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A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra

Kwak, Anna, D.M.A. The Ohio State University, 1994

U" 300N.ZeebRd. 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 fromNorther n 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. From 1931 to 1939, Pettersson studied violin, viola, theory, and composition9 at the conservatory with Otto Olsson and Karl-Birger Blomdahl.10 In 1939, however, he was awarded a Jenny Lind fellowship to study abroad. At first, Pettersson considered going to study in America with Hindemith, in part because he could study both the viola and composition,11 but he finally decided to go to Paris to study with Vieux. His stay in Paris was short, however, as he had to return to Stockholm to escape the German invasion in 1940.12 After his return from Paris, Pettersson took a position as violist in the Stockholm Concert Society Orchestra (now the Stockholm Philharmonic Orchestra). He held this job until 1951, and during this

8 Rapoport, loc. cit. 9 Ibid.. 111. I ° Haglund, loc. cit. II Rapoport, loc. cit. 1 2 Haglund, loc. cit. 4 time, he continued his studies with Tor Mann, Otto Olsson and Karl- Birger Blomdahl.13 Through most of his years with the Stockholm Concert Society Orchestra, Pettersson wrote music only in his spare time and was unable to get it performed, which bothered him. He was once offered the position of section leader in the orchestra but declined; he preferred to keep the extra time he had for his composing.14 During 1940-1951, Pettersson composed Romanza, for violin and piano (1942), Lamento, for piano (1945), and Fuga, for oboe, clarinet, and bassoon (1948). In 1943 through 1945, Pettersson wrote 24 Barfotasanger (Barefoot songs) for voice and piano, based on poems of his own which seem to have strong autobiographical connections. Pettersson also arranged eight of these songs for voice and orchestra, receiving help with the instrumentation from Antal Dorati.15 The poems carry many depressing and pessimistic messages about unhappy experiences happening to the helpless individual, and describe images that he later tried to shape into his music.16 The poems of Barfotasanger were so important to

13 Rapoport, loc. cit. 14 ibid., 112. 1 5 Matthias Theodor Vogt, ed., Allan Pettersson Jahrbuch (Berlin: Schwarz Druck, 1986), 72. 16 Rapoport, op. cit.. 111-112. 5

Pettersson that he asked Eskil Hemberg to make a choral transcription of six of these songs in 1969.17 Pettersson made his debut as a composer in 1949 with his first big composition, Concerto for Violin and String Quartet. This piece is known as his first violin concerto, but it is a little unusual because the orchestral medium consists of only a string quartet. Blomdahl, one of his first teachers, commented on hearing the piece for the first time: "I wouldn't dare write like that."18 Rapoport felt that Blomdahl may have implied admiration with the comment, but the piece, in general, was not favorably received. Many people, including his colleagues in the orchestra, were surprised to find out that Pettersson was a composer, and even three years later, a member of a Swedish music jury doubted that the concerto could be his because Pettersson was known only as an orchestra player.19 His first violin concerto has rarely been played in public because of its technical complexity and awkward tempi, but it was successfully recorded and released to the public in 1988.20

17 Per-Anders Hellqvist, record jacket notes for Allan Pettersson's Violin Concerto No. 2. perf. by Ida Haendel with Swedish Radio Symphony Orchestra, cond. by Herbert Blomstedt. trans. Roger G. Tanner and Robert Carroll (Caprice CAP 21359), 6. 1 8 Rapoport, op.cit., 112. 19 Hans Ekheden and Allan Pettersson, "Allan Pettersson forsta strakkonsert ater efter 20 ar," Konsertnytt X/15 (May 5-18,1975), 4. (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 112.) 2 ° Hellqvist, op. cit., 3. 6

In 1949 and 1950, Pettersson wrote the first of his three concertos for string orchestra, and in 1951, he also completed 7 sonater for two violins.21 In the autumn of 1951, Pettersson went back to Paris to study compositional technique with Arthur Honegger at the Conservatoire, but he spent most of his time in Paris taking private lessons with Rene Leibowitz. He worked very hard at technical exercises, including serial techniques, but Rapoport says that the twelve-tone serialism is rarely found in Pettersson's music.22 Pettersson considered his serial exercises as training only; helpful in developing his own compositional technique, but not an integral part of his music.23 Pettersson expressed the opinion years later that "I had my teachers in order to be able to say: now I know this stuff, but to hell with it."24 Pettersson continued to compose in Paris, above and beyond the heavy load of composition-related studies with Leibowitz. He still preferred to work with a piano at this time, which meant that he went to a Catholic church in the morning and the Swedish church in the afternoon or evening.25 In the latter church, he worked in a cellar with a bad piano:

2 ! Vogt, loc. cit. 2 2 Rapoport, op. cit.. 112. 23 Ibid. 2 4 Sigvard Hammar, "Musiken gor livet uthardligt," Dagens Nyheter (Sunday, March 5,1972), (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 112.) 25 Rapoport. op. cit.. 112-113. 7

It was a marvellous piano....It was so out of tune and harsh in sound. I was fond of that sound; it sang in a sort of human way.26 Per-Anders Hellqvist says that Pettersson had already found his own style during the period in Paris,27 and by 1953, Pettersson had completed his first two symphonies. His second symphony was finished in Stockholm in 1953 and was performed the next year by Tor Mann. Mann was already aware of the merit of Pettersson's music and subsequently gave premiere performances of three of Pettersson's large works: Concerto for String Orchestra No. 1, Symphony No. 3, and Concerto for String Orchestra No. J.28 Pettersson concentrated on composition on his return to Stockholm in spring 1953, but he was not pleased with the attitude of those who wielded musical power over him, or their inability to understand his music.29 As Rapoport states, "[Pettersson] still felt very much an outsider, partly because of his class origins and his struggles, but also because his music was so unlike what was being written in Sweden at the time."30 Pettersson composed large-scale, tonal, and expressionistic

2 6 Urban Stenstrdm, "Allan Pettersson - komponerande och grubblande son av Soder," Nutida Musik 1/5 (1958), 6-7. (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 113.) 2 7 Hellqvist, op. cit„ 6 2 8 Rapoport, op. cit.. 113. 29 Ibid. 3 0 Ibid. 8 symphonies, and did not compose in the neo-classical or serial styles which were popular in the musical culture. Many people may have considered Pettersson's music old-fashioned and not worth looking into beneath the surface because of its conservative nature.31 Pettersson later described how he felt at this time:

I feel I have more affinity with criminals, those who are called criminals, than with other people, not because of what is called their criminality, but because of their longing for freedom, their anguish and suffering, their feeling of being outside.32 In addition to his isolated position, his impatient nature and highly charged mode of verbal expression made his potential supporters turn their backs on him. Pettersson appeared for rehearsals or performances of his compositions and occasionally wrote an article or gave information to others about his work, but always disappeared again to continue composing.33 From 1955 through 1965, Pettersson wrote five large works. He completed his third symphony in 1955, the fourth in 1959, and the fifth in 1962. He also finished his second and third concertos for string orchestra in 1956 and 1957 respectively. Four of these compositions, Symphony No. 3 (1956), Concerto for String Orchestra No. 3 (1958),

31 Ibid. 3 2 Ekheden, loc. cit. (in Rapoport, 109.) 3 3 Rapoport, op. cit.. 113. 9

Symphony No. 4 (1961), and Symphony No. 5 (1963) were performed a year or two after they were finished, but another Concerto for String Orchestra No. 2 (1968) had to wait twelve years for its first performance.34 Pettersson gave an interview to Urban Stenstrom prior to the first performance of his Third Concerto for String Orchestra in 1958. In that interview, Pettersson stated several beliefs important to him at the time, which included an unusually emotional reminiscence of his childhood:

It is mother who is my music. It is her voice that speaks in it, I've wanted to cry out what she could never say, she and my sister, my sister who never got to be a woman, who was stunted by rheumatoid arthritis, who nearly threw herself out of the window because of the pain and who died one Christmas eve in the Soder Hospital.35 These images of pain and suffering became more personal when Pettersson himself contracted the disease. Just after the first performance of his fifth symphony in November 1963, he was hospitalized because of the chronic rheumatoid arthritis. The fifth symphony was, in fact, the last work which he could write out by himself in a neat copy suitable for performance.36 As Rapoport says: "Composing and writing became difficult, but he [Pettersson] had always lived for music and was not

3 4 Vogt, op. cit.. 70. 3 5 Stenstrom, loc. cit. (in Rapoport, 113.) 36 Rapoport. op. cit.. 114. 10 going to give it up."37 His career as a violist, however, sadly ended because of the disease. His resignation from the orchestra left him even more isolated from the world.38 Pettersson wrote his sixth symphony in 1963 through 1966, and the seventh in 1966 through 1967.39 According to Rapoport, Stig Westerberg, who had been the conductor at the premiere of the fifth symphony, conducted the first two recordings of Pettersson's orchestral music in the mid-1960's. Pettersson's music suddenly got public attention in October of 1968 with the first performance of his Symphony No. 7 by the Stockholm Philharmonic under Antal Dorati. Interest in Pettersson grew quickly in Sweden after this performance. In the last three months of 1968, a mini-festival of Pettersson's music was held in Sweden, and since 1968, more than twelve recordings of his music have been released commercially in Sweden.40 Pettersson's eighth and ninth symphonies were written in 1968-69 and 1970 respectively.41 In the summer of 1970, just after Pettersson completed his ninth symphony, his rheumatoid arthritis became more severe, and he was again forced to go to a hospital. He led an uncertain existence for most of the nine months he was confined there,42 but

