SlJecicd issue /,0'1' tlte tllird lJnited States CO'llCeJ't tour' of tlw Stocldwlnl PlliUlar'monic Or'cllestr'cI u'Jlde,' the rna'Jlageme'Jlt of Cohuubia Artists if'a'llagetnent ~ l'Ilc. ~ New J'OJ'/~~ N.J'. Stockholm Philharmonic Orchestra United States tour November 14-December 7,1975

Under the gracious patronage of H.M. King Carl XVI Gustaf.

Konsertnytt (Concert News) is the official publication of the Stockholm Concert Association, published bi-weekly throughout the seasen. Editor: Hans Ekhedell. Address: Konserthuset, Hotorget 8, S-I11 57 Stockholm, Sweden. Tel. 08-22 1800. Association" and was himself the con­ ductor. Early activities were on a mode­ rate scale and the concerts took place in The Stockholm the old building of the Royal Music Academy. Already from the start, there Philharmonic wa the emphasis on "good art for the broad masses", which was to be re-ini­ Orchestra terated in the founding regulation of the Concert Hall 24 years later. The musicians The Stockholm Philharmonic Orchestra were paid per concert and there was no wa originally founded in 1902, when an question of a permanent contract. Small invitation signed by Wilhelm Stenhammar grants were given by the City of Stock­ and other Swedish composers was ent holm but despite that, the fi nancial situa­ out, soliciting participation in an associa­ tion wa very poor, and in 1909 the board tion with the ta k of making available a found it impossible to continue the con­ great um of money for regular orche tral cert . concerts in tockholm. The primus motor Later on, tbe Concert Association was in tbe work wa Tor Aulin. Two year unexpectedly able to take over a hall with carlier he had founded what wa then 1800 seats. The former king, Gustav VI called the "Mu ikforeningen Orke ter " Adolf, then Crown Prince, became Ho­ I. e. the Orchestra of the Mu ician ' norary Chairman. Thanks to grants from

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3 the public and tbe City Council, it was DOl'ati. The orche tra bas also made con­ pos ible to create a new orche tra of 60 cert tours to West and East Germany, members, and in January 1914, the fir t France, Au tria, Czecho-Slovakia and concert was given in a series which ha Great Britain as well as the Scandinavian since continued without interruption. countries. The orchestra's first prominent con­ o presentation of the Stockholm Phil­ ductor-in-chief was Georg Schneevoigt, harmonic, however brief, is complete who began in 1915 and remained until without a mention of the several cham­ 1924. It became pos ible to engage pro­ ber music en embles which have been minent foreign guest arti t; Richard formed by orche tra members. Many of Strau ,Max Fiedler and Arthur Nikisch these ensembles have toured extensively, were among the visiting conductors and at home and abroad, have recorded gra­ the oloi t included Adolf Bu ch, Serge mophone records, a nd give numerous Rachmaninoff and Arthur Schnabel. concerts, under the sponsorship of the After the first successful period new Concert Association as well as other spon- difficultie arose, but the completion of ors. the Concert Hall in 1926, which provided Among the e ensemble are th e Stock­ the orchestra with a home of its own, olv­ holm Philharmonic Wind Quintet (who ed many problems. The orchestra wa will give a concert together with the pia­ lucky enough to engage Vaclav Talich a nist Viktoria Po tnikova in Chicago on conductor-in-chief, a post which he oc­ ovember 22nd), the Stockholm Phil­ cupied for ten year. He wa followed by harmonic Bras Ensemble, the Stock­ Fritz Bu ch, who, however, only tayed holm Chamber Soloists and the Crafoord until 1940. After bim came Carl Garaguly Quartet. until 1953. Two year later Han Schmidt­ Of the several LP records which the I er tedt took over for a decade. In 1966, Stockholm Philharmonic has recorded - Antal Dorati became the orchestra's con­ many featuring Swedish mu ic - three ductor-in-chief, succeeded in 1974 by have been released on the U.S. market; Gennady Roshdestvensky. on these three records, the Orchestra i In 1971, the Concert Hall wa closed conducted by Antal Dorati. for rebuilding and the reinauguration took Available on the U.S. market is a re­ place in January 1973, when the Stock­ cording of Sibelius' Second Symphony holm Phllharmonic, conducted by Antal (RCA VICS 1318), a record featuring mu- Dorati, perfQrmed Mahler's 8th Sym­ ic by Swedish composers Karl-Birger phony. Blomdahl, Hilding Ro enberg and Franz During the year, the orche tra ha Berwald - the latter is repre ented by made several tours abroad. The orchestras his Sinfonie Capricieuse (RCA VICS first visit to the United States took place 1319), and a recording of Allan Petters­ in 1968, and it was followed by another son' Seventh Symphony (London CS tour in 1970, both conducted by Antal 6740).

