BIS.CD-14 STEREO IAADI Total playing time: 56'05 ScandinavianChoral Music Annnc, Jan Hikan (b. 1916)(arr.) E I himmelen, i himmelen (Text:Swedish Psalm 144) r,rr,ust z'OE OLSSON, Otto (1879-1964)(arr.) tr Siig mig den vhgen (Text: A.K. Rutstrijm) (Musikbilagatitt"sd.neen" lsls:D 2122 SVEDLUND, Karl-Erik (1906-1974)(arr.) E Det blir nAgot i himlen fiir barnen attfk ruast 3'05 LIDHOLM, Ingvar (b. 1921) Laudi (1947)G.n*,g 10'26 E I. Homo natus de muliere...(Job 14:1-2) 4'.32 E II. Hec dicit Dominus... (Joel2:72-13) 3'33 E III. LaudateDominum... (Psa1m 116) 2'.1,3 Stockholm Motet Choir conductedbv Dan-Olof Stenlund

LEWKOVITCH, Bernhard. h. re27) T[e madrigali di Torquato Tasso, Op.13 rwar 7',25 E I. A Virgilio (Sopranosolo: Margrete Enevold) 3'08 E II. All'Aurora r'40 E IIl. Non d questoun morire 2'32 SCHULTZ, Svend S. (b.1913) E Midsommervise (Text:Leo Estvad) r,ur") z',20 E Dansevise (Old Danish Folk-Song) (Engstrlm & so.tring) 1'18 2 JEPPESEN, Knud Q892-r974) E Fjorden (Text: Valdemar Rordam) (MusihhsjshotensFortas) z',27 RIISAGER, KnudAge (1897-1974) E Snevind (Text:Helge Rode) rwat 1'33 LEWKOVITCH, Bernhard (b. 1927) @ fidligt for6r (Text:Frank Jeger) rwn) 0'58 JERSILD, J gtgen (b. 1913) @ KerlighedsrOsen (Danish Folk-Song) (Sooruno Mu.tt"tu Et"told) fvvn) 2129 "oto' Camerata Chamber Choir conductedby Per Enevold

SoDERMAN, August (1 832- 18?6) Andligasinger(SpiritualSongs) (1872)rsaeaeesKdrfi)rbund.) l1'/Lg E I. Kyrie (Sopranosolo: GunlisArdevall-Lundqvist) 3'06 E IL Agnus Dei 2'04 E III. Jesu Christe 2'I8 E IV. Domine 2'25 @ V. Benedictus 7'44 E VL VirgO glOriOSa (Sopranosolo: Gunlis Ardevall-Lundqvist;Organ: Sven-Inge Frisk) 3'07 @VII. Osanna 2'33 Malmii Chamber Choir conductedbv Dan'Olof Stenlund .lan HAkan Aberg (b. 1916) was from 1947 onwards organist in the Swedish towns of SkOvde,Norrkdping and Linkdping before becoming cathedral organist in Hirnrisand in 1967. Alongside his duties as an organist he has also worked as a choral conductor and has written a large quantity of sacred music, for example 1 himmelen, i himmelen (In Heaven) (Psalm 144), which is often suns in Swedish churches.

Otto Olsson (1879-1964)is among the foremost figures in Swedish organ music and was himself the organist of the Gustav Vasa Church in Stockholm for almost half a century (1908-56).He also taught at the Conservatoryof Music, first of all harmony and then, with effect from 1925, organ. He became a professor in 1926. A number of his sacred and secular choral songs belong in the standard swedish lepertoire. Stig mig den ucigen (Tell Me The Way) is from the 51 Choral Songs, Op.37, which he wrote between 1904 and 194g. This particular song was fiist published as a supplementto the periodicalSdngen (The Song)in 1939. Karl-Erik Svedlund (1906-74)was a compositionpupil of Gustaf Nordqvist and Gustaf Hiigg. masters of the solo song and of organ music respectively.He himself was to becomeone of the most influential musical personalities within the Swedish PentecostalMovement and he composedinnumerible choral songsfor church use. one of the best-known of these is Det blir ndgot i himlen ftr barien att fd ("rhere'lr be Somethingfor the Children).

rngvar Lidholm (b. 1921) is one of the most influential figures in modern swedish 'Monday music. As a member of the so-called Group' in the mid-1940she became known as the group's most unrepentant Romantic. Quickly, however, he showed his mettle in the form of a series of innovative and artistically significant orchestral works. As early as 1947 he wrote what is probably his most frequently-performed choral work, Laudi - settings of Biblical texts in Latin. The -niic wai written at roughly the same time that Eric Ericsson was establishine the now famous swedish choral sound with his chamber choir; Laudi made a simificant contribu- tion to this process.

