Stirling Newberry <[log in to unmask]> wrote:

>If one wished to play a concert in such a place, the work that should be
>chosen should be one which is, expressly or implicitly, a work for such
>a setting, which does not end with joy - but merely ends.  Works such as
>Mahler's 5th or 9th Symphonies, Britten's War Requiem, Petterson's 7th all
>recomend themselves.

I have to disagree on the last example.  First, although Petterssons
symphonies seem to just be evolving all over from start to end, that is
not the case.  Pettersson is more rooted in the classical - or should I
say classicist - forms than one could believe.  At least what I believed
for long.  But most of his symphonies has an introduction, a development
section (though this one can be very large.  Symphony nr.2 f.e.  has a
development section of over 400 bars), and a finale.  The finale is very
important in Petterssons works.  Often Petterssons works are great canvases
filled with despair, but like Mussorgskij in "Boris Godunov", he comforts
in the end, and says there is hope.  The clearest example is the
triumphatory finale of the 2.  Violinconcerto.

Mats Norrman
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