulation (closing theme group)

64 The Closing Theme Group opens with the introduction of 1K.

Figure 7.7: first movement, mm. 91-96 (theme 1K)

This theme has triadic qualities similar to 2S, and the dotted eighth-sixteenth pattern alludes to 1S. Upon further inspection of the Recapitulation, the only difference in the

1K is the switching of parts between the clarinet and the bassoon in the 3/4 (mm. 97 and mm. 286). Otherwise, it is an exact melodic repetition of the Exposition, in Ab, with the same melodic distribution between parts. As was discussed earlier, the introduction of a theme in the subdominant is rather unusual for sonata form. Franz Schubert used this technique in several of his works in major keys, although he would introduce the primary section in the subdominant, then modulate to the tonic, thereby paralleling the move from

I to V in the Exposition. Here, Berwald has done the reverse; he opens the Recapitulation in Eb (I) and moves to the Ab (IV) before re-establishing the tonic at the end of the

Closing Theme Group. Essentially Eb becomes the dominant of a new tonic, Ab. The return to Eb comes through a perfect authentic cadence in measures 302-303. The move from Ab (m. 300) to the Bb7 (m. 302) through a do7 (vii o7 in Eb) chord in measure 302.

2K and 3K, the next two sections, are the same melodically and texturally, although the key center changes in the Recapitulation.

65 Figure 7.8: first movement, mm. 104-106 (theme 2K)

The intrusion of the triplets in 2K, after a rest, varies the rhythmic and textural sound. In the Exposition, for the first time, we hear the winds playing the same melodic material together in a block of sound engaged in a dialogue with the piano. The effect is a halt in the forward motion we have heard thus far. The harmony is cadential, ending the first statement of 2K on the dominant, mm. 105 (F dim. 7th) and mm. 294 (Eb dim.7th) and the second statement on the tonic, mm. 108 (Bb) and mm. 297 (Ab). This idea is continued in a quasi-improvisatory section for the piano, mm. 109 – 112, that serves as a transition to 3K.

Figure 7.9: first movement, mm. 113-120 (theme 3K)

66 Berwald often incorporates rests into his melodies, producing a fragmented effect.

These musical “spurts” move easily across bar lines, but the integrity of the line is never lost. 3K, using the Exposition version, is a perfect example of this. Each of the four sections of this melody ends on a strong beat, either one or three, of a subsequent measure. The harmony also plays an important role here by moving through a partial circle of fifths; this, the dominant-tonic relationship, propels the melody forward. The first group, mm. 113 –114, opens in C and moves to F. Berwald starts the second group in mm. 115 by lowering the third in the bassoon shifting the mode to minor and ends the segment in Bb (mm.117). The short third group, mm. 117-118, returns to C setting up the F major cadence at the end of the fourth group, mm. 118-120. A similar fifths progression occurs in the Recapitulation (mm. 302-309): Bb-Eb-eb-Ab-Bb-Eb.

Figure 7.10: first movement, mm. 113-120

The next two sections in both the Exposition and Recapitulation have been heard before. 1K reappears in mm. 309 – 312; in the Recapitulation Berwald exchanges the piano and horn parts and keeps the bassoon and clarinet parts as they were in the

Exposition. The modulating theme 3S comes back in m. 123 and m. 124 where Berwald again changes the orchestration in the Recapitulation; the piano is playing the clarinet and bassoon lines, the clarinet has the piano line, and the bassoon is taking the horn line as 67 the horn has been omitted. The harmony moves to the key of F in mm. 130 (T8) through the following progression in Bb: I (mm. 124-125), VI (mm. 126), IV (mm. 127), ii (mm.

127-128) I (mm.129). Scholars have written of Berwald’s use of chromatic harmony, seen later in the music of Chopin, and some of this is evident here, particularly in the piano.5 Likewise, the inclusion of a passing Neapolitan 6th chord in mm. 126 is striking.

Figure 7.11: first movement, mm. 124-127

The concluding theme in both Exposition and Recapitulation is unlike any

Berwald has written thus far. Shown here is 4K from the Recapitulation.

Figure 7.12: first movement, mm. 319-321 (theme 4K)

The rapidly moving theme is begun in the clarinet and then expanded in the piano in both the Exposition and Recapitulation. The theme can be broken down into a series of four

5 John Horton, Scandinavian Music: A Short History (Westport, CT: Greenwood Press, 1975), 114. 68 sequences, each two beats in length. The orchestration difference between the Exposition and Recapitulation comes in mm. 319 – 320 where the horn and bassoon lines are switched with the piano parts before returning to the Exposition orchestration. This is the most brilliant theme in the work; its call for virtuosity acts as a release from the constant thematic shifting seen up to this point.

The transition material that follows 4K in both the Exposition and Recapitulation is similar to 3S and it also alludes to 1P in mm. 143-144. There is a slight change in the orchestration in the Recapitulation where the bassoon takes the horn parts in mm. 328 and mm. 330. Striking about the harmony, punctuated by the long notes in the piano, are the chromatic shifts. For example, in mm. 140-141, the Bb in the Bbo7 chord is raised to a Cb, changing the chord to a do7. Then the D in this chord is lowered to a Db making the tonality a Db7 chord (mm. 143) going to its tonic Gb in mm. 144. The last resolution is to the Bb in mm. 145 and the return of the 1S theme and the end of the Closing Theme

Group.

69 Figure 7.13: first movement, mm. 139-144

The Closing Theme Group ends with a restatement of 1S for four measures; then the Exposition moves to the Development through a harmonic oscillation between F and

Bb, and the Recapitulation closes 1S with three cadential measures (mm. 338-340) before the Coda. The Coda is based on 1S and sets up a standard V – I cadence at the end the movement.

70 Development

The Development may be diagrammed as follows:

2S1 1P1 2T1 1P2 N 2S1 3T V vii mod. vi vi iv V 157-168 169-188 189-196 197-205 206 -219 220-229 230-233

Table 7.8: Development (movement one)

Berwald chooses three themes for development: 2S, 1P and 3S. Each of these will be discussed separately in their original form and the “developed” form.

Figure 7.14: first movement, mm. 54-59 (theme 2S)- Original form

71 Figure 7.15: first movement, mm. 157-165 (theme 2S1)- Developed Form

In developing 2S, Berwald uses the three quarter-note anacrusis and subsequent upward leap, now changed from the interval of a fourth to a fifth. The eleven measures using this theme are marked “stringendo” and the three-note anacrusis are ideal for pushing the tempo from “Allegro ma non troppo” to “Allegro assai” as the quarter notes are exchanged between the four instruments. The consecutive three notes in the winds are echoed in the piano, here in an accompaniment role, each time reinforcing the stringendo.

72 Two sections of the Development, mm. 169-188 and mm. 197-207, are loosely based on the original 1P theme. The three-quarter-note slurred pattern played in dialogue between the winds is accentuated by a return of the opening motive of 2S. As with the earlier section, the piano serves an accompanimental role.

Figure 7.16: first movement, mm. 157-165 (theme 1P)- Original Form

Figure 7.17: first movement, mm. 183-187 (theme 1P1)- Developed Form

In mm. 189, 3S appears with a slight rhythmic change. The dialogue between the clarinet and bassoon continues as the horn and piano provide accompaniment.

73 Figure 7.18: first movement, mm. 81-86 (theme 3S)- Original Form

Figure 7.19: first movement, mm. 189-192 (theme 3S1)- Developed Form

The two-measure harmonic pulse of the original 3S theme has been condensed to one measure; Berwald makes use of mode shifts by shifting from the minor to major modes in consecutive measures (mm. 189 - 190 and mm. 191 – 192). When 1P1 returns, in mm.

197, the horn joins the clarinet-bassoon dialogue and the piano continues with the accompaniment.

Berwald introduces new material in mm. 205 beginning with an incessant sixteenth-note ostinato pattern in the piano. The bassoon then enters with the following:

Figure 7.20: first movement, mm. 208-215 (theme N)

74 This material is like none that has come before, and is indicative of the unsettled turbulent mood one expects in the Development. The bassoon and clarinet carry the melodic material here in canon two measures apart. In mm. 120, the triplet fragment, taken from 2S, is used as a way of calming the music before the transition to the

Recapitulation. The transition has a bravura sixteenth-note passage in the piano serving as a final release from the previous new material, and the music returns to the soothing opening of 1P in the Recapitulation.

