Franz Berwald's Sinfonie sérieuse was premiered on December 2, 1843, in Stockholm, conducted by Johan Fredrik Berwald, the composer's cousin. The performance was not what it should have been. In addition to not helping the composer's reputation, it became the only performance of any of his symphonies during his lifetime. Given that Berwald spent a number of years in Berlin and Vienna, the Sinfonie sérieuse is comparable in style and structure to those of his contemporaries Felix Mendelssohn and Robert Schumann.

The first movement Allegro con energia, is in the traditional sonata-allegro form. Without any introduction, the first theme group begins its passionate journey with a loud chord, and then quickly drops to piano. Berwald presents an abundance of motivic fragments, but as with Beethoven, his transitions seem to be just as significant as the primary themes. The more lyrical second theme calls to mind the earlier Romantic composer Carl Maria von Weber. A development section follows with bits of counterpoint utilizing transitional material from the first theme group. Prior to the "official" recapitulation, Berwald sneaks in a statement of the second theme that, this time, is much more bold in character. The "real" recapitulation unfolds in typical fashion, but unlike the serious opening in minor, the movement concludes with an exuberant flourish in major.

As with most slow movements, the Allegro maestoso is in a ternary form (ABA). When hearing the solemn lyricism of the A section, with its chromatic lines and sustained pedal points, it is difficult not to think of the future works of Johannes Brahms and Carl Nielsen. In contrast, the B section is bolder and more dramatic. This leads into a development of sorts, before returning to the nobility of the opening.

While not as facile and mercurial as many of Mendelssohn's scherzos, the third movement, Stretto, is, in essence, the typical scherzo movement: fast tempo, a meter of three, and the ABA form. Its themes drive it toward the more serene middle section. However, the second presentation of the A section dissipates rather than giving a sense of finality to the movement.

Thematic material from the second movement serves as an introduction to the first theme group of the final movement. Again, sonata-allegro form is the large-scale structural determinant. The surging fervor of the second theme in the strings is contrasted and answered in the woodwinds. The development section has some truly contrapuntal moments using material from the first theme group to prepare the way for the recapitulation. From out of the wilderness, a valiant solo trombone signals the end of the muscular, energetic work.

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