V·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor

A survey of selected contemporary Swedish choral composers and literature.

Item Type text; Dissertation-Reproduction (electronic)

Authors Soderberg, Karen Amelia Phillips.

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 30/09/2021 19:08:20

Link to Item http://hdl.handle.net/10150/185410 INFORMATION TO USERS

This manuscript has been reproduced'from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.

In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.

Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.

Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order.

V·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor. M148106·1346 USA 313/761·4700 800:52i·0600

---'---"--, -.- .. ,. ------Order Number 9123463

A survey of selected contemporary Swedish choral composers and literature

Soderberg, Karen Amelia Phillips, ,A.Mus.D. The University of Arizona, 1991

U·M·I 300 N. Zeeb Rd Ann Arbor, MI 48106

A SURVEY OF SELECTED CONTEMPORARY

SWEDISH CHORAL COMPOSERS AND LITERATURE

Karen Phillips Soderberg

A Document Submitted to thfo:! Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

1991

--_. __ ._- 2

THE UNIVERSiTY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read document . the dissertatron prepared by Karen Amella Soderberg A Survey of Selected Contemporary Swedish Choral Composers entitled ------and Literature

document and recommend that it be accepted as fulfilling the ~i3sereat±on requirement Doctor of Musical Arts for the Degree of ------11/2-/ 90 Date

Date I ((/.J-/90 Date I I I

Date

Final approval and acceptance of this 92E~~!rJ~, is contingent upon the candidate's submission of the final copy of the dtsserr~r±on to the Gradu~te College. aocument

document I hereby certify that I have read this d::i:sseILaLiolt prepared under my direction and recommend that it be accepted as fulfilling the d~B~am~Rtion requirement. AI // /2./fie> crn~Dissertation Director ~·zev

-- _. ------3

STATEMENT BY AUTHOR

This Doctoral Lecture Recital Document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library.

Brief 'quotations from thi~ Doctoral Lecture Recital Document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

. . --.-. __ ._-_.... _---'-"--' ..... _... - ... __ .. "_,",,-...... - ...... 4

ACKNOWLEDGMENTS

I wish to thank the composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Anders Hillborg for their help.

I am especially grateful to Eric Ericson for his helpful suggestions and for his indefatigable championing of Swedish Choral music; to Jan 010f Ruden of the Swedish Information Center for supplying music and resources and to Dr. Maurice M. Skones for his support and encouragement. 5

TABLE OF CONTENTS

Page LIST OF ILLUSTRATIONS ...... 7 ABSTRACT ...... 8 1. INTENT AND PURPOSE OF THE STUDy ...... 9

1.1 Need for the Study...... :...... 9 1.2 Limitations of the Study...... 10 2. OVERVIEW OF THE SWEDISH CHORAL TRADITION ...... 12

2.1 Historical Background ...... 12 2.2 The Choral Singing Tradition ...... 16 3. COMPOSERS AND REPRESENTATIVE WOR..T(S ...... 18

3.1 Sven-David Sandstrom ...... 18 3.1.1 Life and Career ...... 18 3.1.2 Musical Style ...... 20 3.1.3 Analysis of a Representative Work: Est 1st Genug .... 23 3.2 Thomas Jennefelt...... 33 3.2.1 Life and Career ...... 33 3.2.2 Musical Style ...... 36 3.2.3 Analysis of a Representative Work: Warning to the Rich ...... 38 3.3 Karin Rehnqvist ...... 45 3.3.1 Life and Ca.reer ...... 45 3.3.2 Musical Style ...... 47 3.3.3 Analysis of a Representative Work: Davids Ni111111 ...... 49

.. - ...-.--- ..._._-_ .... _.... - ...... 6

3.4 Anders Hillborg...... 55 3.4.1 Life and Career...... 55 3.4.2 Musical Style ...... 56 3.4.3 An~lysis Of a .Representative Work: muaoaaueyzyoaum ...... 57 4. CONCLUSION...... 59 APPENDIX A: UST OF WORKS ...... 61 APPENDIX B: CATALOG OF CHORAL MUSIC ...... 69 APPENDIX C: INSTITUTIONS AND ORGANIZATIONS ...... 70 APPENDI)( D: PUBLISHERS ...... 73 SELECTED BIBLIOGRAPHy...... 75

_ ..... _ .. _-_ .. _._-_. __ ._.. - 7

LIST OF ILLUSTRATIONS

Figure Page

1. Es 1st Genug, measures 1 - 2 ...... 24

2. Es 1st Genug, measures 6 - 7 ...... 25

3. Es 1st Genug, measures 89 - 91 ...... 26

4. Es 1st GerLug, measures 9 - 12 ...... 27

5. Es 1st Genug, measures 53 - 57 ...... 28

6. Es 1st Genug, measures 73 - 75 ...... 29 Es 1st Genug, measures 76 - 82 ...... 30

7. Es 1st Genug, measures 94 - 105 ...... 32

8. Warning to the Rich, measures 1 - 12 ...... 40

9. Warning to the Rich, measures 40 - 42 ...... 42

10. Warning to the Rich, measures 43 - 46 ...... 43

11. Davids Nimm, measures 1 - 19 ...... 50

12. Davids Nimm, measures 3 - 24 ...... 51

13. Davids Nimm, measures 44 - 71 ...... 53

14. muiioaaueyiyodum, measures 17 - 23 ...... 58

-----.----.._- 8

ABSTRACT

Tiiis study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the works of Gunnar Bucht of the 1950s who reacted against modernism, the 1960s avant garde styles of Bengt Hambraeus, Sigfried Naumann, Arne Mellnas and Folke Rabe. This survey discusses the life, career and musical styles of each of the composers and analysis of an a cappella work illustrative of their musical styles. Fundamental to the growth and musical development of the representative composers is an examination of the historical background, foundation and tradition of choral singing in Sweden. The select bibliography, list of works by the composers, catalogs of choral music, list of institutions and organizations, and publishers, is intended to serve as a reference guide.

. _ .. -._._-_ .. _---_.. _ .. _ ..__ ...._ ..... '--"--'-'.... - ." 9

INTENT AND PURPOSE OF THE STUDY

The purpose of this study is to present a survey of selected Swedish composers and their diverse musical styles which represent trends in contemporary Swedish choral music. Works by Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Anders Hillborg will exemplify these trends.

NEED FOR THE STUDY

Much of the currently available material concentrates on the music of composers such as Sven-Erik Back, Ingvar Lidholm, Sven-Eric Johanson and Karl-Birger Blomdahl of the 1940s M<1ndagsgruppen (Monday Group, d. infra, p.l), Gunnar Bucht and the early works of Bengt Hambraeus of the 1950s group which reacted against modernism, the 1960s avant-garde styles of Bengt Hambraeus and Siegfried Naumann and the aleatoric styles of Arne Meilnas a.nd Folke Rabe. A wealth of choral music is being composed and performed in Sweden today. A new generation of Swedish composers, pupils of Arne Mellnas, Gunnar Bucht, Ingvar Lidholm and Sven-Erik Back, has taken a special interest in choral music. Unfortunately, little information is readily available

------10 about the new generation of choral composers and their musical styles outside of Sweden. It is hoped that this survey of selected contemporary Swedish choral composers and literat'are will serve as a reference and guide to the works of Sandstrom, Jennefelt, Rehnqvist and Hillborg, and will provide the choral conductor with the available sources to secure additional information on contemporary Swedish choral literature and materials.

LIMITATIONS OF THE STUDY

Four composers have been selected for the purpose of this study. The selection of the composers was influenced by the author's investigation into contemporary Swedish choral composers and the advice of Jan Olof Ruden (Swedish Music Information Center) and Eric Ericson, the internationally renowned Swedish choral conductor. Although there are many composers of choral music in Sweden today, Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Anders Hillborg have been selected for inclusion based on the quality of their output, their special interest in choral music and their significant and diverse contributions to the contemporary choral scene in Sweden. This study includes discussions of the life, career and musical works of each composer and an analysis of an a cappella composition representative of each of the composers' current styles. The selection of works for analysis was guided by discussion with each of the chosen composers .

.--- ....-.- ... 1 1

The major research for this project was done in Sweden during the summer of 1984 and during the months of December 1987 and January 1988. The majority of the study is based on interviews with the individual composers and an analysis and performance of the works themselves ..

------12

OVERVIEW OF THE SWEDISH CHORAL TRADITION

HISTORICAL BACKGROUND

Twentieth-century Swedish choral music emerged following the end of World War II. Composers began to relinquish the nineteenth- century "national romantic"l style as exemplified in the widely known and frequently performed choral compositions, noted for their "intense beauty"2 .Typical of this style were composers such as Wilhelm Stenhammar, Wilhelm Peterson Berger and Hugo Alfven. With the conclusion of World War II, younger Swedish musicians took an active interest in the music of the contemporary European scene by probing into the compositional processes and the musical styles of Bela Bartok, Alban Berg, Paul Hindemith, Ernst Krenek, Olivier Messiaen, Arnold Schoenberg and Igor Stravinsky. Beginning in 1944, a group of musicians from various facets of the Swedish musical scene began meeting on Monday afternoons at the residence of Karl-Birger Blomdahl (Mandagsgruppen). This group included the composer~ Ingvar Lidholm, Sven-Erik Back, Gunnar Bucht, and Karl-Birger Blomdahl. Also in the group were the conductor Eric Ericson and the

Jan Olof Ruden, "Swedish Choral Music - A Short Survey", Swedish Choral Music. A Selective Catalogue. (Stockholm: Swedish Music Information Center, 1987) 6.

