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UMS Concert Program, November 14-december 7, 1975: Konsertnytt --

UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image UMS Concert Program, November 14-december 7, 1975: Konsertnytt --  image
Day
14
Month
November
Year
1975
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KonstTtnytt
Special issue for the third I nitetl States concert tour
of the Stockholm I'hilhartnonic Orchestra
under the management of
1'olumbia Artists llanafeincnt. Inc.. H'etv Yorle. IY.Y.
Stockholm Philharmonic Orchestra
United States tour
November 14--December 7,1975
Under the gracious patronage of H.M. King Carl XVI Gustaf
Konsertnytt (Concert News) is the official publication of the Stockholm Concert Association, published biweekly throughout the seasen. Editor: Hans Ekheden. Address: Konserthuset, Hbtorget 8, SUl 57 Stockholm, Sweden. Tel. 0822 18 00.
The Stockholm
Philharmonic
Orchestra
The Stockholm Philharmonic Orchestra was originally founded in 1902, when an invitation signed by Wilhelm Stenhammar and other Swedish composers was sent out, soliciting participation in an associa?tion with the task of making available a great sum of money for regular orchestral concerts in Stockholm. The primus motor in the work was Tor Aulin. Two years earlier he had founded what was then called the "Musikforeningens Orkester", i. e. "the Orchestra of the Musicians'
Association" and was himself the con?ductor. Early activities were on a mode?rate scale and the concerts took place in the old building of the Royal Music Academy. Already from the start, there was the emphasis on "good art for the broad masses", which was to be reiniterated in the founding regulation of the Concert Hall 24 years later. The musicians were paid per concert and there was no question of a permanent contract. Small grants were given by the City of Stock?holm but despite that, the financial situa?tion was very poor, and in 1909 the board found it impossible to continue the con?certs.
Later on, the Concert Association was unexpectedly able to take over a hall with 1800 seats. The former king, Gustav VI Adolf, then Crown Prince, became Ho?norary Chairman. Thanks to grants from
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the public and the City Council, it was possible to create a new orchestra of 60 members, and in January 1914. the first concert was given in a series which has since continued without interruption.
The orchestra's first prominent con?ductorinchief was Georg Schnecvoigt, who began in 1915 and remained until 1924. It became possible to engage pro?minent foreign guest artists; Richard Strauss, Max Fiedler and Arthur Nikisch were among the visiting conductors and the soloists included Adolf Busch. Serge Rachmaninoff and Arthur Schnabel.
After the first successful period new difficulties arose, but the completion of the Concert Hall in 1926, which provided the orchestra with a home of its own, solv?ed many problems. The orchestra was lucky enough to engage Vaclav Talich as conductorinchief, a post which he oc?cupied for ten years. He was followed by Fritz Busch, who, however, only stayed until 1940. After him came Carl Garaguly until 1953. Two years later Hans SchmidtIsserstedt took over for a decade. In 1966, Antal Dorati became the orchestra's con?ductorinchief, succeeded in 1974 by Gennady Roshdestvensky.
In 1971, the. Concert Hall was closed for rebuilding and the reinauguration took place in January 1973, when the Stock?holm Philharmonic, conducted by Antal Dorati, performed Mahler's 8th Sym?phony.
During the years, the orchestra has made several tours abroad. The orchestras first visit to the United States took place in 1968, and it was followed by another tour in 1970, both conducted by Antal
Dorati. The orchestra has also made con?cert tours to West and East Germany, France. Austria, CzechoSlovakia and Great Britain as well as the Scandinavian countries.
No presentation of the Stockholm Phil?harmonic, however brief, is complete without a mention of the several cham?ber music ensembles which have been formed by orchestra members. Many of these ensembles have toured extensively, at home and abroad, have recorded gra?mophone records, and give numerous concerts, under the sponsorship of the Concert Association as well as other spon?sors.
Among these ensembles arc the Stock?holm Philharmonic Wind Quintet (who will give a concert together with the pia?nist Viktoria Postnikova in Chicago on November 22nd), the Stockholm Phil?harmonic Brass Ensemble, the Stock?holm Chamber Soloists and the Crafoord Quartet.
Of the several LP records which the Stockholm Philharmonic has recorded -many featuring Swedish music -three have been released on the U.S. market; on these three records, the Orchestra is conducted by Antal Dorati.
