Departing From Tonality
In a discussing of contemporary influences upon Larsson's compositions, it is noteworthy to consider that Larsson belongs to a generation having their early career framed by two world wars. Traveling abroad to northern and middle Europe was considered something extraordinary for the son of an ordinary Swedish middle class family. Larsson was provided with a grant, which he used to explore the novelties of composition in Europe during 1929/30. He had a vision that Alban Berg would guide him along into unknown territories of twentieth-century music.
I
brought with me my compositions - a symphony, a concert overture and some other
things - and he (Alban Berg) flipped through them and asked:
-
Why did you come to me?
I
did not know what to say... I had the expectation that I was going to be
introduced to the most progressive elements in the twentieth-century music and
learn something about the way he composed. But that was not at all the case. I
had to compose some themes and work with variation techniques. Sometime I
wanted to include more progressive elements, but then he would correct me and
explain that, at that particular point, it was out of context from my process
of learning.[1]
Maybe
Larsson was too naive, thinking that the world acknowledged avant-garde
composer would find a twenty-one year old blonde youngster from Sweden ready
for the most progressive elements in western art music. Berg probably
determined that his young student from Sweden had to be more exercised in
conventional forms of writing before it was time to move on towards Berg's own
experiments in untouched territories.
Bergís
approach might have emerged through Berg's own past, which in contrast to many
of his predecessors, indicates that Berg had spent a great deal of time
studying. Berg showed no extraordinary talent in music as a child. His brother
and sister, on the other hand, sang and played the piano. However, after he
experienced a performance of Beethoven's Fidelio around 1900, he showed
an increasing interest in music. His first compositions were three songs that
he later brought to Schönberg, who took strong interest in him as a student.
The first public performance of Berg music appeared in 1907.[2]
Many young students, among them Larsson, might have had the vision that this
"new" twelve-tone technique could be approached without a
considerable amount of experience in more conventional methods of composing.
Berg himself never lost contact with his past, conventional procedures and
norms.
The
Violin Concerto, his last completed work which was written on commission
in 1935 exemplifies such conventional influences. The concerto falls well
beyond a tone row unified by rhythms. The tone row itself is partly a palindrome.
The work is divided into two movements, both of which are divided into major
sections making up the following form:
1)Andante - Allegretto, 2) Allegro - Adagio. The concern for symmetry is
obvious by allowing the andante and the allegretto be balanced by the next
faster tempo than the allegretto, the allegro and the next slower tempo to the
andante, the adagio. The climax, in regard to the tempi of the piece, is placed
around 60-70% point of the work. Stylistically, this is an example of the so
called "Golden section", used as a general concept among painters in
order to create a focus somewhat to the right of the middle. In the same way it
corresponds to Mozartís way of creating a climax closer to the end by having
motives becoming shorter and shorter further into the development and by having
a recapitulation shorter than the exposition. This is also similar to opera
buffa and where resolution of the plot appears closer to the end than to the
middle. In the allegro of the Violin Concerto the climax is also
emphasized by a pedal point on F, which functions as a dominant to the general
tonal center of Bb, thereby maintaining a sense of tonal center within the
application of dodecaphonic procedures.
In
the adagio a chorale serves as the basic compositional element. The chorale is
set in alternating sections of serial counterpoint in the strings and
homophonic chorale in the winds, respectively. Here, the clarinet without
vibrato is meant to imitate the sound of the organ. The folk song, which is
introduced in the end of the allegretto, returns of the end of the adagio. By combining a folk song with a constructed
tone row within the same piece, Berg shows his abilities to unify contrasting
elements. The alternation of serial counterpoint and homophonic texture in the
chorale also identifies the capability to combine completely different styles.
Further, it indicates Berg's concern for formal symmetry beyond the tone row
and by the details discussed, his respect for the past is verified. Yet his
progressive nature allowed him to add a saxophone into the instrumentation of
this composition.
Even
if the lessons with Berg did not practically constitute anything new, Larsson
obviously was influenced through his association with Berg. Evidence of this
can be seen in Larsson's 10 tvåstämmiga pianostycken (1932), in
which dodecaphonic writing is applied
throughout the composition.