2 Ruden 6.

- - _._-----_.. _--_._-- -- . 13 musicologist Bo Wallner. These musicians gathered together to discuss and explore the works of contemporary European composers all.d the ideas then current in the wider musical arena. Their discussions caused them to re- examine their own works as well as the prevailing conditions in Swedish musical life. The result was a transformation of their own musical ideas and the context in which they were played and received. The composers of the Mandagsgruppen were much like the Swedish composers of today in that they were diverse in their musical values and compositional styles. Because of the Mandagsgruppen's encounter with the wider musical European scene they became highly influenced by Neo Classicism, Expressionism, Serialism, Jazz idioms and the electronic music of the 1950s3• The Mandagsgruppen were responsible for changing the conditions of Swedish musical life. Many assumed leadership in the teaching of composition, choral conducting, choral singing and composing. Gunnar Bucht became a teacher of composition at the State College of Music in Stockholm. Ingvar Lidholm and Sven-Erik Back became prominent composers of choral music as well as teachers of composition. Eric Ericson became a teacher of choral conducting and singing at the State College of :Music in Stockholm. In 1945 he founded the first Swedish chamber choir (for

3 Lennart Reimers, "New Choral Music in Sweden: The Situation in 1980," Music in Sweden No 3 (Nov. 1980): 6. 14 sixteen voices)4. This ensemble became well-known as the Stockholm Chamber Choir. In 1952 Erickson became the conductor of the already established Swedish Radio Choir. These choirs performed and made known the new compositions of the younger Swedish composers and also sang major European choral works su.ch as Schoenberg's Friede auf Erden and Messiaen's Cinq Rechants. The Mandagsgruppen composers assimilated the Neo-Classical styles of Paul Hindemith and Igor Stravinsky, the Expressionism and serial technique of Arnold Schoenberg, and the extensions made to the latter by Olivier Messiaen. These influenced their own work and were passed on to their students. As a reaction to arriving so belatedly, this new Swedish group, led by Karl-Birger Blomdahl, pushed hard to become involved in the international scene. As a result of this, Sweden became one of the leading international centers for modern music during the 1960s. In 1968 a State foundation, Rikskonserter (the National Institute for Concerts), was established to promote all forms of Swedish music both within and outside the country. The Swedish Radio Music Network established systematic programming and promotion of contemporary music through concerts. They also published the periodical Nutida Musik. The impact of German avant-garde music promoted by this radio network and the direct influence of Karlheinz Stockhausen resulted in the creation of an Electronic Music Studio in

4 Gunilla Peterson, "They develop Choral Sound: Interviews with Choir Conductors Eric Ericson, Bror Samuelson, Anders Ohrwall, Bo Johansson and Dan-Olaf Stenlund," Music in Sweden No 3 (Nov. 1980): 4 .

. . --.... _._-_ .... ----... --...... -. 15

Stockholm (1965). The Swedish Radio Choir under the direction of Eric Ericson provided a highly trained and professional instrument for the performance of contemporary choral works both inside and outside Sweden. Swedish musicians, composers and conductors travelled abroad. In return musicians of international stature were invited to Sweden to teach, propagate, investigate and share their new musical ideas and works in avant garde music (e.g. aleatoric and electro-acoustic music). Swedish avant-garde composers such as Bengt Hambraeus, Siegfried Naumann, Arne Mellna.s and Folke Rabe experimented with a variety of vocal timbres, new notational devices, unusual sounds and choreography in their works. In the 1970s and the 1980s students of the Mandagsgruppen (and those whom they taught) also became interested in the composition of choral music. As is characteristic of all generations of Swedish choral composers, their styles are varied and cannot, as yet, be attributed to one specific trend in modern music. Their music is an assimilation and an amalgamation of many concurrent styles.

_.. _._-_. __ ...._-_ .. _-,_..... 16

THE CHORAL SINGING TRADITION

In 1963, Bo Wallner, a noted Swedish musicologist, wrote "it is no exaggeration to say that choral singing is a national movement"5 in Sweden. This "national movement" began in the early nineteenth century with the establishment of male choruses at Lund University and the University of Uppsaia. The church also encouraged singing and choral music in its liturgy. As the movement progressed during the 1800s, Romantic composers such as Wilhelm Stenhammer, Wilhelm Peterson-Berger and Hugo Alfven composed for the various developing choral organizations: church choirs, male choruses, women's choruses, mixed singing societies and folk music choirs. These choirs and composers played a vital role in the continuance of the choral movement, thus influencing contemporary Swedish choral activities. Resulting from this tradition of excellent professional and amateur choral singing, 6% of today's Swedish population (approximately 480,000 of the 8,000,000 populace) are actively involved in this movement. Stockholm and its vicinity boast several recognized world class choirs such as the Bromma Chamber Choir, the Stockholm Chamber Choir, the Swedish Radio Choir, the Adolf Fredrik Bach Choir, the Mikeali Chamber

5 Bo WaIlner, "Swedish Musical Culture: Pioneering Spirit Prevails," Philips Music Hcrnld.VII\ (Summer, 1963): 3 .

. -.-._---_._------. 17

Choir, the Hagerstens Motet Choir and the Orphei Drangar Male Chorus, located in Uppsala. The choral conductors and choirs are unified in their efforts to promote the music of their native Swedish composers. The choral movement is steeped in a tradition of excellence and superb musical achievement. 18

COMPOSERS AND REPRESENTATIVE WORKS

. SVEN-DAVID SANDSTROM LIFE AND CAREER

Sven-David Sandstrom was born October 30, 1942 in Borensberg, a small village south of Stockholm in the province of Ostergotland, Sweden. Sven-David grew-up in a "Free Church" home. (The term is used to distinguish certain Swedish Protestant denominations from the official state church, which is Lutheran). His earliest musical influences came from singing in the choir and playing trumpet in this Free Church environment. It was at the age of 17, while studying trumpet, that he first encountered classical music.

Be~inning in 1963, Sven-David studied at Stockholm University, majoring in Musicology and Art History. While at the University, Sandstrom became interested in composition. Seminars led by Gunnar Bucht, concentrating on the Second Viennese School, prompted one of Sandstrom's first compositional attempts in the serial manner of Anton Webern. By 1965 Sandstrom was composing daily, exploring aleatoric and graphic notational devices. Between 1968 and 1970, he studied composition with Ingvar Lidholm at the State College of Music in Stockholm. He participated in seminars by guest lecturers such as Per Nordgard, Morton

-_ .. _ .. _--_... 19

Feldman, Arne Nordheim and Gyorgy Ligeti. It was Ligeti's composition Aventures which inspired Sandstrom in 1969 to compose his first vocal ensemble work for six solo voices, Invention. Upon completion of his studies in 1972 Sandstrom spent the next two years as the assistant to Lidholm in the teaching of composition at the State College of Music. In 1974 he resigned from his position to work as a free lance composer. For a brief time, 1976-1977, he taught improvisation at the Opera School. In 1981 he returned to the State College of Music to teach improvisation and composition. In 1986 he accepted a ten year composition post at the State College of Music. Sandstrom has been very active in the compositional arena not only as an important composer of varied genres, but also, since 1979, in an administrative capacity for the Swedish Composers Association. He was elected chairman of the Swedish chapter of ISCM (International Society for Contemporary Music) in 1983. Amidst his busy schedule, he still finds time to sing in the Hagerstens Motet Choir, under the direction of Ingemar Mansson. Because of his twenty years experience in choral singing, Sandstrom has developed an understanding and sensitivity for the choral musician. This has enabled him to compose successful choral works that challenge the professional musician, but are not inaccessible for accomplished amateur choirs. 20

MUSICAL STYLE

The choice' of text has been one of the most important considerations in Sandstrom's writing of choral music. He states that "the text plays a dominant role in my choral compositions, because my style is coupled with the text."6 When asked what criteria he uses in selecting a particular text, he replied that "the text needs to sound."7 Swedish Romantic poets such as Tobias Berggren, Johan Ludvig Runeberg and E.J. Stagnelius, the English poet William Blake and the Bible have been important textual sources. He has set nine of Blake's poems to music, including two compositions created in 1978: A Cradle Song/The Tyger and Spring/Introduction/Earth's Answer taken from Songs of Innocence and Songs of Experience. Both compositions are some of the finest examples of his early choral works. Sandstrom's texts explore expressive feelings about man's existence. Existential relationships, such as good versus evil and desperation versus security, are prevalent in his music. The texts inspire him to produce powerfully moving musical responses. He states that "to hear the words is important, but more important is to hear the music. I translate the words through the drama of the music.

6 Sven-David Sandstrom, Interview with author (Stockholm: January 5, 1988).

7 Sandstrom, Interview.

------21

One can obtain the right meaning and expression of the text through hearing the music. liS Sandstrom considers himself to be a Romantic, in the sense of dealing with feelings in a direct and open manner. His choral music is rich in nuance and color and thick in harmonic texture - frequently building massive layers of sound. Sandstrom- uses two different extremes in the development of his motivic material, the one dramatic, the other lyric. His dramatic style of writing uses closely detailed melodies and consists of suspense-filled motives and forcefulness 'which produces a sense of immense dynamic dimensions. His melodies are often chromatically constructed, allowing the harmonic texture to become dense through the use of compact tone clusters. His use of layered intervals of major and minor thirds creates the necessary tension and intense dissonance needed to express the drama of his chosen texts. By contrast, his lyric style is more classically conceived, often, as Roland Horowitz states, "peaceful, idyllic or simply beautiful in sound."9 The harmony is based on layered triadic chords. The melody and tonal language are diatonically constructed. The melodies are simple in format, containing few leaps, uncomplicated rhythms and occasionally strophic repetition. This lyricism is often used as a point of origin in a developmental process that gradually changes toward a more dramatic style. In summary, it is the combination of the dramatic and lyrical extremes that characterize Sandstrom's choral style. Jan 010f Ruden describes his style

8 Sandstrom, Interview.

9 Sandstrom, Interview.

--_. __ ._. 22 as "cluster fabric moving in waves of tension and release."IO Roland Horowitz states in his discussion of this music that "expressiveness stands at the core of his music. One experiences a constant need to release inner conflicts in the form of musical sounds as the underlying drive in Sandstrom's music."ll These stylistic characteristics are very evident in his recently composed ch,.oral work E." L5t Genug.