3? Ibid. 3 8 Hellqvist, loc. cit. 3 9 Vogt, op. cit.. 72. 4 ° Rapoport, loc. cit. 4 l Vogt, loc. cit. 4 2 Rapoport, loc. cit. 11

Pettersson started to write his tenth symphony during his stay, which he called "the unrelenting loneliness of death's tunnel."43 The tenth symphony is somewhat different from his others, more concentrated and "musikantisch,"44 but his spirit proved to be quite removed from this setting.45 In 1974, when Pettersson was asked about the attack of his illness about ten years earlier, he said:

It didn't really change my situation at all. I was already enclosed in my own world and had adjusted to the loner's struggle.46 Pettersson had rarely had contact with the outside musical world before the onset of his disease, and after that, his sickness made him a patient in his own dark prison, an apartment on the fourth floor of an old building without an elevator in southern Stockholm. He may have liked the place in some ways, since it was near the area he grew up in, but after nearly 20 years there, he and his wife moved to a brighter and more manageable dwelling in October, 1976. The new residence was offered

4 3 Haglund, op. cit.. 602 4 4 The German word 'musikant' means untrained or street musician, differently from the word 'musiker' which means classical musician, and '-isch' is an adjective suffix. 4 5 Haglund, loc. cit. 4 6 Reidar Storaas, "Musikken er det som tross alt gjerr livet verd a leve...," Bergens Tidende (October 24, 1974), (trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 115.) 12 by the government as an expression of sympathy and appreciation. Pettersson had begun to realize through the years that people had a sincere interest in him as a person and a composer, and that many things were being done for him.47 Pettersson completed his eleventh symphony and a Symphonic Movement in 1973, and then his twelfth symphony, De doda pa torget (The Dead in the Square), which is for choir and orchestra, in 1974.48 His only choral work, Vox humana, for four soloists (soprano, alto, tenor, and baritone), chorus, and string orchestra, was also composed in I97449 His thirteenth symphony was finished in 1976, and the fourteenth and fifteenth symphonies in 1978. The second violin concerto was completed in 1977.50 Pettersson's last two works were a viola concerto called Symphony for Viola and Orchestra and his sixteenth symphony, which is for alto saxophone and orchestra, composed in 1979.51

47 Rapoport. op. cit.. 115. 48 Vogt. loc. cit. 49 Ibid. 5 ° Haglund, loc. cit. 5 J Vogt, loc. cit. CHAPTER II GENERAL MUSICAL CHARACTERISTICS

Nicolas Slonimsky describes Pettersson as an "innovative but determinedly romantic" composer.52 The nature of Pettersson's music is indicated by something he said in a nonmusical context:

The price of rosy objectivity is the relinquishing of vital, primitive, life-expiating emotions, and this leads to the only expressive being on Earth becoming emotionally empty, destitute. If things go that far, man's role is played out.53 Among all of Pettersson's compositions, his symphonic works, including the second violin concerto, especially show his musical character. According to Haglund, Pettersson's musical influences were Bach, Beethoven, and Schubert, and his music is based on a "sympathy with the oppressed and the outcast."54 In addition to that, as Rapoport says, Pettersson's symphonic works are

5 2 Nicolas Slonimsky, Supplement to Music since 1900 (New York: Charles Scribner's Sons, 1986), 95. 5 3 Allan Pettersson, "Den konstnarliga lognen." Musiklivet XXVIII/2 (1955), 26.(trans. Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. (London: Kahn & Averill, 1978), 116.) 5 4 Haglund, loc. cit.

13 14

••• expansive, highly emotional, anguished creations which owe nothing to the various objectively oriented artistic movements of the 20th century. Spiritually, there is a connection to late Mahler and late Sibelius.55 While the styles of both Mahler and Sibelius relate in many ways to Pettersson's music, this is probably because of the "similarities of situation and attitude."56 Pettersson's music surpasses whatever he learned from them. In Rapoport's opinion, the most unique feature of Pettersson's symphonic works is length. This is true not only of whole works but also of movements and sections within the works. Among his 16 symphonies, only the third and the eighth symphonies have numbered movements with pauses between them; none of the others have any pause from beginning to end. According to Matthias Theodor Vogt, the shortest symphony, No. 11, is about 24 minutes; the two longest are No. 6 (about 53 minutes) and No. 9 (about 73-83 minutes).57 Rapoport says that the internal proportions of the works also exceed normalcy. In the ninth symphony, for example, chromatic scales with an ostinato rhythm last seven minutes without any relief, and the sixth has a bb minor coda which is about 45% of the length of the entire piece.58

5 5 Rapoport, op. cit.. 116. 56 Ibid. 5 7 Vogt, loc. cit. 5 8 Rapoport, loc. cit. 15

Lars Sjoberg compares the loud climax in C# major of the tenth symphony to a "dance in honor of life,"59 but according to Pettersson, it is more like a dance against, and in constant threat of, death:

I could never have a symphony pour out into a jubilant, victorious fanfare as a tremendous yea to life. Because man doesn't win the struggle!60 While not autobiographical, all of Pettersson's music reflects this attitude.61 It is known that Pettersson himself did not like to be compared with Mahler. The intense emotion and the large scale of Pettersson's music sometimes remind one of Mahler; however this kind of comparison is often too simple. It focuses only on external similarities and neglects some important differences, such as the stiffness of Pettersson's music.62 Hellqvist suggests that a comparison between Pettersson and Beethoven would be proper. He says Beethoven and Pettersson shared the "qualities of surliness, ruthlessness, and insistent preservation of their integrity," despite differences in the appearance of scores they produced.63 As Hellqvist says, Pettersson's similarity with Beethoven

5 9 Lars Sjoberg, record jacket notes for Allan Pettersson's Symphony No. 6. (CBS 76553) 6 ° Reidar Storaas, loc.cit. (in Rapoport, 117.) 61 Rapoport, op. cit.. 117. 6 2 Hellqvist, op. cit.. 3. 63 Ibid. 16

seems to be proper in another sense: Beethoven is well known for his castigation of musicians who found his music unplayable. When Schuppanzigh, for example, complained about the technical problems of the String Quartet Op. 59, No. 1, Beethoven said "does he think I care about his wretched violin when the spirit is upon me?"64 In addition, several late works by the now-deaf Beethoven are described as "typically unrealistic - an inward music."65 Several of Pettersson's early productions, including the first violin concerto, are said to be "unrealistic" in the same way.66 This neglect, in Pettersson's later production, caused new problems, and after their premieres, several of his works were criticized for severe problems with acoustic balance. This balance does not seem to be caused by technical shortcomings but rather by deliberate choice. Pettersson knew that the problems could be solved, if not in the concert hall, then at the sound engineer's mixing table. Confined as he was during the last years of his life, Pettersson was well aware of modern electronic media and its technical potentialities.67 According to Hellqvist, Pettersson's production is notable for its consistency. One composition may differ from another, but there are no large differences between early and late Pettersson. The compositions carry the same message, and the poignancy in his music occurs long

64 Ibid. 65 Ibid. 66 Ibjd. 67 Ibjd., 3-4. 17 before the attack of his illness. Nonetheless, his musical style is never an end in itself. It changes, but slowly, and each time he changed, he invented a new device to carry a more intensified expression.68 Pettersson's music "alternates between dissonant crescendos leading to violent, often complex, explosions, and relaxed passages of an almost folklike simplicity."69 The symphonies often end in extended and renunciative diminuendos said to be "remarkably independent" by Haglund. Haglund continues, saying that Pettersson's most distinctive features are "frequently chromatic, triadic harmony, and the complicated percussion patterns."70 The structure of Pettersson's music is often difficult to analyze because of these features, but devotees of Pettersson's music can easily work through these difficulties. Hellqvist says that Pettersson's music almost seems to communicate linguistically, which makes Pettersson's music complicated and simple at the same time. In fact, it is said that "his way of constructing the overall form, as a chain of undulating tensions and relaxations with a tremendous intensity at the culminating points, also bore an exact resemblance to his manner of speech."71 According to Hellqvist, Pettersson's music is therefore not

68 Ibid.. 3. 6 9 Haglund, loc. cit. 70 ibid. 7 l Hellqvist, loc. cit. 5. 18

"difficult" to listen to and "understand," in spite of "its tremendous formats and intermittently frantic intensity of feeling."72 Even when Pettersson fought with the men who had the power of the musical world against him, the favorable responses he received from his audiences kept him strong. As a matter of fact, it is the audience, not the cultural bureaucrats, who have established Pettersson's compositions as an important landmark of Swedish music.73

72 ibid. 73 Ibid.. 6. CHAPTER III ANALYSIS

Pettersson composed 34 complete works and collections during his life time, including 2 violin concertos, seven small sonatas for two violins, and 3 works for violin and piano, and the violin may have been his favorite instrument. Pettersson's Concerto No. 2 for Violin and Orchestra was composed for the Canadian violinist Ida Haendel and was commissioned by Swedish Radio.74 There are two editions of this concerto; the first was completed in 1977, and the second one was made in early 1978.75 The concerto was first performed on January 25, 1980, by the Swedish Radio Symphony Orchestra under the direction of Herbert Blomstedt with Ida Haendel as the soloist. The concerto was recorded immediately after the premiere by the Swedish Radio Symphony Orchestra and Ida Haendel, and this is the only recording that has been made of this composition. This concerto was the last of Pettersson's compositions that he heard in person,76 but Ida Haendel was extremely difficult to hear

74 Ibid. 7 5 Paul Rapoport, "Pettersson: Concerto No. 2 for Violin and Orchestra," Fanfare IV/5 (May/June 1981), 125. 76 Ibid.