4 At the age of 23 Bernhard Lewkovitch (b. 1927) became organist and choral director of the Catholic Church of St. Ansgar in Copenhagen. Here he established both the Schola Gregoriana and the Schola Cantorum to perform both ancient and modern music. His work with these choirs gave him ample experienceof and a deep insight into vocal music, and alongside a series of important liturgical works (psalms, motets and masses) he also composedsecular choral music - refined pieces with a deep sensitivity both for text and for sonority alike. The Three Madrigals, Op.18,to TorquatoTasso's Italian texts, were composedin 1955-57and are among the best-known examples of Danish choral music. Early in his career as a composerSvend S. Schultz (b. 1913)gained a reputation for taking excessiveliberties, but he was very successfulin light, entertaining music - elegant in its nonchaiance. He used the simple forms of neo-classicismand was especially successfulwith his comic operas. In 1949 he became the instructor of the Danish Radio Choir and he wrote a number of choral works, among them Midsommeruise(Midsummer) andDanseuise(My Father Gave Me...). Knud Jeppesen (1892-1974)was encouragedto becomea composerby Carl Nielsen, but an unsuccessful concert of his works resulted in fifteen unproductive years. During this time he continued to work as an organist and became known 'Kontrapunkt' above ail as a musicologist.His major work, (Counterpoint), deals with classical vocal polyphony and has been translated into many languages. He was regarded as one of his period's leading authorities on Palestrina. When he started to composeagain he concentrated on choral music - motets, cantatas, aTe Deum and.a mass - as well as secular songs such as Fjorden (The Fjord)' Knudige Riisager (I897-t974) was a pupil of Albert Roussel and Paul le FIem, 'black and during the 1920s and 1930s became the sheep' of Danish music. He advocated bold ideas such as poly'tonality and pulsating rhythms in his music and was also a bold participant in debates.He composedsymphonies, concertos and other orchestral pieces as well as music for films and for the theatre. He achieved special renown for his colourful ballet scores.For a long time he was director ofthe Conservatory of Music in Copenhagen.Vocal music forms only a small part of his output, bttt Sneuind (The Wet Wind) shows that he was equally at home in this genre. JOrgen Jersild (b. 1913) wrote relatively few pieces - largely a result of an unusually self-critical nature which caused him to withdraw the many works he found unsatisfactory. In his music form and content combine to form an integrated whole, often with a Gallic tone. He was professor of composition and solfeggio at tine Royal Danish Conservatoryof Music from 1953until 1975.Among his three choral cycles is Three Danish Loue Songs (1968), of which Karlighedsrosen (The Rose of Love) forms a part. August Siiderman (1832-1876)began his musical career as an instrumentalist and composerat various theatres in Stockholm, including the Royal Theatre (Opera House)from 1860until 1875.He studied in Leipzig and becameone of the foremost figures in Swedish National Romanticism. He wrote operettas and theatre music, outstanding song cycles and choral suites. Alongside these secular works he also wrote a large-scaleCatholic mass and the seven Spiritual Songs (1872) to well- known Latin texts - although many of these songs originate in theatrical scoreshe wrote some ten years earlier for Marsh Stigs dottrar, Folhungalek and.Dagen gryr.. this bearswitness to fhe high quality ofhis theatremusic. Stig Jacobsson The Stockholm Motet Choir was formed by Dan-Olof Stenlund in 1968 with a complement of 12 singers. The original intention was to perform early music and in the initial years the group concentrated on music by Palestrina. By 1970 the choir had achieved such a reputation that it was invited to represent Sweden at a fest- ival of church music in Reykjavik, performing new Swedish liturgical music. With this end in view the choir doubled in size and it has since devoteditself to choral repertoire of ail periods. Besides singing o cappella the Stockholm Motet Choir also performs oratorios, masses and other works with various instrumental ensembles. 'Camerata' The Copenhagen Chamber Choir is an ensemble of 2? sinsers. The choir took its name from the similarly-namedmusical gtoup in Florencedlring the Renaissance.It was founded in 1965by its conductor,Per Enevold,who conducted it until 1985. Camerata has since performed a large selection of a cappella works

b from the Renaissanceup to the present day. The choir has also on occasionparticip- ated in productions of larger choral works with orchestra, including Monteverdi's Vespers,Handet's Messiah and Mozart's Requiem. The choir has made radio and TV appearancesin Denmark and in Sweden and has undertaken tours to many places in Europe.It was awardedthe JacobGade prize in7972. 'A new Swedish 6lite choir of the highest grade was born yesterday evening,' report- ed the newspapers on 10th November 1975. some members of this original choir are still singlng in the Malmd Chamber Choir today. Many, however, become members while-studying in Malm6, Lund or copenhagen and therefore leave the choir when their studiei are completed. Haif of the members have a higher music education. The ensemble works in professional manner. several former members 'training' have followed up their in Malm6 Chamber Choir by becoming successful soloistsor choirleaders. Hundreds ofconcerts,many radio recordings,a number of television broadcasts and a large number of concert tours are proof of our work. The choir has travelled the length and breadth of sweden several times; its neighbours Denmark, Norway and Finland have, of course, been visited, and it lras achieved successin Belgium, Germany, Switzeriand, czechoslovakia,England and Israel. The Malmb ChamberChoir appearson 2 other BIS records' Dan-Olof stenlund was only thirty-six years o1dwhen he was made professorof choir-conducting at the Royai Danish Music Conservatory in Copenhagen. He had earlier foundea trre yl,lce-chamber choir and led choirs in the Engelbrekt church in stockholm. For several years he was also leader of the uppsala University chamber choir. He studied music at the Musical Academy in stockholm, and was also granted a scholarship to study conducting with Leonard Bernstein in New York-and Sergiu celibidache in stockholm. Dan-olof Stenlund has acted as a visit- ing lecturer a-tvarious American universities. In Europe he leads seminars in choir co;ducting and singing, and for many years he has been one of the leading and also most popu"larcondrictois at the greai international choir festival Europa Cantat. In f9?8'he becamea member of thl Swedish Royal Musical Academy and in 1987he was createdKnight ofthe Danish Dannebrogenorder. He appearson 5 other BIS records. Per Enevold was born in 1943. For many years he has been a central figure in Danish choir music as the founder of the chamber choir Camerata and a frequent guest conductor (and from 1985-88 the permanent conductor) ofthe Danish Radio Chamber Choir. He has been cantor at CopenhagenCathedral since 1983, and since 1984 artistic director of the CopenhagenBoys' Choir. He has appeared as guest conductor with the Swedish Radio choir and with Helmuth Rilling's Bach Ensemble in Stuttgart as well as with most of the Danish regional orchestras. He was award- ed the GladsaxeMusic Prize in 1976.

