Allan Pettersson - Symphony No. 7 #symphony #classicart #classicalmusic
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I - Beginning (
I - Beginning (0:00) - Bar 52 (2:53) - Bar 172 (8:08) - Bar 255 (12:47) - Bar 311 (16:12) - Bar 389 (21:44) - Bar 432 (24:39) - Bar 450 (25:45) - Bar 512 (29:02) - Bar 564 (35:24) - Bar 613 (37:57) - Bar 648 (40:03) - Bar 707 (42:48)
Pettersson's Symphony No.7 was composed between 1966-7. It was premiered on October 13 of 1968, performed by the Stockholm Philharmonic Orchestra conducted by Antal Dorati, to whom it was dedicated, during a concert of the series "Music for the Youth". The success was extraordinary, soon becoming his most interpreted symphony.
Pettersson, whose health was very weak, was forced to greet the public on four occasions once the performance was over. That was the last time he could personally attend the premiere of one of his symphonies. But it was not the usual audience of symphonic forms who appreciated their music more, but the young people present at the concert. In an era in the midst of the youth revolution as in the entire Western world, let us remember May 1968, they understood the change that that music represented with all its emotional force.
The next day one of the most important newspapers in the Swedish capital wrote the following sentences: "On Sunday night, we were able to witness an event that will not be repeated for a long time. A great Swedish composer introduced himself to the audience, his music was heard and he was given the status of one of the great Swedish composers." Eleven months after its premiere, the symphony was recorded by Dorati himself, obtaining worldwide success. This work made known the name of Pettersson in the United States, in Germany and in all the cultural centres of the world. With the music, the choreographer Birgit Cullberg, a contemporary dance figure, created the ballet "Rapport".
As in most of his previous symphonies, it consists of a single great movement, forming a compact block. A work that is difficult to analyse but that his hearing creates a great emotion. Expressive music based on little thematic material. The symphony begins with a bleak section played by the double basses, bass clarinet, bassoon and violas. The music slowly expands, taking energy. The origin of the main theme is presented sombrely by the trombones and the tuba. Its characteristic development is conducted through repeated phrases forming an impregnable block, impossible to analyse following traditional methods. The characteristic rhythm of a funeral march accompany many of the phrases. The feelings of desolation and tremendous tragedy Petterssons expresses become difficult to express in words.
We find a turning point a little before the middle of the work. The strong dramatic tension has disappeared, moving into a mixed state of resignation and beatitude. The music is sweetened by broad phrases composed of tonal elements. It is the song sung by the soul, as its own author has revealed to us. Moments of dramatic tension interrupt the development, but they are answered by emotional phrases, in a kind of titanic struggle that moves us deeply. The sharp phrases of the strings on the bottom marked by the bass are very expressive. A work that must be analysed from the heart, leaving aside technical issues. The final section consists of an extensive hymn, which is still briefly interrupted by tragic entrances of abrupt atonal elements by brass and percussion. But finally, the melodic comforting element seems to have won the battle. An extensive coda produces a feeling of inner peace.
Pettersson builds his work using brief motifs through multiple repetitions that develops them in an almost imperceptible way, which tells us a musical story that is easy to interpret. A work that shows us that the symphony form does not end with World War II, as some intellectual musicologists seem to tell us. After hearing this work we could consider Pettersson as a worthy successor of the greatest, of Mahler and Shostakovich. Some critic has described him as the Swedish Shostakovich.
At the funeral ceremony held in memory of Pettersson, the speakers sounded part of the seventh symphony in the interpretation of Antal Dorati, which seems to be the most emotional. But his death went unnoticed not only by international orchestras, but even by the Stockholm Philharmonic, with which he had participated for ten years.
Videos by :
Engin Akyurt
https://www.pexels.com/video/an-abstr...
https://www.pexels.com/video/abstract...
https://www.pexels.com/video/slow-mot...
