DOCSLIB.ORG

I FRANZ BERWALD's QUARTET for PIANO and WINDS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I FRANZ BERWALD's QUARTET for PIANO and WINDS FRANZ BERWALD’S QUARTET FOR PIANO AND WINDS: ITS HISTORICAL, STYLISTIC, AND SOCIAL CONTEXT Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Hild Breien Peersen, BME, MM ***** The Ohio State University 2005 Document Committee: Approved by Professor James M. Pyne, co-advisor ________________________ Professor Charles M. Atkinson, co-advisor ________________________ Professor Katherine Borst Jones Co-Advisors Graduate Program in Music i © Copyright by Hild Breien Peersen 2005 ii ABSTRACT The Quartet in Eb for Piano and Winds by Franz Berwald (1796-1868) was written during a period and in a country that is under-represented in the clarinet literature. Composed for the unusual ensemble of clarinet, horn, bassoon, and piano, the work was written in 1819 and premiered in 1821. The quartet is an attractive piece in its own right, and provides an opportunity to explore the artistic atmosphere in Stockholm in the early nineteenth century, particularly as it applies to wind playing. Research for this document has revealed that three prominent wind instrumentalists, Bernard Henrik Crusell, Frans Carl Preumayr, and Johann Michael Hirschfeld, were the inspiration for this work as well as for works by other composers at this time. The document also explores Swedish history from roughly the period 1771 – 1872, highlighting the reign of Gustav III (1771- 1792), with a special emphasis on its patronage of the arts. Franz Berwald is considered Sweden’s best Romantic composer, although he has not reached the stature of the other well-known Scandinavian Romantic composers Grieg, Sibelius, and Nielsen. This document examines Berwald’s life and the social climate in which he lived in an attempt to achieve a better understanding of the circumstances that may have led to his relative obscurity. The majority of the literature on Franz Berwald is written in either German or Swedish. This document augments the English portion of Berwald research. It includes ii in its appendices several English translations from Franz Berwald’s letters and other writings. The appendices also contain a family tree of the musical Berwald family. Included in the document is an analysis of the Quartet in Eb for Piano and Winds. The analysis explores Berwald’s compositional style as it pertains to form, melodic development and orchestration. A live recording of a 2004 performance of the Quartet at The Ohio State University is available with the pdf file. iii For Ken iv ACKNOWLEDGMENTS I would like to thank my advisor Professor James M. Pyne for his support during my studies at Ohio State. I sincerely express my gratitude to Professor Charles M. Atkinson for his assistance in the writing of this document. His guidance in this process has helped me grow as a writer in ways that will surely benefit me greatly in future endeavors. In addition, I would also like to express my appreciation to Professor Katherine Borst Jones for her encouragement. I gratefully acknowledge the Bärenreiter Music Corporation for granting permission to reprint the musical examples used in Chapter Seven and the documents in the Appendices. Heartfelt thanks are due to Professor Christopher Weait, Lynn Singleton and Heidi Wick for performing the Quartet in Eb with me. After studying the piece at length it was a treat to be able to perform it with these fine musicians. I am indebted to my father Dag Ryen for his translations of the Swedish texts. I would also like to thank my mother Lajla and the rest of my family for their support. I owe a special “Thank you” to Jane Ellsworth for her friendship and good attitude, especially during the year of the ClarinetFest! Lastly, I am most grateful to my husband, Ken Williams, for his patience, support, humor, and encouragement in the process of completing this document. v VITA September 14, 1970……………………….Born – Arendal, Norway 1993……………………………………….B.M.E. with High Honors, Michigan State University 1995……………………………………….M.M., Clarinet Performance, Arizona State University 1995-1997…………………………………Music teacher, Walled Lake Public Schools, Walled Lake, Michigan 1997-2000…………………………………Graduate Teaching Associate, The Ohio State University 2001-present……………………………….Instructor of Clarinet, The College of Wooster 