10 Ruden 6.

11 Horowitz 42.

---'--"- 23

ANALYSIS OF A REPRESENTATIVE WORK: ES 1ST GENUG

Es 1st Genug composed in 1986, and published by Nordiska Musikforlaget in 1987, was commissioned by Germany's northernmost state, Schleswig-Holstein, which lies adjacent to Denmark. The work was dedicated to Eric Ericson, the world renowned Swedish choral conductor. Sandstrom took the text from the first two verses of the Soprano Aria in Cantata No. 24, Eins bitte ich von Herrn, by Dietrich Buxtehude (Psalm 27:4). Sandstrom takes the first four words of the second verse in the Soprano

Aria, liEs Ist Genug, Herr" (It is enough, Lord) for the title and the underlying unifying structural element of this composition. He utilizes the first verse of the Soprano Aria "Liebster Herr wo bleibst du so lange" (Dearest Lord, you remain away so long), in its entirety. The text of the first verse frequently recurs simultaneously over the repetitive statement "Es ist genug, Herr, Es ist genug." Although structurally complex, the overall form is an asymmetrical

ABA 1 ternary structure. The A section, consisting of 49 measures, is subdivided into five smaller sections of gradually increasing length (mm. 1-5; 53 -13; 13-23; 22-35; 333_49). The B section, consisting of 22 measures, is subdivided into two smaller sections (mm. 50-60; 60-72). The Al section of 33 measures is also subdivided into two smaller sections (mm. 73-91; 92-105) .

.. _. __ ._--_... _--_.. _ ... _. 24

The text "Est ist genug, Herr, Es ist genug" occurs eight times in the composition, five times in the A section, once in the B section and twice in

A 1. Sandstrom begins section one of A with the first utterance of the recurring statement in a six-part homophonic and diatonic texture for divided Alto; Tenor and Bass. The chordal structure of this statement begins on a C-major, second inversion chord. Moving to an a-minor chord in root position, it finally moves to b-minor chord in root position. On beat one in measure two, Sandstrom pits the p# of the b-minor chord against an appoggiatura C, producing an unstable effect with the use of the tritone. Thus, the initial expressive tranquillity is disturbed. (cf. figure 1).

"I A 1i'J..·· 1'0]" Soprano 2 pp =---=====-

Alto Es ist ge nug, Herr'" 2 " ~ ;t -~ ~ -

, A Es ist ge nug,_ Herr 1 1/ Tenor Es is! ge nug,_- Herr _".]f. 2 ~ Es ist ge nug, Herr :

Bass Es ist ge nus, Herr : 2 , Es ist ge· nus, Herr

In the A section Sandstrom suggests God's acknowledgment that He is listening, through the use of a subtly unpitched hum. This unpitched audible 3 sound begins in section two (mm. 6 -7\ in a seven-part homophonic texture and lasts for two beats at a pianississimo dynamic level (d. figure 2).

I@=! lYLELf i----=-t ·m. __

~ ·m.t£..Ef¥ __ ~ E'J I@¥I ·m. __

PI ·m."-l' __ ~ I'Y ·m.'1"-"1 __ ~; -,,-, °rn. __

T-'-Y ·111. __

He gradually lengthens this unpitched sound in each of the succeeding 3 1 sections, concluding with fi ve beats in section five (mm. 44 _46 ). This pattern is repeated twice in each of the sections. Eliminating a voice part after each section, he concludes the hum in the second bass part of section five

._-_.-._---.-. - 26

3 1 (mm. 44 _46 ). A similar idea is incorporated in section two of At, but now pitched (mm. 99-102). The first pitched utterance on "Ah" in the tenor and bass parts is chromatically constructed on two dominant seventh chords, B7 and E7. This sound, as if depicting God's frustration, is layered against a simultaneous and repetitive plea (cf. figure 3).

89 .-" P-=-FPP ppp~ 1'P=-l'l'P

I'" - ge so Ian - ge ,,~ P =--'J1f1TJ ,=- ==--

~.., n ..'-.,.; - Lieb - ster Ie - i1s: Je- su HeIJ=- I~:JJP .= =-- I'" ... .. rI~ H~ 7/1 1!:. f' "';-1 ~. - ster HW =- Je - su Je ~ ~

1\"" ..,;- .... T'''' ..,;-' ~ ~~ ~~ y.. ~I Lieb - ster Herr Je su Je su Je su '" . ==- IY Je- " ==-- t'U ~~. - PPJI-===- su :

Ah- FPP-=- ==--.

, tI~..!!...- Ah-

Sandstrom utilizes the entire first verse of the Soprano Aria, "Liebster Herr wo bleibst du so lange". During the second statement of "Es ist genug" (section two of A, mm. 53_7) he begins softly with a four-note, step-wise melodic statement on "Liebster Herr" in the first soprano part. The second sopranos then imitate this figure. Before this imitation ends, the first sopranos do a virtual retrograde of the four-note motive (cf. figure 4).

In each of the succeeding sub-sections of A, Sandstrom systematically and gradually develops these contrasting motivic statements by increasing the length, texture, intervallic motion, dynamics and polyphonic treatment of this material. He further in tensifies this by the addition of new text and chromatically altered pitches. Suddenly (mm. 47-49) this intensity is released. 28

Section B begins very quietly (ppp). In measure 54, the climax occurs on the word "Komm" in sixteen-part homophonic texture on a tonally clustered a-minor flattened ninth chord. This passage utilizes all twelve tones of the chromatic scale in imitative treatment of all voice parts, incorporating densely complex rhythmical patterns (cf. figure 5).

- .iff QCcel _ - --- tempo ~- 5: <6- b4" --:;.. b. 1'1'_ ... -- u --- ,01 mich komm .fff nimm .-i!.. mich wenn ..--,... -- A .~: -r- 1'1'

,01 nimm mich komm nimm 3-!...! mich wenn .iff 1'1' -

01 mimm_ mich _ komm ___ mich=- mlch_ Es iSl ge - .fff 1'P ,01 -~ nimm mich_komm mmm.=-':=::---'-" __ .mlc. ~'h .. ge .ff.f ... _ 1'1 t 1St ~ ~ b~: '

1I- mich komm nimm mich Es ist ge

A ~----:;-- .-,.. .ff.f IT

~ nimm mich __ komm_ nimm_ mich_ Es ist ge ~r...... t:;;.. h.... ~ .fff~===~ ..,---,,=::- .. 1'1'

nimm_ mich_ komm __ nimm mich Es ist ge ·u ._ ,,-....- .if.fh~''''' __ 11'

nimm mich komm ___ Es ist ge

It is through this build-up of tension by dense textures that the characteristic lyricism and drama of Sandstrom's style is expressed. He weaves the diatonic romantically-conceived statement liEs ist genug" into the chromatically dense

._--_ .. _- -. 29 and unstable harmonic texture at the words "Komm nimm mich wenn dir e:; geHillt". A 1 begins with the reiteration of the initial six-part statement "Es ist genug," along with the continuation of the text "von der beschwerlichen Biirde der VJelt" in the tenor and bass parts. This text is interwoven among the gently pleading "Liebster Herr" in the alto and "Es ist genug, Herr drum komm zu erlosen," in the soprano (d. figure 6).

Es ist ge ~=; d J "--'" Es isl ge 11I1&, _ Ilerr ge • 1'1'1' tr,,(. _ _ '¥, 1154 E! f j -I f Es ist ge von __ 1'1'1' C';l=-r-F]-liFt===i! I=t-I-17@ Es isl ge· nug, Herr von_ ]'} ,

figure 6 mm. 73 - 75 [continued] 30

76 1'1' I I I~~gggj ~ lOs lsi IC • nU8.1I0". drum . '''' lOs lsi Sc.nus,lIerr,drum ~ "'I' E±tl I 11~ zg tg- lrt :4 J 14 Uob 3 Herr nug "'fsler Fir J J i j ~ g I ~ ;at J I J I nug 1 Sler lIerr ------mp dlm._------11 d.. be sch~r "il chen Bur . mp dlm._ ------,~ ------. iI·______T. .... _T '--3 '- f.v • chen __ be schwer 'f' be schwer II Our ....:: -11'1' eme. _de< - - _m dlm. __ - - - -

von der bc schwer II • chen ___ Bur.....: - lOp dim. _ 1'1" mIt. ------rI' ". .. .. der be schwer . . II CI I en Bur 1'l'I' 80 L{g''', . I . sler lIerr I" komrn- zu er .. 16 sen ," komm_ zu er • 16· sen -".