Available on the U.S. market is a re?cording of Sibelius' Second Symphony (RCA VICS 1318), a record featuring mu?sic by Swedish composers KarlBirger Blomdahl. Hilding Rosenberg and Franz Berwald -the latter is represented by his Sinfonie Capricieuse (RCA VICS 1319), and a recording of Allan Pettersson's Seventh Symphony (London CS 6740).
Gennady Roshdestvensky
The new conductorinchief of the Stock?holm Philharmonic is Gennady Rosh?destvensky, widely considered to be the foremost Soviet conductor today. One may safely assume that the Orchestra's artistic development will continue under his leadership. In spite of the fact that he is only a little over 40 years old, this un?obtrusive musical genius has had an im?pressive career. At the conservatory in Moscow he has studied coductinc un
der his father, Nikolaj Anosov, and piano with Lev Oborin. In recent years, Roshdestvensky the pianist has given only few public concerts, and most of these have been together with his pianist wife, Viktoria Postnikova. Already in his 20's, Roshdcstvensky began his career as con?ductor at the Bolshoi Theatre, and in 1963 he became conductorinchief and artistic director of this famous institution. A couple of years ago he left this position in order to devote himself to a growing num?ber of other engagements.
In 1961 he became conductorinchief of the large symphony orchestra of the Moscow Radio, which he left about a year ago. He is professor of conducting at his old conservatory, he tours abroad fre?quently and is much in demand to conduct
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gramophone recordings. As late as No?vember, 1973, Roshdestvensky conducted the Leningrad Philharmonic in the United States, and was invited to open the 1974 fall season with the Chicago Symphony. He has also conducted the Cleveland Symphony Orchestra and has toured in the United States also with the Bolshoi Theatre and the London Symphony Or?chestra.
Gennady Roshdestvensky appeared with the Stockholm Philharmonic, as guest conductor, for the first time in the fall of 1972 and this first meeting was so successful in every respect that the Con?cert Association immediately initiated ne?gotiations to have Roshdestvensky as the next conductorinchief of the Stockholm Philharmonic. The negotiations reached the highest governmental levels, and in August, 1973, the Concert Association was happy to announce that they had been brought to a successful conclusion. His present contract runs for 3'2 years. It may be safely assumed that this period will be one of further artistic development for the Orchestra, and that it will offer opportunities for successful tours abroad.
Viktoria Postnikova
The pianist Viktoria Postnikova started her music career already as a child in a Russian school for musically gifttd children. She later continued her stu?dies at the Conservatory for Jacob Flier. Viktoria Postnikova has participated in a number of international piano competi?tions and has won the first price in Lis
bon in 1968 and two years later the third price at the Tchaikovsky competition in Moscow. Miss Postnikova has recorded sonatas by Skrjabin, Mozart and Chopin and three of Mozart's piano concertos and other records. She has already made a number of appearances abroad, in Europe. Canada, Japan and the United States, where she has given concerts in New York. Chicago, Cleveland, Washing?ton and other cities. She has performed together with the Stockholm Philharmonic already a number of times, mostly to?gether with her husband Gennady Roshdestvensky.
Leo Berlin
Leo Berlin. Concert Master of the Stockholm Philharmonic Orchestra, was born in 1927. He studied at the Royal Concervatory of Music in Stockholm, for Gcorg Kulenkampff in Switzerland and later on as a stipendiary of the SwedenAmerica Foundation for Henri Temiunka in the United States in 1951. For a num?ber of years he played in the Radio Sym?phony Orchestra and became Concert Master of the Stockholm Philharmonic in 1962.
He regularely appears as a solist and has toured in many countries. In 1972 he gave a number of recitals at the Carlson Festival in Los Angeles together with the wellknown Swedish pianist Greta Erikson. Leo Berlin is also a prominent cham?ber musician and was for many years the leader of the Stockholm Philharmonic Chamber Orchestra.
Friends of the Stockholm Philharmonic, Inc.
Early in the planning process of a third United States concert tour for the Stock?holm Philharmonic Orchestra, it was re?cognized by the Stockholm Consert Asso?ciation -sponsors of the Stockholm Philharmonic -that there was a need for financial assistance to help subsidize the tour. While there was an assurance of a subsidy from the Swedish government, this subsidy alone would not meet the to?tal need.