As
seen in the Saxophone Concerto, the bass line is periodically released from the
function of being a harmonic foundation. This seems to indicate one step
further away from the music Larsson wrote before his studies abroad. His lack
of using key signatures and relying only on accidentals in both orchestra parts
and in the solo alto saxophone part points to Larssonís opposition towards
defining particular key center and fundamental tonalities. It would be apparent
that, Larsson did not leave Berg's studio without being partly influenced by
atonality. Ironically, a few years after writing the Saxophone Concerto,
Larsson is found criticizing the Viennese School. At the same time, however, he
express a positive attitude towards this style as a useful techniques.
I
am somewhat skeptical towards Schönberg's twelve-tone system. But I do believe
in the "freedom" created through Schönberg's progressive
ideas................ the strict tonal style of writing brings limitations.
After all, the atonal trends have brought more freedom to the art. If I start a
composition in D major, why should this D major feel as a handcuff, concerning
the melodic line, when I continue? No, I think it is relieving that we have
come that far, so one can allow the melodic line to develop on its own,
independently, sliding in and out of any angles, following its own impulses.[3]
Larsson
hesitated to utilize more complex system of rules, and further describing his confrontation with micro-tones.
A
few years ago I was in Prague and listened to Alois Haba demonstrating his
quartertone system on a piano specially constructed for such a system. Everyone
listened very devoutly, me too, and with confusion, at least I did. I do not
want to deny that some of what was played could be heard as beautiful
sonorities, but even so, it appeared extremely incomprehensible to me. What
good does it do to bound the music into still another system, in addition to
the one already in existence?[4]
In
1936 Larsson expressed with relief his belief that many of the revolutionary
attempts and urges of uncontrollable exaggerations within the Vienna School had
started to calm down and that composers need to remain sensitive to the
audience for whom they are writing.
Because,
even if the audience should not be spoiled in their weakness for the
recognizable and the conventional, they should not have to confront
complexities (problems of the professional composer's world) on the edge of
comprehension, when visiting a concert hall.[5]
Paradoxically,
Larsson would construct a own dodecaphonic system which he applied to his
compositions in the late 1950ís. He stated that he had been searching for such
integration between his own music and the foreign elements through the use of a
dodecaphonic system.
I
have found a need for composing according to more strict rules. I want to have
things in order on my working table.
It
appeared as if I had finally reached the ideal I had been searching for during
decades, without giving up anything of my own identity.[6]
The
struggle, search, and final applicable understanding have been partly described
by Larsson in his own article on his mass Missa brevis. Connor interprets
Larsson's article "Missa brevis" and the corresponding struggle with
a new style as analogous to that between Mozart and Bach.
The
confrontation of Schönberg's twelve-tone style and the technique of serial
writing must have been as big shock for you as it was for Mozart approaching
Bach's style of writing. By analyzing Mozart's preludes and fugues, written
just during his first confrontation with Bach's compositions, one does not find
much of his personal style. Only later on did Mozart find a syntax of his own
light and gallant style and Bach's strict counterpoint. Reading your
description about the composition procedures and struggle involved composing
Missa brevis, it seems as if you were close to surrender to the pressure, which
serial thinking put on you.[7]
Not
only did Larsson find a mature way of approaching dodecaphonic elements, but
later, as a professor at the age of forty years, he seems to have come to some
understanding of Berg's pedagogical philosophy, which Larsson had experienced
earlier.
It
is a disadvantage for the students to have a rather young professor like
myself. Resistant, old fogies with parched, senile and rigid opinions can tease
and provoke to wild and fruitful opposition. But what if the professor is on
the same wavelength as his students and does not at all disagree with
progressive ideas? Their chance of provocative revolution is somewhat taken
away from them. Anyhow, I think they prefer it the way it is.[8]
Other
than the Viennese school, other influences can be found which account for the
breaking up of tonality in Larsson's writing. Larsson's own statement regarding
being inspired at an early age by Sibelius's symphonies after having attended a
concert, suggests influences of modality.[9] According to Törnblom, the use of
progressive tonality in Carl Neilsenís symphonies might as well have had the
same impact on Larssonís general approach to key schemes.
Ethnically,
his art appears to be related to Carl Nielsen and Vilhelm Stenhammar. His
musicality seems to be inherited from Sibelius as well.[10]
Associations
can be drawn between Larsson and Béla BartÛk (1881-1945). If BartÛk's music can
not always be explained in a specific key, there are always certain clear tonal
centers. The Piano Concerto no.1 (1926) makes use of pedal points to
establish different key areas, which follow each other in an arch shape. This
piece does have key signatures, but is the last piece in BartÛk's repertoire to
make use of such. Later pieces are similar to Larsson's Saxophone Concerto
in that they do not confirm any certain tonality by the use of key signatures.