.fan Hikan Aberg (geb. 1916) wirkte ab 1947 als Organist in den schwedischen Stadten SkOvde,Norrkriping und Linkdping, bis er 1967 Domorganist in Hiirntisand wurde. Neben seiner TAtigkeit als Organist leitete er Chdre und komponierte viele Werke ftr die Kirche, darunter das in schwedischen Kirchen sehr hiiufiee 1 himmelen,i himmelen (Im Himmel). Otto Olsson (1879-1964)ist einer der grd8ten Namen der schwedischenOrgel- musik. Fast ein halbes Jahrhundert lang (1908-56)war er Organist an der Stock- holmer Gustav-Vasa-Kirche; au8erdem unterrichtete er am Musikkonservatonum, zuniichst Harmonielehre, ab 1925 Orgel, ab 1926 als Professor. Viele seiner welt- lichen und kirchlichen Chorlieder gehtiren zum schwedischen Standardrepertorre. Srig mig den ucigen(Sag mir den Weg) ist eines der 51 Chorlieder op.3?, die er zwischen1904 und 1949komponierte. Karl-Erik Svedlund (1906-74)war Kompositionsschiiler von Gustaf Nordqvist und Gustaf Htigg, Meister auf den Gebieten des Sololiedesbzw. der Orgelmusik. Er wurde eine der einfluBreichsten Persdnlichkeiten unter den schwedischenPfingst- Iern, fiir deren Kirche er unziihlige Chorlieder komponierte. Eines der verbrei- tetsten ist Det blir ndgot i himlen fdr barnen att /o (Es wird etwas, das die Kinder im Himmel bekommen). Ingvar Lidholm (geb. 1921) ist eine der wichtigsten Gestalten der neueren schwe- dischen Musik. Als Mitglied der sogenannten Montagsgruppe wurde er Mitte der 1940er Jahre als der unheilbare Romantiker der Gruppe bekannt. BaId stellte er I aber in einer Reihe innovativer und ki-instlerisch bedeutender Orchesterwerke seine Ftihigkeiten unter Beweis. Bereits 1947 schrieb er sein vielleicht am htiufig- sten aufgefiihrtes Chorwerk, Laudi, iiber lateinische Bibeltexte. Etwa gleichzeitig mit der Entstehung dieser Musik schuf der Chorleiter Eric Ericson mit seinem Kammerchor einen neuartigen Chorklang, wol:ei Loudi von groBer Bedeutung war.

Bernhard Lewkovitch @eb. L927) wurde im Alter von 23 Jahren Organist und Chorleiter an der katholischen St.-Ansgar-Kirche in Kopenhagen, wo er die Chore Schola Gregoriana und Schola Cantorum griindete, welche sowohl neue als auch alte Musik gesungen haben. Durch die Arbeit mit den Chijren gewann er tiefe Erfahrungen beziiglich der Vokalmusik. Er komponierte eine Reihe bedeutende liturgische Werke, Kirchenlieder, Motetten und Messen, aber auch weltliche Chor- musik, raffiniert und mit dem tiefsten Gefuhl fur Wort und Klang. Die Drei Madri- gale op.18 zu Tassos italienischen Texten wurden 1955-57 komponiert und gehi;ren zu den bekanntesten der danischen Chorliteratur.

Svend S. Schultz (geb. 1913) wurde am Anfang seiner Komponistenkarriere nach- gesagt, er sei zu weitschweifend, aber er war sehr erfolgreich auf dem Gebiete der Ieichten, unterhaltenden Musik - elegant in ihrer LAssigkeit. Er verwendete die schlichten Formen des Neoklassizismus und war nicht zu\etzt mit seinen Buffa- opern erfolgreich. 1949 wurde er Leiter des Diinischen Rundfunkchores, und er komponierte viele Chorwerke, darunter die volkst0mlichen Midsommeruise (Mitt- sommerlied) und Danseuise (Tanzlied).

Knud Jeppesen Q892-1974) wurde von Carl Nielsen zum Komponieren angeregt, aber ein miBlungener Kompositionsabend brachte ihn zu einem fiinfzehnjiihrigen Schweigen. Er wirkte aber nach wie vor a1s Organist und wurde ein bekannter Musiktheoretiker. Seine groBe Arbeit ,,Kontrapunkt" handelt von der klassischen Vokalpolyphonie und wurde in viele Sprachen iibertragen. Er wurde als grdBte Autoritiit seiner Zeit auf dem Gebiete der Musik von Palestrina angesehen. Als er sich wieder als Komponist betiitigte, geschah dies vor allem auf dem Gebiete der Chormusik: Motetten, Kantaten, Te Deum und eine Messe - aber auch weltliche Lieder wie Fjorden (Die Fijrde).