Movement Two (Adagio)

Berwald chooses the subdominant key of Ab for the slow second movement. It is an abbreviated ternary form with a greatly shortened repeat of the “A” section as well as an equally short “B” section. With repeated sections marked in ∆ red, it can be summarized as follows:

A B A’ 1P 1P repeat 2P 1S 2S 1P 2P’ I (IV) I (IV) II (V) ~ iv (ii) V (I) vii (iii) ~ V (I) I (IV) II (V) 1 – 7 ∆ 8 – 11 12 – 21 22 – 26 27 - 29 ∆ 30 – 33 34 - 37

Table 7.9: form of Adagio (movement two)

The tonal modulation from the tonic to the dominant is no surprise, nor is the fact that the movement is in the subdominant of the overall key for the Quartet; Berwald uses Ab quite a bit in the other two movements. Moving to the subdominant for the slow

75 movement was also the most frequent choice for Mozart and other composers of the

Classical Period when they wrote works in major keys.

Berwald’s slow movements are often short and contain cantabile melodies;6 with a mere thirty-seven measures, this quartet is no exception. The opening 1P melody is a slow dialogue with the piano taking the lead and the winds answering.

Figure 7.21: second movement, mm. 1-5 (theme 1P)

Harmonically the motion starts on Ab (I) moves to Db (IV) in measure 5 and cadences on

Eb (V) in measure 7. Measures 8 – 11 are a repeat of measures 1 – 4, and the harmony has returned to Ab. The horn and the clarinet exchange parts this time and the bassoon line moves up an octave. The mode has changed to minor at the end of this repeat

(measure 11) with the ab (i) chord on beat three.

6 Eric Frederick Jensen, Walls of Circumstance (Metuchen, N.J.: The Scarecrow Press, 1992), 28. 76 The 2P theme section opens with a Bb pedal in the piano in measure 12.

Figure 7.22: second movement, mm. 12-13 (theme 2P)

Spread between the three wind instruments the 2P melody is characterized by thirty- second note pick-ups emphasized by szforzandos. Juxtaposed with the contemplative 1P theme the new theme brings intensity; the tremolo pattern in the piano enhances this tension. The harmonic motion changes once per measure until it ends on a do7 in measure

21. This chord becomes the viio7 in the key of Eb, in which the B section is cast.

The insertion of triplets in the winds, theme 1S, dominates the B section of this ternary form.

Figure 7.23: second movement, mm. 22-24 (theme 1S) 77 The soft staccato notes release the tension set-up with the previous section and suspend the piece momentarily in a static block of wind sound. The chromaticism used here adds to the motionless quality of this segment.

This inactive mood explodes in measure 27 when the clarinet enters with 2S.

Figure 7.24: second movement, mm. 26-27 (theme 2S)

The rising sixteenth-note sequences of the melody, at a sudden fortissimo dynamic, releases the tension established in the previous section. The outburst melts back in measure 29 and cadences from Eb (V) to Ab (I) in measure 30 for the return of the abridged A section. A curiosity here is the 12/12 time-signature for the clarinet part; the section must have been meant to be in 12/8 since twelveth-notes do not exist. The notation was most likely was a mistake by Berwald, since Bärenreiter has included it in their critical edition.

The first four measures of the return of the A section are a repeat of measures 8 through 11. The harmony has returned to Ab (I) and moves through Eb (V) and db (iv)

78 before ending on a modal change to ab (i) in measure 33. The harmony moves to fo7

(vio7) in measure 34 and the inclusion of a Bb pedal prepares the move to Bb as this measure oscillates between Bb and fo7. The Bb (II) chord in the piano opens measure 35 and is maintained as a pedal Bb for the last three measures of the movement. The winds play a pattern similar to 2S in measures 35-36 where the melodic downward motion brings the final cadence of F to Bb through a C chord in measures 36-37. The slow movement is marked “attacca” and these last measures take the tonality back toward Eb; the final Bb chord cadences into the opening melody in Eb of the last movement.

Movement Three (Finale)

The sonata-allegro form in movement three is more complex than Movement

One, both in its treatment of thematic material and the Development section. In fact, the

Development consists of a well-balanced ternary form; a form within the larger sonata format. Berwald maintains an overall tonic-dominant-tonic harmonic progression, in line with conventional sonata form, and is the same I – V – I progression seen in the first movement. A detailed table is located in Appendix G; a condensed version is shown here:

Exposition Development Recapitulation Coda P S K A B A P S K I V V V – vi – i mod. VII - V I I I I

Table 7.10: form of Finale (movement three)

As noted in the first movement, Berwald utilizes multiple themes; some of these themes, however, are not as developed and serve varied purposes, in comparison with the

79 themes from Movement One. Several of the themes can be described as motives that are often repeated and serve as transitions between the broader themes. These “transition themes” are constructed from new material and present a shift in mood in the music, thus they will be designated as independent themes in the following discussion. As was true in Movement One, the themes are arranged in theme groups. The following analysis will compare the Exposition and Recapitulation, followed by a discussion of the Development and the Coda.

Exposition and Recapitulation

Berwald omits material in the Recapitulation in both the first and third movements. In fact, in the first movement the Recapitulation is 71.8% the length of the

Exposition and in movement three the difference is 71.4%. As with movement one, much of the material is repeated in the Recapitulation, although not as much is a “literal” repeat; this time Berwald repeats each section both melodically and harmonically, but changes the orchestration. The following discussion will refer to Primary, Secondary and

Closing Theme Groups; the comparison of the Exposition and Recapitulation will use the following code:

∆ Red: with literally repeated measures marked in

Purple : measures where the orchestration has changed, but the melody and

harmony are the same

 Green: measures have changed harmonically but not melodically

80 Primary Theme Group

Exposition 1P 1P (repeat) 1T 2Pa & 2Pb 3P I I V iv 1 – 17 18 – 34 35 – 37 ∆ 38 – 41  42 – 43 44 – 55 56 – 63

Table 7.11: Exposition (primary theme group)

Recapitulation 1P 1T 2Pa I vii – V V 195 – 211 212 – 214 ∆ 215 – 218  219 – 220 221 – 222

Table 7.12: Recapitulation (primary theme group)

Movement three opens with a piano solo and the 1P theme.

Figure 7.25: third movement, mm. 1-5 (theme 1P)

The length and form of Berwald’s melodies are not the uniform eight-measure period format often associated with eighteenth-century classical style. Rather more flexibility emerges in Berwald’s quartet, where the themes are of various lengths and the beginnings and endings are blurred in the orchestration. Incorporated into the 1P theme are rests and 81 the forward propulsion of each sub-unit goes to a strong beat, either a downbeat or beat three. Often Berwald will elide the end of a theme with the next section, here the repeat of 1P; the eight measure initial theme is extended for another eight measures with transition material based on 1P. The clarinet, who plays the repeat of 1P, takes over the piano line in measure 11 and, in transition to the repeat, quotes both motives 2P and 1K from movement one. Harmonically this section is unstable, given the move to minor harmonies in the piano, the eo chord in m. 9 for example, as well as the tritones in the piano, m. 10 (D - Ab) and m. 11 (Bb - E). The second half of 1P, the transition, comes to a resolute cadence on V in measure 17. The 1P theme returns in Eb for a repeat initiated by the clarinet and supplemented by the other winds. The transition passage of this theme in the Exposition is based on the same 2P motive from Movement One that was heard earlier.

When this theme appears in the Recapitulation only the wind version is heard, with the main difference from the Exposition being the exchange of parts between the clarinet and bassoon; the bassoon takes the melody in the Recapitulation. The horn and piano parts are essentially the same. This orchestration change continues through the first three measures of the second half of 1P, the transition passage (mm. 32 – 34 and mm.

209 – 211), and then the last three measures are exactly the same leading into 2T.

Just as 1P could be divided into two parts that are related but serve different purposes (the main melody and the transition) so can 2P, although this time the transition comes first. The two parts are referred to as 2Pa and 2Pb.

