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Ann Arbor, MI 48106 A PERFORMER'S ANALYSIS OF ALLAN PETTERSSON'S CONCERTO NO.2 FOR VIOLIN AND ORCHESTRA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Anna Kwak, B.M., M.M. •J^jlj 2fc i&£ He The Ohio State University 1994 Document Committee: Approved by Michael Davis S^ \ \ David Butler _i_H^i^vO\ /Adviser^ Paul Robinson School of Music To My Parents ii ACKNOWLEDGMENTS I would like to express sincere appreciation to Professors David Butler and Michael Davis for their guidance and insight throughout my research of Pettersson's music. Thanks also to Professor Thomas Heck and Mr. Steve Long for their suggestion to discover Pettersson's music. I also want to especially thank Mr. Lars MoUerstedt at the Swedish Music Information Center for his outstanding help. iii VITA September 21, 1967 Born - Masan, South Korea 1989 B.M., College of Music, Seoul National University, Seoul, South Korea 1990 M.M., School Of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Studies in Violin Performance iv TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGMENTS iii VITA iv LIST OF TABLES vi LIST OF FIGURES vii PREFACE ix CHAPTER PAGE I. INTRODUCTION 1 II. GENERAL MUSICAL CHARACTERISTICS 13 III. ANALYSIS 19 IV. PERFORMANCE DIFFICULTIES 53 V. A COMPARISON BETWEEN THE FIRST AND SECOND EDITIONS 74 APPENDICES A. 'Herren gar pa angen' from the BARFOTASANGER by Allan Pettersson (1943-1945) 83 B. Score Excerpts from the First and Second Editions of Concerto No. 2 for Violin and Orchestra by Allan Pettersson (1977 & 1978) 86 REFERENCES 91 v LIST OF TABLES TABLE PAGE 1. Instrumental Reduction for the Orchestra in the Second Edition 76 2. Omission of Melodic Lines in the Second Edition 77 3. Changes of Technique in the Second Edition 77 4. Dynamic Changes in the Second Edition 79 5. Melodic Transfers in the Second Edition 80 6. Changes in the Solo Part in the Second Edition 81 vi LIST OF FIGURES FIGURES PAGE 1. mm. [49]+2 through [49]+5 29 2. mm. [51]+2 through [51]+7 30 3. Graphic Representation of Tempo Markings, Meters, Key Signatures, and Tonal Centers in Pettersson's Second Violin Concerto 36 4. Motives from Pettersson's Second Violin Concerto 40 5. Motivic Use in Pettersson's Second Violin Concerto .... 45 6. mm. [28]+6 through [28]+7 47 7. mm. [91]+5 through [91J+8 48 8. Sectional Divisions in Pettersson's Second Violin Concerto 49 9. Brahms Violin Concerto in D major, Opus 77, Mov.I: mm. 246 through 249 55 10. mm. [33]+7 through [33]+10 56 11. mm. [91]+10 through [93J+1 57 12. mm. [7]+5 through [7]+9 60 13. m. [6]+2 61 vii 14. mm. [35]+7 through [35]+10 61 15. m. [32]+5 62 16. mm. [24]+2 through [24]+5 63 17. mm. [1] through [l]+3 63 18. mm. [27]+7 through [27]+8 64 19. m. [38]+2 65 20. mm. [17J+5 through [17J+6 66 21. m. [68]+5 66 22^ m. [38]+6 67 23. mm. [65]+2 through [65J+9 68 24. mm. [74]+3 through [74]+5 69 25. mm. [75]+3 through [75]+4 69 26. mm. [29]+4 through [29]+5 70 27. mm. [76]+9 through [77]+3 71 viii PREFACE I have not known of the Swedish composer Allan Pettersson or his music for very long, but I have come to like, or maybe to sympathize with, Pettersson as a human being, and to admire him as a composer. He led a very lonely life but had a great enthusiasm for music. I can feel the pain and sorrow of his life from his music. I have chosen Pettersson's second violin concerto as the subject of my document because this piece is enormously challenging for the violinist: there are countless technical difficulties and 57 minutes of relentless performance. I want to establish through this document a small guideline for the performance of this large piece. Because this document is for the D.M.A. degree in violin performance, the solo part has been considered as the primary source for research. However, since the orchestral part is of course integral to the concerto, some research on the orchestra part has also been done. There are two editions of this concerto, and the first edition has been chosen for this document because the only performance and recording completed so far have been done from the first edition. A comparison between first and second editions is made in the fifth chapter. ix CHAPTER I INTRODUCTION I am not a composer; I am a voice crying out, a voice crying out (something that must not be forgotten) which threatens to be drowned in the noise of the times.1 Allan Pettersson was born in Vastra Ryd, Uppsala Ian, Sweden, on September 19, 1911, and died in Stockholm, Sweden, on June 20, 1980. He grew up in the Soder district, a slum area of southern Stockholm. His father was a smith, an atheist with no real taste for music, but his mother, whom Pettersson remembered much more fondly, was very religious and had a love for church music.2 She often played the guitar and sang Salvation Army hymns to her children, and Rolf Haglund says that elements of this folk harmony appear in all of Pettersson's compositions.3 Pettersson is known both as a composer and as a violist. As a boy, he liked to read books on philosophy, religion, and music, but according 1 Allan Pettersson, "Anteckningar," Nutida Musik IV/4 (1960-61), 19. (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 109.) 2 Paul Rapoport, "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 110. 3 Rolf Haglund, "Pettersson, (Gustaf) Allan," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie. (London: Macmillan, 1980), XIV, 601. 1 2 to Paul Rapoport, Pettersson's interest in music dominated all else and he taught himself to play the violin at a young age. Rapoport continues on in his article, relating a story in which Pettersson told how he, as a boy, sold Christmas cards so that he could buy a violin.4 He may have played his new violin too frequently and too wildly, for upset neighbors suggested to his mother that he be sent to a reformatory.5 According to Rapoport, Pettersson played the violin whenever he could: at political meetings, funerals, beer halls, cinemas, and amusement parks. In his teens, Pettersson tried twice to enter the Music Academy in Stockholm, but he was not even permitted to take an audition.6 Rapoport says that Pettersson felt that people of the lower social classes were not wanted at the academy, and quotes Pettersson as saying: Perhaps my music is a protest against predestination, cruelty towards the individual, the individual without a chance.7 Pettersson was finally admitted to the academy in 1931, but he still felt like an outsider. Pettersson had little money for his musical education and no piano at home upon which he could complete the 4 Rapoport, loc.cit.. 5 Ibid. 6 Ibjd. 7 Goran Bergendal, "Allan Pettersson? Just det!," Roster i Radio XXXXIX (Nov. 1968), 20. (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 110.) 3 constant keyboard exercises required by the academy. Therefore, he tried to work at various places that had pianos.8 In spite of his many difficulties, Pettersson completed his first composition, 2 elegier for violin and piano, in 1934. His second composition, 6 Sanger for voice and piano was finished in the fall of 1935. In 1936, he wrote Fantasistycke for viola and 4 improvisationer for string trio, and his Andante espressivo for violin and piano was completed in 1938.