q KnudAge Riisager (1897-I974), Schiiler von Albert Rousselund Paul Le Flem, wurde das schwarze Schaf der danischen Musik der 1920er und 30er Jahre. Er verfocht in seiner eigenen Musik kiihne Ideen, wie Polytonalit2it und pulsierende Rhythmik, und er nahm an den damaligen Debatten mit spitzer Zunge teil. Er komponierte Symphonien,Konzerte und sonstigeOrchestermusik, dazu noch Musik fiir Film und Theater. Besonders geschiitzt wurden seine farbenprAchtigen Ballette. Er war langjtihriger Direktor des KopenhagenerKonservatoriums. Die Vokalmusik ist zwar nur ein kleiner Teil seinesSchaffens; Sneuind (Schneewind) zeigt aber,daB er auch auf diesemGebiet beheimatet war. Jgrgen Jersild (geb. 1913) komponierte relativ wenige Werke - eigentlich war er vielmehr ungewrihnlich selbstkritisch und zog viele Kompositionen zuriick. Form und Inhalt bilden in hohem Grade ein vollendetesGanzes. nicht seiten mit erner franzijsischen Note. 1953-75 war er am Kgl. Diinischen Musikkonservatorrum Professor fiir Komposition und Solfdge.Zu seinen drei Chorzyklen gehdren die 1968 komponierten3 dcjnischeLiebeslieder, darunter Kerlighedsrosen(.Die Liebesrose.t. August Sdderman (7832-76) begann seine Musikerlaulbahn als Instrumentalist und Komponist an verschiedenenStockholmer Theatern, darunter der Kgl. Oper (1860-75).Er studierte in Leipzig und wurde eine Vordergrundgestaltder schwe- dischenNationalromantik. Er komponierteOperetten und Schauspielmusik,hervor- ragendeLiedzyklen und Chorsuiten.Neben diesenweltlichen Stiicken komponierte er auch eine gro8artige katholische Messe und dte 7 andliga sdnger (Geistliche Lieder, 1872) zu bekannten lateinischen Texten. Mehrere von ihnen haben aber ihren Ursprung in Biihnenmusiken, die um etwa zehn Jahre friiher komponiert wordenwaren - dieszeugt auch von der hohenQualitat seinerTheatermusik. Stig alacobsson Der Stockholmer Motettenchor wurde 1968 von Dan-Olof Stenlund mit einer Besetzung von zwijlf Sangern gegriindet. Die urspriingliche Absicht war, friihe Musik aufzufiihren, und in den Anfangsjahren konzentrierte sich das Ensembie auf Musik von Palestrina. 1970hatte der Chor einen solchenRuferworben, da8 er ein- geladen wurde, Schwedenbei einem Kirchenmusikfestival in Reykjavik zu vet- treten, wobei er neue schwedischeliturgische Musik auffUhren sollte. Aus diesem 10 Grund wurde die Besetzungverdoppelt, und seither widmet sich der Chor Musik aus allen Epochen. Neben dem A-cappella-Singenfiihrt der Stockholmer Motetten- chor auch Oratorien, Messen und dergleichen mit verschiedenenInstrumental- ensemblesauf. Der Kopenhagener Kammerchor Camerata besteht aus 27 Siingern; der Name des Ensembles wurde der gleichnamigen florentinischen Musikergruppe nach- gebildet.Der Chor wurde 1965vom Dirigenten, Per Enevold,gegriindet; dieser war bis 1985 kiinstlerischer Leiter. Das Repertoire des Kammerchor Camerata umfaBt A-cappella-Mrtsik von der Renaissancebis zu unserer Zeit. Dartiberhinaus hat der Chor eine Reihe der groBen Chorwerke mit Orchester aufgefiihrt, u.a. den Messias von Hdndel, sowie Mozarts Requiem. Die Camerata ist im diinischen und schwe- dischen Rundfunk und Fernsehen aufgetreten und unternahm Konzertreisen in viele europiiischeStadte. Im Jahre 1972empfing der Chor den Jacob-Gade-Preis. ,,Ein neuer schwedischerElitechor in der Spitzenklassewurde gestern abend geboren"konnte man am 10. November 1975in den schwedischenZeitungen lesen. Einige der damaligen Mitglieder sind noch aktiv im heutigen Malmti Kammer- chor. Die meisten jedoch versuchen wiihrend ihrer Studentenzeit in Malmci, Lund oder Kopenhagen, Mitglieder zu werden, und verlassen ihn dann wieder. Die Hiilfte der Mitglieder haben in irgendeiner Form eine Musikerausbildung absolviert, deshalb hat das Ensemble einen hohen professionellenStandard. Verschiedene ehemalige Mitglieder haben nach der ,,Schulung"im Malm