4 der his father, Nikolaj Anosov, and piano with Lev Oborin. In recent years, Rosh­ destvensky the pianist has given only few Gennady public concerts, and most of these have been together with hi pianist wife, Vik­ Roshdestvensky toria Postnikova. Already in his 20's, Roshdestven ky began hi career as con­ ductor at the Bolshoi Theatre, and in 1963 The new conductor-in-chief of the Stock­ he became conductor-in-chief and artistic holm Philharmonic is Gennady Ro h­ director of this famous institution. A destvensky, widely considered to be the couple of years ago he left this position in foremost Soviet conductor today. One order to devote himself to a growing num­ may safely assume that the Orchestra's ber of other engagements. artistic development wi ll continue under In 1961 he became conductor-in-chief his leadership. In pite of the fact that he of the large ymphony orchestra of the is only a li ttle over 40 year old, thi un­ Moscow Radio, which he left about a year obtrusive musical genius ha had an im­ ago. He is professor of conducting at his pre ive career. At the conservatory in old conservatory, he tours abroad fre­ Mo cow he has studied coducting un- quently and is much in demand to conduct

Viktoria Postnikova and G ennady Roshdestvensky

5 gramophone recordings. As late as No­ bon in 1968 and two years later the third vember 1973, Ro hde tven ky conducted price at the Tchaikovsky competition in the Leningrad Philharmonic in the United Moscow. Miss Postnikova ha recorded States, and was invited to open the 1974 sonatas by Skrjabin, Mozart and Chopin fa ll season with the Chicago Symphony. and three of Mozart's piano concertos He ha al 0 conducted the Cleveland and other record. She ha already made Symphony Orchestra and has toured in a number of appearances abroad in the United States also with the Bolshoi Europe, Canada, Japan and the United Theatre and the London Symphony Or­ State , where she ha s given concerts in chestra. New York, Chicago, Cleveland, Washing­ Gennady Roshdestvensky appeared ton and other citie . She has performed with the Stockholm Philharmonic, as together with the Stockholm Philharmonic gue t conductor, for the fir t time in the already a number of times, mostly to­ fa ll of 1972 and this first meeting was so gether with her hu band Gennady Rosh­ successful in every respect that the Con­ destven kyo cert A sociation immediately initiated ne­ gotiations to have Roshdestvensky as the next conductor-in-chief of the Stockholm Leo Berlin Philharmonic. The negotiations reached Leo Berlin, Concert Master of the the highe t governmental level , and in Stockholm Philharmonic Orchestra, was Augu t, 1973, the Concert Association born in 1927. He studied at the Royal wa happy to announce that they had Concervatory of Mu ic in Stockholm, for been brought to a successful conclu ion. Georg Kulenkampff in Switzerland and 1 His present contract runs for 3 / 2 years. later on as a stipendiary of the Sweden­ It may be safely assumed that this period America Foundation for Henri Temianka will be one of further artistic development in the United States in 1951. For a num­ for the Orchestra, and that it will offer ber of years he played in the Radio Sym­ opportunities for successful tours abroad. phony Orchestra and became Concert Ma ter of the Stockholm Philharmonic in Viktoria Postnikova 1962. He regularely appears as a so li st and The pianist Yiktoria Postnikova ·started has toured in many countries. In 1972 he her music career already as a child in a gave a number of recitals at the Carlson Russian school for musically gifte.d Fe tival in Los Angele together with the children. She later continued her stu­ well-known Swedish piani t Greta Erik­ dies at the Conservatory for Jacob Flier. son. Leo Berlin is also a prominent cham­ Yiktoria Postnikova has participated in a ber musician and was for many years the number of international piano competi­ leader of the Stockholm Philharmonic tions and has won the first price in Lis- Chamber Orche tm.