82 Figure 7.26: third movement, mm. 40-44 (theme 2Pa)

Figure 7.27: third movement, mm. 51-54 (theme 2Pb)

The two-measure quarter-note pattern in 2Pa is completed by 2Pb, consisting of two- measure dialogues between the piano and winds. In the Exposition the same two- measure pattern is repeated four times, always ending on a Bb chord for the Bb tonality of 2Pb. In the Recapitulation, however, the pattern repeats only three times with a changed ending tonality: 1) Bb, 2) ao, 3) ab. The ab (iv) in measure 221 sets up the progression to the dominant (Bb) in measure 222 which will cadence on the tonic for the return of the Secondary Theme Group.

Returning to the Exposition, the Primary Theme Group contains one more theme that is omitted in the Recapitulation: 3P.

83 Figure 7.28: third movement, mm. 56-63 (theme 3P)

The melody is in the winds and is accompanied by the piano playing the same 2P motive from the first movement used in 1P of this movement. The smooth chorale-like wind melody is juxtaposed with this rhythmically active motive. 3P is also harmonically active, mainly flat chords, and the harmony ends on a resolute V/V to V cadence for the start of the Secondary Theme Group.

84 Secondary Theme Group

Exposition 1S Bb  64 – 84

Table 7.13: Exposition (secondary theme group)

Recapitulation 1S Eb  223 – 243

Table 7.14: Recapitulation (secondary theme group)

With only one theme, the Secondary Theme Group can hardly be called a group, however for the sake of continuity it will be referred to as such. The repeat of 1S in the

Recapitulation is only changed harmonically, moving from the dominant to the tonic, and the block of wind sound is similar to theme 2K from Movement One in its use of triplets.

Figure 7.29: third movement, mm. 64-66 (theme 1S)

85 The Secondary Theme Group is the same length in both the Exposition and the

Recapitulation; the only orchestration change in the Recapitulation is a switch between the clarinet and the horn parts in mm. 228 and mm. 231. Examining the harmonic structure in the Exposition and Recapitulation can help in the determination of the breaks between theme groups; 1S is in Bb (V) in the Exposition and moves to Eb (I) in the

Recapitulation.

Closing Theme Group

Exposition 1K 2K 3K V v V  85 – 100  101 – 110  111 – 119

Table 7.15: Exposition (closing theme group)

Recapitulation 1K 2K 3K I V I  244 – 259  260 – 269  270 – 279

Table 7.16: Recapitulation (closing theme group)

The Closing Thematic Area opens with a change to a more plaintive mood with the theme 1K.

86 Figure 7.30: third movement, mm. 85-88 (theme 1K)

The theme follows an AABA format, first introduced in the winds then echoed in the piano, followed by a new section in the winds and finished with a repeat of the initial section of the theme in the piano. In the Recapitulation this section moves to the tonic, although the melodic and orchestration elements remain the same.

2K is another theme that can be described as transitional; it is new material, but not a completely developed theme, with a forward impetus that serves well as transition material.

Figure 7.31: third movement, mm. 100-105 (theme 2K)

In the Exposition it is introduced by the bassoon and echoed in the clarinet; in the

Recapitulation the introduction is by the clarinet and echoed by the horn. The harmonic change is modal, from bb minor (Exposition) to Bb major (Recapitulation). This

87 dominant tonality introduces the flowing triplet 3K theme heard in the piano, in the dominant in the Exposition and the tonic in the Recapitulation.

Figure 7.32: third movement, mm. 111-112 (theme 3K)

The piano bass line in this section is remarkably similar to the twentieth-century popular tune “Heart and Soul.” The piano carries the 3K theme and the flowing triplet pattern pulls the end of the Closing Theme Groups into the Development and the Coda.

Development

As in movement one, Berwald selects only one of his many Exposition themes as material for the Development. In the case of the last movement he chooses 3P, which is omitted in the Recapitulation, and he adds new material in the form of 1N and 2N (a theme is loosely based on 1P).

A B A 1N 1N (repeat) 3P 2N (1P) 1N 1N (repeat) V vi i V – mod. VII V 120 – 128 129 – 137  138 – 145 146 – 177 178 – 187 188 - 194

Table 7.17: Development (movement three)

88 The Development has its own ABA form within the larger sonata-allegro form of the entire movement. It opens and ends in Bb and modulates, using the 2N theme, through the circle of fifths.

The onset of the Development brings new material (1N), first in the winds and then repeated in the piano.

Figure 7.33: third movement, mm. 119-125 (theme 1N)

As mentioned earlier, Berwald writes in short fragments offset by rests, and it is the combination of these fragments, often in sequences traded through the entire ensemble, which makes up the melody. This theme is a good example of this. The short two- quarter-note fragment is passed through the winds, and as the motive is expanded, mm.

122 – 123, the horn and bassoon augment the main line in the clarinet. Then for seven

89 measures, Berwald brings back 3P (omitted in the Recapitulation) in its entirety as it was heard in the Exposition. This time it has moved from the minor subdominant to the minor tonic, another fifth relationship that is prominent in this work. Berwald does not

“develop” established thematic material as we see in the classical masters of Mozart and

Beethoven. Rather he introduces new material and, in this case, repeats previously heard material.

The thirty measures that make up 2N are based on the first movement 2P motive, first heard in measure 13 and the piano motive in 3P of this movement.

Figure 7.34: third movement, mm. 146-150 (theme 2N)

The sequential writing is passed through all four instruments; the harmonic motion is a circle of fifths modulation, with the harmonic rhythm changing every two measures.

Although the section begins in Bb (m. 146) the circle of fifths starts in m. 148 in F and arrives on db in m. 156. At this point, the theme is truncated and the clarinet and bassoon play, in unison, the opening motive of 2N for eight measures (mm. 156 – 163) with a quickened harmonic motion. Measure 167 brings back the initial 2N material in its entirety and the circle of fifths progression returns as well, this time ending on Ab in measure 170. The next step of the circle of fifths progression (Db) is eventually resolved in measure 178 with the return of the 1N theme.

90 When the 1N theme returns, the piano plays it the first time and the winds carry the repeat. The harmonic motion is also switched: the motion was from V – vi the first time; the last time it moves from VII – V. The end of the Development has a strange ending; the 1N theme ends on V with a fermata on a rest. The connection to the

Recapitulation has not been set, since Berwald is not ready to go there yet. Instead he adds two sets of eight-note chords separated by a fermata in the winds, the chromatic progression being: eb – eo – fo – f#o . The motion is in the horn and clarinet, first going down a half step to change the harmony and then up a half step to change the harmony again. Berwald then writes another fermata on a rest before the piano begins the

Recapitulation with the elegant 1P theme in Eb; hearing this harmony after the brief chromatic progression that ends on a f#o chord is unexpected.

Coda

The new material, 3N, in the Coda is based on 1P.

Figure 7.35: third movement, mm. 279-285 (theme 3N)

Here Berwald changes the meter to 3/4 with a forward impetus produced by eighth-note pick-ups to beat one. The piano plays a dominant role in the first half of the Coda, with 91 another quasi-cadenza passage (2T) of running eight-notes as has been heard before in this instrument (mm. 289-295). The winds repeat 3N beginning in mm. 295 (in the clarinet) and continue with the dominant role until the end of the piece.

The new material (4N) in rapid quarter-note block chords (mm. 308-317) gives a sense of urgency as the harmonic motion changes quickly.

Figure 7.36: third movement, mm. 308-311 (theme 4N)

A Bb pedal in the piano (mm. 313-317), prepares the eventual return to Eb as the harmony above it moves in a scalar motion. The brief return of 3N includes a stringendo where the tempo is pushed to un poco presto for the last return of 4N. Once again, the harmonic motion is fast and the Bb pedal, in the piano, is heard in mm. 327-333. From measure 334 to the end a horn bravura line signals the end of the work, and is accompanied by chords oscillating between Bb and Eb in the three other instruments.