BartÛk does not stand out as a complete contrast to the Viennese school. He
expresses his relation to Schönberg's music in a letter of November 1920.
Of
Schönberg I know only his Klavierst¸cke...His music is a little foreign
to me, but he has demonstrated some new possibilities in music which had only
been hinted at before him.[11]
Even
though Larsson reached an acceptance of such progressive elements in his own
compositions, he still expressed, a year and a half before his death,
opposition to music that was too "modern." He listened less and less
to music. The old music he knew too well already and the new music appeared too
complicated for him. "One has to protect one's ears."[12]
Nevertheless, atonal influences, as heard in the Saxophone Concerto,
must have sounded modern to both himself and Swedish audience of 1934. A review
of the concertoís premier in Norrköping mentions the modern composerís urge to
seek new ways of expression, conflicting with the composerís final capitulation
to tradition.
Somewhere,
a few years ago at an art exhibition, a confused gathering of spectators stood
watching a "piece of art," consisting of a label from a beer bottle
attached to a unpolished piece of wood, which had been ripped off from a
ordinary sugar box. It was called dadaism. Nowadays such extreme ideas have
disappeared form the visual art, if now it ever was appropriate to consider
such an item to be a piece of art. Now it appears in music instead, in our
music, even though the most threatening occurrence of such has already been
defeated elsewhere in Europe. Still, the import continues and the national
constellation of such is thereby stimulated. Last Tuesday at the symphony concert
Norrköpings Orkesterförening presented a few examples in this genre. Among
other works, a composition by Jörgen Bentzon called Variations on a Danish
folk song was performed. (Poor folk song, not only the Danish one, but folk
songs in general. They always have to support the "composers" when
their inspiration is lacking. The folk songs are arranged for choirs,
orchestrated for ensembles, they are turned inside out and upside down, in
order to create the foundation for something "new"). It is true that
occasionally one could hear a melody, especially in the strings, but when the
piano and the little and big drum did everything to suffocate the tiny melody,
the beautiful song was lost. Then, when the instrumentation became more
soloistic; violin, big and little drum, when the above described beer bottle
label was nailed on a piece of wood from a sugar box, appeared in front of my
eyes. Such humiliation of the audience should not appear at a respectable
concert program. It sometimes appears as if it is a necessity to completely
overload the listeners with obscure novelties. That was the case at this
concert. The "folk song" was preceded by a concerto for saxophone and
string orchestra, composed by the Swedish composer Lars-Erik Larsson. Even this
piece contained perplexities, but remained within the definition of music, in
spite of partial occurrence of obscurities. It was at least possible to make
some sense out of the second and third movements. The former had even some
delighting sections. See, it is interesting to realize that even if modern
composers make every effort to abandon the essence of music - timbre and
beauty, they have to return to it at some point, probably with bitter
self-mastery. The solo part was performed by the soloist of the evening, Sigurd
M. Rascher, who convincingly mastered his instrument with great virtuosity. The
fact that the soloist's talent was often more seen than heard, was due to the
distracting accompaniment. In the concluding concerto by Glazonouv, again for
saxophone and string orchestra, the soloistís warm sound and refined technique
was featured in a larger extent, but at that point all the preceding
dissatisfaction had reduced my recipiency.[13]
In
other words, Larssonís concerto was viewed as a fairly progressive composition,
and was not, therefore, accepted as a comprehensible piece of music. The
Concerto, which today appears mild in its approach to twentieth-century
elements, was not appreciated by the local newspaperís music critic, accustomed
to attending more traditional concerts. In Berlin, however, three days after
the premiere of Larssonís concerto, a completely different degree of
contemporary composing appeared. By way of contrast Larssonís Concerto would
here have appeared in the light of being a highly innocent and comprehensible
collection of simple phrases and pretty melodies.