StefWithAnF
https://www.pexels.com/video/shiny-gl...
https://www.pexels.com/video/mesmeriz...
https://www.pexels.com/video/close-up...
https://www.pexels.com/video/colorful...
Dan Cristian Pădureț
https://www.pexels.com/video/colored-...
Pettersson's Symphony No.7 was composed between 1966-7. It was premiered on October 13 of 1968, performed by the Stockholm Philharmonic Orchestra conducted by Antal Dorati, to whom it was dedicated, during a concert of the series "Music for the Youth". The success was extraordinary, soon becoming his most interpreted symphony.
Pettersson, whose health was very weak, was forced to greet the public on four occasions once the performance was over. That was the last time he could personally attend the premiere of one of his symphonies. But it was not the usual audience of symphonic forms who appreciated their music more, but the young people present at the concert. In an era in the midst of the youth revolution as in the entire Western world, let us remember May 1968, they understood the change that that music represented with all its emotional force.
The next day one of the most important newspapers in the Swedish capital wrote the following sentences: "On Sunday night, we were able to witness an event that will not be repeated for a long time. A great Swedish composer introduced himself to the audience, his music was heard and he was given the status of one of the great Swedish composers." Eleven months after its premiere, the symphony was recorded by Dorati himself, obtaining worldwide success. This work made known the name of Pettersson in the United States, in Germany and in all the cultural centres of the world. With the music, the choreographer Birgit Cullberg, a contemporary dance figure, created the ballet "Rapport".
As in most of his previous symphonies, it consists of a single great movement, forming a compact block. A work that is difficult to analyse but that his hearing creates a great emotion. Expressive music based on little thematic material. The symphony begins with a bleak section played by the double basses, bass clarinet, bassoon and violas. The music slowly expands, taking energy. The origin of the main theme is presented sombrely by the trombones and the tuba. Its characteristic development is conducted through repeated phrases forming an impregnable block, impossible to analyse following traditional methods. The characteristic rhythm of a funeral march accompany many of the phrases. The feelings of desolation and tremendous tragedy Petterssons expresses become difficult to express in words.
We find a turning point a little before the middle of the work. The strong dramatic tension has disappeared, moving into a mixed state of resignation and beatitude. The music is sweetened by broad phrases composed of tonal elements. It is the song sung by the soul, as its own author has revealed to us. Moments of dramatic tension interrupt the development, but they are answered by emotional phrases, in a kind of titanic struggle that moves us deeply. The sharp phrases of the strings on the bottom marked by the bass are very expressive. A work that must be analysed from the heart, leaving aside technical issues. The final section consists of an extensive hymn, which is still briefly interrupted by tragic entrances of abrupt atonal elements by brass and percussion. But finally, the melodic comforting element seems to have won the battle. An extensive coda produces a feeling of inner peace.
Pettersson builds his work using brief motifs through multiple repetitions that develops them in an almost imperceptible way, which tells us a musical story that is easy to interpret. A work that shows us that the symphony form does not end with World War II, as some intellectual musicologists seem to tell us. After hearing this work we could consider Pettersson as a worthy successor of the greatest, of Mahler and Shostakovich. Some critic has described him as the Swedish Shostakovich.
At the funeral ceremony held in memory of Pettersson, the speakers sounded part of the seventh symphony in the interpretation of Antal Dorati, which seems to be the most emotional. But his death went unnoticed not only by international orchestras, but even by the Stockholm Philharmonic, with which he had participated for ten years.
Videos by :
Engin Akyurt
https://www.pexels.com/video/an-abstr...
https://www.pexels.com/video/abstract...
https://www.pexels.com/video/slow-mot...
StefWithAnF
https://www.pexels.com/video/shiny-gl...
https://www.pexels.com/video/mesmeriz...
https://www.pexels.com/video/close-up...
https://www.pexels.com/video/colorful...
Dan Cristian Pădureț
https://www.pexels.com/video/colored-...
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در تاریخ 1402/01/01 منتشر شده
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