Marcel Tyberg: Symphony No. 3 - A Voice Not Silenced

Marcel Tyberg
Symphony No. 3
Piano Trio in F major
Buffalo Philharmonic Orchestra; JoAnn Falletta, conductor
Michael Ludwig, violin; Roman Mckinulov, cello; Ya-Fe Chuang, piano
Naxos

Marcel Tyberg finished his third symphony in 1943, shortly before his arrest by the Nazis and death at Auswitz. Fortunately, he entrusted all of his scores to a friend and so they survived the war.

The symphony is a marvelous post-romantic work, and reminds me very much of Bruckner’s 4th Symphony without in any way sounding derivative. Tyberg’s melodies are full-bodied and bursting with energy. The Scherzo is a particular delight, and the adagio is absolutely gorgeous.

It’s a bittersweet listening experience. The symphony stands on its own merits, but it makes one wonder what Tyberg might have accomplished had he lived.

Coupled with the Symphony is the piano trio from 1936. Like the symphony, it’s a lush, romantic work with plenty of opportunities for all the players to shine. In a video promoting this release, JoAnn Falletta stated she’s fallen in love with Tyberg’s music. And her performance shows it.

Highly recommended.

Tyberg: Symphony No. 2, Piano Sonata No. 2

Tyberg: Symphony No. 2; Piano Sonata No. 2
Buffalo Philharmonic Orchestra; JoAnn Falletta, conductor
Fabio Bidini, piano
Naxos

Austrian composer Marcel Tyberg's career (and life) was cut short by the Second World War. Despite being a devout Roman Catholic, he was arrested by the Nazis in 1943 because his great grandfather was Jewish. Fortunately, he entrusted his music to a friend before his death in 1944 en route to Auschwitz.

Tyberg didn't compose many works, but the quality of them makes one wonder how he would have fared in a less toxic atmosphere. His second symphony, finished in 1931 is a big, post-romantic composition and reminded me of Erich Korngold's symphonic works. Tyberg seems more influenced by Beethoven than Brahms, however, with simple motives building and transforming themselves in rigorously logical fashion. The overarching themes were expressive examples of post-romanticism -- not as memorable as Rachmaninov's but still quite moving.

JoAnne Falletta and the Buffalo Philharmonic are thoroughly invested in this work, and that dedication shows. Falletta lets the music stand on its own strengths. The performance presents a well-constructed symphony that should be immediately appealing to  most listeners.

Coupled with the symphony is Tyberg's second piano sonata from 1934. Tyberg was a pianist and organist, and his composition takes full advantage of the instrument. The work ranges over the keyboard, with plenty of Liszt-inspired gestures. If Nicolai Medtner wrote more tightly organized music, he might have composed something along these lines.

Pianist Fabio Bidini performs the sonata with relish, delivering the music with all its inherent drama and brio.