2003 (Fall)…………………………………Visiting Instructor of Clarinet and Saxophone, Kenyon College 2004-present……………………………….Instructor of Clarinet, Mount Vernon Nazarene University FIELDS OF STUDY Major Field: Music Studies in: Clarinet Performance and Pedagogy Music History vi TABLE OF CONTENTS Page Abstract……………………………………………………………………………………ii Dedication………………………………………………………………………………...iv Acknowledgments…………………………………………………………………………v Vita………………………………………………………………………………………..vi List of Tables……………………………………………………………………………..ix List of Figures…………………………………………………………………………….xi Chapters 1. Introduction………………………………………………………………………..1 2. Review of the Literature…………………………………………………………..6 3. Swedish History: Royal Patronage and the Arts…………………………………11 4. The Life of Franz Berwald……………………………………………………….25 5. Musicians in Early Nineteenth-Century Stockholm……………………………..39 6. Chamber Works with Winds…………………………………………………….49 7. Analysis of the Quartet in Eb for Piano and Winds……………………………..55 8. The Premiere and Ensuing Literary Battle………………………………………93 9. Concluding Thoughts…………………………………………………………..106 vii Appendices A. Letter From Franz Berwald to Ernst Leonard Schegel…………………………111 B. Review in Argus………………………………………………………………...117 C. Berwald’s Reply………………………………………………………………...122 D. The Critic Replies………………………………………………………………125 E. Berwald’s Last Word…………………………………………………………...130 F. Form of Movement One………………………………………………………...135 G. Form of Movement Three………………………………………………………138 H. Berwald Family Tree…………………………………………………………...141 Bibliography……………………………………………………………………………147 viii LIST OF TABLES Table Page 7.1 Form of Allegro ma non troppo (movement one)………………………………..56 7.2 Exposition (primary theme group)……………………………………………….59 7.3 Recapitulation (primary theme group)…………………………………………...59 7.4 Exposition (secondary theme group)…………………………………………….61 7.5 Recapitulation (secondary theme group)………………………………………...61 7.6 Exposition (closing theme group)…………………………………………….….64 7.6 continued: Exposition (closing theme group)……………………………………64 7.7 Recapitulation (closing theme group)……………………………………………64 7.7 continued: Recapitulation (closing theme group)………………………………..64 7.8 Development (movement one)…………………………………………………...71 7.9 Form of Adagio (movement two)………………………………………………..75 7.10 Form of Finale (movement three)………………………………………………..79 7.11 Exposition (primary theme group)………………………………………….……81 7.12 Recapitulation (primary theme group)…………………………………………...81 7.13 Exposition (secondary theme group)…………………………………………….85 7.14 Recapitulation (secondary theme group)………………………………………...85 ix 7.15 Exposition (closing theme group)………………………………………………..86 7.16 Recapitulation (closing theme group)……………………………………………86 7.17 Development (movement three)…………………………………………………88 x LIST OF FIGURES Figure Page 7.1 first movement, mm. 1-7 (Introduction)…………………………………………57 7.2 first movement, mm. 8-14 (theme 1P)…………………………………………...59 7.3 first movement, mm. 14-22 (theme 2P)………………………………………….60 7.4 first movement, mm. 31-34 (theme 1S)………………………………………….61 7.5 first movement, mm. 54-61 (theme 2S)………………………………………….62 7.6 first movement, mm. 81-86 (theme 3S)………………………………………….63 7.7 first movement, mm. 91-96 (theme 1K)………………………………………….65 7.8 first movement, mm. 104-106 (theme 2K)……………………………………….66 7.9 first movement, mm. 113-120 (theme 3K)………………………………….……66 7.10 first movement, mm. 113-120……………………………………………………67 7.11 first movement, mm. 124-127……………………………………………………68 7.12 first movement, mm. 319-321 (theme 4K)……………………………………….68 7.13 first movement, mm. 140-144……………………………………………………70 7.14 first movement, mm. 54-59 (theme 2S)- Original Form…………………………71 7.15 first movement, mm. 157-165 (theme 2S1)- Developed Form…………………...72 7.16 first movement, mm. 157-165 (theme 1P)- Original Form……………………...73 7.17 first movement, mm. 183-187 (theme 1P1)- Developed Form…………………..73 7.18 first movement, mm. 81-86 (theme 3S)- Original Form…………………………74 xi 7.19 first movement, mm. 189-192 (theme 3S1)- Developed Form…………..….……74 7.20 first movement, mm. 208-215 (theme N)………………………………...………74 7.21 second movement, mm. 1-5 (theme 1P)……………………………….….……..76 7.22 second movement, mm. 12-13 (theme 2P)……………………….….…………..77 7.23 second movement, mm. 22-24 (theme 1S)……………………….…..…………..77 7.24 second movement, mm. 26-27 (theme 2S)…………………………..…….……..78 7.25 third movement, mm. 1-5 (theme 1P)……………………….……….…….…….81 7.26 third movement, mm. 40-44 (theme 2Pa)…………………….