,oj

- - - I'I'I'---==- I - Q r ns ! I ~ de der_ Well--_ ------/'1" ==

~ de der_ Wcll ___ - - - - -1'1'1'_=

de der Well ___ .. 1~'1--== : -- - - .,; .,.. de der_--- Weii-

figure 6 mm. (76 - 82)

"- _. ------._------_.- ---_.. 31

The final section of the composition exhibits a gradual decrease of intensity and relaxation of the drama. In the soprano and alto there are pleading statements of "Liebster Herr, Jesu" while the tenor and bass softly utter "Ah" at the same time. Sandstrom inserts a Swedish text in the first tenor: "Blommande skona dalar; hem fOr mit hjartas ro!" (Beautiful flowering valleys, home for my heart's peace) suggesting a fleeting moment of hope over the unstable and chromatic treatment of "Ah." The soprano and alto disrupt this statement with clustered chords which are hummed; the tenor and bass briefly join them. The composition concludes with the final statement of "Es ist genug" on a G-major-major seventh chord with an unresolved tritone (cf. figure 7).

------32

94 ril- - - - - Iff' 1"' l' Iff' - 101 . sler -..t -+- U.b II." m•

\~ .~- U.b SI •• Bit Iii 'A II." -nl. - I~ _?1"" ~i,- ii.~; ~ . s!. H." -lIT: ~-~ i I ~ t :B~i I ~: 'j a I Ueb ste. H." - ·m---

121 ••• "8lom - man-de ake) _ na dd: • ~,..,. 1.:hlrmfll hjI,_, .. ,~ nfl

'lI W7' A.... q- ." 1!t S'" -- ~- 0 ____

n,'.-

.a.... ______d-· t _.. __ -" ---- 99 1'1' 1'1'1' ~I. .1 , I .... I~. • j; ... .,..--"'..:.... _ u--r.t"i-.. -~r--- ge • nus ~- - 1- I- N IJ II 3~¥-¥ J: {£92 §J ~ \.m-:r.::: - -- - g.' nug (fi ~ ~ I ~ . II Es 1st ge • • niig S€ 51· ~ :.t=#2lj~.m-:y---- - Ig J J... IJ__ 4 '2 II ~'- ~ I~ Eo ist ge nug 51· i·m.) n;.-= ~ -

~ 11 ·m. ... 1i' Es 1st g~ nug

~ .,,_ :ot ·m. -~ Es 1st ge nus

-----::'. ·m • Es I.!t ge • nug.

. ~ ~ ·m.- .. E. I.!t ge • nus --

---_.. __ ... _ ... _.- ... __ .' "-'----" ...... 33

THOMAS JENNEFELT

LIFE AND CAREER

Thomas Jennefelt was born April 24, 1954 in Huddinge, Sweden. He developed an interest in music, at the age of nine, while studying piano and guitar. As a teenager he sang in the church choir in Huddinge. At the age of 16 he began his musical studies in voice, ear-training and harmony with the church choir director, Hans Kyhle. Kyhle was a member of the Stockholm Chamber Choir under the direction of Eric Ericson. Recognizing Jennefelt's abilities and talents, Kyhle encouraged him to pursue a musical career. In 1973 Jennefelt entered the State College of Music in Stockholm. An exciting world of new music and the possibilities of sound opened up to him while studying electronic music with Lars-Gunnar Bodin. This would be his first and only experience in exploring electronic musical sounds. It was the way sound was processed in electronic music (rather than the technology itself) which most interested him. In 1977 his composition, Descending Music, written for four violins, was selected for performance at the annual Young Nordic Music Festival in Reykjavik, Iceland. This experience gained him exposure and allowed him to meet other young composers. During the summer of 1977 he composed his first and one of his most important choral works: Warning To The Rich. In 1978 Warning To The Rich was selected to be performed at the Young Nordic Music Festival in Bergen, Norway.

------34

In the fall of 1978 Jennefelt began formal compositional studies with Gunnar Bucht and Arne Mellnas. Warning To The Rich established his career as a significant international choral composer. Because of this success, he received many commissions for choral music. Those who commissioned these compositionSi were disappointed because they wanted works similar in style to Warning To The Rich which, as Jennefelt himself assured me, they did not get. Jennefelt feared being type-cast and confined to a particular style. Choral music is very important to Jennefelt because he is also a professional singer and enjoys the choral singing experience. He remains a member (and has been chairman) of the Stockholm Chamber Choir under the direction of Eric Ericson. He has sung in Ericson's choirs for many years. Erickson and Jennefelt have established a mutual friendship and deep respect for one another. Jennefelt has been greatly influenced by Eric Ericson, because of "Ericson's artistic approach to the music"12 and the opportunity to sing contemporary works. He states that "I have learned much about composition through singing in the Chamber Choir. Eric Ericson has been one of my greatest teachers."13 Jennefelt is a successful composer of choral, chamber, orchestral, ballet and opera works. Since 1982 Jennefelt has been a composer in residence for Rikskonserter, the national organization established to promote Swedish music. He has been very busy composing commissioned works, with little

12 Thomas JennefcIt, Interview with author (Stockholm: January 7, 1988).

13 JcnnefcIt, Interview.

---'---'- 35 time for his own interest in the composition of opera. He is also a music columnist for periodicals such as Expressen and Nutida Musik. Most of Jennefelt's choral compositions have been written for amateur choirs even though the professional choirs, like the Hagerstens Motet Choir and the Stockholm Chamber Choir, perform and record his works. Recently Jennefelt has been commissioned to compose a work for the Radio Choir and Orchestra. Since he has been singing all the newest works and is directly familiar with the new compositional techniques, he hopes to find a novel and significant approach for this work. He is particularly interested in experimenting with texture and color and is looking forward to incorporating these elements in subsequent works .

. _._ ... _ .. _.. __ ._--_ .. __ .. _..... 36

MUSICAL STYLE

The choice of text is as important to Jennefelt as it is to Sandstrom. Jennefelt states that the text "provides the starting point in considering the relationships between the words and the music. "14 He has written texts of his own, as well as drawing on Biblical and various literary sources such as T.S. Eliot, the Swedish poets E.J. Stagnelius, Tomas Transtromer, P.e. Jersild and Ingrid Kallenback (who is Jennefelt's wife). He prefers to use dramatic texts in declamatory style that are expressive and sharply meaningful. Texts that explore the concept of the collective "we" are of particular interest to Jennefelt. In his view the collective poem allows for a certain amount of objectivity and music drama. Jennefelt is interested in the psychology of the space between that which is safe and secure and that which is unsafe and insecure. He thinks it is "important to be on the border,"1S in order to consider the dichotomy, for instance, between "the possibility of beauty and the destruction of beauty."16 It was his desire to compose what he calls "Utopian music" in the beginning of the 1980s which led him to explore minimalism and especially the music of the American composer Steve Reich. He composed mainly instrumental

14 JenncfeIt, Interview.

15 Jenncfelt, Interview.

16 JenncfeIt, Interview.

---... _... - 37 works in what he called this "Utopian, simple and beautiful musical style."17 This led to a new manner in his composition which combined the simplicity of structure and beauty of sound of minimalist music with a more expressively dramatic style. His music is objective and direct, yet poignant, often utilizing melodramatic texts. Jennefelt considers his texture to be less interesting than Sandstrom's. This is true only in so far as Sandstrom uses dense polyphonic textures while Jennefelt's textures are more homophonically conceived. Jennefelt uses textures as an effect and as a dramatic result, rather than using them as a structural process. He pits chromatically altered discordant chordal textures against diatonically conceived triadic chords to express the drama of the text. Seconds, sevenths, ninths and tritone intervals are prevalent in. his harmonic textures. He considers the interval of the second to be more consonant, prime and powerful than that of the unison. He uses the minor second primarily as a color interval. The tritone is used to create insecurity and uncertainty. He frequently doubles the vocal parts to create freshness, unity and brightness of sound. His musical style is progressing in an even more dramatic direction, encompassing "introspection and the psychological insight"lS on man's existence.

17 Jennefeit, Interview.

IS Jennefeit, Interview.

- . - .. _._--.-_ ... _--_... _---_ ... 38

ANALYSIS OF A REPRESENTATIVE WORK: WARNING TO THE RICH

Warning To The Rich was composed in July in 1977 and published in 1978 by Sveriges Korforbunds Forlag in Stockholm. The text is derived from James 5: 1-6,4: 9. Jennefelt found the text while thumbing through a Gideon Bible in a hotel. Jennefelt considers Warning To The Rich to be one of the best examples of his choral music. The text is a descriptive warning from the oppressed to the rich to change their ways of hoarding wealth and to cease committing atrocities. It is an a cappella, SATB choral work written for a main chorus, semi-chorus and baritone solo. He includes a spoken text along with an unaccompanied solo to heighten the strength and intensity of an already poignant text. He borrows the eighteenth-century technique of melodrama by utilizing a spoken text against a musical backdrop for approximately two thirds of the work. Thus he relies on overtly dramatic rather than purely musical effects. Warning to the Rich is a highly sectionalized work in ABA ternary form. A, consisting of 42 measures, is divided into four sub-sections (mm. 1- 9; 10-21; 22-33; 34-42). B (mm. 43-111) acts as a development section because of its length and the utilization of thicker textures, harmony and voicing. It consists of 69 measures, subdivided into four sections (mm. 43-64; 64-92; 92- 1 2 94 ; 94 -111). The return of A is the shortest part consisting of 22 measures 3 4 and divided into only two sections (mm. 111-125 ; 125 -133). The overall 39 form and the sections were determined by the musical and textual organization of the sacred verses. Jennefelt begins the composition by introducing a repetitive melodic hum with clenched teeth for the alto and bass, utilizing only three pitches, E, F# a.nd A. The humming provides accompaniment for the initially whispered text by the soprano and tenor in secton two: "Come on you wealthy, weep - and cry about the miseries that are coming upon you" (cf. figure 8).