19 20 during the performance, and some people concluded that Pettersson's orchestration was poor.77 Rapoport comments favorably on the soloist:

Her performance is beautiful, eloquent, and committed. The enormous technical and interpretive difficulties thrown at her just disappear, and her unshakable musicality shines forth in every phrase, bar, and note. If there is better violin playing on records, I've never heard it.™ Rapoport, however, was more critical about the orchestra and the conductor in his review.79 The character of the second violin concerto is also the same as that of Pettersson's other music; dissonant crescendos lead to violent explosions and relaxed passages of folklike simplicity follow.80 From the beginning, tensions mount, and after several explosions, lyrical passages occur from [93]+281 to the end, exclusive of the measures from [126]+8 to [132]+9. Pettersson constantly manipulated emotion in his music, "sorrow - pain, bitterness - irony, anger - opposition, and consolation - reconciliation"82 through art, formed into pure culture. He builds upon

77 Ibid., 126. 78 Ibjd. 79 Ibid. 8 ° Haglund, loc. cit. 8 l This indicates 2 measures after rehearsal number 93, and this format will be used for the rest of the document. 8 2 Nils L. Wallin, "Allan Pettersson zweites Violinkonzert," Nutida Musik XXIII/3 (1979-80), 29: This article has been translated for the document by the author and Andrew John Spencer. 21 these emotions "his aesthetic;...his form with their unique, personal dialectic."83 As Nils Wallin says;

His work becomes more and more a constant discourse about how these life conditions can be expressed in art. One can characterize them as primary emotions and feelings; they can gradually glide into each other within the pairs, and this also occurs between the pairs. A leap between remote pairs leads to a constructive contrast for Allan Pettersson. The consciousness of the elemental and universally-valid in them affirms his clearly unshakable certainty about the central meaning of art.84 The centrality of Pettersson's music is reflected in his use of motivic development, which results automatically in a close combination of the solo voice with the orchestra, so that only a small portion of the orchestra part is "accompaniment," and Wallin's use of the term "symphonic" is legitimate.85 The orchestra contains an average instrumentation, though without a second violin part. The instruments in the orchestra include piccolo, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contra bassoon, 3 trumpets, 4 horns, 3 trombones, tuba, timpani, triangle, snare drum (without string), tenor drum, cymbals, large tam-tam, violins, violas,

83 Ibid. 84 Ibjd. 85 Ibid.. 26. 22

cellos, and contrabasses. In the score, the clarinets, the bass clarinet, the trumpets, and the horns are notated in concert pitch. As Wallin notes, the contrabasses do not simply double the cello part, and often create, in effect, a second bass, a common effect since the time of Beethoven. But more than this, there are long sections in which the cello does not play in the typical bass register, but moves within the tenor, alto, and even soprano registers.86 A corresponding expansion of register is also found in the viola part, where the viola swings between the typical alto register and the higher soprano register. The register of the viola in this composition is close to that of the violin, and sometimes intersects with it. Over and within this extremely unusual four-voiced structure, the solo violin plays in a pronounced solo fashion at times, and at other times plays essentially tutti.87 According to Wallin, this extremely unusual four-voiced structure yields a rare and unique tonal clarity with a great deal of melodic-rhythmic movement, which challenges the virtuosity of the orchestra. The opposite of this structure, a "canzona-like, satisfied string tone" is found in a few lyrical passages, especially in the great intensification at the end of the concerto, from [132]+10.88

86 Ibid. 87 ibid. 88 Ibid. 23

Pettersson interpreted the program of his concerto before its premiere during an interview with Kjell Forsting, saying that

A person makes his way into his inner reality, flees from the reality out there, which is controlled by the image of man - the perfect robot -, where the idea of humanity has been annihilated for the sake of ideologies which manifest themselves in homicide, fratricide - Cain and Abel again. There in the nocturnal landscape where the actor and the observer are one and the same person, as in the unreality of a dream where words cannot be uttered. In this sanctuary within the human being one can hear a song played on the violin with a noble tone and which has fingerprints of a person, a lonely creature who is seeking salvation from the threatening collective outside. The cynic calls this escapism. But the little man who doesn't understand lofty words - he knows only that danger is threatening, and there are no lofty words for that. But the idea of man is not his own idea - and for that reason it is indestructible.89 It is known that Pettersson drew material for the Second Violin Concerto from the song 'Herren gar pa angen (God Walks in the Meadow),' the 14th among the 24 songs of Barfotasanger. 90 (The score of the song, 'Herren gar pa angen' is attached as Appendix A.) This small song, 'Herren gar pa angen' was originally composed for voice and piano. The words of the song are:

89 Hellqvist. op. cit., 1. 90 Rapoport. Fanfare. 126. 24

God walks in the meadows, midst thorns and thistles. Flowers of the poor grow in meadows, midst thorns and thistles. That He is present, the flowers know, midst thorns and thistles. The flowers grow just in His footsteps midst thorns and thistles.

God walks in all pathways, roads wide and narrow. Poor men wander far from His footsteps, in the by-ways. "I seek a sheep that has lost its way," says the good shepherd. The Lord will find him, and He will guide him. Walking, in His footsteps.91

The words of the song speak of a God who wanders the meadows and trails between thistles looking for lost sheep, and the melody rests solidly in the key of E major, yet changes occur in subtle ways between the tonal levels within this frame. According to Wallin, "these changes provide the melodic rhymes with a tension, while at the same time, a metric irregularity stretches the relation between the lines of verse."92 The melody is diatonic and contains mostly conjunct motion, and

9 l Gunilla Marcus, trans, "Suite from Barefoot Songs," record jacket notes for Allan Pettersson's Violin Concerto No. 2. perf. by Ida Haendel with Swedish Radio Symphony Orchestra, cond. by Herbert Blomstedt (Caprice CAP 21359), 9. 92 Wallin. op. cit.. 27. 25

movement in seconds is of great importance in this concerto. In fact, the prime motive of the song consists predominantly of seconds:

— n V iJ y Y .

The seconds change their character and their function independently from changes of the tonal level.93 In fact, the widest melodic leap in this piece is a perfect fifth, and the solo voice's range encompasses the space between C4 to D5. The time signature of the song is 2/2, and the tempo is marked as 'Moderate, con moto, J = ca 63,' the same tempo as the 'Tempo IV of the concerto. This song is 27 measures long, with a 3-measure introduction and 2-measure conclusion for piano alone. It has a modified A-B-A' form; the A section is 10 measures long (measures 4-13), the B section is 7 measures long (14-20), and the A' section is 5 measures long (21-25). The B section is derived melodically and rhythmically from the A section, and the dynamics are basically piano. The verses are set to the same melody, which is played twice. It is generally accepted that the song is not simply quoted in the concerto but forms the basis for the whole composition.94 It seems that the whole concerto is a magnificent late blossom from seeds planted over

93 Ibid. 94 Rapoport. Fanfare. 126. 26

30 years earlier. As Rapoport says, "It shows yet again that the spirit of those earlier songs was never absent from his music, and that Pettersson the miniaturist and Pettersson the symphonist had been working together all along."95 There is nothing surprising about Pettersson's use of songs as motivic ideas, for most of his big symphonic works have a similar core. Sometimes the miniature core "obtrudes in sentimental ballad tone"; the core of Concerto No. 3 for String Orchestra is "the salvation song," a recollection of religious songs sung by the composer's mother during his childhood.96 Leif Aare's book on Pettersson, however, "records that Pettersson subsequently denied having written any 'salvation song'."97 In the fourth symphony, the core motive is derived from the B-A-C-H motif.98 Another small song from Barfotasanger had already been a compositional source for one of Pettersson's earlier large works in the first sonata of the Seven Sonatas for Two Violins (1951). In this piece, Pettersson "built a Baroque cathedral over the song 'Flower at my feet'."99 According to Wallin, at a basic level, each individual measure of the second violin concerto contains a lesser or greater allusion to 'Herren gar pa angen.'100 For example, at the very beginning of the concerto,

95 Ibid. 9 6 Hellqvist, op. cit.. 4-5. 97 Ibid., 5. 98 Ibjd. 99 Wallin. loc. cit. l°° Ibid., 27. 27 the contrabass hints at the melody of the song.101 In Wallin's opinion, this small song is sufficiently rich in content to give life to a concentrated development of 57 minutes in length.102 Wallin suggests that Pettersson's personal history would be relevant in examining the relationship between the song and the concerto.103 Hellqvist tells how Pettersson had always identified with the poor workers of the Soder district of Stockholm and their barefoot children, who were easily wounded both physically and spiritually by society.104 The form of 'Herren gar pa angen' is the basis of the formal properties of the second violin concerto, and Pettersson may have intended for the form to be programmatic. Wallin examines how this one song operates at both "micro" and "macro" levels in the Second Violin Concerto.105 Pettersson used the material from 'Herren gar pa angen1 partly in macroform as quotation at the surface level of the music, and partly in microform as a formal starting point for the interval-motivic and rhythmic development. Sometimes the quotations consist of a single motive of the song, and sometimes of several motives, one after another, as a thematic foundation for symphonic development.106 101 Ibid. 102 ibid. 103 Ibjd. 104 Hellqvist. op. cit.. 2. 105 Wallin, o^cit., 29 l°6 Ibjd., 27. 28

