Peter Lundin <[log in to unmask]> jumps on my fishes:

>Mats Norrman responds to me:
>
>>It is certainly correct that Atterberg wrote interesting music in all
>>genres. Which of his Ballet Music has been released on SSD?
>
>I'm not sure I would call it correct, and the with of intrestingness in
>Atterbergs music I find rather limited, the ballet score I was thinking
>of was the on my friend Thanh-Tam mentioned: de favitska junfruarna.

Guess which CD I will buy!

>It would also be intresting to know which of the composers I list Mats have
>heard music by, and what he heard? Giving me a more decent chance to refute
>his fishy views.

I hope I haven't come up with a *red herring* here...From Aake Hermansson
I haven't heard much, some piece called "Invocatio".  There are thick webs
and a dynamic that reminds of concrete or electronical soundmontages.  I
hear Ligeti and Sibelius in Hermansson.

By Hnas Holewa I have heard some pianomusic which I don't remember the
titles of anymore.  Sounds like Arnold Schoenberg and Alban Berg, but
lesser refined.

>My take on Hallen is that he is as trifling as Atterberg (I do not give
>turnips for either) - Hallens wagnerian pseudo nationalistic viking opera
>is amateuristic on each account, the little I have heard of his other ouvre
>I can but say that it is decently crafted but hardly advances any musical
>positions.

First of all; let us keep in mind that Hallen is not Wagner.  He sounds
much like Herr Wagner though, but I agree completely his music has not the
same complexity as Wagner.  Above all he didn't have the same sence for
developing tensions over time as Wagner had:  The fight in "Harald der
Wiking" doesn't last long enough for example.  But in his best moments,
like in the finale of the same opera ["Haralds Schlussgesang"] he has
composed moments of music that Wagner wouldn't be ashamed of.  And without
him, maybe "Midsommarvaka" had never been.

>Rangstrom on the other hand was perhaps the first Swedish modernist,
>even if he was deeply rooted in a dark germanic musical tradition.  his
>cooperation with the writer August Strindberg is of immense importance
>(not least towards a Swedish opera ouvre), his symphonies contain many
>intresting ideas, but viewed as solitary individs, immature.  In song
>he is perhaps at his best, even if I regard Algot Haquinius
>(namedropping!) setting of Gustav Frodings "Kung Eriks visor" the better.

What you say about Rangstroem just shows that you haven't understood his
music very well.  Rangstoems music indeed "contain many tresting ideas, but
viewed as solitary individs, immature".  It is just that that Rangstroem
had an idea about the concept of music as something where the musical ideas
are more important that the developing of them.  One can say here that he
composed like an aristocrat - like Glinka, because his music is in this
case built in fairly the same way.  Rangstroems music (and I above all
regard the orchestral works here) rings like it does because that was the
kind of music Rangstroem wanted to create.  If you believe Rangstroem
couldn't compose other way, or didn't knew kontrapunkt, or which of the
usual gloves you put on your hands - then listen to his stringquartett!
There you find a very fine kontrapunctual artwork, and remember also; that
that was a youths work.  For the songs I wonder if you really have taken
enough time for them.  Read first the texts, not one but many times, and
meditiate upon them, after a while, if you connect with the text, you will
come in a certain mood, imposed by the poem.  Then listen to Rangstroems
setting, and you will find fairly the same mood in your ears.  It is magic!
So, for me Rangstroem was one of the best (among the Sweds) to catch the
mood of a poem and set it to music.

>I belive that one of the major reasons Pergament (and a few other
>composers for that) is unjustly overlooked, is the fact that he never
>was able to support himself as a composer, thusly had to feed the family
>by writing music critique in news papers and by working as kantor at a
>synagogue - hence far to many of those who knew of him then and until the
>recent, associate him with his work as writer.

And I like his writing, he was a sensetive and openminded reviewer.
When the first Schoenberg piece was performed in Sweden (was it op.11
in Sthlm?), all reviewers except Pergament wrote sentences where they
had dalved deeply in their storage of invectives, like "it is musical
excrementeating!" (Peterson-Berger)...Pergament was at that time the
only one who saw the values in Arnold Schoenbergs music.

>Further, I belive it is shows a gigantic black hole of neglect in Swedish
>cultural affairs that Ake Hermansson four symphonies are not availible on
>CD.

It is a shame that a foregin label (JPC/CPO) is the leading producer of
good recordings of Swedish music in these days.  Maybe we need more of
Hallens nationalism to corrupt the etablishment with? ;-)

And don't tell me I have dysmorphical mormots in my head!

Mats Norrman
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