Gunnar de Frumerie's 
                music proclaims another Swedish late 
                romantic. His music, when emphatic, 
                sounds like Nielsen. At other times 
                he approximates to late 1940s Alwyn 
                or early Lennox Berkeley as in the case 
                of Berkeley's Cello Concerto and the 
                extraordinarily powerful Nocturne 
                for orchestra. His music is always succinct 
                - not garrulous or meandering 
              
 
              
The Pastoral 
                Suite is a work of idyllic innocence, 
                nimble joie-de-vivre, lullaby simplicity, 
                and, when at rest, Fauré-like 
                in its sun-warmed cradling. You might 
                well know the piece in the version arranged 
                in 1941 for flute, harp and string orchestra. 
                The Piano Trio No. 1 is from 
                the year before and is rather unforgivingly 
                Bartókian in the first and final 
                movements relaxing for a lovely songlike 
                andante amabile. The concluding 
                allegro con spirito has been 
                influenced by the witchery of the finale 
                of Prokofiev's Violin Concerto No. 1. 
                The piece was revised (I suspect substantially) 
                in 1975. The Four Studies for 
                solo piano are all in allegro time 
                and include the muscular bull-in-a-china 
                shop Puck (No.1), a motor-hearted allegretto 
                affabile (not all that ingratiatingly 
                affable, I thought), a quick pulsed 
                Toccata-like allegro and a ruthless 
                allegro vigoroso. The final study 
                is from 1953; the others from 1943-44. 
                The Piano Quartet No. 1 is from 
                1941. The first movement includes, at 
                5.20, a dignified almost Iberian courtly 
                curve amid a Ravel-like chatter. The 
                second movement's hoarse and shadowed 
                romantic musing prepares the way for 
                the shivering threat of the intermezzo 
                (tr. 15) and later its business-like 
                determination. De Frumerie relaxes into 
                cheery, sometimes Beethovenian, energy 
                in the final allegro con brio. 
              
 
              
Unhesitatingly recommended 
                to the legion of admirers of Nielsen, 
                Alwyn and Rózsa - not that de 
                Frumerie is any epigone of any of these 
                people. He is his own man but his often 
                life-enhancing outdoor vision owes a 
                little to each of them. Buy with confidence 
                that this will leave you wanting more 
                de Frumerie. We must hope that the low 
                key Caprice and the higher exposure 
                Phono Suecia will exhaustively record 
                de Frumerie's music. More please ... 
                and soon. 
              
Rob Barnett  
              
 
              
see also
              
Gunnar 
                de FRUMERIE (1908 
                - 1987) Cello 
                Concerto