The soloist encounters the entire melody from 'Herren gar pa angen' more than once. In [20]+8 through [21]+5 of the concerto, the first phrase of the song is played in Ab major by solo violin, and later, the entire melody of the song is played in E major in [116]+10 through [119]+6. The whole song is played in E major again by the solo violin in [132]+10 through [138]+3. In fact, for the sections from [116]+10 to [126]+7 and from [132]+10 to the end, Pettersson indicates 'Cantando,' which means 'singing.' As Hellqvist notes:

It is only towards the end of the concerto that we hear the song in it's original form, but its intervals, together with other fragments, are ingredients of the musical texture and, to some extent, also generate the overall form of the concerto.107 Beginning with [49]+2, the melody of the song slowly increases in dynamics; the oboe and the trumpet play first, but are interrupted by a dramatic entry of the soloist.(See Figure 1) The melody then appears in the woodwinds, and an orchestra tutti becomes more and more active until it culminates m^at [51]+2. Here the melody is interrupted and a new melody is begun in the solo violin part, shown in Figure 2:

107 Hellqvist, o^_cit., 5. Clal.B

'Figure 1: mm. [49]+2 through [49]+5 110

*Figure 2: mm. [51]+2 through [51]+7 31

The conclusion of the concerto, from [132]+10 to the end, contains six variations on the melody of 'Herren gar pa angen.'108 It seems like a reconciliation and celebration after the resolution of a quarrel. First, the solo violin plays the original melody of the song which is then played an octave higher by the solo violin again from [135]+4. This is followed by tutti violins, cellos, basses, oboe, bassoon, and trumpet successively playing the melody line in the final variations. According to Wallin, "The microstructure of the song dominates the motivic-thematic development."109 It is found throughout the concerto, whether in the solo or inner voice: arrangements of seconds found in "ever new constellations."110 The use of microstructures is not limited to quotation here, but applies even more dramatically to the development of thematic material in the fine details of the work. Connections are created between the macro- and microworlds, which the listener experiences as a unity, as an inner affinity.111 Wallin says "the quotations, with their unique psychological effect, are related to each other through dramatic episodes."112 Pettersson's music is both, as Wallin says, "extremely uniform and rich in contrasts."113 It is uniform because Pettersson had already settled

108 Rapoport. Fanfare. 126. 109 Wallin. op. cit.. 28. 110 Ibid. 111 Ibjd. 112 Ibid. 113 Ibid. 32

on his style and his range of expression by the beginning of the 1950's. Wallin says "there can be no question that the artist who wrote the Seven Sonatas for Two Violins at the beginning of the decade is the same one who created the symphonies of the 1960's or the al fresco painting of 1970 which is the ninth symphony."114 According to Wallin, it is not only the generally overlapping developments which condition the uniformity in the macroworld of this concerto. Its inner microworld is also strangely uniform despite the contrasting forms. Pettersson chooses a few ideas for each of his works, and he develops these until their content has been exhausted and they have shown what they are suitable for. In his Second Violin Concerto, this occurs in an exchange between quotations from and commentaries on an older piece, and with the help of these similar components forms something completely new.115 Wallin notes that this leads to a plurality in the seeming uniformity.

The piling up of contrasts, the extreme, and the polar are just as characteristic for Pettersson's music as is the overlapping uniformity. A meaningless, simple, and short melodic movement is revealed to have the strength to develop a long cantilena. An insignificant chromatic form is varied into energetic accompanying figures -

114 ibid.. 29. 115 Ibid.. 28. 33

background - or to chiseled-out thematic incursions - foreground. It is not rare for a rhythmically driving, intensively forward-thrusting motive of the middle voice to unexpectedly change its character, to stand still, be repeated insistently, as if to hammer in an argument. Such repetitive incursions can sometimes be full of unpleasant desperation, sometimes of ominous waiting, and through their ambiguity, they amount to one of the most important factors in Pettersson's music. It is from them that he fashions the large-scale blocks which lend the music its final, symphonic character.116 Polarity is a vital and consistent tool in Pettersson's music: at times the music explodes without warning, and at other times, explodes only after a long dynamic climb. In spite of these explosions, Pettersson's music usually wanes at the end, concluding passively. Through this, the listener can psychologically experience cathartic release - a characteristic considered to be typical for Pettersson's music.117 Wallin describes this idea in his article:

As in many other works by Pettersson, the Second Violin Concerto develops slowly (with its largely new inner light phenomenon) to high points, sinks back again, and splits off as in a bifurcation, never losing sight of the goal: calculated intensification and the final major key. At this moment, the whole of 'Herren gar pa angen' resounds. In a series, introduced by the soloist and orchestra, the

116 Ibid.. 29. 117 Ibid. 34

melody resounds in E major, the key of the original version of 'Herren gar pa angen' of the Barfotasdnger.ns In Pettersson's early period, much of his music is tonal. Although this concerto can not be considered completely tonal in many places, tonality continues to appear quite strongly. The orchestra and solo violin sometimes play in the same key, but they often also play in the different keys. For instance, in the measures [20]+8 through [21]+5, while the orchestra plays in c minor, the solo violin plays in Ab major. However, when one plays tonally, the other plays atonally, and sometimes, both of them are playing atonally. For example, from [37]+4 to [39], while the solo violin plays in E major, the orchestra is atonal. There are also many passages where both the solo and orchestra play together atonally, such as in the passage from [5]+7 to [10]+6. Since the song 'Herren gar pa angen' is in E major, E major appears much of the time in this concerto. The melody of the song is played one time in Ab major from [20]+8 by the solo violin. With this one exception, the song is always played in E major when it occurs in the solo part of the concerto. The relative minor of E major, c minor is also a common key in this composition. The key scheme of the concerto begins with c minor, f minor, A major, f minor, Ab major, and f minor before the first appearance of E major from [36]+4. C minor follows, and the key scheme continues with c# minor, a minor, C# major, C

11 s Ibid., 30. 35

major, and e minor. From [83], c minor is followed by F major, Bb major, and Eb major, all subdominants of previous keys. From [103]+10 to the end, E major is the primary key, although it is interrupted by its dominant key, B major and its parallel minor, e minor. In the diagrams on the following pages, the melody is indicated with a '§' mark when it is atonal. In this concerto, there are frequent tempo changes indicated by the composer. The meters and the keys also change frequently throughout the 1439 measures that comprise the whole concerto. Pettersson specifically defines four different tempi in this concerto: tempo I is o = ca 60; tempo II, d = ca 68; tempo III, eJ = ca 56; and tempo IV, J = ca 63, which is the tempo of 'Herren gar pa angen.' The diagram on the following pages (Figure 3) graphically describe the key relationships found in this concerto: 36

Measures: [5]+7 [10]+6 [18] [20]+8 [211+5 H 1 1 1 1 h- Tempo Markings: TI o=ca56 Til Meters: 2/2 Key Signatures: No Key Tonal Centers: c minor § f minor (A major) f minor Ab major §

[27] [31] [31]+8 [31]+9 [31]+10 [321 [36]+4 [37]+4 [37]+10 ([39])[41] H 1 I I I I I, 1 III TI Til 7/8 2/2 7/8 2/2

f minor § E major § §c minor (Solo:E major)

[46]+2 [49]+2 [51]+3 [52]+9 [54]+7 [55]+8 [56]+3 [60]+8 [62]+4

•I h—I 1Tff l Til o=ca48 Til

§ c minor § c# minor § a minor §

*Figure_3: Graphic Representation of Tempo Markings, Meters, Key Signatures, and Tonal Centers in Pettersson's Second Violin Concerto (Horizontal scale is not strict) 37

Figure 3 (continued)

* Abbreviations - Measures: MS, Tempo Markings: Tmp, Meters: MT, Key Signatures: Key, Tonal Centers: Ton

MS: t63l+9 [64] [66]+4 [66]+9 [67J+9 [68]+10 f69]+6 [72]

H 1—I TT I 1 1 1 r— Tmp: o=ca56TII MT: Key: Ton: a minor § C# major C major E major e minor § (chromatic)

[74]+8 [77] [80]+3 [80]+9 [81]+2 [82]+5 [83] [83]+7

Tm I—I—Jo=ca72TILI i 1"

e minor § c minor § c minor § § c-F-Bb-Eb

[91]+5 [91]+10 [93J+2 [941+5 [94]+6 [95]+7 [95]+9 [971+9 [102]+3

Till Til * 1 TI1V 3/2 2/2

c minor § c minor § c minor e minor c minor § 38

Figure 3 (continued) * Abbreviations - Measures: MS, Tempo Markings: Tmp, Meters: MT, Key Signatures: Key, Tonal Centers: Ton

MS: [103]+10[1041+7 [105]+7 1107J+3 [1131+7 [114]+3 [116J+10

Tmp: J 1—bH 1IV MT: Key: 4# Ton: E major B major E major B major e minor E major (I) (V) (I) (V)