6 by the Internal Revenue Service as a cha­ ritable organization. Individuals were in­ vited to serve on this board representing Friends of the industry, foundations, banking, academia, professions and persons active in Ameri­ Stockholm can-Swedish organizations. Mr. Roland A. Erickson, former Exe­ Philharmonic, Inc. cutive Vice President of General Foods Corp. and now a financial consultant of Greenwich, Conn., was elected Chairman. Early in the planning process of a third Dr. Nils Y. Wessel, President of the Al­ United States concert tour for the Stock­ fred P . Sloan Foundation of New York holm Philharmonic Orchestra, it was re­ was elected Vice-Chairman, and Mrs. Le­ cognized by the Stockholm Consert Asso­ na Kaplan, of New York, was eJected ciation - sponsors of the Stockholm Secretary and Treasurer. The Clerk of Philharmonic - that there wa a need for the Corporation is Attorney Sidney 1. Lie­ financial assistance to help subsidize the bowitz, of New York. In addition, Consul tour. While there was an assurance of a General, now Ambassador, Gunnar Lo­ subsidy from the Swedish government, naeus, Mr. Erland Waldenstrom and Dr. this 5ub idy alone would not meet the to­ iJ L. Wallin were elected Directors. tal need. Ambassador Wi lh elm Wachtmeister gra­ In 1973, Dr. Nils L. Wallin, President ciously agreed to erve as Honorary of the Stockholm Concert Association Chairman. talked to Sweden' Con ul General in The fir t meeting of the Board of the New York, Mr. Gunnar Lonaeus, and to Friends of the Stockholm Philharmonic, Attorney Sidney I. Liebowitz, of ew Inc., held on April 10, 1974, establi shed a York, about the possibility of corporate goal of $65,000. Their invitations to cor­ and individual contribution for this pur­ porations and friends, both in Sweden and pose. Later, Mr. Erland Waldenstrom, in America, to contribute to this cause Chairman of the Stockholm Concert A - were warmly received and formal effort sociation, also participated in these preli­ closed with the Board's December 13th minary discussions, and plans were drawn meeting, at which it wa announced that up. Out of these plans came the forma­ the objective had been achieve. By Octo­ tion of Friends of the Stockholm Philhar­ ber, additional contribution had been re­ monic, Inc., organized as a New York ceived, whereby the goal was exceeded by Not-for-Profit Corporation and approved over $2,000.

7 Friends of the Stockholm Philharmonic, Inc. 200 East 42nd Street New York, N.Y. 10017

Board of directors Ambassador, Count Wilhelm Wachtmeister Mrs. Lena Biorck Kaplan Honorary Chairmall S ecrefary-TreaslI rer Mr. Vernon R. Alden Mrs. Signe Karlstrom Mr. Robert Anderson Ambassador Gunnar Lonaeus Maestro Antal Dorati Consul General, Baron Carl Henrik Countess Margareta Dougla auckhoff Mr. Roland A. Erickson Dr. James A. Perkins Chairman Mr. Rudolph A. Peter on Colonel Franklin S. For berg Lowell Wadmond, E q. Mr. David Hall Mr. Erland Waldenstrom Mr. Howard Hanson Dr. Nil L. Wallin Ambassador Jerome Holland Dr. Nils Y. Wessell Vice-Chairma ll