In 1973, Dr. Nils L. Wallin, President of the Stockholm Concert Association, talked to Sweden's Consul General in New York, Mr. Gunnar Lonaeus, and to Attorney Sidney I. Liebowitz, of New York, about the possibility of corporate and individual contributions for this pur?pose. Later, Mr. Erland Waldenstrom. Chairman of the Stockholm Concert As?sociation, also participated in these preli?minary discussions, and plans were drawn up. Out of these plans came the forma?tion of Friends of the Stockholm Philhar?monic, Inc., organized as a New York NotforProfit Corporation and approved
by the Internal Revenue Service as a cha?ritable organization. Individuals were in?vited to serve on this board representing industry, foundations, banking, academia, professions and persons active in Ameri?canSwedish organizations.
Mr. Roland A. Erickson, former Exe?cutive Vice President of General Foods Corp. and now a financial consultant of Greenwich, Conn., was elected Chairman. Dr. Nils Y. Wessel, President of the Al?fred P. Sloan Foundation of New York was elected ViceChairman, and Mrs. Le?na Kaplan, of New York, was elected Secretary and Treasurer. The Clerk of the Corporation is Attorney Sidney I. Liebowitz, of New York. In addition, Consul General, now Ambassador, Gunnar Lonaeus, Mr. Erland Waldenstrtim and Dr. Nils L. Wallin were elected Directors. Ambassador Wilhelm Wachtmeister gra?ciously agreed to serve as Honorary Chairman.
The first meeting of the Board of the Friends of the Stockholm Philharmonic, Inc., held on April 10, 1974, established a goal of $65,000. Their invitations to cor?porations and friends, both in Sweden and in America, to contribute to this cause were warmly received and formal efforts closed with the Board's December 13th meeting, at which it was announced that the objective had been achieve. By Octo?ber, additional contributions had been re?ceived, whereby the goal was exceeded by over $2,000.
Friends of the Stockholm Philharmonic, Inc.
200 East 42nd Street New York, N.Y. 10017
Board of directors
Ambassador, Count Wilhelm Wachtmeister
Honorary Chairman Mr. Vernon R. Alden Mr. Robert Anderson Maestro Antal Dorati Countess Margareta Douglas Mr. Roland A. Erickson
Chairman
Colonel Franklin S. Forsberg Mr. David Hall Mr. Howard Hanson Ambassador Jerome Holland
Miv I cna Biorck Kaplan
SecretaryTreasurer Mrs. Signe Karlstrom Ambassador Gunnar Lonaeus Consul Genera], Baron Carl Henrik
Nauckhoff Dr. James A. Perkins Mr. Rudolph A. Peterson Lowell Wadmond, Esq. Mr. Erland Waldenstrom Dr. Nils L. Wallin Dr. Nils Y. Wessell
ViceChairman
PATRONS
Mr. and Mrs. Robert O. Anderson
ASEA, Inc.
Astra Pharmaceutical Products, Inc.
Atlas Copco, Inc.
Bank of America NT&SA, San Francisco
AB Electrolux
Emhart Foundation
Mr. and Mrs. Roland A. Erickson
The Ericsson Corporation
Granges American Corporation, New York
Instoria, Inc.
A. Johnson & Co., Inc.
Price Waterhouse & Co.
Providentia Ltd
SAABSCANIA of America, Inc.
SAS -Scandinavian Airlines
Stora Kopparberg Corporation
Svenska Esso AB
Swedish Council of America
Union Carbide Corporation
SPONSORS
Booz, Allen & Hamilton International
Mr. and Mrs. Gerald Bronfman
Colonel and Mrs. Franklin S. Forsberg
The Goldman Sachs Fund
General Foods Corporation
IBM Sweden
Institutional Investor Systems, Inc.
The Jeppson Memorial Fund
Mr. S. S. Larmon
Mobil Oil Corporation
Odin Club of Worcester
Olson Manufacturing Co.
Mr. and Mrs. Sture G. Olsson
The Patricia Price Peterson Foundation
SKF Industries, Inc.
The Slade Foundation, Inc.
SVEA
Mr. and Mrs. Erland Waldenstrom
USM Corporation
CONTRIBUTORS
Mr. Vernon R. Alden
Peter L. Bernstein, Inc.
Mr. and Mrs. Joseph Brooks
Detroit Swedish Council, Inc.
Mr. Arthur E. Engdahl
Mr. Maurice Glinert
Mr. David Hall
Mr. Howard Hanson
Ambassador and Mrs. Jerome Holland
Mr. Nils R. Johaneson
Mrs. Signe Karlstrom
Mr. and Mrs. Bruce C. Long
The Kidder Peabody Foundation
Mr. Leo Model
Nielsen & Lundbeck
Mr. and Mrs. James Perkins
Peterson Steel, Inc.