[126]+8 [129]+8 [1301+8 [131]+4 [1321+10 [140]+7

H 1—I 1~ t IV Til Till Til 4/2 No Key 4# No Key e minor E major (§) E major

The tempi of this concerto are quite fast. In the solo part of this concerto, there are only two 32nd notes at measure [23]+2, and there are no notes shorter in duration than the 32nd note. However, the tempi are fast enough to make 16th-note runs, which occur often, sound like 32nd- or 64th-note runs. 39

Although Pettersson indicated specific tempi, his use of "circa" suggests some rhythmic give and take. In addition, the compass of the tempi in this piece is "circa" o = 56 through 68 , which encompasses a very narrow range. The differences among the tempi of this concerto are therefore quite subtle. 40

Many motives are used in this concerto. The motives which appeared frequently, and especially in the solo part, are shown below, in Figure 4. The 19 motives are numbered by the order of their appearance in the concerto, and barlines have been removed because motives sometimes appear in different metrical positions: • First found in mm.: [1] £ >" ^ FP^ ^ 3 S m. 7 [2]

"44 l>J=gF V3^ m. [3]+4 [3] ^3 -N jc £#£ -p- xr m. [10]+8 [4]

m. [11]+10

*Figure 4: Motives from Pettersson's Second Violin Concerto 41

Figure 4 (Continued) [5]

OE i P m. [15]+7 [61

H^ ffi.^ rr^^•S 1-1 m. [20]+8 [7]

3E g* * y " < —a f m. [34]+7 [8] "f [2r r^ m. [351+4 [9] f J ^« K d4,;jrl . H «* |* m. [39]+2 [10]

•*«- ^ 3 -" m. [41] 42 ure 4 (Continued) [11] £ m. [49]+3 [12]

•I'M M JUL y^ J tj^{y^ m. [49]+4 [13] 0 ff H r ^pW-|i m. [54]+4 [14]

tf^—J-^^^O^ m. [58]+4 [15] i p rftr^f V^ m. [671+6 [16]

m. [69] 43

Figure 4 (continued) [17]

-®- ^ l|J J m. [70]+9 [18] g# W m. [102]+3 [19] H m. [127]+2

The motives can be grouped into 4 families; [1], [2], [4], [9], [12], [13], and [14] become one family by virtue of the similarity between the interval relationships (reference to the octatonic scale) of their melodies. [3], [5], [6], [16], and [18] can be grouped into another family because of the similar shape of their melodies, which comes from the combination of the ascending and descending lines. Motive 3, however, could be included in the first family because it also contains portions of the octatonic scale. Because motive [6] is the theme of the song 'Herren gar pa angen,' this family, including the other 4 motives, is strongly connected with the song. Motives [7] and [10] make up the third family, 44

grouped together by virtue of their ascending melodies. A family of motives consisting of descending melodies includes motives [8], [11], [15], and [17]. The last motive, [19], is different from the others. The microstructure of the song 'Herren g&r pa angen,' as was explained before, dominates the motivic-thematic development of the concerto. Almost every motive, therefore, is made up of seconds, which dominate the song itself.

The diagram on the following pages (Figure 5) indicates places where the motives are used throughout the concerto, concentrating especially on the solo part. 45

Measures: 3 7 [11+3 [3]+4 [10]+8 [11]+10 \ 1 1 1 1 1 1 Motives: Ml' Ml Ml M2 M3 M4

[121+2 [12]+5 [14]+5 [15]+7 [161 [161+3 [19J+10 [201+8 H—I 1—I II 1 1 M3 M3 M3 M5 M5 M5 M5 M6

[24]+2 [26]+2 [261+6 [27] [27]+3 [27]+5 [281+6 [29]+10 [341+2

M6 M5 M5 W M3 M5 M5" M3 M7

[35]+4 [39]+2 [41] [41]+3 [41]+8 [44]+6 J I | | L M8 MM9 M10M10 M10 IM 6 :F1

[46]+2 [46]+7 [49]+3 [491+4 [491+7 [49]+8 [501+4 [50]+5 [50]+7

M10 M10 M1TM12 Mil "M12 TV111 "M12 "M[12! *Figure_5: Motivic Use in Pettersson's Second Violin Concerto 46

Figure 5 (continued)

MS: [50]+8 [50]+10 [51] [52]+6 [54]+4 [55]+2 [56]+3 {56]+4[56]+7 [56]+8

Mot: M12 'Mil M12 W" M13 M3" M11M12 M11M12

[57]+3 [57]+4 [57]+6 [57]+7 [57]+9 157]+10 [58]+4 [58]+9 [58]+10 [59]

Mil M12 "M12 M12 Mil M12 M4 M14 M14 M 14

[59]+2 [59]+3 [59]+4 [60]+8 [601+10 [61]+2 [611+6 [61]+9

¥14 ¥14 ¥14 Mil Mil Mil Mil Mil

[62]+6[62]+7 [67]+6 [69] [69]+7 [70]+5 [70]+9 [721 [76]+6 -I—I [ 1—I 1—1 1 1— M3 M3 M15 M16 M15* M16 M17 M17 M3"

[911+5 [94]+6 [102]+3 [102]+5 [1021+8 [103]+2

M15" M15 M18 M18 M18 M18' :V1 :Vcl 47

Figure 5 (continued)

MS: [104]+6 [116]+8 [116J+10 [120]+2 [122]+3 [124]+5

Mot : M18M31"TM6 M6 MM66 "MMi6 Fl :V1 :Vcl

[127]+2 [127]+4 [127]+8 [128]+7 [129]+4 [129]+5 [129]+6 [129]+9

M19 M19 M19* M19 M19 *M19 M19 M15

[132]+7 [132]+10 [135]+4

M6 M6 M6

As shown in these diagrams, the motives occur as modified or retrograde shapes in many passages. For example, from [28]+6, motive 5 happens as a modified shape, as is shown in Figure 6:

•Figure 6: mm. [28]+6 through [28]+7 48

An example of modified motive 15 occurs beginning in [91]+5, shown in Figure 7:

:= w £i^zrzKr g m

*Figure_7: mm. [91]+5 through [91]+8

As shown by the diagram, there is a steady numeric progression through the motives, which is interrupted occasionally by recurring episodes of motive 3 and motive 6. Motive 3 and motive 6 are more important than the other motives of the concerto because of their relationship to 'Herren g§r pa angen.' 49

This violin concerto is a long piece, and there are several phrasing breaks in addition to the rests. These breaks happen in conjunction with other changes: changes in tonality, tempo, mood, or character. The entire concerto can be divided into large sections as shown in Figure 8. Notice that only five of these sectional breaks coincide with statements of important motives:

Measures: [5]+7 [10]+6 [20]+8 H 1 1 1

M6

[361+4 [39] [41] [52]+9 [54]+7 [761+2 -I—I—b 1—I 1—

M10

[931+2 [94]+6 [102J+3 [114J+3 [1161+10 [1261+8 —I—I 1 1 1 1 H M15 M18 M6 *F|gure_8: Sectional Divisions in Pettersson's Second Violin Concerto 50

Even though this concerto can be divided into many sections, it can also be divided into two big sections; from the beginning to [93]+1, and the rest. The passages from [93]+2 to the end represent 44% of the whole concerto, and correspond to the slow movement of the traditional violin concerto. It seems that for Pettersson, these passages also represent some kind of reconciliation or feast after an extended quarrel, which is represented by the passages before [93]+2. As he mentioned in his program interpretation, it seems that Pettersson used these two contrary parts to express the "threatening collective outside" and "a song played on the violin with a noble tone and which has fingerprints of a person."119

Many large leaps and chords occur in the solo part of this concerto, and they usually move very fast. However, the song 'Herren gar pa angen' consists mostly of seconds and a slow, single-line melody. The song, therefore, makes very interesting contrast with the rest of the concerto. From the 'pianissimo' to the 'fortississimo,' the dynamic variety of the solo part is all-encompassing. The dynamics change quite fast, and 'forte piano,' 'subito piano,' and 'molto crescendo' frequently appear. These dynamics would appear to be reminiscent of those in Beethoven's and subsequent composer's works. The dynamic changes of Beethoven's

119 Hellqvist. op. cit.. 1. 51 compositions, however, are different from those of Pettersson's. For instance, Beethoven changes the dynamics as a surprise in his works; he usually makes a quite lengthy 'crescendo' just before 'subito piano,1 so that the 'subito piano' comes up as a surprise to the audience who have been expecting an explosion like 'forte.' However, when 'subito piano' happens in Pettersson's pieces, there is no long 'crescendo' before that; it usually occurs after a 'forte' which has not lasted long. If Beethoven's dynamic changes can be said to be logical, Pettersson's are quite emotional: in this concerto, Pettersson manipulates emotion, such as "sorrow, pain, bitterness, irony, and anger,"120 by using of those fast dynamic changes with the other compositional devices. The tessitura of the solo part of this concerto is extremely high, and Pettersson also indicates that a lot of notes should be played on the G string. The reason of his fondness for the sound of the G string seems to be that the sound is suitable to express his "agony, suffering, and sense of exclusion."121 As a result, much of this piece is indicated to be played on the E and G strings, and the middle two strings are hardly used. For Pettersson, the contrary sound colors of the E and G strings seem to represent "Cain and Abel," as he said in the program interpretation of this piece.122

120 Wallin, o^rit., 29. 12 J Ekheden, loc. cit. 12 2 Hellqvist, loc. cit. 52

While the song 'Herren gar pa angen1 is the basis for the whole concerto, the many other motives occur consecutively, and are rarely repeated in subsequent passages. The continuity of this concerto depends only on the song, therefore, and is not certain. Only one section of tutti violin is used for this piece, which is different from the usual orchestration. As mentioned before, the solo violin part is integrated with the symphonic whole, and so it seems that the solo violin and the tutti violins play as the first and second violins. Sometimes they play the same melodies alternately, and the tutti violins support the solo violin in this piece. This piece belong to neither the late romantic nor the "typical" twentieth century music styles; it is not written entirely in either tonal or non-tonal styles, as shown before. The word "musikantisch," which is used by Haglund to describe Pettersson's tenth symphony,123 seems to be also suitable for this concerto because of its emotional, illogical character. Since every individual measure of this concerto contains smaller and larger allusion to the song 'Herren gar pa angen,' it is impossible to understand Pettersson's Second Violin Concerto completely without prior knowledge of that small song.