PATRONS

Mr. and Mrs. Robert O. Anderson ASEA, Inc. Astra Pharmaceutical Products, Inc. Atlas Copco, Inc. Bank of America NT&SA, San Francisco AB E lectralux Emhart Fouodation Mr. and Mrs. Roland A. Erickson The Ericsson Corporatio~ Granges American Corporation, New York Instoria, Inc. A. Johnson & Co., Inc. Price Waterhou e & Co. Providentia Ltd SAAB-SCANIA of America, Inc. SAS - Scandin avian Airlines Stora Kopparberg Corporation Svenska Esso AB Swedish Council of America Union Carbide Corporation

8 SPONSORS

Booz, Allen & Hamilton International Mr. and Mrs. Gerald Bronfman Colonel and Mrs. Franklin S. Forsberg T he Goldman Sachs Fund General Foods Corporation IBM Sweden I nstitutional Investor Systems, Inc. The Jeppson Memorial Fund Mr. S. S. Larmon Mobil Oil Corporation Odin Club of Worcester Olson Manufacturing Co. Mr. and Mrs. Sture G. 01 son The Patricia Price Peterson Foundation SKF Industries, Inc. T he Slade Foundation, Inc. SVEA Mr. and Mrs. Erland Waldenstrom USM Corporation

CONTRIBUTORS Mr. Vernon R. Alden Peter L. Bern tein, Inc. Mr. and Mr . Jo eph Brooks Detroit Swedi h Council, Inc. Mr. Arthur E. Engdahl Mr. Maurice Glinert Mr. David Hall Mr. Howard Han on Ambas ador and Mr . Jerome Holland Mr. Nils R. Johaneson Mrs. Signe Karl trom Mr. and Mr . Bruce C. Long The Kidder Peabody Foundation Mr. Leo Model Nielsen & Lundbeck Mr. and Mr . James Perkins Peter on Steel, Inc. Mr. and Mr . Arthur Sarnoff Mr. Melvin C. Steen Mr. and Mrs. Frank E. Taplin Mr. and Mr . Ulf af Trolle Lowell Wadmond, E q. Dr. and Mrs. Nils Y. Wessell

9 VIOLA CLARINET Zahari Tchavdarov Thore Janson Stockholm Ake Arvinder Lars Almgren Bengt Andersson Gosta Ringstrom Philharmonic Clara Walden Bertil E lfstrand Kerstin Lazaroff Orchestra BAS OON Vaclav Chrastny Attila Bodor Rune Larsson Kersti Aberg Knut Sonstevold Regular Members Lars Jonsson Stig Holmberg Par Olmedal Lennart lvarsson VIOLIN I Carin Wallgren HORN Leo Berlin Ib Lanzky-Otto COl/cert Master CELLO Rolf Bengtsson Gert Crafoord Gunnar Norrby Elving Jansson COl/cert Master Elemer Lavotha Hans Akervall Gunnar Barter Lars-Olof Bergstrom Mats Engstrom Bojidar Ana la soy Jacky Heilborn Peter Lindbom Boel Loholm Raul Arellano Mona Nordin TRUMPET Nagi EI Habashi Bengt Olsson Lars Mollerstedt Claes Stromblad H arald Thedeen Lars Frykholm Janis Marshelle Coffman Hi Choon Lee Gunnar Sahlin Gunnar Schmidt Per Rabe John Eriksson Semmy Lazaroff Bodil Hauge Heilborn DOUBLE-BASS TROMBONE Anders Kimby Olle Bengtson John Petersen Gunnar Palm Stig Bjork Rune Bodin Frank Lind Luigi Ossoinak Helge Almquist Britten Wallfors Geza Farkas hrister Da ni elsson Elemer D enes Gosta Mllnsson Walther Arlind TUBA Tage Ekvall Michael Lind VIOLIN II Torsten Ljungqvist Wille Sundling TfMPANI Gunnar Lundqvist Emil Dekov Roland Johansson Karl-Erik Holm Sven-Olof Larsson FLUTE PER USSION Ester Naslund Lennart Ericsson Bjorn Liljequist Bengt Almqvist Bengt Christiansson Lars Hammarteg Denny Theander Eje Kaufeldt Erik Gustaf Brilioth Georgia Mohammar Jan-Olav Wedin HARP Lars-Erik Fjellstedt Rozalia Savin Carl l ohan Wcstfelt OBOE Salm o Sahlin Alf Nilsson STAGE PERSONNEL Ebon Ulmeryd Lars-Olof Loman Hans Ed lund Manfred Balfe Per Olof Gillblad Slage Manage r M ichncl Pn aschc I ngvar Holst 130 Soderlund

