Wilhelm Peterson-berger Sonates Pour Violon Wallin Derwinger - Cpo999703 - Cpo - Classical

A la fin du 19ème et au début du 20ème siècle, la musique de chambre était un genre très populaire en Suède. Il est vrai qu’étant donné la rareté des concerts organisés pour orchestre, les compositeurs suédois n’avaient guère la possibilité de faire jouer leurs œuvres symphoniques. A l’instar d’Alfven et de Stenhammar, le musicien Peterson-Berger composa plusieurs ouvrages pour violon et piano. Sa sonate n°1, pièce de jeunesse, est ouvertement romantique et trahit l’influence de Grieg. Cette œuvre, bien construite et aux développements naturels, évoque la passion pour la nature. Dans la Suite Op. 15, Peterson-Berger a un style plus personnel et le folklore suédois est davantage sa source d’inspiration. Curieux, inventifs, décomplexés, les deux interprètes se livrent à cœur ouvert. Leur geste vif, toujours sur le qui-vive, use de contrastes francs et de nuances habiles. Comme dans tous les bons duos, on admire un dialogue bien dosé. Le propos est alerte, tour à tour sensuel et bondissant. Si vous souhaitez élargir votre répertoire pour violon et piano, ce disque est fait pour vous. (Patrick Guettman)

Wilhelm Peterson-Berger is known to many Swedes as the turn of the century’s leading musical authority. His symphonies released to date on cpo, however, present a compelling case on behalf of his music, which deserves full recognition beyond his native Sweden. Since it was not easy to have orchestral works performed toward the end of the nineteenth century, the genre of the violin sonata enjoyed extraordinary popularity around 1900 in Sweden. The fact that the young Peterson-Berger had not yet found his own style in his Sonata op. 1 is nothing unusual: the piece manifests elements from Grieg and influences from Sjögren, the leading Swedish poet of the time. Hardly any objections at all can be leveled against Peterson-Berger’s formal mastery. His developmental episodes are natural, and he has a fine sense of proportions. He was also able to strike a tone of folk character even before this became a part of him. In contrast, the music of the Suite op. 15 is a genuine Swedish piece and more folkloristic than the sonata. The composer had become more individual and more self-confident and had developed a deeper feeling for idyllic poetry. Surprises enriching every listening moment – interpreted by Wallin and Derwinger with verve and tonal beauty!