2 3 Haglund, loc. cit. CHAPTER IV PERFORMANCE DIFFICULTIES

Pettersson's Concerto No. 2 for Violin and Orchestra is a single- movement concerto like most of his symphonic works. The performance time is approximately 57 minutes. Technically, this concerto is possibly one of the most difficult violin concertos of the twentieth century. Wallin has stated that it "demands perhaps the same rethinking of technique as did the concertos of Beethoven and Brahms in their days."124 While both Beethoven and Brahms were pianists, Pettersson was a violist who also played the violin, and had a more practical knowledge of violin technique than either Beethoven or Brahms. Many of the technical problems in this concerto are shared by Pettersson's First Violin Concerto, composed in 1949, and also by the Seven Sonatas for Two Violins, composed in 1951.125 In these works, the professional violinist is faced with many interesting problems, as Wallin says: "since the appearance of these works for violin, a deeper tone-color has been achieved."126 He also says that in these first works, there was already noticeably unusual and very deliberate understanding

124 Wallin. op. cit.. 28. 125 Ibid.. 29. 126 Ibid.. 26.

53 54 of the relationship between technique and the tone-coloring of the instrument.127 According to Wallin, however, in the Second Violin Concerto, "Pettersson appears to have attempted an altogether freer palette, that is, a tone-color agility which complements and underpins the formal unity. This coloring combines not only with the rhythmic- melodic parameters, but also with the dynamic parameters."128 Both of Pettersson's concertos require the soloist to have excellent technique as the works are not idiomatically written. Because the solo violin part is integrated with the symphonic whole, the concertos do not permit the violinist to show his or her virtuosity in a conventional soloistic way. Beethoven is generally recognized as one of the first composers who demanded in his works sudden dramatic changes in dynamics. For example, Beethoven frequently contrasts forte piano and crescendo to subito piano, which is difficult for the violinist to play because there is an instant physical and mental change involved. The Brahms violin concerto contains similar elements, in addition to percussive patterns, quadruple stops, and an angry character. These characteristics are also present in Pettersson's compositions, especially in the Second Violin Concerto.

127 Jbid. 128 Ibid. 55

Pettersson, however, wrote his second concerto quite differently from the "typical" violin concerto such as those by Beethoven, Brahms, Mendelssohn, and Tschaikowski. As Haglund suggests, one of Pettersson's characteristics is "the complicated percussion patterns,"129 and this feature is very prominent in the second concerto. A similar kind of percussive pattern can be seen in Brahms' Violin Concerto. However, the percussive pattern is quite melodic in Brahms' Violin Concerto compared to Pettersson's Second Violin Concerto, as is shown in Figures 9 and 10:

U r-4 w: ?5 *: in s £P- 3Ei m £ /

&. S Ql©- •£&• =1m 9- &- 4 ®- gr %

*Figure_9: Brahms Violin Concerto in D major, Opus 77, Mov.I: mm. 246 through 249

29 Haglund, loc. cit. 56

i ^^ y y-faaiMj f -y—

> > >> > > >>. > >> > >

*Figure 10: mm. [33]+7 through [33]+10

The phrase that comes closest to being traditional violin writing in Pettersson's Second Violin Concerto occurs in the arpeggios given in Figure 11: 57

3= o'.zz: M/^e W m^^^^-^^^ ^

EF^p± ^

p

Ool- - oo2= -3 °o 3 = °o 3 =

&-*-]> £ ii mm rffl ^3Pi Ef n cia£ !W -- >

EE^ Bffi ifa^MBifs§i R Mi Jj-rf if

*Figure_ll: mm. [91]+10 through [93]+1 58

This passage of Pettersson's concerto is quite similar to the arpeggios after the cadenza of the first movement in Mendelssohn's violin concerto. Their functions, however, are very different. In Mendelssohn's concerto, the solo violin provides an obbligato to the melody played by the orchestra, whereas in Pettersson's concerto, the solo violin is the featured voice above the orchestral accompaniment. Wallin states that "the large format and uninterruptedly concentrated and continual motivic development offers the soloist enormous technical difficulties, and is also the demanding on the performer's memory and concentration."130 Although Pettersson revised the solo part in the second edition to contain more rests, it is still a very exhausting work to play - 1439 measures - considering there are only 198 full measures of rest. As shown in the previous chapter, this concerto contains many motives, and once they are introduced, they are then rarely repeated in subsequent passages. Throughout the concerto, a new melody arrives in almost every phrase. As a result, these melodies seem to be directionless, giving the overall piece a lack of continuity. Additionally, because there are no distinctively repeated patterns, memorization is difficult for the soloist. In addition to the length and constant introduction of new materials, many notes are written enharmonically. An interesting

130 Ibid.. 26. 59 example of this can be seen in places where Pettersson writes G# instead of Ab despite the fact that Ab would appear to be more appropriate for the implied harmony. It seems there is no special reason for his random choice of spelling in this case, but such enharmonic spelling makes reading the music difficult for the violinist. Intonation is a major problem for the soloist in this concerto. One of the difficulties is caused by the many chromatic passages. As mentioned in the second chapter, one of the characteristics of Pettersson's music is frequent chromatic patterns,131 and it is also true of his Second Violin Concerto. Another difficulty comes from the many large leaps and jumps. Since the register changes frequently, it is hard for the violinist to identify accurate intonation. The fast tempi add difficulty to hearing pitches accurately; when tempi range between d = ca 56 and «J = ca 68, notes often move so quickly that the violinist can hardly hear the intonation. Further chromatic passages in this concerto often appear with other technical complications. For instance, at measure [7]+5, large string crossings occur with chromatically descending notes, shown in Figure 12:

13* Haglund, loc. cit. 60

—>> > > > >

> > > > > > > >

tefe ^£3§= DC 0 i tjffifi jl szrs: 3E *p * ^

*Figure 12: mm. [7]+5 through [7]+9

It is also difficult to make the chromatic notes distinct in this kind of passage. One of the most challenging aspects of this work is the very wide leaps which occur within a given melody. Octave leaps, sometimes used in conjunction with double stops are common. These are shown in Figures 13 and 14: 61

o o > L l4*fe Qz •fe &

Tigure 13; m. [6]+2

^ £ E W $

-P-' ^.a- fc^/lfP: k?i# !E £ i

Figure 14; mm. [35]+7 through [35]+10 62

Sometimes, leaps as big as 3 octaves occur:

fyfc n >

*Figure_15: m. [32]+5

As indicated in the score, some leaps are to be played on one string, especially on the G string, creating large shifts. Pettersson's abundant use of the G string suitably expresses his 'agony, suffering, and sense of exclusion.'132 It is quite awkward to play the violin in high positions on the G string: the left arm is very twisted, an unnatural position for the body. It is also difficult to keep the correct hand shape for the high positions with the awkward thumb placement, and it requires much energy to sustain the unique color of the G string. Here is an example where the violin reaches up to D5 on the G string (Figure 16):

13 2 Ekheden, loc. cit. 63

i 3£

'Figure 16; mm. [24]+2 through [24]+5

In this concerto, the highest note is E7, but more importantly, the overall tessitura of the solo violin part is extremely high, and the soloist is required to maintain an awkward position on the E string for long periods of time. Many of the notes have additional complications in high tessitura, such as melodic minor seconds, where the fingers are so close that they overlap (Figure 17):

_Q-' n-g. V$z V b^S: V.d&

*Figure 17: mm. [1] through [l]+3 64

By restricting the violinist to a single string, Pettersson imitates the human voice with its single set of vocal chords, and one must strain to make the sound with the violin. Pettersson wrote much of this violin concerto to isolate the E and G strings (the highest and lowest strings), and because of this fact, this piece sounds like a dialogue between two men's voices - perhaps "Cain and Abel" as Pettersson mentioned in his program interpretation for this concerto.133 As a result of the two-string writing, many large string crossings are inevitable. However, the two-string writing is not the only reason for the many large string crossings; another reason is the angular character of the work which is expressed by the disjunctive motion of the violin part. Pettersson conceived his music as a "crying voice"134 and a "protest,"135 and so it seems natural that the violin is used in this angular manner. Figure 18 shows an example of large string crossings which happen in sequence (a common occurrence):

*Eigure_18: mm. [27]+7 through [27]+8

13 3 Hellqvist, loc. cit. 13 4 Pettersson, loc. cit. 13 5 Bergendal, loc. cit. 65