10 world, at least in circles who took an in­ terest in new mu ic. An often horror-filled fascination with Karl-Birger the present as well as with the future, left a mark on much of Blomdahl's produc­ Blomdahl: tion, practically without any trace of de­ faitism, however. His temperament and Symphony nr 3 his mind were rather set on the subdued Thu , much of his music is characterized (Facets) by force of mind and of train. The big forms - symphony, oratorio, drama - uited him better than the small and in­ A large space-ship - like a giant Jumbo timate ones. And in his work in Swedish Jet - comes out of course, loses its con­ music life - which was many-sided and tact with the earth and the people on of great importance - he always aimed board are doomed to eternal circulation more at renewal than at preservation of in the space. What happens under these the traditional. circumstances to the individual and to the Blomdahl, who was born in 1916 (and collective? This action and the e ques­ died in 1968) in the middle of the 30's tions Karl-Birger Blomdahl met with in became a pupil of Hilding Ro enberg (the the epos "Aniara" by Nobel Price winner father-figure of modern Swedish music) Harry Martin on. It became an operatic and in the 40's belonged to the so called work - often referred to as the fir t Monday Group, a circle of young and 'Space Opera" - which in the year 1960 radically orientated musician. First Hin­ made the composer known all over the demith, then Bartok, Stravinsky and the

11 Vienna School during tho e year gave of the punctuated rhytm of the French him important impul e . On the whole he ouverture - there follows a low move­ was an artist who carefully tudied what ment; an elegy for strings. The third part went on in the world around him; indulg­ i a cherzo (in various phases), the 4th ing in romantic egoti m wa completely - the culmination of the sy mphony - out of hi character. is an elegy. It tart with a couple of vio­ In 1950 his break-through came - lent hit on the kettle-drum after which both in Sweden and in Central Europe - a theme, typical of Blomdahl, is intro­ through his Symphony Nr 3 (Facets). As duced; energetic and with a refined can be understood from the title, the work change between dance and march. The is built up in form of variations, not, how­ movement is dominated by a climax, built ever, in the traditional en e over a theme, up by many and rich counterpoints a nd but with the help of a 12-tone serie a bold color, unparalleled in Swedi h mu­ ba ic material. At the same time it must sic. With an epilogue linked to the begi n­ be pointed out that Blomdahl is not writ­ ning of the work, Blomdahllets his sym­ ing atonal mu ic - according to strict phony end in a piano piani si mo. Schonberg tradition - neither working Bo Wallner with perpetually changing and compli­ cated rhythmic patterns. On the contrary, Blomdahl had a great passion for dance Symphony nr 3 (Facets) - not a sweeping and blandishing kind Largamente but an expan ive and energetic one. Tranquillo rna fluentc In "Facet" one may di cern 5 different Pre ti imo parts, all linked together. After an intro­ Allegro molto deci 0 e ritmico duction - with omething of the force Largamente