._-_ .. __ .. - 40

COllvinced and with clenched teeth words: James 5:1-6. 4:9 ~. 56 c_ b. ch. 5~mprp. music: Thomas lennefelt Alto '---"" '--:::: ;;P 5pmprp '-- ':::: ;;:? mp -==-- -= ><=-- --- Bass -===-- -= ><=-- 5emprp

5 whisper pp S+T~

Come

A ~;f --- '---'-. :/ --

10 r--.7-, S+T > > on you wealthy. weep_ and cry a- bout the mi - se - ries that are

A ;:::? -----"-- --- =-::::,..., B ---=-- ..-

Jennefelt believes that "the strongest weapon for a group of people is to sit back, wait and watch"19. Thus, he uses the motivic repetitive hum to suggest that collectively, "~Ve know". The text: in its innately threatening manner, layered over the humming accompaniment, represents the voice of the oppressed. This is symbolic of the belief in Swedish philosophy, "that man becomes weakest when he shows his weapons."20 The text, notated closely to the natural rhythm of each word, is repeated three times in the remaining three sub-sections of A. The tension increases as representatives of the oppressed become more intense in their warning; the whisper changes to a spoken utterance that climaxes in a brutal shouting of the text. He increases the tension in the accompaniment figure by gradually changing the hum to an "Ah" vowel, and subdividing the alto and bass parts individually into two and finally three parts. (d. figure 9)

19 Jennefelt, Interview.

20 JennefeIt, Interview.

------42

40 .--3---, I ritardando allaera S.T~$ I ¥ F1 I 50 I 1 tJ ¥ II \I t '-" mi - se - ries that are coming upon you.

1\11 .------.. .ff.~=- ~ Al eJ :> :> a sempre =- :>

1'111 .-- .if A2 '" eJ- :> :> =- =- :I sempre =-

1\11 ff------.. ~ A3 -- eJ =- :> :> =- ::>- a sempre '----"" ,..-- :> =- ----:> .if~~ Bl a sempre =- ----.. ff~> B2 --- sempre

r-: :> ----.. ff>~> B3 a sempre cresco molto

As Jennefelt subdivides the parts, he shortens the rhythm of the melodic motive in some of the parts, creating a polyphonic layered textu~e. At the climax of the A section (mm. 40-42), all parts sing a rhythmically truncated inversion of the original melodic motive, culminating in a powerful six-part homophonic texture.

---_._- '-.... 43

Section B begins explosively on the text "your hoarded wealth", with the semi-chorus in juxtaposition to the main chorus. The use of doublings on the quartal and bi-quartal harmonic structure in d-minor suggests the power of the oppressed as they brutally and sarcastically admonish the rich (d. figure 10).

- -- --.... S A

semi· ------chorus Your hoard· cd wealth. your hoard·ed --.... m"1 "1 "1 .7 "1 "1 ]) T B - -- > » - - -

S A -- - Your hoard·cd wealth, your hoard· ed wealth ml 1 1 ~ 1 1 1 T B - - -

Section A returns with the opening melodic motive in the bass part. However, the pitches have been transposed to P#, G# and B. The soprano, alto and tenor continue pictorially with the text in unison on the words "Let

---_._-_... _ .. _. 44 your enjoyment be turned to dejection and your laughing to sorrow," using the pitches D and P from the original melodic motive. The d-minor tonality is interrupted by the P#, G#, B, creating an unstable threatening mood through the use of the minor second and tritone intervals.

---"-"-'" 45

KARIN REHNQVIST LIFE AND CAREER

Karin Rehnqvist was born in Stockholm on August 21, 1957. She grew up in Nybro in Sm.Uand, a province in southern Sweden. Her interest in music began by singing in the Lutheran church choir and studying voice as a .. teenag~. In 1976 she became the conductor of the amateur choral group

Stans Kor and prel11i~red some of her compositions. During that same year she also entered the State College of Music in Stockholm. It was her counterpoint professor; Hans Eklund,. who encouraged her to consider composition as a career. Upon graduating as a music teacher in 1980, she was the first woman to enroll in the composition class, studying for the next four years with Gunnar Bucht, the English composer Brian Ferneyhough, Sven David Sandstrom, Arne Mellnas, and electro-acoustic music with Par Lindgren. Since 1984, she has been a free-lance composer. Stig Jacobsson states that, Rehnqvist's music "belongs to the 1980s."21 Her first composition titled Strdk (for strings) established her career as a strong, individual composer. In 1982, Strdk was chosen to be performed at the Young Nordic Music Festival in Reykjavik, Iceland and in the Berwald Hall in Stockholm in 1983. Between 1977 and 1981 she sang with the Bromma

21 Stig Jacobsson, and Hans-Gunnar Peterson. "Karin Rehnqvist." In Swedish Composers Of The 20th Century. (Stockholm: Swedish Music Information Center, 1988) 154 .

. _ .. -._... --..--.---.~- ..- 46

Chamber Choir under the direction of Bo Johannson, performing new techniques, vocal expression, choreo-graphy and electronic music. Her interest in electronic music led to one of her most highly regarded and performed works: Musik fran vart Klimat (1982). It was premiered at the Electronic Music Festival in Stockholm and Skinnskatteberg. The same year Rikskonserter commissioned her to compose a work for the new Stockholm Chamber Orchestra that she titled Kast, which means toss or throw. It has been described in a publication from STIM (Swedish Music Information Service) as a composition "in which rapid fluctuations and contrasts of dynamic, tempi, articulation and tonal material provide ideas which she cultivates in concentrated form."22 It was performed in the fall of 1987 at the Gaudeamus Festivai in Amsterdam, Holland. She recently completed a composition commissioned by the internationally recognized male choir Orphei Ddingar in Uppsala, Sweden. The composition, Sang Ur Sagan Om Fatumeh (The Song about the Saga of Fatumeh) for 12-part a cappella male chorus, is based on the poetry of the late Gunnar Ekel6f. It was premiered in Uppsala during April 1988 under the direction of Robert Sund. She enjoys composing multi-media compositions, collaborating with other artists to create works that involve lighting, pictures, poetry and dance. Rehnqvist's interests lie in the composition of choral, electronic and instrumental music.

22 Ruden, Biography 27. 47

MUSICAL STYLE

Karin Rehnqvist has written six choral works, the majority of which have been for amateur choirs. The exceptions are Davids Nimm (1984) and her latest piece for the Orphei Ddingar. Her compositions include a cappella works for mixed choir, female and maie choruses. Rehnqvist utilized texts from contemporary Swedish poets, Swedish folk ballads and Biblical sources. The moods and type of text chosen vary from the bawdy humor of In Kommer Far to the humorous music and textual drama of Tilt. In Tilt she portrays three flipper players actively involved in a game. Two biblical parables of Jesus provide the text for Senapskornet and Surdeg, both composed in 1983 for descant choir. Rehnqvist's musical style is rooted in the music of Ars Nova, Renaissance, Eastern and Swedish Folk music. Much of her music is modal, borrowing the rhythmic and melodic modes from early music. Senapskornet was influenced by Bulgarian folk elements and employs the phrygian mode alternately with the hypo-phrygian - its plagal counterpart. Rhythm is a central element in Rehnqvist's style of composition, using constantly shifting meters and lively rhythmic motives. She considers her choral works to be shorter, more concentrated pieces where she is able to develop a limited amount of material to the fullest extent. Her forms are simple in structure, allowing her to utilize repetitious ideas in a somewhat minimalistic manner.

---.. - ..- 48

In her latest composition, Sting Ur Sagan Om Fatumeh, composed in February 1988, she employs fragmented, repetitive, rhythmically conceived melodic motives combined with juxtaposed spoken and sung text to heighten the sense of the dramatic. This rhythmically complex composition is highly polymetric and polytextual, and is one of her most substantial choral works.

------_... _------49

ANALYSIS OF A REPRESENTATIVE WORK: DAVIDS NIMM

Davids Nimm (1984) is one of Karin Rehnqvist's most widely recognized vocal compositions. Written in two versions, the first (soprano 1, soprano 2, mezzo-soprano - analyzed here) was composed for three women's voices, while the second added a female descant choir. Davids Nimm is based upon a type of Swedish folk song from the province of Dalarna called a polska - a derivative of the nineteenth-century European polonaise in triple meter. The polonaise became fused with older folk elements that included intricate rhythms and melodies. Characteristic of the sung polska is the use of nonsense syllables, usually occurring in the refrain. The text of Davids Nimm was created by transcribing the sounds from a tape of the text played backwards. More emphasis is placed on the consonants than the vowels. The articulation is conceived much like that of fiddle music in a vigorous polska . In using folk-music material Karin Rehnqvist concentrates on a linear texture which she admits she has taken from the Baroque. Davids Nimm is a polyphonic, poly textural, polymetric and rhythmically complex modal work based on a chromatic scale beginning on F#.

_...... -- .. ~~--.- ---"- . ------50

The first soprano part repeats the original text and the same rapid, rhythmical melodic material (cf. figure 11).

Till -- -fr sI tf'J.i~ .. • .. I( ~. fa-UoI

This same material is repeated nine times throughout the composition. At the fifth and seventh reiterations, the melody is transposed up a perfect fourth and then a perfect fifth. At the ninth reiteration the first soprano part returns to the original melodic statement beginning on p#. The repetitious statement occasionally shifts rhythmically within the measures due to the diminution of the rhythm on the first note of each measure.