92 CHAPTER 8

THE PREMIERE AND ENSUING LITERARY BATTLE

The premiere of the Quartet for Piano and Winds occurred on March 3, 1821 in

Stockholm. Instrumentalists included Madame Ewa Lithander, piano, Bernard Henrik

Crusell (1775-1838), clarinet, Johann Michael Frederick Hirschfeld (1776-1841), horn, and Frans Preumayr (1782-1853), bassoon. This was Berwald’s second premieres concert1; the previous one took place in 1818 and included the first version of the Grand

Septet. The review of Berwald’s first premieres concert2 was indicative of the criticism he encountered often in his career, especially in Sweden. The anonymous critic of this concert referred to Berwald as “…a young man of some promise,”3 and then proceeded to criticize Berwald’s compositional technique:

The Fantasia, like the septet, modulates often and sometimes in a manner that leaves one wishing that this young and undoubtedly talented composer would acquaint

1 The term “premieres concert” refers to a concert devoted to the premieres of new works by a composer. The March 3, 1821 concert also included the premiere of Berwald’s Symphony in A Major (only the first movement is extant) and his Violin Concerto in c# minor.

2 Berwald’s first premieres concert was held on January 11, 1818; included on the program were the Grand Septet, Fri Fantasi för Orkestra, and a concerto for two violins and orchestra (this work has not survived).

3 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959), 30. 93 himself more thoroughly with the rules of harmony and composition; these would conduct him towards his goal with greater sureness and rapidity.4

The reference to “rules of harmony and composition” and Berwald’s implied lack of comprehension of them was a running theme in reviews of Berwald’s works. The critics reacted negatively to Berwald’s music apparently because they were unable to put his works in the context of the music with which they were familiar. The early nineteenth century was, after all, the time when musical traditions were in transition from the well- balanced music of the Classical Period to the emerging Romantic Period, one in which artists, looking for their own voice, were expanding the musical landscape. The newspaper reviews Berwald received show a clash of musical values: the “Classical” critic meets the “Romantic” artist.

The role of the music critic changed as newspaper publishing evolved. The first

Swedish newspaper was printed in 1685. Most of the journalists in the seventeenth and eighteenth centuries were freelance writers and by mid-century specialist reporters emerged with essayists writing opinions and literary pieces at the top of the hierarchy of contributors.5 Contents often included translated stories from foreign newspapers. The late seventeenth century brought improvements to the Gutenberg Press and newspaper production increased from 50 pages per hour to roughly 200.6 These production improvements made running a newspaper much easier and by the early nineteenth

4 Ibid.

5 Svennik Høyer, “Newspapers without Journalists,” Journalism Studies, Volume 4, No.4, 2003, pp. 456. Access on-line (18 October 2004) .

6 Ibid. 94 century Stockholm had a number of “dailies.” These were produced by established printers, as they were the only ones who could afford to do so.7 The publisher served as the editor and there was often a social network surrounding the print houses; knowing the publisher was advantageous for those who wanted their work printed.8

Music criticism in early nineteenth-century Europe saw a shift from the great theorists9 of the seventeenth and eighteenth centuries to critics who could appeal to the ever-expanding readership of the papers: the middle class.10 Likewise, this occurred in

Stockholm, as the number of newspapers and their readership increased. Max Graf describes the average European critic as a middle class philistine11 who could appeal to the masses by being less intellectual. As the middle class became the consumers, the language of criticism became less authoritative and so did the opinions; a critic was

“anyone who could chatter about music, using everyday language.”12

The critics in the early nineteenth century were not paid and often published their articles anonymously. The qualifications needed to be a critic were also uncertain as is demonstrated by this letter to the editor of the Quarterly Musical Magazine and Review

(London), written in 1824. The anonymous writer is posing the question of the

7 Ibid.

8 Max Graf, Composer and Critic: Two Hundred Years of Musical Criticism (New York: W.W. Norton & Company, Inc., 1946), 117.

9 Max Graf refers to Mattheson, Scheibe, and Marburg.

10 Ibid, 67.

11 Ibid, 116.

12 Ibid, 157. 95 qualifications of music critics.13 He recalls encountering six different critics: a clergyman, a philosopher, a merchant, an amateur composer, an amateur flutist and a

“causidico-musico-critico-amateur,” and eloquently describes a concert they had all heard:

A short time afterwards, I was present in the same circle, when a new work was produced by a man of unquestionable genius, and which appeared to me to possess an eminent degree that “lucidus ordo14” which characterizes the works of truly great men. There was a grandeur of conception, masterly art, a perfect knowledge of all the instruments, refined taste, bold and free imagination, wrought with profound judgment into the noblest effects – at least so it appeared to me; for during the performance I felt that kind of internal exultation by which the mind is elevated at the acting or recital of heroic deeds; but I saw nothing of this in the countenances of the critics who surrounded me…

He goes on to question the qualifications, or lack thereof, of each of these critics; none of the critics had concurred with the author’s opinions on the musical performances they all heard. The author ends the letter to the editor facetiously with the following:

The confidence with which these gentlemen spoke and acted makes me fully persuaded they must be the truly great and learned critics of the age, by whose verdict all music merit must be decided. With this verdict, you will easily imagine, Mr. Editor, how much my poor judgment must be perplexed, and much I stand in need of your magisterial counsel to direct it to its proper course. 15

Although this is only one instance, and one that occurred in London, it does shed some light on the artistic atmosphere in Europe in the early nineteenth century. Perhaps it is not unreasonable to think this sort of activity also occurred in Stockholm.

13 Harry Haskell, ed., The Attentive Listener: Three Centuries of Music Criticism (Princeton, N.J.: Princeton University Press, 1996), 78-83.

14 “clear order” or “lucid order”

15 Haskell, 83. 96 Early nineteenth-century Stockholm has been described as being steeped in dilettantism;16 one wonders if the critics succumbed to this as well. Svennik Høyer has chronicled the rise of newspapers in Scandinavia in his article “Newspapers without

Journalists.” In this article he describes a newspaper editor in early nineteenth-century

Oslo who invited all men with an academic background to daily discussion meetings.17

These discussions were on a variety of topics relevant in Oslo at the time, and they were given the opportunity to voice their opinions to the editor. One can conjecture that these men felt empowered to speak up on topics for which they may not have had informed opinions. Perhaps meetings such as these promoted dilettantism. Although the previous example is taken from Oslo, one can likely assume that similar practices occurred in

Stockholm--perhaps not in daily discussion meetings--but in cases where newspaper editors provided opportunities for critics to voice opinions for which they may not have had the best qualifications.

When Berwald’s Quartet for Piano and Winds was premiered in 1821 he would have an encounter with another negative review; this time a much harsher one. He did not take the criticism lightly. What ensued was a four-part literary argument that highlighted the dichotomies between the “classical” and “romantic” perspectives on art in the early nineteenth century. The four articles18 in the exchange reflect how artistic

16 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Sweden: Art music: 1809-90” by Axel Helmer.

17 Høyer, 456-457.

18 The four articles can be found in the Appendices of this document. They were translated from the original Swedish by Dag Ryen. The originals were taken from: Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979). 97 arguments fit this time of change from the classical to the romantic periods. The critic refers to music of the past and its accepted compositional traits while Berwald is looking to the future and developing his own voice.

The premiere of the Quartet in Eb for Piano and Winds took place on March 3,

1821, and the initial review was published in Argus on March 24, 1821. The review begins with the following statement:

Franz Berwald, who with his earlier appearances, first as violinist and later as composer, raised great expectations among the public that through diligence and continued studies he would become an excellent artist, seems inclined to counter this hope by getting lost on detours.19

In the review of Berwald’s 1818 concert the reviewer had encouraged Berwald to get better acquainted with established “rules of harmony and composition;” it would appear the present critic did not think Berwald took this advice. This critic is making the assertion that, if Berwald were to pay more attention to established musical practices, only then could he have hope of “becom[ing] an excellent artist.” The critic goes on to specific points he finds fault with, including Berwald’s melodic style:

It appears that Mr. Berwald, in chasing after originality and striving to impress with grand effects, has diligently exiled everything melodic from his compositions. How else can one explain these endless modulations from one key to another, which left such a loathsome impression and provided listeners’ attention with no respite? As soon as one melody announced itself, it was quickly cut off, and one’s ears were constantly assailed by the most annoying dissonance, which in the end became almost entirely unbearable.20

Later in the review the critic sums up this view with:

19 Appendix B

20 Ibid. 98 These most recent pieces seemed nothing more than constant summersaults from one isolated thought to another, without concern for what comes before or after, which is why the whole sounded so chaotic.21

One can understand the criticism, given what was described in the last chapter concerning

Berwald’s fragmented melodic style. The critic may have been perplexed by the beginning of the quartet, where the beautiful bassoon melody is interrupted by a seemingly unrelated thought. It comes too soon to be the secondary theme, and it is in the wrong key. The critic’s “summersaults” may refer to the closing section of the first movement exposition, where we hear six separate themes. Harmonically, as discussed in the last chapter, the quartet stays within the conventions of the sonata form typical for the day, although the critic was most likely reacting to the constant harmonic changes when new themes are introduced.