ments (1965-70) two String Quartet (1966 and 1971), a Church Opera, The Wall- The Way - The Word (1971- Daniel Bortz: 72), and St. Bridget's Death and R ecep­ tion in Heaven (1972-73), a Chamber Sinfonia I Opera, Landscape with River (1972), the Vocal Quartet Nightwinds (1972), a Con­ Daniel Bortz (born 1943) belongs to the certo per Violino Fagotto e Orchestra da young generation of Swedish composers. Camera (1974) and a Sinfonia II (1974- He tudied the violin in Stockholm for 75), commissioned by the Swedish Broad­ Charl e Barkel and Josef Grunlarb, and casting Corporation' Television Service. compo iti on for Karl-Birger Bl omdahl , A Sinfonia III is on its way, as wel l as Ingvar Lidholm and H ilding Rosenberg. muisc for the re-inauguration of th e Upp­ He has also studied abroad in U.S.A., sala Cathedral in 1976. We t Germany, Italy and The Nether­ The Sinfonia I was commissioned by lands. the Gothenburg Symphony Orchestra and Among his compositions are: Kafka­ completed in 1973. For the first per­ Trilogy (1966-69) for instrument and formance (conducted by Sixten Ehrling) voices, four Monologhi for solo instru- the composer wrote the following:

] 2 " Already during my work on the fir t remotely sounding chorale. Tbe Requiem­ part (Voces) of the Kafka-Trilogy (1 966 like emotional content is here introduced to 1968), I ometime con idered mu ical already in the motto of the piece. form ba ed more or less purely on imple My Sinfonia I lacks a motto, but apart and basic elements: low points and c1i­ from that bas strong ties to the Second maxe , ten ion and relaxation of the ten- String Quartet, in its emotional content ion etc. These elements are, of cour e, and its con truction. The sale culmination present in practically all music, more or of the Quartet here becomes two, where less evident, however. the econd one bas the ambition to urpa s At the time of Voces I was not ready the first one 'at any cost'. The energy of to cultivate purely these forms; had I done the fir t culmination i derived from the so, the music would probably have 10 t . low but decided bur ting of an E-Major other important elements: the detailed chord. After the culmination, the music clarity and intensity, the identity of the inks down into a dream-like gloom, criss­ individual element etc. My mu ic from cro sed by nostalgic remini cences of that time i , I hope, in the be t en e of Richard Strauss. A chorale, building an the word a compromise. An important arch, form the central part. Tbe intro­ stage on the way to Sinfonia I con i t of duction of the econd culmination take the Second String Quartet with the motto the form of different, rhythmical courses, ' ... farewell to a great friend .. .' com­ like icefloe cutting through and pi.ling lip po ed in 1971. In it I tried an extremely on top of each other. The second culmina­ simple form' a single big culmination, tion can be said to have a strong will to framed by re trained activity - nearly surpa and outdo the fir t one. The cnd­ stillness, at one point in tbe bape of a II1g I stillne s, re ignation, looking back. '