….………………83 7.27 third movement, mm. 51-54 (theme 2Pb)…………………….….………………83 7.28 third movement, mm. 56-63 (theme 3P)………………………..………………..84 7.29 third movement, mm. 64-66 (theme 1S)………………………..………………..85 7.30 third movement, mm. 85-88 (theme 1K)………………………..……………….87 7.31 third movement, mm. 100-105 (theme 2K)……………………..……………….87 7.32 third movement, mm. 111-112 (theme 3K)……………………..……………….88 7.33 third movement, mm. 119-125 (theme 1N)……………………..……………….89 7.34 third movement, mm. 146-150 (theme 2N)………………………..…………….90 7.35 third movement, mm. 279-285 (theme 3N)……………………….….………….91 7.36 third movement, mm. 308-311 (theme 4N)…………………….……………….92 xii CHAPTER 1 INTRODUCTION Denmark has Carl Nielsen, Finland has Jean Sibelius, Norway has Edvard Grieg and Sweden has Franz Berwald; a man who has been called one of the most neglected composers in music history.1
Load more

Recommended publications
  • 2018-19 Chronological Calendar
    2018-19 (119TH SEASON) Chronological Calendar (as of January 31, 2018) OPENING NIGHT September 13 at 7:00 PM–Thursday evening—Verizon Hall at the Kimmel Center for the Performing Arts The Philadelphia Orchestra Yannick Nézet-Séguin Conductor André Watts Piano Rossini Overture to William Tell Strauss Don Juan Join us as we kick off The Philadelphia Orchestra’s 119th season in high style. The Opening Night Concert and Gala for the 2018-19 season promises to be a highlight of the cultural year. Yannick, internationally renowned pianist André Watts (who made his debut with the Orchestra in 1957, at the age of 10), and the Fabulous Philadelphians are planning a special celebratory program that features musical masterworks and audience favorites, including Rossini’s famous Overture to William Tell and Strauss’s Don Juan. Opening Night Co-Chairs Alison Avery Lerman and Lexa Edsall, Volunteer Association President Lisa Yakulis, Board Chairman Richard Worley, and the Opening Night Gala committee look forward to welcoming you to this special evening, featuring great music, high couture and black tie, and delicious food and champagne with Philadelphia’s cultural leaders and arts patrons. Contact Dorothy Byrne in the Volunteer Relations office at 215.893.3124 or via e-mail at [email protected] to make sure you are on the invitation list. Concert-only tickets for the evening are also available—simply add them to your subscription. January 31, 2018—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2018-19 Chronological
    [Show full text]
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Swedish Royal Ancestry Book 4 1751-Present
    GRANHOLM GENEALOGY SWEDISH ANCESTRY Recent Royalty (1751 - Present) INTRODUCTION Our Swedish ancestry is quite comprehensive as it covers a broad range of the history. For simplicity the information has been presented in four different books. Book 1 – Mythical to Viking Era (? – 1250) Book 2 – Folkunga Dynasty (1250 – 1523) Book 3 – Vasa Dynasty (1523 – 1751) Book 4 – Recent Royalty (1751 – Present) Book 4 covers the most recent history including the wars with Russia that eventually led to the loss of Finland to Russia and the emergence of Finland as an independent nation as well as the history of Sweden during World Wars I and II. A list is included showing our relationship with the royal family according to the lineage from Nils Kettilsson Vasa. The relationship with the spouses is also shown although these are from different ancestral lineages. Text is included for those which are highlighted in the list. Lars Granholm, November 2009 Recent Swedish Royalty Relationship to Lars Erik Granholm 1 Adolf Frederick King of Sweden b. 14 May 1710 Gottorp d. 1771 Stockholm (9th cousin, 10 times removed) m . Louisa Ulrika Queen of Sweden b. 24 July 1720 Berlin d. 16 July 1782 Swartsjö ( 2 2 n d c o u s i n , 1 1 times removed) 2 Frederick Adolf Prince of Sweden b. 1750 d. 1803 (10th cousin, 9 times removed) 2 . Sofia Albertina Princess of Sweden b, 1753 d. 1829 (10th cousin, 9 times removed) 2 . Charles XIII King of Sweden b. 1748 d. 1818 (10th cousin, 9 times removed) 2 Gustav III King of Sweden b.
    [Show full text]
  • Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
    Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier.
    [Show full text]
  • Espressivo Program Notes April 2018 the Evolution of Chamber Music For
    Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet.