The critic sees a lack of fresh ideas in Berwald’s music, taken from a view that

Berwald does not develop his melodies well. The critic writes:

…this ultimately exposes a lack of ideas and innovation. With these compositions, Mr. Berwald appears to show contempt for every acknowledged and well-reasoned rule. It would have been far more praiseworthy had he, instead of chasing after originality, sought to demonstrate his talent through proper contra-punctual phrasing, beautiful instrumentation and new melodic ideas. There remains a broad field for him to explore should he truly want to display whatever talent he may have. Attention to order and context would be the main recommendation we would have for Mr. Berwald in the future, that is, a concern for truly integrated thematic material.22

The lack of development of melodic material is the biggest fault the critic finds in

Berwald’s music. He compares the experience of listening to the concert to being in a variety of locations: “one seems to be in a church, the next in a dance hall, then in

21 Ibid.

22 Ibid. 99 Arcadia among sheep and shepherds.”23 Again, the critic is urging Berwald to adhere to established rules of composition; this would appear to be the only method toward success in this critic’s eyes.

The critic also finds fault with Berwald’s treatment of the wind instruments:

Most incomprehensible of all was the quartet, in which the wind instruments are utilized completely contrary to their nature; instead of singing, they are forced to do odd runs, and so on.24

As noted earlier, Berwald tends to divide the instruments into two groups: the piano versus the three wind instruments who are often treated as one instrument, with shared melodic material. Perhaps the critic was expecting to hear a quartet more in line with a

Classical string quartet, where there is typically one main voice. One of the “odd runs” the critic refers to could be the 4K theme from Movement One where the clarinet has a rapid sixteenth-note passage; this passage incidentally is not in the least bit awkward to play.

The reviewer states at the beginning of the review that “This opinion was shared by experts, as well as others with [only] some musical education….”25 In light of the

Grove dictionary’s description of Stockholm being enthralled in dilettantism and Graf’s description of these critics being “middle class philistines,” one wonders who these experts were and why the critic would need to state this in the review. The language in the critique is not technical; it was most likely written for a wide audience. Moreover, the critic assumes that everyone at the concert was in agreement with him and suggests

23 Ibid.

24 Ibid.

25 Ibid. 100 that Berwald do a complete overhaul of his compositional style, a statement that comes across as quite bold, if not disrespectful:

It would be fortunate – although perhaps not for Franz Berwald’s self-satisfied state of mind – if the common disdain of the audience following this concert were sufficient to bring the composer never more to dabble in infatuations of this kind, even more fortunate if he could turn his art in an entirely different direction. One might then nurture some small hope that much of artistic value will come from him. He is still young, and this, his first experiment on a grand scale, needn’t be defining for his happiness or his reputation.26

Ending on this note, the critic makes a final plea for Berwald to stop his “infatuations” and rework his art so as to better assimilate into the established music practices.

After reading this review in Argus Berwald published a retort in another journal,

Almänna Journalen. He seems to have been perplexed by the review--but not completely surprised-- as he opens his article with:

I was dumbfounded to read the review Argus has offered the public of my recent compositions…. [I] anticipated that these works, composed in my own unique style, would leave a less than favorable impression.27

Although he states that he was not surprised that the pieces were not received enthusiastically, he probably expected a better review than what he actually received. He goes on to defend himself with this statement:

The reviewer should keep in mind that all experiments based on an unusual system, with innovative instrumentation and innovative use of instruments, will always in the beginning run into widespread difficulty.28

Berwald here puts himself in league with other composers who had difficulty with their initial premieres, but then went on to greatness afterwards. His confidence in his own

26 Ibid.

27 Appendix C

28 Ibid. 101 abilities is strong, and his tone with the critic in this article is often brusque and condescending. He writes of the critic:

He should at least not try to impress us with inaccurate representations, and certainly not presume to detail the special attributes of an art form that he clearly does not understand. For example, the reviewer has seen fit to state that my musical themes are not correctly executed. What an egregious error! If the reviewer would only show us the courtesy of gathering the necessary information from the sheet music – if he has the ability to read sheet music, which I seriously doubt – then I would hope I could easily convince him otherwise.29

Berwald obviously did not think much of this reviewer and, even though the critique was printed anonymously, one wonders if Berwald did in fact know the critic’s identity.

Berwald ends the retort with another statement alluding to the critic’s lack of expertise:

I acknowledge that I may ramble somewhat, but I hope that I can easily convince those who truly are able to evaluate great works that these kinds of errors are an almost unavoidable result of the problems one faces with any systemic change!30

Following Berwald’s response, the anonymous critic published a retort of his own in which he took offense at Berwald’s tone. He writes:

It is not without some bewilderment that I have read Herr Franz Berwald’s reply…. [I] find it hard to believe that the aforementioned review would have engendered such a rigid tone.31

The article goes on to reiterate the reviewer’s concern with the lack of melody, harmony, and general musical understanding in Berwald’s works. He also questions whether

Berwald’s “own unique style” is worthy of praise:

29 Ibid.

30 Ibid.

31 Appendix D 102 However, what must and indeed does engender bewilderment is the explanation that his compositions are rooted in a new system that he himself has invented…. The question is whether this music is grounded in any system at all.32

The reviewer reiterates what he seems to think is his purpose for writing the negative review of Berwald’s music: to point out to Berwald that, unless he returns to ideals of the established rules of composition, he will not be able to write “beautiful” music. He states:

Nor can they fathom his allegation that the reviewer has no knowledge of music or composition, nor Mr. Berwald’s suspicion of the well meaning purpose of the review, namely to make the young artist aware of his departure from certain rules (which, in an art form as mathematical as music, results in far greater consequences than it would in, say, poetry or painting) not to mention his departure from beauty in general.33

The critic sees beauty in music’s having rules and order, and when confronted with works that push beyond these boundaries he naturally responds with skepticism. He again feels compelled to point to the rules of composition and Berwald’s departure from them. The critic also goes on to show his general lack of acceptance of anything new with the statement: “It is true that experimental systems are rarely met with great confidence, and even more rarely do they deserve it.”34

Following this article from the critic, Berwald felt compelled to publish another retort in Almänna Journalen. In this article, as with the first, he continues in a condescending manner towards the critic:

32 Ibid.

33 Ibid.

34 Ibid.

103 If one had reason to believe from earlier comments made by the reviewer that he is passing judgment on an art form for which he has little understanding, then one can be fully convinced of it by his later reflections.35

In his initial retort Berwald had alluded to a “systemic change”36 in his concluding sentence. The critic seems to have taken this to mean that Berwald’s “compositions are rooted in a new system that he himself has invented;”37 as if this were a totally new system not based on any established practice. Berwald challenges this notion:

Does he really believe that the difference between a system change, based simply on alterations to certain finite parts (modulations and the relationship between resolution and harmony) and a total paradigm shift is so trivial that the former might as well be called the latter?38

To Berwald, his innovations are a result of adapting the musical practices of the past to create his own style. Berwald used classical forms and overall classical harmony, but then expanded them through his use of melodic invention, orchestration, and modulation.

In the second half of his article Berwald questions the role of the critic and the level of credence an artist should give to those critical of his or her work.

Moreover, when the reviewer announces his intention that, upon the receipt of the sheet music to the abovementioned works, he would promise a comprehensive assessment of the music (which in his estimation violates all established rules) then he begs the question whether art or artists should submit to these frightening standards, where every innovation is condemned and where all is subordinate to what has come before.39

35 Appendix E

36 Ibid.

37 Appendix D

38 Appendix E

39 Ibid. 104 Berwald asks if someone whose ideas of music are so different from a composer’s is really qualified to make astute judgments on a specific work. He is questioning the ability to set artistic standards for what is correct, what should be accepted, and what happens when ideas change. Berwald has an idealized view of music and describes it as such:

Music is an art form whose boundaries exist only in time. – To appoint oneself as exclusive judge of it is an absolute absurdity.40

Undoubtedly, Franz Berwald did not make a friend of this critic; at twenty-five years of age Berwald might have gained more by showing a bit of restraint. Biographers of Berwald often describe him as having a difficult personality; his tone in these articles is quite candid, which could be construed as egotistical and condescending.41 In a public forum these statements were most likely received negatively and may have affected his stature in Stockholm and prevented him from attaining respect and positions in the musical community.