. . _. __._------,._- - -- 51

The second sop~ano line is based on an E chromatically-conceived scale. It is sung twice in its entirety, once at the beginning and again at the end of the composition. The text is a derivative of the original first soprano part. This too is scrambled, but in a different order from that of the mezzo soprano part. This melodic statement is rhythmically slower than the first soprano and mezzo-soprano parts and is disjunct and pcintillistically conceived (d. figure 12). O·/Q8 )

oS ..u."Tr 1&..--fl.S. ~~~~~~~i~U~~:~~~~'§J~~d~~~~.P~~~~~~~~~~~~~~~ . . _ [""f !1 ~~ v~ J

Ii j

11 IM1I§pt l {a.-lw

ill! -= ::- -=:.t::l sliti-=' r 1\ Imd ¥3Yttr _~V~=-.. __31:_' _.. . ,. Do. c\"'· .. ...,'f'C.

._ .... __ . __ ..._--_._ .. -. 52

The melody in the mezzo-soprano part is an inversion of the first five measures of the first soprano part. The mezzo-soprano melodic statement is repeated six times beginning on p#. The text, which is a derivation of the original, is scrambled. The meters used are proportionate to the first and second soprano parts with a constant two against three metrical play. The melodic line begins on an p#. At the first colla parte it shifts its center to a B and later returns to p#. The tonality also shifts between Dorian mode on F# and B-major (d. figure 13) .

.. . _ ..... _---_.. _--- --.. --. - - 53

1 ~ ..... llo ~~"tb --=- fII 19 I I & 1& \ ~j I~ >,p h' Eht •~ -=tg 1: {TO rfV df.s-,.. E.5~

Sf" mtQjJ a -d...

- . --.-----__.... _. ___ ..___ 0._- 54

Rehnqvist states that the singers should "sing the respective parts each at the prescribed tempi. The only coordination should be at the specified points where the voices are linked together by a dashed line, otherwise the voices can proceed fairly independently of each other.,,23 This results in animprovisatory feeling to the music. Rehnquist states that the composition is a Dada-istically conceived work based on a Swedish folk song utilizing polyphonic and poly textural treatment of the melodic statements.

- - _. __ ._--_... ---_.--,..- 55

ANDERS HILLBORG LIFE AND CAREER

Anders Hillborg was born in Stockholm, Sweden in 1954. He began his musical career as a choral singer by studying at the State College of Music in Stockholm from 1976 to 1982. There he also studied composition with Gunnar Bucht and the visiting English composer, Brian Fernyhough. He studied electro-acoustic music under Per Lindgren. Since 1982 Hillborg has been working as a free-lance composer and has travelled to Indonesia and Thailand. From the music of these latter lands he has incorporated various elements into his own music such as the use of quarter- and eighth-tones and repetitive rhythms and timbres.

------56

MUSICAL STYLE

Anders Hillborg has been substantially influenced by Gyorgy Ligeti, especially in his investigation of and experimentation with tone-color and timbre. He has also been influenced by the Minimalistic movement in his use of repetitive rhythms, SOUlllis and the obscuration of the sense of beat as well as by the modal treatment of harmonic texture. Hillborg is especially noted for his electro-acoustic compositions. Many of his electro-acoustic works, both instrumental and choral, are conceived on an immense scale. He is presently experimenting with many different systems of tuning as a result of his encounters with the music of Indonesia and Thailand. One of his latest composition for strings involves one eighth tone intervals. Characteristic of his choral style is the use of complicated instrumental notation, the use of repetitive syllables and the use of densely-layered rhythmic textures. It is not uncommon for him to write for twelve to thirty two voice parts for as long as fifteen or twenty minutes duration.

. ._ ..... ------.-----._--- .. - - 57

ANALYSIS OF A REPRESENTATIVE WORK: MuAOAAUEYIYOAUM

muaoaaueyiyoaum is scored for sixteen-part mixed choir. Included are elements of minimalism and effects derived from electronic music. Phonemes are notated using the international phonetic alphabet. The composition is based on a modal structure built upon fifth-generated hexachords and pentachords. This work, induding the introduction and short coda, is organized on a series of pitches beginning on Bb and concludes on three notes: B, C and D. After the introduction, a series of fifths (Db Ab Eb }5b) -outline an arch. This arch also includes the twelve tones of the chromatic scale. The tonality progresses from flat to sharp generated tones. The rhythm is based on two types of phrases. The first phrase type is a series of phonemes consisting of four measures of whole notes. The second phrase type is constructed on a rhythmic pattern of sixteenth notes and ends with a series of phonemes. This second type also occupies four measures (cf. figure 14). 58

e:: I:: J:: :1!:==I:J~nl~uml)p1 mu 0 J a a a y t y W) 0 u m

The series of modal pitches based upon a circle of fifths is placed individually and sequentially among the various voice parts in octave displacement. The main purpose of this eighteen minute composition is to meld the rhythm, pitches, timbre and dyna:nics into one body of sound. 59

CONCLUSION

This study has aimed to examine and explore the variety of compositional styles currently in use in Sweden as evidenced in the work of Sven-David Sandstrom and his younger contemporaries Thomas Jennefelt, Karin Rehnqvist and Anders Hillborg. Even though these composers have studied in the same country, shared the same teachers and had similar educational backgrounds, they have developed their own individual musical styles. Each of these composers has earned the respect of their contemporaries and of the Swedish musical public. In addition to their success at home, these young composers' accomplishments and influence have extended beyond Sweden. Their careful inquiry into and tutelage in international compositional movements, together with their individual mastery of contemporary techniques have also earned them the respect of the international musical community. Study and performance of the works presented in this document (as well as other works by these composers and their contemporaries) have convinced the author of their significance and quality. Particularly Sandstrom's exploration of existentialism and the strong polarity between his expressive dramatic and lyrical choral style. Jennefelt's utilization of musical textures as a dramatic effect, coupled with melodramatic texts texts in declamatory style, create powerfully emotive choral works. Rehnqvist's interest in modality, folk elements and shifting rythmic motives led to the

------, 60

Dada-istically conceived Davids Nimm. Hillborg, especially noted for his electro-acoutic music, creates modal compositions that meld de:i.1:sely-Iayered rythmic textures with rapidly repetitive syllables into one body of sound. Hopefully, this document (and the Lecture Recital which it supports) will encourage further study and performance of works by these talented composers and their peers.

---.. ------61

APPENDIX A: LIST OF WORKS

SANDSTROM, S-D

A Cradle Song/The Tyger (1978) 8-part mixed choir 15" WH

Text: Wiiiiarn Biake (English)

De ur alla minnen faUna (1979) 4 SATB solos 99.5" SR a cappella choir Missa da Requiem childrens' choir Text: Tobias Berggren symphony orchestra

Dilecte mi(1974) Female & Male choir 11.5" NMS

(Latin)

En Ny Himmel Och En Ny lord (1980) SSATBB 7.5" NMS

(A New Heaven and a New Earth) Text: Rev. 21:1-Sa (Swedish & English)

Es 1st Genug (1986) SSAATTBB 9" NMS

Text: Cantata No 24 Buxtehude (German)

------_._------62

Etyd No 4, Sam i E mol (1987) SSATBB 16" NMS (Bar. solo) Text: Tobias Berggren (Swedish)

Hear my prayer, 0 Lord (1986) SSAATTBB 2.5" NMS

(English)

Inicriiktare i paradiset (1983) SSATBB 7" NMS

Text: Bo Setterlind (Swedish)

Invention (1969) 16 solo voices 9" STIM (SATB x 4) Mss

Lamento (1971) 3 choirs/3 tbns 18" NMS

Liige Januari 1980 (1980) SSAATTBB 6.3" NMS

Text: Jakob Arrhenius (Swedish)

Missa brevis NMS

Kyrie (1984) 8 part mixed 10"

Gloria (1983) mixed choir

Sanctus (1984) 4 part ST /8 part mixed 12"

Agnus Dei (1980) 16 part mixed 5"

.. _.... _---_.. _--_ .. - ..•._- ._._. 63 o me felicem (1987) SSAATTBB 12" NMS

(Latin)

Osanna (1985) 4 part dbl choir 4" NMS

(Latin)

Our Peace (1983) 3 choirs/3 organs 6.3" STIM

Text: Bible (English) Mss

Spring-Introduction-Earth's Answer (1978) SSAATTBB 12" NMS

Text: William Blake (English)

Sienar (1981) ATTBB II" STIM

Text: Lars Forsscll (Swedish)

Stille Etter Cud (1986) 3 SA TB choirs 34" NMS

Text: Eyvind Skeie (Swedish)

---_ .. _ .._. 64

Three Poems by William Blake (1980) Mixed choir 14" NMS

Text: William Bla~,~ (English)

1 Ah, Sun-flower 2 My pretty rose tree 3 The sick rose

Tystnas ofta nog var sang (1978) SSAATTBB 15" NMS Wind Ensemble & Perc.

JENNEFELT, T.

Allt vad ni vill (1981) mixed choir STIM

(Swedish) Mss 65

Fern motetteT CG

1 DagaT skall komma (1984) SATB/organ

Text: rer 31:31,33

2 Bon (1984) SATB

Text: Karl Gustaf Hildebrand

3 Ni skall soka mig (1984) SATB/organ

Text: Ger 29:13-14

4 Du Som aT Min Herre (1984) SATB

Text: Sven Udman

5 Hosianna (1985) SATB/organ

Text: Mat 21:9

FOT friheter och livet (1979) SATB/brass Stet STIM perc. (Swedish)

KyTie (1982) SATB/brass ensemble STIM

(Latin)

o Domine (1983 rev. 1986) SSAATTBB/m-sop solo CG

Text: Death Mass (Latin)

. _ .. _-_.. __ .-..._._--_ .. __ .. _ .. - _.. 66

Platt buk med duk (1982) mixed choir SK

(H...... ; (Swedish)

3 etyder tilliignade det mixed choir STIM

Patafysiska Kollegiet (1986

(Swedish)

Uppmuntran (1981) SATB Kunnelby

(arrangement) Text: Wolf Bierman (Swedish)

Warning To The Rich (1979) mixed choir 10" Walton semi-chorus, bar. solo Text: James 5:1-6,4:9 (English)

REHNKVIST, K.