.Ian HAkan Aberg (n6 en 1916) fut organiste pendant 20 ans d Skiivde, Norr- k6ping et Linkciping avant d'6tre choisi, en 1967,comme organiste de la cath6drale de Hdrndsand. Paralldlement ir ses postesd'organiste, il s'est occup6de direction chorale et de compositionde musique sacr6epour usageliturgique, par exempleIe cantiqueI himmelen, i himmelen (no 144 dans le psautier su6dois),que I'on entend trds fr6quemmentdans les 6glisessu6doises. Otto Olsson (1879-1964)est un des g6ants de la musique pour orgue su6doise;lui- m6me organiste d 1'6gliseGustave Vasa d Stockholm pendant prds de cinquante ans, soit de 1908d 1956,il enseignaau ConservatoireNational de Musique, d'abord I'harmonie puis l'orgue ir partir de 1925 pour 6tre nomm6 "Professeurd'orgue" en 1926.Le r6pertoire su6dois6tabli compte de nombreusespidces chorales profanes 12 et sacr6esde sa composition.Sag mig den ucigenfait partie de 51 Chansons choralesop.37 compos6esentre 1904 et 1949. Cette chanson-cifut publi6e pour la premidre fois comme annexe dans le deuxidmenum6ro de l'6dition de 1939 de la revue "Siingen". Karl-Erik Svedlund (1906-1974)fut 1'6ldvede compositionde Gustaf Nordqvist et de Gustaf Hiigg, des maitres dans les domaines respectifs du chant solo et de la musique d'orgue. Sa personnaiit6 musicale influenqa fortement le domaine du mouvement pentec6tiste; il a compos6 d'innombrables chansons chorales pour usage liturgique. L'une des plus connues s'intitule Det blir ndgot i himlen fdr barnen att fd. Ingvar Lidholm (n6 en 1921)est l'une des tdtes d'affichede la nouveile musique su6doise.Comme membre du "Groupe du lundi", il devint connu vers 1945 comme le romantique incorrigible du groupe. Mais il montra rapidement les dents dans une s6rie d'euvres orchestrales novatrices importantes. En 1947 d6jd, iI 6crivit son ceuvrechorale peut-6tre Ia plus chant6e,Laudi, sur des textes bibliques latins. Son ceuvre prit de i'expansion d peu prds en m6me temps qu'Eric Ericson d6veloppait le son choral maintenant mondialement connu de son Chceur de Chambre et Laudi joua un role considerabledans ce progrds. Bernhard Lewkovitch (n6 en 1927)devint d 23 ans organisteet chefde chcur e 1'6glisecatholique St-Ansgar d Copenhague.C'est ld qu'il fonda les chceursSchoia Gregorianaet ScholaCantorum qui ont chant6 de la musique ancienneet nouvelle. Son travail avec les chceurslui permit d'approfondir sa compr6hensionde la musique vocale et I'amena d composer une s6rie d'ceuvresliturgiques importantes, des psaumes,motets et messesainsi que de la musique vocaleprofane, raffin6e et avec un sens trds d6velopp6 touchant le texte et la sonorit6. Les Tlois tnadrigaux op.18 sur des textes italiens de Tasso datent de 1955'57 et comptent parmi les mieux connusde la litt6rature choraledanoise. Au d6but de sa carridre de compositeur,Svend S. Schultz (n6 en 1913) eut la r6putation de prendre trop de libert6s mais la chancelui sourit heureusementdans un genre l6ger et divertissant - d'une nonchalance6l6gante. Il a adopt6 les 13 moddlesformels simples du n6o-classicismeet ses op6ras bouffes surtout rempor- tdrent du succds.En 1949,il devint le chefdu Chceurde la Radio du Danemark et iI composabeaucoup de musique chorale dont Midsommeruise(Chanson de Ia St- Jean)et Danseuise(Air de danse),deux pidcesaux accentspopulaires. CarI Nielsen encourageaKnud Jeppesen (1892-1974)d composermais I'6chec d'une soir6ed6di6e d ses @uvresass6cha sa sourced'inspiration pendant 15 ans. I1 travaillait pourtant comme organiste et iI devint c6ldbre d'abord et avant tout comme th6oricien de la musique. Son grand ouvrage "Contrepoint" traite de Ia poly- phonie vocale classique et fut traduit en plusieurs langues. II fut consid6r6 d son 6poquecomme le plus grand sp6cialistede Palestrina. Quand il se remit d com- poser, il s'attaqua surtout d la musique chorale: motets, cantates, 7b Deum et rne messe - mais aussi des chansons profanes comme, par exemple, Fjorden (.Le Fjord). Knudige Riisager (1897-1974)fut l'61dvedAlbert Roussel et de Paul le Flem et il fut le mouton noir des ann6es 1920 et 30 dans le monde musical danois. 11d6fen- dait des id6esos6es comme la polytonalit6 et la rythmique pulsative dans sa propre musique et il faisait preuve d'une plume ac6r6edans ses d6bats. II composades symphonies,concertos et autre musique orchestrale,de la musique de film et de scdne.Ii fut particulibrement appr6ci6 pour ses ballets riches en couleurs. I1 fut longtemps le directeur du conservatoire de Copenhague.La musique vocale ne constitue qu'une petite partie de son @uvre mais il s'y sentait d I'aise comme le prore Sneuind (Poudrerie). Jiirgen Jersild (n6 en 1913) 6crivit relativement peu d'euvres, ce qui d6pend en majeure partie de son autocritique s6vdre:il rejeta impitoyablementles pidcesqui ne trouvdrent pas grAce d ses yeux. La forme et le contenu composent une unit6 parfaite, souvent avec une touche frangaise. I1 enseigna Ia composition et le solfdge au ConservatoireRoyal Danois de Musique de 1953 ir 75. Parmi ses trois cycles pour chceur,on remarque3 Dansheherlighedssange (3 Chansonsd'amour danoises) datant de 1968 dont Karlighedsrosen (La Rose de l'amour) fait partie.