As the preceding exchange suggests, Berwald was not afraid to stand up for himself. Fortunately, his music has stood the test of time. He undoubtedly paid a price for his brashness both during his lifetime and in the history books that followed, but there will always be those who see beyond the rhetoric and find respect for a composer who endured the criticism and remained true to his own musical voice.

40 Ibid.

41 Quotations from these articles are often used in biographies of Berwald and most likely have contributed to descriptions of Berwald as having “a difficult personality”. 105 CHAPTER 9

CONCLUDING THOUGHTS

Franz Berwald was an important figure in Swedish music history; the need for more research on him in the English language has given impetus to this document. As a composer Berwald has provided three wind works from an under-represented period in the clarinet literature and from a country that is itself under-represented in the repertoire.

Franz Berwald received mixed receptions in his lifetime: encouraging reviews from the main continent, namely Vienna and Berlin, and negative reviews from his own country, Sweden. He was labeled as having a difficult personality during his lifetime and, whether true or not, this perception has followed him into the history books. The research for this document has revealed another side of Berwald: a man dedicated to his work and frustrated with a Swedish musical society that did not accept him. Devoted to his family, Berwald used his diverse talents to provide for them financially, often through non-music related endeavors. The inability to spend his time exclusively on music must have been difficult for him, although he does not seem to have given in to self-pity.1 In the following quotation from an 1839 letter to his friend Ernst Leonard Schegel, Berwald relates his perception of achieving happiness in one’s life:

1 Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959), 81. 106 If you still at some point in your life want to achieve happiness, sell your wife and children, your house, horses, carriages, dogs and cats. Resign from the orchestra, make fireworks out of your papers and manuscripts, use your instruments to beat the life out of a good-for-nothing, (for instance, Elise or [a] woman in her perfection), pack your wine tuns on a flatbed wagon, grab the reins yourself and drive out to Lifland, where the true sun rises on all industrious endeavors. Through a people- loving Urkas, Listen! Listen! All whimsy and capricious associations are banned – What a paradise for a wine merchant! Shadows of our forefathers’ drinking buddies rise from their graves; children inundated by the flood to wash away sins are once again given voice from the depths of the waters; poets and musicians once drowned in spirits hurry to the promised land where spirited freedom is encouraged so that the spiritual shall not wield its cheeky influence, and there they embark on a new high, one of great significance, such that not a shadow of a shadow of spirituality shall fall upon education’s road or become testament to the poet’s progeny. Amen!2

Berwald implies one must go beyond what one has been taught and tap into one’s

“spirited freedom” to discover happiness. As one of Sweden’s most revered composers, who did not receive the support and respect he deserved, it is little wonder he turned to a more philosophical view of his situation.

Much of the research on Franz Berwald and the Berwald family is in either

Swedish or German, leaving a void for English speakers. An English translation of

Berwald’s collected letters would be good place to start to remedy this. As seen from the four articles--as well as the letter quoted above--translated for this document, Franz

Berwald’s unique and outspoken personality opens a window to the thoughts of those in the nineteenth century who were ready for change, whether it be musically, politically, and/or socially.

Members of the Berwald family were involved in music during the late eighteenth and nineteenth centuries. Many of the children of Franz Berwald’s grandfather Johan

2 The letter can be found in the Appendix A of this document. It was translated from the original Swedish text by Dag Ryen. The original was taken from: Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979). 107 Friedrich (1711-1789) established themselves in orchestras in Germany, Copenhagen,

Stockholm and St. Petersburg. They included composers, violinists, flutists, bassoonists, and vocalists. Further study on this musical family could yield some interesting results.

My own research has found a William Berwald (1864-1948), conductor of the Syracuse

Symphony and Professor of Music Theory at Syracuse University, whose birthplace was

Schwerin-Mecklenburg where several members of the Berwald family played in the orchestra. A connection here seems plausible.

Franz Berwald stood true to his musical vision and wrote in spite of the lack of musical support he received in Sweden. The analysis of his Quartet in Eb for Piano and

Winds shows Berwald’s music has a vitality that flows from beginning to the end. His music can be described as operatic with widely varied themes juxtaposed to provide a turbulent and then serene atmosphere; a good example of this is the second movement.

Although he lacked formal education, Berwald was able to adapt the musical practices of the Classical Period and create his own unique style. His treatment of sonata-allegro form is fairly conventional according to the standards of eighteenth-century compositional style. It is his use of varied thematic material, criticized during his lifetime, which brings Berwald’s own unique voice to the conventions of the past.

Energizing his compositions with a steady forward impetus, this thematic treatment makes Berwald’s compositions both charming and remarkable.

Berwald wrote during a period in Scandinavian musical life that has not been extensively explored in the literature. One of the revelations of this study has been that

Stockholm in the nineteenth century was a musically active place for performers and composers. Prominent players such as Preumayr, Hirschfeld and Crusell seem to have 108 inspired numerous works whose original manuscripts may be in the Swedish Archives.

The works by Berwald offer a good place to start for individual players and ensembles interested in this time period. The combination of the clarinet, horn, and bassoon works well together as an ensemble unto itself or combined with piano and/or strings. Carl

Nisser’s book Svensk Instrumentalkomposition 1770 – 1830, Nominalkatalog is an excellent place to start for those wanting to explore other wind works from this period in

Sweden. There is a fair amount of research on Bernard Henrik Crusell in the clarinet literature. Further study of the other two leading soloists, Frans Preumayr and Johann

Michael Hirschfeld, is needed, as well as more study of the influence the three players had on wind chamber music at the time.

Furthermore, compositions for the clarinet, most likely influenced by Bernhard

Henrik Crusell, from the early nineteenth-century Sweden have not been fully explored.

Nisser’s book lists over twenty works by composers other than Berwald and Crusell who wrote for the clarinet. These composers include Johann Franz Brendler (1773-1807),

Johan Martin De Ron (1789-1817), Edouard Dupuy (1770-1822), Gustaf Fredici (1770?-

1801), Johan Frerik Grenser, (d.1795?), Carl Friedrich Muller (1752-1827), Ludvig

Anton Edmond Passy (1789-1870), Carl A. Schultze (1759?-1828), and Abbé Georg

Joseph Vogler (1749-1814). These works are unknown in the clarinet repertoire; some of them may be located in the Swedish Academy archives awaiting further research.

Lastly, Franz Berwald stands as a testament in music history that if one stays true to one’s vision it may just survive the test of time. Regardless of his treatment during his lifetime, we have his works today and, through his correspondence, a view into nineteenth-century Stockholm. One of the things this study has found is that Franz 109 Berwald was a man staunchly committed to his music and one who would not allow anyone, whether critics or fellow musicians, to influence how he used his unique talent.

Of Franz Berwald, Carl Nielsen wrote in 1911:

Neither the media, money nor power can damage or benefit good Art. It will always find some simple, decent artists who forge ahead and produce and stand up for their works. In Sweden you have the finest example of this: Berwald3

3 S. Sadie and J. Tyrrell, eds. The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001), s.v. “Franz Berwald,” by Daniel M. Grimley. 110 APPENDIX A

LETTER FROM FRANZ BERWALD TO

ERENST LEONARD SCHLEGEL1

Dated August 21, 1838

My dear, honorable friend!