13 able climate of his popular work - a kind of ve ry modified and personal neo­ classicism. Lars-Erik In 1947 Larsson wa appointed Profes­ sor of compo ition at the Roya l Academy Larsson: of M u ic in Stockholm. At that time he started to feel, de pite hi succe ses, un­ Violin Concerto satisfied with this carefree, inoffensive music (a number of compositions for the movies may have crowned it). He found himself in a cul-de-sac. Few Contemporary Swedish compo ers He felt hampered and in the midst of a have been taken to the hearts of the crisi . The resul t was a break-up to eek Swedish people like Lars-Erik Lars on. It new ways of development. But even this is mainly the Pastoral Suite for orche tra ncw path wa not a very straight one. Key and the choral work, God in Disguise, works from this period are Music for Or­ which have won acclaim, with their idyllic chestra (1950), of a more harsh, disso­ tone language, their beautiful melodies nant, somewhat Hindemith-related style, and charming natural simplicity-a proof Missa Brevis for Choir (1954), an attempt of great ski ll . In these works Lars on at modern choir polyphony in the style of really intended to write " beautiful music", Palestrina and Orchestra Variations simple to listen to. But his life as a com­ (1963) built on a completely personal poser has been more complicated than kind of twelwe-tone technique. Now and tbat, and his evolution as an artist has then, however, he has returned to hi ear­ taken a more "zig-zag" course than what li er mood of expres ion. In this sphere are is usual. Already when composing the the 12 Concertini for various solo instru­ above works - in his 'thirties - he went ments and string orchestra, being achieve­ through more than one metamorpho is. ments of the 'fifties, and of great value to In the works of his youth, he was a tradi­ the music life of the country, deliberately tional Nordic romantic. But a short period composed in a fairly uncomplicated tech­ of study abroad opened his ears to new IlIque. currents on the Continent, among others Some years ago Lars-Erik Larsson left the young Hindemith, which led him on Stockholm for his home province of to a new path. He composed his Sinfo­ Skane (in the outh of Sweden). ni ctta for string orchestra, a refreshing The violin Concerto is one of Lars-Erik and rhythmically spirited piece. It became Larsson's few works on a large scale (two a great success at the World M usic Festi­ symphonies and an opera have been re­ val in Florence in 1934, and Larsson im­ duced by the composer himself to short mediately became one of our leading orchestral works). The Concerto was modernists, a representative of the neo­ written in 1952 for (and to some extent in classicism which dominated the 'thirties. cooperation with) the Hungarian-Belgian He then wrote a Saxophone Concerto, a vio linist, Andre Gertler, who played the Divertimento for string orchestra, and the first performance in 1953. The concerto well-known Small serenade for string or­ quite clearly belongs to the type of works chestra, but gradually diminished the in which Larsson has set out to explore harsh tone language and other chall enges, new means of expression. His lyrical cha­ thus quickl y arriving at the mild and ami- racter is still ev ident, e.g. in the prelude-

14 li ke orchestral opening of th e first move­ between the moti fs of the three move­ ment, in the main theme of the soloist ments which is sometimes, however, dif­ and in the main par t of the slow move­ ficult to hear; it is most obvious when the ment. But hardly a trace of playful neo­ main theme of the first movement con­ classicism is to be fo und. On the contrary, cl udes the f in ale. According to the com­ the m usic contains a romantic pathos poser this movement ca n be seen as a often in gloomy colors, wild pa sages "retro pective rondo", probabl y implying and outbursts in the solo part, and a not only reminiscences from other part heavy, often polyphonicall y complicated of the concerto, but also from years back. orchestra part. Added to this is the harsh­ Gereon Brodin ness of the sound (an example: the com­ bination of between th em elve di so nant sounds, which are a main ingredient ill the fi nale) . LARS-ERIK LA RSSON (b. 1908) T he solo part sati sfie the h ighest de­ Violin Concerto mands of virtuosi ty, given a rather free Moderato style, for instance in th e solo cadenza of Andante pastorale the first movement. There is a conn ectio n Lento Alleg ro mo lto

15 Tour itinerary

Nov. 16 Minneapoli Nov. 18 Madison, Wisc. Nov. 19 Iowa City, Iowa Nov. 20 D e Kalb, lII. Nov. 21 Champaign, III. Nov. 23 Chicago Nov. 24 Ann Arbor, Mich. Nov. 25 East Lan ing, M ich. Nov. 28 Altoona, P en n. Nov. 29 Wilmington, Delaw. Nov. 30 Wa hington D .C. D ec. 1 Philadelphia D ec. ".J New York (Carnegie Hall) Dec. 4 New York (Carnegie Hall) D ec. 5 State College, Penn. Dec. 6 Scranton, Penn. D ec. 7 Bo ton

Tour programs

The orchestra wi ll pre ent five concert programs, featuring the followi ng works:

Berlioz: Symphonie fantastique

Bl omdahl : Symphony 0 3 (Facets) Bortz: Sinfonia I Larsson: Violin Conccrto Prokoficff: Piano Concerto No 3 Ravel: Dapbni and Chloe, suite No 2

Tchaikovsky: Symphony 0 5

Nordiska Tryckeri AB . Stockholm 1975