There are many passages of awkward finger placements or patterns, such as Figure ll.136 The arpeggios of these 12 measures are widely spaced, and require the fingers to be very widely stretched across four strings. In addition, the fast tempo (d = ca 68) makes these awkward passages even more difficult. For the violinist, performance of multiple stoppings is always more difficult than of single notes. In this concerto, there are many passages of double-, triple-, and quadruple-stops, and countless scales and sequences in double-stops, including the interval of the tenth which is so difficult for small hands. (Nevertheless, the dedicatee, Ida Haendel has quite small hands.) Figure 19 shows an example of a sequence of either literal or enharmonically spelled tenths:

* (%: ftp sz a w. s i

*Figure 19: m. [38]+2

Many triple- or quadruple-stops also occur in sequences, and it is sometimes nearly impossible to reach the intervals with a hand of normal

136 P. 57. 66 size. In addition, many of the multiple stops also demand both rapid and large shifts. Figure 20 shows an example of these:

*Figure 20: mm. [17]+5 through [17]+6

In this concerto, as explained before, tempi are often so fast that the violinist would have difficulty in playing the multiple stoppings up to tempo since each requires a new finger pattern. An example is shown in Figure 21:

*Figure 21: m. [68]+5 67

Figure 22 is another example of quickly changing multiple stoppings:

*Figure 22: m. [38]+6

In this measure, the double-stop tenths are embellished by octave double stops. Because of the large leaps, big shifts and a big hand are necessary to play all of the notes. In the following example, the octave double stops in a high position alternate with low position chords. Because of tempo and distance between these two position, this Figure 23 is a very awkward passage: 68

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H££ E:fc Si 0> -fc> g^3E ?^^

>

l£j 0> *rf :£*1 ^ Tl j *

*Figure 23: mm. [65]+2 through [65]+9

Two of the most awkward passages in this piece occur in 3-6 after [74] and 3-4 after [75] due to the incredibly demanding quadruple-stops, of which a few even include the interval of the tenth. As if this were not challenging enough, in [74]+5, the soloist is made to play the quadruple stops with no accompaniment (Figures 24 and 25): 69

h> i -5—-- +JS--

>

J2. JM&E^ b 3p3L '•^rS ^%' b$k • P e-3y-p- 55 j^m' J » i-e —if- 0-3- -f V n

*Fiaure 24: mm. [74]+3 through [74]+5

"# ,,4* I ^TO gTte I yp^y ™ r^r~^

^Figure 25; mm. [75]+3 through [75]+4

Since the previous examples contain four note chords that cannot be played simultaneously, some fingering suggestions have been made. For instance, in the Figure 24, the second quadruple-stop in [74]+5 should be played as two separate double-stops - C#4 and A4, and E#5 and G#6 - because it is widely spaced and even involves the interval of a tenth. In such writing, intonation is a significant problem, and these multiple 70

stoppings did cause some trouble for the soloist during the premiere of the concerto. In the recording, the soloist can be heard leaving out the lower notes of these chords. The multiple stoppings add even more difficulty to the task of memorization. From the pianissimo to the fortississimo levels, the dynamic variety of the solo part is all-encompassing. In actual performance, however, the soloist needs to play forte much of the time in order to be heard above the thick orchestral texture and loud dynamics. Therefore, the pianissimo, which happens 5 times, cannot be really played so softly. The fortississimo happens twice, and it should be played as loud as possible to differentiate that dynamic from the fortissimo which occurs many times. In addition to these dynamics, forte piano, subito piano, and molto crescendo frequently appear, adding more complexity to the dynamics in the solo part of this concerto. 'Molto crescendo' is also often used by Pettersson, where in a single measure, 'piano' crescendos to fortissimo' Figure 26 is an example of this:

*Figure 26: mm. [29]+4 through [29]+5 71

Typically, Pettersson changes the dynamics very rapidly, sometimes changing in every measure. An example of this kind of rapid change (Figure 27):

*Figure 27: mm. [76]+9 through [77]+3

In the solo part of this concerto, the dynamics change so quickly that an accurate performance of the changing dynamics is another difficult aspect for the soloist because it involves fast physical and mental changes. As Rapoport notes, "The orchestra almost never merely accompanies the almost never silent violin soloist, and the symphonic 72

nature of the concerto is part of its whole point."137 The difficulty this poses for the soloist's audibility is undeniable, and the soloist is usually forced to struggle to be heard over the big orchestra. For instance, in two measures from [89]+3, the soloist plays a double stopping sequence of tenths while the whole orchestra plays forte. Even in the recording, the solo violin is totally covered up by the sound of the orchestra. The possibility of discreet use of amplification could, in fact, be a solution for this problem in live performance, and this type of discreet amplification is used more often today than many people realize.138 Pettersson seemed to intend to solve this problem (like those found in other late works) at the sound engineer's mixing table. Some balance problems do occur, unfortunately, in the sole recording of this concerto, which might have been caused by engineering problems in the recording studio. The inner voices, like those of woodwinds, viola, or cello, are often hard to hear, even when playing fortissimo. The rhythmic patterns are also quite varied in the solo part of this piece. Syncopated rhythm is used many times, and Pettersson often alters the articulation by putting an accent mark on a weak beat so that the soloist and the orchestra play with different articulations. Pettersson's Second Violin Concerto requires excellent technique for many reasons: the percussive patterns, large format, uninterruptedly

137 Rapoport, Fanfare. 126. 138 Ibid. 73 concentrated and consistent motivic development, enharmonic spellings, frequent tonal changes, chromatic passages, large leaps, fast tempi, large frequent string crossings, frequent use of G string in high range, high tessitura, angular character, widely spaced multiple stops and arpeggios, and rapid dynamic changes make this concerto very challenging for the solo violinist. Nonetheless, in the passages from [93]+2 to the end (exclusive of several double stop passages from [126]+8 to [128J+8), virtuoso techniques are abandoned in favor of simple, lyric melodies: there are only single line melodies for the soloist, which move quite slowly, and steps, rather than leaps, dominate the passages. The tutti violins play melodies similar to those played by the solo violin (as explained in the previous chapter), and because of the doubling, the violinists of the orchestra also need to have a high level of technical skill for this piece. Pettersson tries to depict the struggles of existence in his music, and so it seems only fitting that the violinist who chooses to perform this concerto must also struggle against the enormous technical challenges. The concerto dedicatee, Ida Haendel overcame all the difficulties despite her very small hands, and managed to create music from adversity. CHAPTER V A COMPARISON BETWEEN THE FIRST AND SECOND EDITIONS

Pettersson's second violin concerto, as Rapoport reports, is richly and heavily scored.139 As mentioned previously, there are two editions of Pettersson's Second Violin Concerto, the first completed in 1977 and the second in early 1978,140 and in the second edition, Pettersson tried to make the work less dense. Despite the revision, the second edition has never been played. The premiere and the only recording, made in 1980, used the first edition for the dedicatee, Ida Haendel. In fact, it appears that the second edition was made directly from the first edition, by simply erasing or altering notes and adding performance indications. (Comparable pages from the scores of both the first and second editions are contained in Appendix B.) The marks for the tempo, the meters, and the key signatures are exactly same. The difference between those two editions, then, is mostly in the texture.

The texture is thinner in the orchestration of the second edition than it is in the first one, because tutti parts are sometimes changed to

139 Md. 140 Ibjd., 125.

74 75

solo or soli. The following diagrams provide examples of the difference in texture. In the diagrams, the numbers of the measures where the changes happen are indicated by combining the rehearsal numbers with a specific number of measures; for example, [2]3 means 3 measures after the rehearsal number [2]. In addition, every instrument is indicated with the same abbreviated name as is indicated in the score. The piccolo is abbreviated as Pice; the flute, as Fl; the oboe, as Ob; the clarinet, as Clar; the clarinet bass, as Clar B; the bassoon, as Fag; the contra bassoon, as C.Fag; the trumpet, as Trb; the horn, as Cor; the trombone, as Trbn; the violins, as VI; the violas, as Vie; the cellos, as Vcl; and the contrabasses, as C.Bassi. In each column under the [1st ed.] or the [2nd ed.], the changes are described.

l.Texture of the Orchestration:

[A] Reducing Instrumentation: In the 2nd edition, the instrumentation is sometimes reduced from a full section to half a section or solo (soli). In addition, where two instruments were indicated in the first edition, in the second edition often only one plays. The indication, 'I.meta' means "half of the section," and '"a2" to "I"' means "two instruments to one." 76

* Table 1: Instrumental Reduction for the Orchestra in the Second Edition

Measured Instrument fist ed.l 12nd ed.l l-[2]3 C.bassi I.meta l-[2]3 VI tutt i solo 4-[2]3 Vie tutt i solo 4-[2]5 Vcl tutt i solo [2]3-5 Vcl tutt i solo [2]3-5 C.bassi tutt i solo [2]6-8 VI tutt i solo [2]6-8 Vie tutt i solo [2]8-10 Vcl tutti solo [2]9-[3]l Fl a2 I [2]9-[3]l Clar a2 I [2]10-[3]2 Ob a2 I [3]2-3 VI tuttii solo [3]2-3 Vie tutt solo [3]3-4 VI tutti 2 soli [3]3-6 Vcl tutti solo [3]5 VI tutti 4 soli [3]6 VI tutti I.meta [3]7-[4]4 Fl a2 I [3]7-[4]7 Ob a2 I [3]7-[4]4 Clar a2 I [73]7 Cor. 2 lines 1 line in the 8ve (only the bottom) [73]8 Cor same as above [75] 1-6 VI tutti 2 soli 77

[B] Removing Melodic Lines: In the second edition, some instruments' melodies are just removed without any transferring. The melodies are sometimes already doubled by other instruments in the first edition, but sometimes they are not.