Thank you very much for your letter. I was especially delighted by the news that you now have a little Mozart. Trust me, even at a very early age such special aptitudes are a good sign for the future. And why shouldn’t the Fates grant you the experience of fathering that kind of wonder child? You are a kind person, exceptionally honorable and brave; therefore it is only reasonable and natural that this should be the case. However, lest the end goal be lost, I would advise you to follow the development of the little virtuoso’s talent closely. It is always proper to focus on the intellectual education as soon as this can be done without harm to physical development. Nevertheless, at the outset the impact should merely be on the external organs, such that the education of the young child occurs from the outside and inward, not from inside and outward. People in general make the mistake of following the latter course, and thus do many brilliant talents sink

1 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 186-187. Reprinted by permission on pp. 115-116. 111 with their shells to the bottom. The cause of this error can to a certain degree be attributed to our religious practices. From earliest childhood on, we have dogmas and images that we don’t understand, and even worse that are outside our pragmatic framework, forced upon us. Even though we learn to recognize this failing as we grow older, it is nonetheless quite common for us to fall into the same trap with the raising of our own children. I therefore beseech you, no matter what else you might undertake with your child, do it in a practical manner, with play and games and without the influence of

“speculative matters,” because that is where the poison lies.

I read in the newspapers that Crusell has died. Had he lived in another time and under different circumstances, he might have reached further than the bottom stair to the muse of song’s temple. Courtesy, in its saccharine guise and adorned like a doll in the market, had already in his youth lured him into social relationships that made any serious pursuit of art impossible. The graceful wife had to be lulled to sleep, the young lady needed some tender notes for her melancholy, the ensign in the guard needed a trill by which to perform his pirouette, and finally the man of the house himself demanded a score of variations – and the clarinet was to imbue all these wonderworks with its own compositions. And wherein lay the reward for so many servile courtesies? Why, in our flattery and praise. There is no harm greater than the harm done by having so much talent so poorly employed. With somewhat less talent and somewhat greater focus,

Crusell would surely have achieved a higher artistic level. However, we should primarily regard his escapades, and those of several other geniuses, as a shining legacy of the gaudy French cloth that Gustav III, may he rest in peace, left in Sweden. However, 112 despite my great antipathy toward that age and its consequences until the year 1810-1812,

I readily admit that it has become less intolerable that the whole sect of a later era’s

“phosphorists” -- and, one could never have known in 1669, upon the discovery of phosphor, that 140 years later a group of untrimmed Uppsala lights would have the temerity to steal the name for its deformed products. Once again, the name Crusell, and peace be with his ashes.

It intrigues me immensely to hear that you are not pleased with Ole Bull’s playing. This testifies as nothing else can to your pure taste for true art. Bull is surely an original, but not one of such a nature that can move the innermost soul. For my part, I could never label him an artist, but rather see him as an unusual fashioner of artful things. Even though music is the freest of art forms, it nonetheless has its limits. Since it cannot build on images and shapes from the visual world, it must therefore be even more diligent in casting light on the many nuances of feelings. Unfortunately, this is not the case with

Bull. There is constantly a significant degree of pleonasma at work in his performances, but they lack a nobler quality. In the face of these well-deserved criticisms, Bull is nonetheless a thunderbolt of a man, the kind we don’t run across every day.

If you still at some point in your life want to achieve happiness, sell your wife and children, your house, horses, carriages, dogs and cats. Resign from the orchestra, make fireworks out of your papers and manuscripts, use your instruments to beat the life out of a good-for-nothing, (for instance, Elise or woman in her perfection), pack your wine tuns on a flatbed wagon, grab the reins yourself and drive out to Lifland, where the true sun 113 rises on all industrious endeavors. Through a people-loving Urkas, Listen! Listen! All whimsy and capricious associations are banned – What a paradise for a wine merchant!

Shadows of our forefathers’ drinking buddies rise from their graves; children inundated by the flood to wash away sins are once again given voice from the depths of the waters; poets and musicians once drowned in spirits hurry to the promised land where spirited freedom is encouraged so that the spiritual shall not wield its cheeky influence, and there they embark on a new high, one of great significance, such that not a shadow of a shadow of spirituality shall fall upon education’s road or become testament to the poet’s progeny.

Amen!

The very honorable, and your faithful friend, Dintler arrived in Berlin yesterday. I have suggested a three-day trip to Dresden, but he has yet to make up his mind. Our reunion has rekindled many fond memories. However, time marches on and we must take the present as we find it.

I ask you fervently to convey my very best greetings to your kind and lovely wife. Tell her that I would be particularly appreciative if she some time would remember her husband’s faithful friend – please don’t forget to tell her this.

With this last word and until my final breath,

Yours faithfully,

Franz Berwald

As translated by Dag Ryen, June 19, 2003. 114 Original Swedish Text

115 116 APPENDIX B

REVIEW IN ARGUS1

Dated March 3, 1821

Recension (Review)

Franz Berwald, who with his early appearances, first as violinist and later as composer, raised great expectations among the public that through diligence and continued studies he would become an excellent artist, seems inclined to counter this hope by getting lost on detours. This opinion was shared by experts, as well as others with some musical education, who were introduced to his later works at a recent concert. On this occasion,

Mr. Berwald presented three unusual compositions, a concerto, symphony and quartet for piano and wind instruments. It appears that Mr. Berwald, in chasing after originality and striving to impress with grand effects, has diligently exiled everything melodic from his compositions. How else can one explain these endless modulations from one key to another, which left such a loathsome impression and provided listeners’ attention with no respite? As soon as one melody announced itself, it was quickly cut off, and one’s ears were constantly assailed by the most annoying dissonance, which in the end became

1 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 63-64. Reprinted by permission on pp. 120-121. 117 almost entirely unbearable. Indeed, a composer should always remember that harmony must be subordinate to melody; the former exists only because of the latter. And he should bear in mind that there’s no great art in ceaseless modulations. To the contrary, this ultimately exposes a lack of ideas and innovation. With these compositions, Mr.

Berwald appears to show contempt for every acknowledged and well-reasoned rule. It would have been far more praiseworthy had he, instead of chasing after originality, sought to demonstrate his talent through proper contra-punctual phrasing, beautiful instrumentation and new melodic ideas. There remains a broad field for him to explore should he truly want to display whatever talent he may have. Attention to order and context would be the main recommendation we would have for Mr. Berwald in the future, that is, a concern for truly integrated thematic material. Indeed, the nature of these most recent pieces seemed nothing more than constant summersaults from one isolated thought to another, without concern for what comes before or after, which is why the whole sounded so chaotic. Mr. Berwald will never convey any profound insight or exceptional genius to his audiences through mystic bass accompaniments and unisons.

At their high points, these touches might briefly have bewildered the fearless, but in the end even those listeners found the evening to be less than satisfying.

The violin concert, well played by Mr. Berwald, if ungrateful and cumbersome in form, was not really written in concerto style and was almost devoid of song except in the adagio where the solo begins a kind of chorale, but to which Mr. Berwald has added an accompaniment of almost comic nature, so much so that it evoked general laughter among the audience. In the symphony, the noble, dignified style which this form 118 demands was nowhere in attendance. At one moment, one seems to be in a church, the next in a dance hall, then in Arcadia among sheep and shepherds. Most incomprehensible of all was the quartet, in which the wind instruments are utilized completely contrary to their nature; instead of singing, they are forced to do odd runs, and so on. But enough of that…

It would be fortunate – although perhaps not for Franz Berwald’s self-satisfied state of mind – if the common disdain of the audience following this concert were sufficient to bring the composer never more to dabble in infatuations of this kind, even more fortunate if he could turn his art in an entirely different direction. One might then nurture some small hope that much of artistic value will come from him. He is still young, and this, his first experiment on a grand scale, needn’t be defining for his happiness or his reputation.

As translated by Dag Ryen

119 Original Swedish Text

120 121 APPENDIX C

BERWALD’S REPLY1

Dated March 31, 1821

Franz Berwald’s response to Argus, published in Almänna Journalen

In answer to the review in Argus, No. 24, Mosaic:

I was dumbfounded to read the review Argus has offered the public of my most recent compositions. You can be sure that I had anticipated that these works, composed in my own unique style, would leave a less than favorable impression. However, the reviewer should keep in mind that all experiments based on an unusual system, with innovative instrumentation and innovative use of instruments, will always in the beginning run into widespread difficulty. Granted, it might have proven less problematic to wait before submitting these new musical experiments to the public’s judgment. But, from whom else can one expect more oversight, more fairness? And, who knows if perhaps of all those who graced this concert with their presence, the reviewer was the least forgiving?

