Norrköping Symphony Orchestra conducted by Christian Lindberg.
I - [Bar 1] Introduzione. Adagio - [Bar 59] Allegro - [Bar 382] Allegretto - [Bar 595] Tempo I - [Bar 766] Allegro frenetico - [Bar 1023] Allegretto con malinconia: 0:00
Pettersson's Symphony No.2 was composed between 1952-3, while still working on the first, which would remain unfinished for the rest of his life. Symphony No.2 was premiered on May 9 of 1954, performed by the Swedish Radio Symphony Orchestra conducted by Tor Mann, who is also the dedicatee of the piece. Like most of Pettersson following symphonies, it is structured in a single, extensive movement.
The work was commissioned by Per Lundberg, who had been at the premiere of his first concerto for string orchestra. Although no fee was attached to the commission, Pettersson accepted with alacrity as, bearing in mind that his catalogue of works was still modest in size, it offered a guaranteed performance of a large-scale work. It was begun in Paris, while still studying with Leibowitz, but finished in Stockholm.
The symphony represents the quintessence of the composer’s study visit to Paris, during which his horizons and capabilities expanded even though not a single one of the avant-garde tendencies had any profound influence upon him. His studies under Leibowitz did, however, leave their mark in the technique of establishing a wide-ranging web of motifs and themes from individual intervallic cells, or developing a wide range in terms of instrumentation.
In order to more easily analyse it, we will divide it in different sections. The first one corresponds to the bars from the first to 59th. It begins with a slow introduction of the bass strings, on which a series of notes played by the first violins is raised, then by the seconds, the violas and then by the wind. A motif that later will acquire much importance appears in the first violins. The second section corresponds to bar 59 to 382. It takes these motives, repeating them with aggressive interventions of brasses.
After a pause, instrumental entries become more aggressive with strong dissonances. A brief melodic motive appears on the strings, but the aggressive entries soon return. The third section corresponds to bar 382 to 595, starting with the theme that appears on the violins at the end of the first part. Pettersson's lament that will be repeated throughout his work appears here for the first time. A chaotic part, full of atonalities, flows into a placid section.
The fourth section, which corresponds to bar 595 to 766, begins with the memory of the beginning of the work. It could correspond to the slow part of the symphony. Glissandos of the trombones add colour to the new sound effects that the composer was discovering throughout his work. The fifth section corresponds to bar 766 to 1023. After a frantic start full of atonal structures, a new section appears full of lyricism.
The initial theme of the violins reappears with greater force. It is about what will later be known as the lyrical islands. Timpani rolls show us the final section of this part. The last part comprises from bar 1023 to the end. The tempo accelerates progressively. The strings present bitter phrases. After a calm passage with unusual sonorities, strings reappears in a powerful cry of pain. A sad atmosphere of melancholic resignation leads us to the final diluent coda.
Picture: Photograph of Allan Pettersson taken by Gunnar Källström.
Sources: bit.ly/2lTCKsq and bit.ly/2nsMQkx
Unfortunately no score is available.
29 сен 2024