*Table_2: Omission of Melodic Lines in the Second Edition

Measured Instrument rist ed.l T2nd ed.l

[2] 1-2 VI melody no melody [2]10-[3]2 Vie melody no melody [3]1-3 Vcl melody no melody [3]3-7 Vie melody no melody [3]4-6 C.bassi melody no melody [3]7-8 Vcl melody no melody [141]3-[143]9 Pice melody no melody

[C] Changing Technique: Some of the technical effects are changed in the second edition, especially with the string instruments. For example, 'arco' is changed to 'pizz.,' effectively softening the sound.

*Table 3; Changes of Technique in the Second Edition Measured Instrument fist ed.l 12nd ed.l

[2]3-6 VI arco pizz. [2]3-6 Vie arco pizz. 78

2.Dynamics Dynamic changes are also made in the second edition. More specifically detailed indications are added, and many of them result in softening the sound of the orchestra. For instance, sometimes forte piano cresc' replaces a forte' marking in the previous score. Another result of these changes is to increase the variety of sounds. 79

*Table 4: Dynamic Changes in the Second Edition Measured ]Instrumen t fist ed.l T2nd ed.l

[1]1 VI f fp cresc. [1]1 Vie f f sempre [1]1 Vcl f f sempre [1]1 C.bassi f fp cresc. [1]2 C.bassi f cresc. f [1]3 C.bassi f fp cresc. [1]4 C.bassi f cresc. f sempre [2]9-10 Fl f p cresc. f [2]9-10 Clar f p cresc. f [2]9-[3]3 C.Fag mf cresc.f dim. p cresc. mf dim. p [3]2-3 Vie f mf cresc. f [3]7-8 Fl f fp cresc. [3]7-8 Clar f fp cresc. [3]7-8 Trbn f fp dim. [3]7 C.bassi f f sempre [75]3-6 Vcl f f fp cresc. f fp cresc. f fp cresc. f [75]3-6 Trbn f p sempre [75]4-6 Fl f p cresc. f [75]4-6 Trb f p cresc. f with mute [140]7-[142]8 Vie mf cresc. f mf cresc. f with mute [143]5-7 Ob f f sempre p cresc. f p cresc f [143]5-7 Clar f f sempre p cresc. f p cresc f [143]5 Trbn fp cresc. f pp cresc. [143]5 Tam-Tam f PP 80

3.MeIodic Transfers At times, the melodies of some instruments are transferred to other instruments. The reason for this kind of change is not immediately obvious, but it seems to have the effect of altering the color of the sound.

*Tahle 5: Melodic Transfers in the Second Edition Measured Instrument fist ed.1 [2nd ed.l [7]1 Ob no melody melody trans, from Vie

In the Solo Violin Part, the changes from the first edition to the second are generally limited to omitting some of the restless melodies from the first edition. The indications for dynamics are also changed, from constantly strong dynamics in the first edition to a wider variety in the second. The solo violin rarely has rests in the first edition, the longest being 27-beats in duration from [119]+6. In the second edition, however, areas of rest for the solo are greatly expanded compared with the first edition. Now, the longest rest lasts for 62 beats, from [87]+10. 81

*Tahle 6: Changes in the Solo Part in the Second Edition

Measured 1st ed 2nd ed. Comments

[1]1 f f sempre [7]2 mel. no mel. trans, to VI [7]4 mel. no mel. trans, to VI [7]9-[8]l mel. no mel. [9] 1-2 mel. no mel. same mel. in the 8ve below in the Cor. part [9]5-6 mel. no mel. same mel. in the 8ve below in the Cor. part [9]9-[10]2 mel. no mel. at [9]9, similar mel. trans, to Vie: [9]10-[10]2, same mel. in the 8ve below in the Vie. part [10]4-5 mel. no mel. trans, to VI. [13]6-10 mel. no mel. [18]9-[19]1 mel. no mel. [21]8 f f sempre [25] 1-2 mel. no mel. [28]10-[29]3 mel. no mel. trans, to VI [29]8-9 mel. no mel. trans, to VI [30] 1-10 mel. no mel. trans, to VI [32]3-10 mel. no mel. trans, to VI [34]10-[35]2 mel. no mel. trans, to Vis in the one or two 8ve above [35]3-7 f p cresc. f [35]7-8 mel. no mel. trans, to Vis. [35]9-[36]2 mel. no mel. trans, to VI [37]5-6 mel. no mel. [37]7-8 mel. no mel. trans, to VI 82

Table 6 (continued)

[39]10-[40]2 8ve below [40]2-10 mel. no mel. trans, to VI [5036-10 mel. no mel. trans, to Pice [52]6-[53]2 mel. no mel. [53]9-[54]4 mel. no mel. trans, to VI with mute [54]4-5 mel. no mel. trans, to Vie with mute [58]4-[59]4 mel. no mel. trans, to VI1 [64]5-10 mel. no mel. trans to VI [66J4-8 mel. no mel. trans, to VI [66]9-[67]l f fp cresc. [71]7-[72]1 mel. no mel. [73]2-3 fp fp cresc. ff [74]6-10 mel. no mel. [77]10-[78]2 mel. no mel. [80]7-[81]l mel. no mel. [83]7-9 mel. no mel. trans, to VI [84]1 f f sempre [84]2 f f sempre [84]8-9 mel. no mel. [85]3-5 mel. no mel. trans, to VI [8517-8 mel. no mel. [85]9-10 mel. no mel. [86]1 mel. no mel. [86]2 p cresc. p f sempre [86]9-10 f p cresc. [88]l-5 mel. no mel. trans, to VI [8817-10 mel. no mel. trans, to VI1 [8911 mel. no mel. trans, to VI [8912-4 mel. no mel. [10718 f sempre f [11316-10 mel. no mel. [130]8-[131]4 mel. no mel. [131]6 f f sempre APPENDIX A

'Herren gar pa angen' from the Barfotasanger by Allan Pettersson (1943-1945)

83 84

Herren gar pa angen

Allan Pettersson

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mest. bland tist - lar. till den bre da va - gen. i hk i . — -cr XP y^it J: —*e _«_ 3EE APPENDIX B

Score Excerpts from the First and Second Editions of Concerto No.2for Violin and Orchestra by Allan Pettersson (1977 & 1978)

86 87

1st Edition

C.bassi

S

C.bassi f 88

2nd Edition

C.bassi

C.bass! 89

1st Edition

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/> CfCSC. REFERENCES

Bergendal, Goran. "Allan Pettersson? Just det!," Roster i Radio XXXXIX (Nov. 1968), 20. (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

Ekheden, Hans and Allan Pettersson. "Allan Pettersson forsta strakkonsert ater efter 20 ar," Konsertnytt X/15 (May 5-18, 1975), 4. (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

Haglund, Rolf. "Pettersson, (Gustaf) Allan," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie. London: Macmillan, 1980, XIV, 601-602.

Hammar, Sigvard. "Musiken gor livet uthardligt," Daeens Nvheter (Sunday, March 5, 1972), (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

Hellqvist, Per-Anders, record jacket notes for Allan Pettersson's Violin Concerto No. 2. perf. by Ida Haendel with Swedish Radio Symphony Orchestra, cond. by Herbert Blomstedt. trans. Roger G. Tanner and Robert Carroll. Caprice CAP 21359, 1-6.

Marcus, Gunilla, trans. "Suite from Barefoot Songs," record jacket notes for Allan Pettersson's Violin Concerto No. 2. perf. by Ida Haendel with Swedish Radio Symphony Orchestra, cond. by Herbert Blomstedt. Caprice CAP 21359, 9.

91 92

Pettersson, Allan. "Anteckningar," Nutida Musik IV/4 (1960-61), 19. (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

"Den konstnarliga lognen," Musiklivet XXVIII/2 (1955), 26. (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

Rapoport, Paul. "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978, 109-123.

. "Pettersson: Concerto No. 2 for Violin and Orchestra," Fanfare. IV/5 (May/June 1981), 125-126.

Sjoberg, Lars. Record jacket notes for Allan Pettersson's Symphony No. 6. CBS 76553.

Slonimsky, Nicolas. Supplement to Music since 1900. New York: Charles Scribner's Sons, 1986.

Stenstrom, Urban. "Allan Pettersson - komponerande och grubblande son av Soder," Nutida Musik 1/5 (1958), 6-7. (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No. 2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978).

Storaas, Reidar. "Musikken er det som tross alt gj0r livet verd a leve ...," Bergens Tidende (October 24, 1974). (trans, by Paul Rapoport in "Allan Pettersson and His Symphony No.2," Opus Est: Six Composers from Northern Europe. London: Kahn & Averill, 1978). 93

Vogt, Matthias Theodor, ed. Allan Pettersson Jahrbuch. Berlin: Schwarz Druck, 1986.

Wallin, Nils L. "Allan Pettersson zweites Violinkonzert," Nutida Musik XXIII/3 (1979-80), 26-30. (trans, by Anna Kwak and Andrew John Spencer).