It would seem so. He should at least not try to impress us with inaccurate representations, and certainly not presume to detail the special attributes of an art form

1 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 65-66. Reprinted by permission on p. 124. 122 that he clearly does not understand. For example, the reviewer has seen fit to state that my musical themes are not correctly executed. What an egregious error! If the reviewer would only show us the courtesy of gathering the necessary information from the sheet music – if he has the ability to read sheet music, which I seriously doubt – then I would hope I could easily convince him otherwise. The same applies to the aggrieved unisons – to the extent that we have the same understanding of that concept and what it entails. The reviewer must have been mightily distracted since he alone – and no one else – thought that the adagio from the violin concert began like a chorale. Such errors might well be forgiven from this kind of reviewer, but they should nonetheless be avoided when the review is to be published. He should certainly not believe that I intend to correct any mistakes, when the mistakes are all his. By the same token, he should not presume that I am blind enough to believe that these works, however peculiar they might be, are totally without musical value, as the reviewer seems to believe. I acknowledge that I may ramble somewhat, but I hope that I can easily convince those who truly are able to evaluate great works, that these kinds of errors are an almost unavoidable result of the problems one faces with any systemic change!

Franz Berwald

Translator’s note: The original Swedish leaves little doubt that Berwald knows exactly who the anonymous reviewer was. There is a sharp, ad hominem tone to the composer’s self-defense.

As translated by Dag Ryen

123 Original Swedish Text

124 APPENDIX D

THE CRITIC REPLIES1

Dated April 7, 1821

Reply in Argus to Franz Berwald’s commentary in Allmänna Journalen

Mosaic. It is not without some bewilderment that I have read Herr Franz Berwald’s reply, published in Almanna Journalen, to my review, published in Argus no. 24, of his most recent concert. Those who have more than a passing acquaintance with Mr.

Berwald find it hard to believe that the aforementioned review would have engendered such a rigid tone. Nor can they fathom his allegation that the reviewer has no knowledge of music or composition, nor Mr. Berwald’s suspicion of the well meaning purpose of the review, namely to make the young artist aware of his departure from certain rules (which, in an art form as mathematical as music, results in far greater consequences than it would in, say, poetry or painting) not to mention his departure from beauty in general.

However, what must and indeed does engender bewilderment, is the explanation that his compositions are rooted in a new system that he himself has invented. That Herr

Berwald’s system is not Pergolesi’s, Haydn’s, Mozart’s, Beethoven’s or that of any other

1 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 67-68. Reprinted by permission on pp. 128-129. 125 older or newer renowned composer, there can be no doubt, as anyone who has heard the music emanating from this system can attest. The question is whether this music is grounded in any kind of system at all. Those who understand the meaning of the word have good reason to doubt it. It is more likely that Herr Berwald, in selecting a style and name, has sought to create a so-called New School, building on the ruins of older composers’ reputations. It’s a pity then, that Herr Berwald hasn’t informed the world of his intent many years earlier, and not now, when New Schools in general have begun to go out of style. The more we know of Herr Berwald, unfortunately, the fewer are those who would willingly surrender their musical education to the curriculum of his new school, inasmuch as his work to date offers no indication that he understands the systems of the old schools, a knowledge that would appear to be particularly important for those who seek to topple the old by creating something new. Perhaps Herr Berwald, mindless of the discomfort his music brings to the ear, can find some way to bring it into alignment with logic and reason, if only he would distance himself from the public and forego any opportunity for general evaluation. But Herr Berwald obviously does not believe his compositions constitute such a profanation, since he acknowledges his anticipation that what he has composed would be less than favorably received and since he calls the entire enterprise an experiment. It is true that experimental systems are rarely met with great confidence, and even more rarely do they deserve it.

Mosaic. One cannot accept Herr Berwald’s claim that, in one’s reflections about his compositions, inaccuracies were presented. Nor can one concede any error in the statements that: Herr Berwald’s themes are incorrectly carried through, his voices poorly 126 advanced, his modulations of little value, or that his adagio begins with a kind of chorale.

But to go into all the details here would be much too comprehensive and tiresome, partly because the sheet music to the compositions remains a part of the composer’s archive.

Should he find fitting to send copied manuscripts to Argus, which publishes these tidings, they would be returned in short order, complete with full and detailed proof of the errors, as well as a thorough explanation of the concept of unisons, just in case, as one has good reason to believe from Herr Berwald’s comments, he has misunderstood the remark the reviewer made regarding their use in Herr Berwald’s compositions.

But let us be mindful that it is very difficult to relate to details in music that is hardly memorable at all because for the most part it is totally without melody. The only one we remember is the theme from the rondo in the violin concerto, which consists of a single note, which is syncopated for a few beats. Undoubtedly, Herr Berwald considers even this to be beautiful! Be that as it may, if only Herr Berwald would publish his works, or as we have recommended, made them available for independent study, then we pledge to prove what we have asserted. Otherwise, perhaps he will allow us, without further public exchange of letters, to remain firm in our opinion, even in the face of his assertion that “I am [not] blind enough to believe that these works, however peculiar they might be, are totally without musical value.” With this declaration, the composer would seem to imply that the only worthy rival to his talent is his modesty.

As translated by Dag Ryen

127 Original Swedish Text

128 129 APPENDIX E

BERWALD’S LAST WORD1

Dated May 5, 1821

Franz Berwald’s reply in Almanna Journalen to Commentary in Argus

If one had reason to believe from earlier comments made by my reviewer, that he is passing judgment on an art form for which he has little understanding, then one can almost be fully convinced of it by his later reflections. His review, if one can call it that, lacks in every respect the context, the uniformity, that customarily marks the true art expert, so much so that one could almost call it frightful babble, intended as a brief distraction for a less experienced reader. What is even more puzzling is the false impression he gives, that according to my statements: “these errors can almost be seen as the natural consequences of the difficulties one encounters with every system change,” and therewith gives me credit for having “invented a new system,” to use the reviewer’s own words. – Does he really believe that the difference between a system change, based simply on alterations to certain finite parts (modulations and the relationship between resolution and harmony) and a total paradigm shift is so trivial that the former might as

1 Franz Berwald, Die Dokumente seines Lebens (Kassel: Bärenreiter-Verlag, 1979), 69-70. Reprinted by permission on pp. 133-134. 130 well be called the latter? – And shouldn’t the reviewer, who seeks to judge the work of others, have the power at least to get comfortable with its ideas, in order to achieve the necessary perspective -- where he can view the work from the same angle as the composer -- in order to provide an impartial assessment later?

Moreover, when the reviewer announces his intention that, upon receipt of the sheet music to the abovementioned works, he would promise a comprehensive assessment of the music (which in his estimation violates all established rules) then he begs the question whether art or artists should submit to these frightening standards, where every innovation is condemned and where all is subordinate to what has gone before? Music is an art form whose boundaries exist only in time. – To appoint oneself as exclusive judge of it is an absolute absurdity. The reviewer can rest assured that had Graun (court composer to Frederik II) or Hasse (head conductor in Dresden) reappeared in the musical world and reviewed the work of Beethoven, Cherubini or Mehul, it would have proven very little to their advantage. This is said without any implied parallel application to the reviewer and me. Consequently, inasmuch as the reviewer seems intent upon sustaining his stinging criticism of works about which we will never see eye to eye, there is no way the one shall ever be able to convince the other, and nothing is gained thereby. If the reviewer truly wishes to serve musical education by disseminating his own peculiar knowledge of art, then he must simply allow the public greater access to his superior brilliance, of which we previously and unfortunately had no idea, and which therefore should prove all the more astonishing. In this way he might have occasion to undertake

131 broader travels and thereby find himself in the vanguard of the future of all music, carrying an iron bar!

F. Berwald

As translated by Dag Ryen

132 Original Swedish Text

133 134 APPENDIX F

FORM OF MOVEMENT ONE

135 136 137 APPENDIX G

FORM OF MOVEMENT THREE

138 139 140 APPENDIX H

BERWALD FAMILY TREE1

1 Information for the family tree has been taken from the following sources: - Friedrich Blume, Die Musik in Geschichte und Gegenwart (London: Bärenreiter Kassal, 1973), s.v. “Berwald, Familie” by Axel Helmer and Anders Lönn. - Sten Broman, “Franz Berwalds stamträd,” Svensk Tidskrift För Musikforskyning, 50 (1968): 7-50. - Robert Layton, Franz Berwald (London: Anthony Blond Ltd., 1959).

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