14 August Siiderman (1832-1876)commenqa sa carridre musicale comme instru- mentiste et compositeur d diff6rents th6Atres de Stockholm dont au Th6Atre Royal de 1860 e 75. Il fit ses 6tudes d Leipzig et il devint Ie principal repr6sentant du national-romantismesu6dois. 11 composa des op6retteset de la musique de scdne, de remarquables cycles de chansons et suites chorales. A c6t6 de ces morceaux profanes, il 6crit une messe catholique grandiose et sept Andliga sdnger (Chansons sacr6es)en 1872 sur des textes latins connus - mais plusieurs datent d6jd de la musique de scbne6crite dix ans auparavant pour Marsh Stigs d(;ttrar, Folhungalek et Dagen gryr, ce qui est un critdre pour juger de la haute qualit6 de sa musique de th6dtre' stig Jacobsson Le Stockholm Motet Choir fut fond6 par Dan-Olof Stenlund en 1968 avec un effectifde 12 chanteurs.Le but initial 6tait d'interpr6ter de Ia musique ancienneet, dans les premidres ann6es,le groupe se concentra sur Ia musique de Palestrina. Vers 1970, le chceur s'6tait m6rit6 une telle r6putation qu'il fut invit6 it repr6senter la Sudde d un festival de musique sacr6e d Reykjavik, chantant de la musique liturgique su6doise.En vue de ce projet, le cheur doubla de grosseur et il s'est depuis d6di6 au r6pertoire choral de toutes les p6riodes. En plus de chanter o cappella, le Stockholm Motet Choir chante des oratorios, des messes et autre musique du genre accompagn6de divers ensemblesinstrumentaux. Le cheur de chambre Camerata est un ensemble de 27 chanteurs qui choisit son nom d'aprds celui du gtoupe florentin de musique dc la Renaissance.Le cheur fut fond6 en 1965 par Per Enevold qui en fut le chefjusqu'en 1985. L'ensemblea chant6 un grand nombre d'ceuvres de la litt6ratute a cappella de la Renaissance jusqu'd nos jours. Il a 6galement rnterpr6t6 plusieurs grandes ceuvreschoraies avec orchestre, dont.Les V)pres de la Sainte Vierge de Monteverdi, Ie Messie dc Haendel et Ie Requiem de Mozart. Camerata s'est fait entendre it Ia radio et d la t6l6vision danoises,ir la radio su6doiseet a fait des tourn6es de concerts dans nombre de villes europ6ennes.Le chceurregut ie prix JacobGade en 1972. Dans les journaux du 10 novembre 7975, on pouvait lire: "Hier soir est n6 un nouveau chceurd'61ite su6dois de trds grande classe."Quelques-uns des membres de ce nremier chceur sont encore actifs dans le Cheur de Chambre de Mahnii 15 d'aujourd'hui. Plusieurs sont n6anmoins admis dans le chceur pendant leur 6tudes d Malmd, ir Lund ou ir Copenhagueet c'est pourquoi ils i'abandonnent aprds quelques ann6es. La moiti6 des membres ont une formation musicale de quelque sorte. L'ensemblea une orientation professionneile.Certains ex-membresont eu, aprds "l'6ducation" dans le Cheur de Chambre de MaIm6, de trds grands succes comme solistes ou comme chefs de chceurs,Des centaines de concerts, une quantit6 d'enregistrementsd la radio et quelquesprogrammes d la t6l6vision sont les preuves du travail du chceur. On peut ajouter d cela un grand nombre de tourn6es dont plusieurs ir travers la Sudde.Bien entendu, 1echceur a visit6 1espays voisins, le Danemark, Ia Norvdge et la Finlande, et il a eu des succdsen Belgique, en Allemagne,en Suisse,en Tch6coslovaquie,en Angleterre et en Isradl. Le Cheur de Chambre de MaIm6 a enregistr62 autres disquesBIS. Dan-Olof Stenlund n'avait seulement que 36 ans quand il prit en charge son professorat de chceur au Conservatoire Royal Danois de la Musique ir Copenhague. Auparavant, iI avait cr66, d Stockholm, le KFUM Kammarkijr (le cheur de chambre),et il a men6 une activit6 choraleintensive d l'6g1iseEngelbrekt. Pendant plusieurs ann6esil a aussi dirig6 le Chceurde Chambre de l'Universit6 d'Uppsala. Au Conservatoirede musique, iI a pass6 I'examen de professeurde musique, les examensd'organiste sup6rieur et de chantre, l'examende p6dagoguede chant, et iI aussi fait une formation de soliste en chant et en violoncelle.En outre, il a pour- suivi, avec une bourse, ses 6tudes avec Leonard Bernstein d New York et avec Sergiu Celibidache d Stockholm. Dan-Olof Stenlund a 6t6 conf6rencierdans diff6rentes universit6s am6ricaines.Il dirige en Europe, des s6minaires pour 1es chefsde chceurset les chanteurs et, depuis plusieurs ann6es,il est un des chefsles plus populaires des grands festivals internationaux de chceurs,Europa Cantat. En 1978,il devint membre de l'Acad6mieRoyale de la Musique en Suddeet, en 1987,il fut nomm6 Chevalier de l'ordre du Dannebrosenen Danemark. I1 a enresistr6 5 autres disquesBIS. Per Enevold est n6 en 1943. Ii a 6t6 pendant de nombreusesann6es une figure centrale de la vie chorale danoise;il a fond6 le cheur de chambre Camerata et fut r6gulidrement invit6 d diriger le chceur de chambre de la Radio danoise (dont il fut Ie chefattitr6 de 1985 e 88). I1 est organisteit la cath6dralede Copenhaguedepuis 16

E Jan Hikan Aberg: I himmelen, i himmelen (In Heaven) 2'05 I himmelen, i himmelen In heaven, Oh in heaven dar Herren Gud sjalv bor, Where the Lord God dwells, hur harlig bliver sallheten, How glorious, how blissful, h,,r n,,ietolio cfnr How imponderably great, dar ansikte mot ansikte When face to face jag evigt, evigt Gud fer se, I shall seeGod for all eternity, se Henen Sebaot. The Lord Sabaoth. I himmelen, i himmelen, In heaven, Oh ln heaven, vad klarhet hog och ren! How bright and tall and pure! Ej sjalva solen liknar den Nor can the very sun compare uti sin middagssken. With all its noonday fire. Den sol, som aldrig nedergAr, The sun that never, never sets och evigt ofumiirkad st6r, 1snever, never dimmed. ar Henen Sebaot. It is the Lord Sabaoth.

13 Otto Olsson: Siig mig den viigen (Tell Me The Way) ,t9q. Sag mig den vagen. som drager till livet. Tbll me the way, that leads to life, vagen, som blivit utstakad av Gud! The way God has ordained! Siig mig det friilsningens rAd, som ar givet Tbll me the way of salvation genom de helga apostlamas bud! Laid down in holy writ! Jesus svarar innerlig: Jesus answers wamly: Kera sjbl, blott sok nu mig! Dear soul, but seek me now! Den, som nu skyndar till korset och seren, He who runs to the cross, to the wounds, frias frAn allt, som hans hjarta har kvalt. Is freed from all that is healT on his heart Han, av de ama borttappade f6ren Of all the poor and straying sheep haver den adlaste delen utvalt. He has chosen the noblest part. Henen Jesus finner han For the Lord Jesus he finds to be till sin ratte sjalaman. The saviour ofhis soul.

E Karl-Erik Svedlund: Det blir n6got i himlen ftir barnen att f6 (There'll be Something for the Children) 3'05 Det blir negot i himlen fiir barnen att fe, There'll be something for the children, fbr de barn, som i Herranom dci, For the children that die in the Lord. de fA kronor av guld, de f6r harpor ocksA, They'll have crowns ofgold and harps as well, de fa klader se vita som snii. And clothing white as snow. De fe sitta till bords i Guds herlighets hus, They will sit and eat in God's glorious house de fe ata det levande br6d. Aad will eat ofthe living bread. Henen Gud dem upplyser, Han lir deras ljus, The Lord God enlightens them, He is their light ingen natt finns dar, ingen dod. There is no night there, no death, 18 naf hlir h4onf aff f4 There'll be something for them, ucrl^+ Llr-urrr rra6u!-A-^. arL-+l ra,ra There'll be something for them, det blir negot lttr bamen att fe There'll be something for the children i den himmelska stad, T- +h- h-."--1., rif- dar var tunga lir glad, Where every tongue is glad, det blir n6got ftr bamen att fa. There'll be something for the children.