Davids Nimm (1984) 3 female voices/ 12" STIM 3 fern. vok. + treble chorus Text: syllabic

In Kommer Far (1985) SSAATB 7" STIM

(Folk song arrangement)

---.'--- '-'- -" 67

Senapskornet (1983) SSA

Text: Mat 13:31-32

Surdeg (1983) SSAA/rec/instr

Text: Mat 13:33

Sdng ur Sagan om Fatumeh (1988) 12 part male choir 9.5" STIM

Text: Gunnar Ekel6f

Tilt (1985) SATB 8" STIM

Text: Steffan Olzon

HILLBORGA.

mudoaaueyiyodum (1983-84) 16 part mixed choir 18" SUE

Text: phonetic

Poem 62 (1980) 16 part mixed choir STIM

Text: e e cummings (English)

Lilla S:!S grav (1978) mixed choir STIM

Text: Li He, China (Swedish)

...-.--.--.---- ..---- ... --. -- - - 68

Vern iir du sam Stdr (1977) mixed choir STIM

Text: Par Lagerkvist

Tvd Motter CG

1 Stella Maris (1983) SSAATTBB

2 Se, jag vill skapa (1984) SSAATTBB

--_ .. _ ...._ ...... __ ....__ ..-- ...... •..... 69

APPENDIX B: CATALOGS OF CHORAL MUSIC

Blohm, Lars, och Per Olof Lundahl. Katalog over Svensk vokalmusik. Verk for blandad kor a cappella. Stockholm: Swedish Music Information Center, 1974.

Katalog over Svensk vokalmusik. Stockholm: Swedish Music Information Center, 1986.

Lundahl, Per Olof. Verk for Manskor. Svensk Musik: Vokalmusik. Stockholm: Swedish Music Information Center, 1978.

Malmin Olaf Gerhardt. "Choral Works by Composers Mentioned." In A Survey of the Choral Music of Twentieth Century Swedish Composers. Diss. Univ. of Iowa, 1973., Ann Arbor: University Microfilms International, 1973. 204-225.

Nordwall, Ove, red. Rikskonserters besHillningsverk, 1965-1975. Stockholm: Rikskonserter, 1976.

Ruden, Jan Olof. Swedish Choral Music. A Selective Catalog. Stockholm: Swedish Music Information Center, 1987.

Svensk Musik: Vokalmusik. Stockholm: Swedish Music Information Center, 1974.

------.__ . 70

APPENDIX C: INSTITUTIONS AND ORGANIZATIONS

The Electronic Music Studio S6dermruarstand 61 S-117 25 Stockholm Sweden

Foreningen Svenska Tonsattare Society of Swedish Composers Box 27327, Sandhamngatan 79 S-102 54 Stockholm Sweden

Korsam, The Joint Council of Swedish Choirs Bdinningevagen 34 S-121 71 Johanneshov Sweden

Musikaliska Akademiens Bibliotek The Library of the Academy of Music - Box 16326, Nybrokajen 11 S-103 26 Stockholm Sweden

Musikmuseet The Music Museum Box 16326, 5ibyllegatan 2 S-103 26 Stockholm Sweden

The National Council for Cultural Affairs Box 7434 5-109 91 Stockholm Sweden

------71

NOMUS Nordic Music Cooperation Committee Vimmelskaffet 48 DK-1161 Copenhagen K Denmark

The Regional Music Board Schonfeldts Grand 1 Box 2270 S-103 16 Stockholm Sweden

The National Institute for Concerts Rikskonserter Box 1225 S-l11 82 Stockholm Sweden

The RoyaJ Swedish Academy of Music Blasieholmstorg 8 S-lll 48 Stockholm Sweden

Svensk Musik Swedish Music Information Center Sandhamnsgatan 79 P.O. Box 27327 S-102 54 Stockholm Sweden

Svenska Samfundet fOr MusikfOrskning Swedish Society for Musicology Gvre Slottsgatan 4-6 S-752 20 Vppsalla Sweden

.. -----_._-_.. _---_. __ . __ ..- --""'-_. -,--_._ ... _... _." 72 Svensk Tidskrift for Musikforskning Swedish Journal of Musicology Ovre Slottsgatan 4-6 5-75220 UppsaUa Sweden

Svenskt Visarkiv Swedish Center for Folksong and Folk Music Research Hagagatan 23A S-l1O 47 Stockholm Sweden

The Swedish Music Publishers' Assodation Box 27327 S-102 54 Stockholm Sweden

------73

APPENDIX D: PUBLISHERS

Carl Gehrman (CG) Box 6005 S-10231 Stockholm Sweden

Eriks/Nordiska (Eriks) Karlavagen 40 S-114 49 Stockholm Sweden

Edition Reimers (ER) Box 15030 S-161 15 Bromma Sweden

Korlings Radagatan 34 S-123 51 Stockholm Sweden

Swedish Music Information Center (MIC/STIM/SUE) Box 27327 S-102 54 Stockholm Sweden

Nordiska Musikforlaget (NMS) Nybrogatan 3 S-114 34 Stockholm (also available through Hansen/Chester, New York)

'---'---'- -- 74

Sveriges Korforbund (SK) Box 14052 5-104 40 Stockholm Sweden

Verbum (VER) Box 15269 S-104 65 Stockholm Sweden

Walton Sole Selling Agents: Hinshaw Music, Inc. P.O. BOx 470 Chapel Hiil, North Carolina 27514 75

SELECTED BIBLIOGRAPHY

GENERAL

Alander, Bo. Swedish Music. trans. Paul Britten/Austin. Stockholm: The Swedish Institute, 1956.

Bengtsson, Ingmar, ed. Modern Nordisk Musik. Stockholm: Natur och Kultur, 1957.

-- -. "Sweden in Music." Musikrevy International, (1960).

Bergendal, Goran. "A Musical Explosion." trans. Richard Littell. Swedish Music - Past and Present. Musikrevy International, XXII (1967): 83-85.

Cnattingius, Claes M. Contemporarv Swedish Music Stockholm: The Swedish Institute, 1973.

Hedlund, Oscar. To you ... who like music. And perhaps would like to know more about Swedish music. Stockholm: Swedish Music Information Center, 1985.

Hodgson, Anthony. Scandinavian Music: Finland and Sweden. Cranbury: Associated University Presses Inc., 1984.

Horton, John. Scandinavian Music: A Short History. London: Faber and Faber, 1963.

--_ .._.- .... 76

Jacobsson, Stig Musiken i Sverige: Skivlyssnarens handbok i svensk musik fran aldsta tid till 1970 - talet. Vasteras: ICA - forlag, 1975.

Ligeti, Gyorgy, and UBa-Britt Edberg. "Swedish Music of Today." Tradition and Progress in Swedish Music. Musikrevy International, (1973): 64-66.

Lundberg, Camilla. "New Trends in Swedish Music." Scandinavian Review, (Autumn 1984): 49-55.

Music from Denmark, Norway and Sweden; The Young Generation. Copenhagen; Edition Wilhelm Hansen, 1966.

Reimers, Lennard. "Nutida svenska Musik: Ett spektrum med sju linger." Musikrevy, XXX (1975): 183-189.

Sandberg, Ingrid. "Sweden: Modernism versus Tradition." Musical America, LXX (Jan 15, 1950): 15,55.

Simpson, Robert. "Scandinavian Music." In Twentieth Century Music. 2nd. ed. 1960; rpt. London: Fletcher & Sons Ltd .. 193-202.

Sjogren, Henrik, ed. Music for Sweden. Stocholm: n.p., 1972.

Stephenson, Claude, ed. A Short Survey of Music in Sweden. Stockholm: Nordiska MusikfOrlaget, 1968.

Tegen, Martin. "New Music during the 1960's." Tradition and Progress in Swedish Music. Musikrevy International, (1973): 87-92. 77 Wallner, BO'. "MO'dern Music in Scandinavia." In EurO'pean Music in the Twentieth Century. Ed. Howard Hartog. New YO'rk: Frederick A. Praeger, 1957. 118-131.

-- -. "Scandinavian Music after the SecO'nd WO'rld War." trans. W. G. SimpsO'n. In CO'ntempO'rary Music in EurO'pe: A CO'mprehensive Study. Eds. Paul Henry Lang and Nathan BrO'der. New YO'rk: W. W. NO'rtO'n and CO'mpany, Inc., 1968. 111-143.

Var tids musik i NO'rden. StO'ckhO'lm: NO'rdiska MusikfOrlaget, 1968.

"Swedish Musical Culture: PiO'neering Spirit Prevails," Philips Music Herald. vrn (Summer, 1963).

Yoell, JO'hn H. The NO'rdic SO'unds. BO'stO'n: CrescendO' Publishing CO'mpany, 1974.

NEW CHORAL MUSIC

Blohm, Lars "Choral SO'ng and Choral Literature in Today's Sweden." trans. Richard Litell Swedish Music - Past and Present, Musikrevy International, XXII (1967): 56-57.