Mr. and Mrs. Arthur Sarnoff
Mr. Melvin C. Steen
Mr. and Mrs. Frank E. Taplin
Mr. and Mrs. Ulf af Trolle
Lowell Wadmond, Esq.
Dr. and Mrs. Nils Y. Wessell
Stockholm
Philharmonic
Orchestra
Regular Members
VIOLIN I Leo Berlin Concert Master Gert Crafoord Concert Master Gunnar Barter Bojidar Anastassov Boel Loholm Mona Nordin Bengt Olsson Harald Thedeen Hi Choon Lee Per Rabe Semmy Lazaroff Bodil Hauge Heilborn Anders Kimby Gunnar Palm Frank Lind Britten Wallfors Elcmer Denes
VIOLIN II
Wille Sundling Emil Dekov KarlErik Holm SvenOlof Larsson Ester Naslund Bengt Almqvist Denny Theander JanOlav Wedin LarsErik Fjellstedt Carl Johan Westfelt Salmo Sahlin Ebon Ulmeryd Manfred Balfe Michael Paasche
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VIOLA
Zahari Tchavdarov Ake Arvinder Bengt Andersson Clara Walden Kerstin Lazaroff Vaclav Chrastny Attila Bodor Kersti Aberg Lars Jonsson Par Olmedal Carin Wallgren
CELLO
Gunnar Norrby Elemer Lavotha LarsOlof Bergstrom Jacky Heilborn Raul Arellano Nagi El Habashi Lars Mollerstedt Lars Frykholm Gunnar Sahlin
DOUBLEBASS Olle Bengtson Stig Bjork Luigi Ossoinak Geza Farkas Gosta Mansson Walther Arlind Tage Ekvall Torsten Ljungqvist Gunnar Lundqvisl
FLUTE
Lennart Ericsson Bengt Christiansson F.je Kaufeldt
Mohammar
OBOE
Alf Nilsson LarsOlof Loman Per Olof Gillblad Ingvar Hoist
CLARINET Thorc Janson Lars Almgren Giista Ringstrom Bertil Elfstrancl
BASSOON Rune Larsson Knut Sonstevold Stig Holmberg I ennarl Ivarsson
HORN
Ib LanzkyOtto Rolf Bengtsson Elving Jansson Hans Akervall Mats Engstrom Peter Lindbom
TRUMPET Claes Stromblad Janis Marshelle Coffman Gunnar Schmidt John Eriksson
TROMBONE John Petersen Rune Bod in Hclge Almquist ( hrislcr DanioKson
TUBA Michael Lind
TIMPANI Roland Johansson
PERCUSSION
Bjorn Liljequist Lars Hammarteg Erik Gustaf Brilioth
HARP
Rozalia Savin
STAGE PERSONNEL Hans Edlund Stage Manager
Bo Siiderlund
KarlBirger Blomdahl: Symphony nr 3 (Facets)
A large spaceship -like a giant Jumbo Jet -comes out of course, loses its con?tact with the earth and the people on board are doomed to eternal circulation in the space. What happens under these circumstances to the individual and to the collective This action and these ques?tions KarlBirger Blomdahl met with in the epos "Aniara" by Nobel Price winner Harry Martinson. It became an operatic work -often referred to as the first "Space Opera" -which in the year 1960 made the composer known all over the
world, at least in circles who took an in?terest in new music.
An often horrorfilled fascination with the present as well as with the future, left a mark on much of Blomdahl's produc?tion, practically without any trace of defaitism, however. His temperament and his mind were rather set on the subdued Thus, much of his music is characterized by force of mind and of strain. The big forms -symphony, oratorio, drama -suited him better than the small and in?timate ones. And in his work in Swedish music life -which was manysided and of great importance -he always aimed more at renewal than at preservation of the traditional.
Blomdahl, who was born in 1916 (and died in 1968) in the middle of the 30's became a pupil of Hilding Rosenberg (the fatherfigure of modern Swedish music) and in the 40's belonged to the so called Monday Group, a circle of young and radically orientated musicians. First Hindemith. then Bartok, Stravinsky and the
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Vienna School during those years gave him important impulses. On the whole he was an artist who carefully studied what went on in the world around him; indulg?ing in romantic egotism was completely out of his character.