Ingvar Lidholm: Laudi 10'26 E ,lot utr.z 4'.52 Homo natus de muliere, brevi vivens tempore, Man that is born ofwoman is offew days, repletur multis miseriis. Qui quasi flos And full oftrouble. He cometh forth like egreditur et conteritul et fugit velut umbra, A flower, and is cut down; et nunquam in eodem statu pemanet. He fleeth also as a shadow, and coniinueth not.

E Joel 2:12-13 3'33 Hec dicit Dominus: Convertimine ad me in Therefore also now, saith the Lord, toto corde vestro in jejunio, et in fletu, T[m ye even to me with all your heart, et in planctu. Et scindite corda vestra, et And with fasting, and with weeping, and with mourning. non vestimenta vesha, et convertimini ad And rend your heart. and not your gaments. Dominum Deum vestrum; quia benigrus et And turn unto the Lord your God, for he is gracious misericors est, patiens et multemisericordie. Ard merciful, slow to anger, and ofgreat kindness, E P""t^ rro 2't3 Laudate Dominum omnes gentes, et O praise the Lord, all ye nations; omnes populi. Quoniam confimata est super Praise him, all ye people. nos misericordia ejusr et veritas Domini For his merciful kindness is great towards us, manel ln @lernum. And the truth ofthe Lod endureth for ever, LAUDATE DOMINUM. PRAISE THE LORD.

Bernhard Lewkovitch: Tbe madrigali di Torquato Tasso (Three Madrigals of Torquato Tasso) 7',25 El lt'irgilio ToVirgil 3'08 Qual'dquesta, ch'io sento, What is it that I sense, dolcissina amonia di verdi fronde, The sweetesthamony of the green leaves, d'aure, d'augelli, d'onde? Ofthe breezes,the birds, the waves? Qual suoho, o quale spirto, What sound, o what spirit, fa cosi mormorar il lauro, e'l mirto? Causesthe laurel and the mlrtle to murmur? Force 6 quel di Virgilio: e'n questi rami, Perhaps it is that ofVirgil: in these branches par ch egli spiri. e canti e viva ed ami. As though he breathes and sings and lives and loves. ch'i suoi pensieri han I'alme And has the fine intention pur vaghe di cantar vittorie e palme. To sing sweet victory and palms. '19 E Ail'Aoto"" To The Dam t'4IJ Eccomormorar l'onde, Behold the waves mumur, e tremolar le fronde And the leavestremble a I'aura mattuttina', e gli arboscelli, In the moming breeze,and the bushes; e sowa i verdi rami, i vaghi augelli And abovein the green branches,the pretty birds canlar soavemenle Sing sweetly e rider I'Oriente: And the east laughs: eccogiir I'Alba appare Behold, the dawn appears e si specchianel mare, And is reflected by the sea, e resserenail cielo: And the sky brightens e Ie campagaeimperla, e'l dolce gelo: And the fields are pearled with dew, and hoar-frost; e gli alti monti indora. And the high peaks are gilded. Oh bella, e vaga Aurora! Oh sweet, seductive dawn! L'aura d tua messagera,e tu de I'aura, The breeze speaksofyou, and you ofthe breeze ch'ogni arso cor ristaura. Which refreshes every burning heart.

E Non d questo un morire This Is Not To Die Non 0 questo un morire, This is not to die, immortal Margherita, Immortal Margherita ma un passar anzi tempo a l'altra vita But to pass in time to the other life, nd de I'ignota via Nor let grief at the unknown path duol ti scolorao tema; Make you grow pale and afraid; ma la piete per lu partenza estrema. But the sonow ofthe linal parting. Di noi pensosae pia, Be thoughtful ofus and compassionate .li ta liat' e ci.,,rq With joy and assurance t'accomiati dal mondo, anima pura, Take leave ofthis world, pure soul.

@ Svend S. Schultz: Midsommervise (Midsurnmer) z',20 Nu 96r midsommer ind i Danmarks stue, Now midsummer enters the Danish homes, under loftet hanger lerkers sang. Under the eaveswe hear the song ofthe lark Her kan ojet soge fortrolig Eye can gazecontented mellem enge, fiord og vang. Between meadow,lord and field Alt igen er n@r Everlthing is near i en sommers klen In summer's anay. Over gulvet er bredt et solskinst@ppe, On the floor there is a mat of sunshine vavet afranunklers gule fior Woven ofthe buttercup's yellow blooms. Bakkebolger veksler med skove Rolling hills are interrupted by woods og et stykke hedejord. And a heath. Alt hvad vi har lart All we have leamt er os dobbelt kert. Is doubly dear.

Smilets ;nde og alvoren i sindet Thejoy oflaughter and a serious disposition er en dyd, der regnes her omkring. Are virtues that are highly rated here. 20 Med et smil pA l@benkan siges With a smile on our lips we cm say selv de alvorsfulde ting. The most serious things. Det forstAr iser This is well understood vi, der lever ber. By peoplehere. Denne lyse og sommerlige stue This bright, summery cottage fyldt med kloverduft og strandens blest. Filled with the scent ofclover and sea breezes Horer du en hvisken i lovet? Do you hear the whispering leaves? Elskov v@r min sommergEst! May love be my summer guest! T.aftar hpr ^o .iar Potter here and there i det milde vejn In the clement air.