Edlund, Lars. "Den nya kor musiken: nagra iattaglser under perioden 1945- 1970 betraffande kor a cappella:; In Svensk musikperspective. Ed. Gustav Jillestrom. Stockholm: Nordiska MusikfOrlaget, 1971. 323-360.

Eriksson, Gunnar. "uttrycksmedel i nutida kormusik." In K6rdirigering. StockhO'lm: Nordiska Musikf6rlaget, 1974.

--_.__ ...- 78 Hoglund, Jan Lennart. "... men pa korHillet ar det ofta forbannat langsamt." Nutida Musik, XXIV, No.3 (1985-86): 3-8.

Jennefelt, Thomas. "Eric Ericson." Nutida Musik, y.xVITI, No.1 (1983=84): 5-8.

Karkoff, Maurice. "Synpunkter pa kor musik." Musiklivet Var Sang, XX.JY.V, No.2 (1962+): 26-27.

Lindgren, Kurt. "Koren: dramatik." Musik Dramatik. No. 3/4 (1980): 30-33.

Ljunggren, Christian. "K6rdramatik - Ett mangfacetterat arnne." Musiklivet Var Sang, No.2 (1977): 8-9.

Pritchard, Douglas W. "Report From Sweden: The New Music, Part II." Choral TournaI. XIII, No.8 (Feb. 1972): 5-11.

Reimers, Lennart. "New Choral Music in Sweden: The Situation in 1980." Music in $:weden, Eds. Lena Roth and Henrik Sjogren, Rikskonserter No.3 (Nov. 1980): 6+.

Ruden, Jan Olaf. "Swedish Choral Music - A Short History." In Swedish Choral Music, A Selective Catalogue. Stockholm: Swedish Music Information Center, 1987. 5-8.

------79

FOLK MUSIC INFLUENCES

AuIin, Arne, and Herbert Connor. Svensk Musik. Fran vallat till Arnljot. Stockholm: Bonniers Grafiska Industrier, 1974.

Isaksson, Bo. Folkmusiken i Sverige. Vasteras: ICA Bokf6rlaget, 1979.

Percy, Gosta. "Svensk visa fran Bellman till nutiden nagra reflexioner oeh funderingar." Musikrevy, XXX (1975): 324-327.

ELECI'RO-ACOUSTIC MUSIC

Eleetronmusik i Sverige. BeHinkande av Electronmmusikutredningen. . . Stockholm: Liber Forlag, 1977.

Electronic Music in Sweden. Stockholm: Swedish Music Information Center, 1984.

Electronic Music in Sweden 2. 2nd ed. Stockholm: Swedish Music Information Center, 1985.

Johnson, Bengt Emil. Electronic Music in Sweden. Stockholm: Swedish Music Information Center, 1972.

Sylvander, Stefan. Electronic Musical Composition in Sweden 1952-1970. Diss. Univ. of Wisconsin, 1974.

--_ .._ ... _- ... 80

RECORDINGS

Connor, Herbert. "Discografi." In Svensk Musik. Fran Midsommarvaka till Aniara. Del II. Stockholm: BOIUl.iers Grafiska L"ldustrier, 1980. 79-81,146-148,166,208,301-304,365,508-511.

"Discover Nordic Choral Music." Nordic Sounds: Supplement, (March 1987): ii-viii.

Edition Reimers's General Catalog. Bromma: Edition Reimers AB, 1985.

Edition Suecia Catalog, 1985. Stockholm: Swedish Music Information Center, 1985.

Hodgson, Anthony. "Selective Discography of Swedish Music." In Scandinavian Music: Finland and Sweden. Cranbury: Associated University Presses, 1984. 177-220.

Franzen, Anders. "Swedish Choral Composers on Record. A Selection from 1947 Onwards." Music in Sweden, Rikskonserter, No 3 (Nov. 1980): 8.

Jacobsen, Stig. Svenska Tonsattare: Discografi. Goteborg: Rikskonserter, 1986.

Malmin, Olaf Gerhardt. "Recorded Contemporary Swedish Choral Music." In A Survey of the Choral Music of Twentieth Century Swedish Composers. Diss. Univ. of Iowa. 1973. Ann Arbor: University Microfilms International, 1973. 226-229.

Music from Scandinavia. Denmark: Nordic Council of Ministers, 1982.

------81

COMPOSERS AND THEIR WORKS

GENERAL

Horton, John. "Wilhelm Stenhammar and Modem Swedish Music." In Scandinavian Music: A Short History. London: Faber and Faber, 1963. 154-164.

Karkoff, Maurice. "Den Svenska tonsattaren situation." Nutida Musik. XIV, No.2 (1970-71): 30.

Lundkvist, Erik. "Musik fran Skandinavia." Svensk kyrkomusik, (1977): 26-28.

Malmin, Olaf Gerhardt. A Survey of the Choral Music of Twentieth Century Swedish Composers. Diss. Univ. of Iowa, 1973. Ann Arbor: University Microfilms International, 1973.

Percy, G6sta. "5 Swedish National Romantics." Tradition and Progress in Sweden, Musikrevy International, trans. Richard Litell, (1963): 92-100.

"Leading Swedish Composers of the Twentieth Century." Swedish Music - Past and Present. Musikrevv International, XXII (1967): 60-82.

Tonsattare i Sverige 1981. Stockholm: Swedish Music Information Center, 1981.

---_.-_._. 82

THE MONDAY GROUP

Connor, Herbert. "Mandagsgruppen och 20-taIsgenerationen." In Svensk ~dusik. Fran Midsommarvaka till Aniara, Del II. Stockholm: Bonniers Grafiska Industrier, 1980. 366-512.

Hojer,Olof. "The Monday Group and the Path towards the 50s." Tradition and Progress in Swedish Music. Musikrevy International, (1973): 80-86.

MaImim, Olaf Gerhardt. "The Monday Group": Blomdahl, Back, Lidholm and Johanson." In A Survey of the Choral Music of Twentieth Centurv Swedish Composers. Diss. Univ. of Iowa, 1973. 58-122.

Wallner, Bo. Fyrtio-tal. en klippbok om Mandagsgruppen och det svenska musiklivet. Stockholm: Nordiska MusikfOrlaget, 1971.

._ ...... ----...- --_.. __ .. _. 83

SANDSTROM, S-D.

Bergandal, Goran. Sven-David Sandstrom. Stockholm: Nordiska MusikfOrlaget.

"Sven-David Sandstrom." Nutida Musik, XVIII, No.3 (1973-74): 14.

Bortz, Daniel. "Sven-David Sandstrom." Nutida Musik, XX, No.3 (1976-77): 4.

Horovitz, Roland. "Ett Gloria ar var tid. Sven-David Sandstroms nya korverk introduceras." Nutida Musik, XXVII, No.2 (1983-84): 26-27.

"Fyra dikter fOr kor." Nutida Musik, XXIX, No.3 (1985-86): 10-13.

"Hear the Voice of the Bard." Swedish Music: Korsam, No.1 (1987): 10-13.

Sven-David Sandstrom verk fOr kor A cappella. En analytisk studie. Stockholm: Stockholms Universitet, 1983.

Jennefelt, Thomas... A Cradle Song/The Tyger." Nutida Musik, XXX, No.3 (1979-80): 25.

"Och genom den flottfUickade tapeten hors som svaga Sanger. En kompositionsanalysis av Requiets forsta del." Nutida Musik, No.3 (1981-82): 36-43.

Johanson, Bengt Emil. "Sandstrom, Sven-David." Solmans Musiklexikon. Stockholm" 1975.

------84 Lunell, Hans. "Sven-David Sandstrom. Agnus DeL" Nutida Musik, XXVII, No.3 (1983-84): 11-14.

Sandstrom, Jan. "En kompositorisk analys av den arslutande C"...redo-satser." Nutida Musik, No.3 (1981-82): 44-48.

Tobeck, Christina. "Sven-David Sandstrom: Vad soker da vara sjiiljer." Nutida Musik, XXI, No.3 (1977-78): 52.

------85

JENNEFELT, T.

Engblom, Soren. "Thomas Jennefelt." Nutida Musik, XXVTI, No.4 (1983-84): 48-49.

Jennefelt, Thomas. "Den unga musiken ar mossig och feg ... " Nutida Musik, XXVI, No.4 (1982-83): 25.

REHNQVIST, K.

Jacobsson, Stig and Hans-Gunnar Peterson. "Karin Rehnqvist." In Swedish Composers of the 20th Century. Stockholm: Swedish Music Information Center, 1988. 154.

Karkoff, Ingvar. "Karin-Rehnqvist. Music fran Vart Klimat." Nutida Musik, XXVIII, No.3 (1984-85).

Kristersson, Sven. "Nutida musik i folklig tradition. Karin Rehnqvist portditteras i en interjvu." Nutida Musik, XXXI, No.4 (1987-88): 44-47.

Rehnqvist, Karin. "Davids nirnm." Nutida Musik, XXVIII, No.4 (1984-85): 20.

--_._-_. _. - . 86

HILLBORG, A.

Hillborg, Anders. "Anders Hillborg, Kama Loka," Nutida Musik, XXVIII, No. 1 (1984-85).

Kanki, Shinji. "En analys av Anders Hillborg Worlds." Nutida Musik, XXIV, No.4 (1980-81): 36-38.

Jennefelt, Anders. "Anders Hillborg, Lamento for klarinett och strakorkester." Nutida Musik, XXV, No.4 (1981-82): 44.

Zirkovic, Zagorka. "Anders Hiliborg, Bandkomposition I." Nutida Musik, XXVI, No.1 (1982-83): 14.