Norrköpings Symfoniorkester

Leif Segerstam

Reger: Orchestral Works

Theme. Andante grazioso (Version for Orchestra)

Variation 1, L'istesso tempo

Symphonic Prologue to a Tragedy, Op. 108

Variation 2, Poco agitato

Variation 3, Con moto

Variation 4, Vivace

Variation 5, Quasi presto

Variation 6, Sostenuto, quasi adagietto

Variation 7, Andante grazioso

Variation 8, Molto sostenuto

Fugue. Allegretto grazioso (Version for Orchestra)

Love Derwinger

I. Allegro moderato

I. Präludium (Version for Orchestra)

II. Largo con gran espressione

II. Largo (Version for Orchestra)

III. Allegretto con spirito

III. Fuge (Version for Orchestra)

Theme. Andante (Version for Orchestra)

I. Entrée

Kjell Lysell

4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 1, Der geigende Eremit (The Fiddling Hermit)

Variation 1, Un poco più lento

II. Colombine

4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 2, Im Spiel der Wellen (Waves at Play)

Variation 2, Appassionato

III. Harlequin

4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 3, Die Toteninsel (The Isle of the Dead)

Variation 3, Andantino grazioso

IV. Pierrot und Pierette

4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 4, Bacchanal

V. Valse d'amour

Variation 5, Andante sostenuto

VI. Finale

Variation 6, Allegretto con grazia

Variation 7, Poco vivace

Variation 8, Allegro pomposo

Fugue. Con spirito, non troppo allegro (Version for orchestra)

Christian Lindberg

A characteristic trait in Allan Pettersson’s music is the use of strong contrasts – shifts between an enormous intensity and calm relaxation, between complex and violently dissonant passages and peaceful, simple melodies and harmonies. This certainly applies to both works recorded here by the Norrkoping Symphony Orchestra and Christian Lindberg – the composer’s Fifth and Seventh Symphonies. Premiered in 1963 and 1968 respectively, these two symphonies contributed substantially to Pettersson’s public standing during the 1960s. The Fifth earned him the music prize of the newspaper Expressen, while at the same time Pettersson’s extensive use of traditional harmony, particularly in the slow ending of the work, caused a number of commentators to criticize it as ‘outmoded’. In 1964, the symphony probably contributed to Pettersson being selected as one of the first recipients of a public remuneration scheme for composers which guaranteed them a lifelong minimum income. Four years later, the first performance of Symphony No. 7 was conducted by Antal Dorati, the dedicatee of the work. The event is often described as Pettersson’s ‘breakthrough’, and Dorati’s recording of the work in 1969 with the Stockholm Philharmonic Orchestra earned the performers and the composer a ‘Swedish Grammy’ Award each. Pettersson’s Seventh remains the most recorded and most frequently performed of all of his works. It is heard on disc in a performance from what are widely regarded as the leading Pettersson interpreters of our time.

Pettersson: Symphonies Nos. 5 & 7

https://image.joox.com/JOOXcover/0/d2a493261d954673/300

Reger: Orchestral Works

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