E Svend S. Schultz: Dansevise (My Father Gave Me) 1'18 Min far han gav mig femten fAr My father gave me fiIteen sheep og det var sort' og hvide, Ald they were black and white, og lever vi til n@ste Ar, And ifwe live until next year sA fAr vi hundred' og fire. We'll have one hundrer and four Falderi, faldera, falderalala, Falderi, faldera, falderala, vor piger er let' vor karl er tret, Our maid is light, our man is tired, falalala, faldera, Falala, faldera. Og Gud velsign' vor oldemor And God bless granny den lndig rosenblomme, The lovely blooning rose, a ten't hun var i himmerig, And think ifshe was in heaven da gik hun norden omme. She would go round the North, Falderi, faldera... Falderi, faldera... Og vi ger ej fra dette hus And we won't leave this house fgr vi ser morgenstjerne, Until we see the moming star, og vi vil drikke os en rus, And we shall get drunk, og det me vi se gene, That we shall do. Falderi, faldera,.. Falderi, faldera... Og vi vil ha'vos en lillebitt' vip And we shall have us a bit ofa dance og det skal v@re den siste, And it will be the last. og den skal vere sA hovsom l6ng, And it shall be as nicely long, som herfra og til Rise. As from here to Rise. Falderi, faldera... Falderi, faldera...

E Knud Jeppesen: Fjorden (The Fjord) 2'27 Fjorden er hvid i den demrende nat, The fiord is white in the quiet night, blank. l6ngt ud imod havet i nord. Smooth, far out to sea in the north. Sort stAr brinkemes tjornekrat Black stand the rocky clifffaces over den blegnende, blanke fiord. Above the bleak. smooth fiord. 21 Bag ved mgllens loftede vinger Behind the outstretched ams of the mill lyser en dempet gylden tone. There is a soft, golden light. Stille de store blade svinger Calmly the large leaves tremble hist i den hoje poppels krone. Up in the top ofthe tall poplan Nesten er det, som om jeg sArer It is almost as though I wound grusomt en, jeg selv har k@r, Bitterly, someoneI have loved hver gangjeg med de skarpe arer Each time that, with the sharp oars klover det blide perlesken I slice the quiet, pearly surface.

E KnudAge Riisager: Snevind (The Wet Wind) l'33 Den vdde vind var fuld afsind The wet wind was full offeeling med snestenksprikken pi min kind, With the droplets on my cheek, frisk som champagnensdrue, Fresh as Champagnegrapes, ja kold og hArd Oh cold and hard af vinterkAr, Ofthe winter men med et lonligt pust afvAr, But with a secretbreath ofwind, en lys og dejlig lue. A bright and lovely promise. Det dorske blod fik fart og mod, The raging blood gained pace and courage, og inderst ved min hjerterod, Ald deep down at my heart's root, randt livets dlre kilde Life's dear sourceran med kraft af sne, With force ofsnow afvAr og ve, Of spring and af ukendt skebne, som skal ske, Of unknown fom which may happen afvilje til at ville. Of will to will. Den v6de vind gAr lige ind, The wet wind blows in hvor sjelen skranter dov og blind Where the soul trembles deafand blind og kvalm afteget vande, And is lost in the thick mist, men i dens gus But in this mist og perlebrus And bubbling foam er styrke til en manddomsrus There is intoxicating force sAkarsk som livets Ande. As fresh as life itself. Du stikker mig og prikker mig You beat me and prick me imens jeg tgrstig drikler dig. While thirstily I imbibe you. En lyst for hals og lunge! Ajoy to throat and lung! Snart om og mild, Soontender and mild, snart hArd og vild Soonhard and wild med glimt i glimt af is og ild With flash on flash ofice and fire som spiller pA min tunge. That plays upon my tongue.

22 @ Bernhard Lewkovitch: Tidligt for6r (Come Sun, Come Spark) 0'58 Kom sol, kom gnist i vinter- Come sun, come spark in winter- nattens tag. Nu brender vegen ned, og Night's grasp. Now the wall burns down and det er dag. It is da,q Spring eg, spring ask, spring alting Oak, ash and everlthing roligt ud. Bursts into life For himlen er en have- For the sky is a kandetud. Watering can. Tfek ged, trek ko pA grpnne Goat and cow, step into the enge ind. Meadoq'. Lad dine dyr fA hilst pA Let your animals greet the vdrens vind. Spring wind.

E JOrgen Jersild: Krerlighedsrosen (The Rose of Love) 2'29 En yndig og frydefuld sommeftid An abundantly fruitful summer i al sin herlighed, In all its glory, den gleder og troster sd mangen en, It brings joy and comfort to many alt ved Guds kerlighed. And all God's love. Den forer blomsterskaren frem It brings forth the flowers Og rosen rod sA dejlig og sod, And the red rose so sweet, den ser du da igen. arrcrr.yuu s

23 August Stiderman: Andliga sAnger (Spiritual Songs) L7',43

E r. xy"i" I. Kyrie 3'06 Klzie eleison Lord, have mercy. Christe eleison Christ, have mercy. Kyrie eleison. Lord, have mercy.

[i n. egnus oei II. Agnus Dei 2'O4 Agrus Dei miserere nobis Lamb ofGod, have mercy on us.

@ III..lesu Christe III. Jesu Christe 2'18 O Jesu Christe care O dear Jesus Christ, Sol pectoris praeclare, You glorious sun ofthe heart, Attende vota nostra grate. In your mercy. listen to our prayers. Excellens bonitate, You who are radiant with goodnese, Attende vota nostra grate. In your mercy, listen to our prayers.

@ rv, Do-ire fV. Domine 2'25 Domine Jesu Christe Lord Jesus Christ, Rex glorie, King of glory, Salva nos Domine. Deliver us, O Lord.

@ V, Benedictus V, Benedictus l'4 Benedictus qui venit in nomine Domini Blessedis he who comesin the name ofthe Lord.

E vL virgo gloriosa VI. Virgo gloriosa 3'O7 Virgo gloriosa Glorious virgin Mater dolorosa Mnfher nf qnnnwc Nobis benigna sis. Look with favour upon us. Lenis nos tuere Seeto us in your clemency, Tlistibus medere. Help us in our distress. O sancta te precamur We call to you, O holy one, Tb Votis veneramul We honour you with our prayers. Virgo, fac salvamur Virgin, Iet us be saved mali vinculis. From the chains ofevil.

@ vII. o"r-" \rIL Osanna Osanna in excelsis. Hosanna in the highest.

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