In 1950 his breakthrough came -both in Sweden and in Central Europe -through his Symphony Nr 3 (Facets). As can be understood from the title, the work is built up in form of variations, not, how?ever, in the traditional sense over a theme, but with the help of a 12tone series as basic material. At the same time it must be pointed out that Blomdahl is not writ?ing atonal music -according to strict Schonberg tradition -neither working with perpetually changing and compli?cated rhythmic patterns. On the contrary, Blomdahl had a great passion for dance -not a sweeping and blandishing kind but an expansive and energetic one.
In "Facets" one may discern 5 different parts, all linked together. After an intro?duction -with something of the force
of the punctuated rhytms of the French ouverture -there follows a slow move?ment; an elegy for strings. The third part is a scherzo (in various phases), the 4th -the culmination of the symphony -is an elegy. It starts with a couple of vio?lent hits on the kettledrum after which a theme, typical of Blomdahl, is intro?duced; energetic and with a refined change between dance and march. The movement is dominated by a climax, built up by many and rich counterpoints and bold colors, unparalleled in Swedish mu?sic. With an epilogue linked to the begin?ning of the work, Blomdahl lets his sym?phony end in a piano pianissimo.
Bo Wallner
Symphony nr 3 (Facets)
Largamente
Tranquillo ma fluentc
Prestissimo
Allegro molto, deciso e ritmico
Largamente
Daniel Bortz: Sinfonia I
Daniel Bortz (born 1943) belongs to the young generation of Swedish composers. He studied the violin in Stockholm for Charles Barkel and Josef Griinfarb, and composition for KarlBirger Blomdahl, Ingvar Lidholm and Hilding Rosenberg. He has also studied abroad in U.S.A., West Germany, Italy and The Nether?lands.
Among his compositions arc: KajktiTrilogy (1966--69) for instruments and voices, four Monologhi for solo instru
ments (1965--70), two String Quartets (1966 and 1971), a Church Opera, The Wall -The Way -The Word (1971 -72), and 5. Bridget's Death and Recep?tion in Heaven (1972--73), a Chamber Opera, Landscape with River (1972), the Vocal Quartet Nightwinds (1972), a Con?certo per Violino, Fagotto e Orchestra da Camera (1974) and a Sinfonia II (1974-75), commissioned by the Swedish Broad?casting Corporation's Television Service. A Sinfonia III is on its way, as well as muisc for the reinauguration of the Upp?sala Cathedral in 1976.
The Sinfonia I was commissioned by the Gothenburg Symphony Orchestra and completed in 1973. For the first per?formance (conducted by Sixten Ehrling) the composer wrote the following:
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"Already during my work on the first part (Voces) of the KafkaTrilogy (1966 to 1968), I sometimes considered musical forms based more or less purely on simple and basic elements: low points and cli?maxes, tension and relaxation of the ten?sion etc. These elements are, of course, present in practically all music, more or less evident, however.
At the time of Voces I was not ready to cultivate purely these forms; had I done so, the music would probably have lost other important elements: the detailed clarity and intensity, the identity of the individual elements etc. My music from that time is, I hope, in the best sense of the word a compromise. An important stage on the way to Sinfonia I consists of the Second String Quartet with the motto '... farewell to a great friend .. .', com?posed in 1971. In it I tried an extremely simple form; a single big culmination, framed by restrained activity -nearly stillness, at one point in the shape of a
remotely sounding chorale. The Requiemlike emotional content is here introduced already in the motto of the piece.
My Sinfonia I lacks a motto, but apart from that has strong ties to the Second String Quartet, in its emotional content and its construction. The sole culmination of the Quartet here becomes two, where the second one has the ambition to surpass the first one 'at any cost'. The energy of the first culmination is derived from the slow but decided bursting of an EMajor chord. After the culmination, the music sinks down into a dreamlike gloom, criss?crossed by nostalgic reminiscences of Richard Strauss. A chorale, building an arch, forms the central part. The intro?duction of the second culmination takes the form of different, rhythmical courses, like icefloes cutting through and piling up on top of each other. The second culmina?tion can be said to have a strong will to surpass and outdo the first one. The end?ing is stillness, resignation, looking back."