    [Show full text]
  • Religion and the Investiture of the Monarch: the European Context
    Religion and the investiture of the Monarch: The European context NSS researcher Barry Thorpe has found no other investiture of a European monarch with such overt religious, far less sectarian, associations as in the UK. Denmark Last coronation: 1849 In 1660 the coronation ritual was replaced with a ceremony of anointing, where the new king would arrive at the coronation site already wearing the crown, where he was then anointed. This rite was in turn abolished with the introduction of the Danish Constitution in 1849. Today the crown of Denmark is only displayed at the monarch's funeral, when it sits atop their coffin. The present Queen, Margrethe II, did not have any formal enthronement service; a public announcement of her accession was made from the balcony of Christiansborg Palace, with the new sovereign being acclaimed by her Prime Minister at the time (1972), Jens Otto Krag, then cheered with a ninefold "hurrah" by the crowds below. Liechtenstein No coronation Liechtenstein does not use a coronation or enthronement ceremony, although Prince Hans Adam II did attend a mass by the Archbishop of Vaduz, followed by a choral event. Luxembourg No coronation The Grand Duke of Luxembourg is enthroned at a ceremony held in the nation's parliament at the beginning of his or her reign. The monarch takes an oath of loyalty to the state constitution, then attends a solemn mass at the Notre-Dame Cathedral. Netherlands No coronation. Inauguration With the absence of any religious hierarchy within the Dutch Reformed Church, there is no senior religious prelate to crown the new monarch, unlike in Great Britain under the Archbishop of Canterbury.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • Lemmel-Greatest-Lect
    SESSION SEVEN NEGLECT OF UNUSUAL INSTRUMEMTS OR COMBINATIONS OF INSTRUMENTS NEGLECTED GEM OF THE WEEK This week’s neglected gem is by a well-known composer of orchestral and organ music. WHY NEGLECTED? ◊ ◊ ◊ NEGLECT BECAUSE OF UNUSUAL INSTRUMENTS Today’s topic is an interesting one, and more complicated than at first it seems. We’re going to explore the neglect of classical music because of unusual instruments or combinations of instruments. Of course, in every era of music history there have been unusual instruments – instruments which, for various reasons, were not as popular, or well-known, or accessible as were others. But we’re not going to take a historical approach today. We’re just going to consider the present day, and the neglect of some excellent music in 2015. As we will see, the instruments, or combination of instruments, for which a piece is written, can result in several possible kinds of neglect. WHY COMPOSE MUSIC FOR UNUSUAL INSTRUMENTS? Why have composers, from time to time, written music for unusual instruments, or combinations of instruments? There are many reasons, from personal ones such as the desire to perform with a friend or family member, to more public ones, such as wanting to honor an excellent performer, or being commissioned by a performer to write such a piece. As we listen to some of these pieces, we’ll find out more about why they came to be written, and why they are neglected in the 21st century. ◊ ◊ ◊ NEGLECT OF MUSIC WRITTEN FOR ARCHAIC INSTRUMENTS One obvious reason for the neglect of some music today is that the instruments for which they were originally written are no longer used, or even available for us to hear.
    [Show full text]
  • Bertil Van Boer, the Musical Life of Joseph Martin Kraus: Letters of an Eighteenth-Century Swedish Composer
    HAYDN: The Online Journal of the Haydn Society of North America Volume 5 Number 1 Spring 2015 Article 5 March 2015 Bertil van Boer, The Musical Life of Joseph Martin Kraus: Letters of an Eighteenth-Century Swedish Composer Jenny Välitalo Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Välitalo, Jenny (2015) "Bertil van Boer, The Musical Life of Joseph Martin Kraus: Letters of an Eighteenth- Century Swedish Composer," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 5 : No. 1 , Article 5. Available at: https://remix.berklee.edu/haydn-journal/vol5/iss1/5 This Book Review is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Välitalo, Jenny. "Book Review: Bertil van Boer, The Musical Life of Joseph Martin Kraus: Letters of an Eighteenth-Century Swedish Composer." HAYDN: Online Journal of the Haydn Society of North America 5.1 (Spring 2015), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2015. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Book Review: Bertil van Boer, The Musical Life of Joseph Martin Kraus: Letters of an Eighteenth-Century Swedish Composer by Jenny Välitalo Bertil van Boer. The Musical Life of Joseph Martin Kraus: Letters of an Eighteenth- Century Swedish Composer.
    [Show full text]
  • Enlightened Monarchy” in Practice
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto “Enlightened Monarchy” in Practice. Reforms, Ceremonies, Self-Fashioning and the Entanglement of Ideals and Values in Late Eighteenth-Century Sweden Henrika Tandefelt This article sets out to study the entanglement of different political, ideological and moral ideals and traditions in the Kingship of Gustav III, King of Sweden 1772–1792. Political thinking and practice in Eighteenth-Century Europe offered many elements and examples that different monarchs could apply in their own particular circumstances. Gustav III was one of the European Kings that openly supported the French enlightened thinkers fashioning himself as a Reformer-King. He was also very influenced by the French culture over all, and the culture of the traditional royal court in particular. In addition the Swedish political history with a fifty-year period of decreased royal power before the coup d’état of Gustav III in 1772 influenced how the European trends and traditions were put into practice. The article pursues to understand the way different elements were bound up together and put to action by the King in his coup d’état 1772, his law reforms in the 1770s and in the establishment of a court of appeal in the town Vasa in Ostrobothnia in 1776 and the ceremonial, pictorial and architectural projects linked to this. In this article I examine what has been called the enlightened absolutism of the Swedish king Gustav III (1746–1792) during his reign of 1772–1792. Gustav III’s reign began with a royal coup d’état in August 1772 and ended with the king being murdered during a masquerade ball at the Royal Opera in Stockholm in March 1792.
    [Show full text]
  • Annual Report Contents
    2017 Annual Report Contents OVERVIEW Statement by the CEO 4 Goals and strategies 8 Vasakronan in seconds Market overview 14 Dynamic city environment 15 Property management 18 Smart energy 19 VASAKRONAN’S ASSIGNMENT Schneider Electric 21 New Segelhuset 24 is to generate a high, risk-weighted return for Property development 26 our owners the First, Second, Third and Fourth Uppsala Science Park 29 Swedish National Pension Funds, though never Transaction activities 30 at the expense of the environment and people. Sthlm Seaside 31 A return that will benefit Sweden’s current and Financing 32 future pensioners. Green financing 35 Property holdings 36 Office solutions 37 WE TAKE RESPONSIBILITY Retail 39 for the people who are affected by our business. We do so by applying fair work conditions and REGIONS creating good work and urban environments. Our regions 42 It goes without saying that we also say no to Region Stockholm 44 any form of discrimination. Region Gothenburg 50 Region Öresund 54 Region Uppsala 58 HOW WE CREATE VALUE To accomplish our assignment, we must create ADMINISTRATION REPORT AND value in the business. This is achieved through FINANCIAL STATEMENTS good property management and development, Contents financial statements and notes 62 and supplemented by active transactions. Administration Report 63 Our strategy builds on our having attractive Risks and risk management 64 properties, being a good landlord and having Corporate Governance Report 68 dedicated employees. The Board of Directors and Auditors 74 Senior executives 75 Other information 76 Comments to the financial statements 78 Notes 90 Proposed appropriation of profits 109 Auditors’ report 110 GRI AND OTHER INFORMATION Sustainability reporting with GRI Index 114 Auditor’s statement on the sustainability report 126 Impact Report, Green Bonds 127 Auditor’s statement Impact Report 130 Quarterly and five-year overview 131 Definitions 134 Addresses, website, calendar and production 136 This Annual Report is a translation of the Swedish original.
    [Show full text]
  • The Greatest Opera Never Written: Bengt Lidner's Medea (1784)
    Western Washington University Masthead Logo Western CEDAR Music Faculty and Staff ubP lications Music 2006 The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) Bertil Van Boer Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/music_facpubs Part of the Music Commons Recommended Citation Van Boer, Bertil, "The Greatest Opera Never Written: Bengt Lidner’s Medea (1784)" (2006). Music Faculty and Staff Publications. 3. https://cedar.wwu.edu/music_facpubs/3 This Article is brought to you for free and open access by the Music at Western CEDAR. It has been accepted for inclusion in Music Faculty and Staff Publications by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Bertil van Boer The Greatest Opera Never Written: Bengt Lidner’s Medea (1784) hen the Gustavian opera was inaugurated on 18 January 1773 with a performance of Johan Wellander and Fran- W cesco Antonio Baldassare Uttini’s Thetis och Pelée, the an- ticipation of the new cultural establishment was palpable among the audiences in the Swedish capital. In less than a year, the new king, Gustav III, had turned the entire leadership of the kingdom topsy-turvy through his bloodless coup d’état, and in the consolida- tion of his rulership, he had embarked upon a bold, even politically risky venture, the creation of a state-sponsored public opera that was to reflect a new cultural nationalism, with which he hoped to imbue the citizenry with an understanding of the special role he hoped they would play in the years to come.
    [Show full text]