LarsErik Larsson: Violin Concerto
Few Contemporary Swedish composers have been taken to the hearts of the Swedish people like LarsErik Larsson. It is mainly the Pastoral Suite for orchestra and the choral work, God in Disguise, which have won acclaim, with their idyllic tone language, their beautiful melodies and charming natural simplicity--a proof of great skill. In these works Larsson really intended to write "beautiful music", simple to listen to. But his life as a com?poser has been more complicated than that, and his evolution as an artist has taken a more "zigzag" course than what is usual. Already when composing the above works -in his 'thirties -he went through more than one metamorphosis. In the works of his youth, he was a tradi?tional Nordic romantic. But a short period of study abroad opened his ears to new currents on the Continent, among others the young Hindemith, which led him on to a new path. He composed his Sinfonictta for string orchestra, a refreshing and rhythmically spirited piece. It became a great success at the World Music Festi?val in Florence in 1934, and Larsson im?mediately became one of our leading modernists, a representative of the neoclassicism which dominated the 'thirties. He then wrote a Saxophone Concerto, a Divertimento for string orchestra, and the wellknown Small serenade for string or?chestra, but gradually diminished the harsh tone language and other challenges, thus quickly arriving at the mild and ami
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able climate of his popular works -a kind of very modified and personal neoclassicism.
In 1947 Larsson was appointed Profes?sor of composition at the Royal Academy of Music in Stockholm. At that time he started to feel, despite his successes, un?satisfied with this carefree, inoffensive music (a number of compositions for the movies may have crowned it). He found himself in a culdesac.
He felt hampered and in the midst of a crisis. The result was a breakup to seek new ways of development. But even this new path was not a very straight one. Key works from this period are Music for Or?chestra (1950), of a more harsh, disso?nant, somewhat Hindemithrelated style, Missa Brevis for Choir (1954), an attempt at modern choir polyphony in the style of Palestrina, and Orchestra Variations (1963), built on a completely personal kind of twelwetone technique. Now and then, however, he has returned to his ear?lier mood of expression. In this sphere are the 12 Concertini for various solo instru?ments and string orchestra, being achieve?ments of the 'fifties, and of great value to the music life of the country, deliberately composed in a fairly uncomplicated tech?nique.
Some years ago LarsErik Larsson left Stockholm for his home province of Skane (in the south of Sweden).
The violin Concerto is one of LarsErik Larsson's few works on a large scale (two symphonies and an opera have been re?duced by the composer himself to short orchestral works). The Concerto was written in 1952 for (and to some extent in cooperation with) the HungarianBelgian violinist, Andre Gcrtler, who played the first performance in 1953. The concerto quite clearly belongs to the type of works in which Larsson has set out to explore new means of expression. His lyrical cha?racter is still evident, e.g. in the prelude
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like orchestral opening of the first move?ment, in the main theme of the soloist, and in the main part of the slow move?ment. But hardly a trace of playful neoclassicism is to be found. On the contrary, the music contains a romantic pathos, often in gloomy colors, wild passages and outbursts in the solo part, and a heavy, often polyphonically complicated orchestra part. Added to this is the harsh?ness of the sound (an example: the com?bination of between themselves dissonant sounds, which arc a main ingredient in the finale).
The solo part satisfies the highest de?mands of virtuosity, given a rather free style, for instance in the solo cadenza of the first movement. There is a connection
between the motifs of the three move?ments which is sometimes, however, dif?ficult to hear; it is most obvious when the main theme of the first movement con?cludes the finale. According to the com?poser this movement can be seen as a ""retrospective rondo", probably implying not only reminiscences from other parts of the concerto, but also from years back. Gereon Brodin
LARSERIK LARSSON (b. 1908)
Violin Concerto
Moderato Andante pastorale Lento Allegro molto
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Tour itinerary
Nov. 16 Minneapolis
Nov. 18 Madison, Wise.
Nov. 19 Iowa City, Iowa
Nov. 20 De Kalb, III.
Nov. 21 Champaign. 111.
Nov. 23 Chicago
Nov. 24 Ann Arbor, Mich.
Nov. 25 East Lansing, Mich.
Nov. 28 Altoona, Penn.
Nov. 29 Wilmington, Delaw.
Nov. 30 Washington D.C.
Dec. 1 Philadelphia
Dec. 3 New York (Carnegie Hall)
Dec. 4 New York (Carnegie Hall)
Dec. 5 State College, Penn.
Dec. 6 Scranton, Penn.
Dec. 7 Boston
Tour programs
The orchestra will present five concert programs, featuring the following works:
Berlioz: Symphonic fantastique
Blomdahl: Symphony No 3 (Facets)
Bortz: Sinfonia 1
Larsson: Violin Concerto
Prokofieff: Piano Concerto No 3
Ravel: Daphnis and Chloe,
suite No 2
Tchaikovsky: Symphony No 5
Nordiska Tryckeri AB Stockholm 1975

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