30
November 1934 Symphonic Suite from the unfinished opera Lulu by
Alban Berg to Frank Wedekindís plays, Erdgeist and Die B¸chse der
Pandora, dealing with an inflammable seductress whose three husbands and a
lesbian admirer all meet violent death, and who herself is disemboweled in
London 1889 by Jack the Ripper, to the harrowing sound of a dodecaphonic chord
symbolizing the tearing of her entrails in the duodenum measuring 12 fingerbreadths
between the stomach and the jejenum, the entire score deriving from a basic 12
tone series, is performed for the first time in Berlin under the direction of
Erich Kleiber.[14]
It
would have been interesting to see how the above quoted critic of a Swedish local
newspaper would review the premiere of Symphonic Suite by Larssonís
former teacher Alban Berg. Whatever the criticís approach and opinions would
have been, he or she would have disappointed someone, as Berlin reviewers did.
These contemporary elements caused as much confusion in Berlin as in
Norrköping. In Die Musik, Berlin, January 1935, a journalist attacked
the reviewers - racists besides of the premiere of Bergís Symphonic Suite.
The
accounts of the performance of Alban Bergís symphonic suite from his opera Lulu
demonstrate the ideological confusion and lack of artistic understanding of the
majority of Berlin critics. It is significant that one of the most degraded
foreign yellow newspapers, the Neues Wiener Journal, was able to quote
several Berlin reviewers who seemed favorably inclined toward the émigré Musikjuden.....Such
reviews are inadmissible in our age of directed public opinion, for they
befuddle the mind and hinder the rebuilding of our culture. The National
Association of the German Press would do well to reexamine basically the
fitness of these reviewers for their jobs.[15]
Larssonís
Concerto faired better in ÷stergötlands folkblad of 28 November, 1934,
where the it was just barely removed from associations with Dadaism.
Linear Counterpoint and Harmonic Fluctuation
Instead
of being passionately thrilled by the Vienna school, Larssonís attention was
drawn to the music of Hindemith.
Berg
only lectured in traditional style and at one occasion Berg even expressed his
admiration for Brahms! Instead, my experience of contemporary writing was presented
by Hindemith. I heard him perform his own Viola Concerto, in Vienna. That was
the kind of music and inspiration, which I was looking for.[16]
There
are many similarities between the general characteristics of Hindemith's and
Larsson's careers as composers. Both composers had tendencies toward
complicated styles of writing in their early years, progressing to simpler
elements in the later part of their careers; Hindemith's second String Quartet,
for example, was found too difficult to play. Larsson attempted twelve-tone
techniques as early as in his op.8. Simultaneously, there are indications of
Larsson applying Hindemithís style of writing in the early 1930ís.
From
the same period, as op.8 (1932), appears an unfinished string quartet with
strident tonality, resembling Hindemith.[17]
The
programmatic element in Mathis der Mahler with its new harmonic language
confirms that, like so many other composers in the early 1930s (among them
Larsson), Hindemith was seeking a warmer and more humanistic manner of writing.[18]
Some
twenty-five years after the 1920ís, Hindemith revised three principal works of
that decade (Das Marienleben 1923, Cardillac 1926, and Neues
vom Tage, 1929), because of a change in his conceptions of tonality.[19]
Similar, Larssonís new concept of instrumentation in the 1960ís led to the previous
mentioned revision of Arresten på Bohus in 1968. Further, Larsson's
concertino series from the mid 1950ís on confirms his new approach to
neo-classicism in the 1930ís. They both contributed to the offering of
repertoire for amateurs. The major contribution from Larsson in this regard was
the concertino series, op.45, which troughout was designed for amatuers. Gösta Percy makes a parallel between this opus
and Hindemith's series of Kammermusik and the sonatas from the 1920ís.[20]
Larsson state 1958 that writing with limitations such as intending works for
performance by amateur players, adds difficulties in the compositional process.
However, by restricting oneself through such discipline, purity and simplicity
emerges. These are characteristics which Larsson normally expected from his
composing, and therefore such discipline suites his style in general.[21]
Lennart
Bagger-Sjöbäck reports that Larsson's concertinos have been well received and
extremely appreciated among the amateur orchestras around the country. The
composer Sven-Erik Johanson statement confirms the same.
The
twelve concertinos seem to be a mixture of both the "old" Larsson and
the "new" Larsson, still being stylistically unified.
"Maturity" is a accurate label, and mature is that composer who can
compose with a modern style, with full artistic values, and still limit himself
to simplicity. The lyrical musician Lars-Erik Larsson has, with his
concertinos, accomplished a significant deed, for this era, whos seeds will
become fruitful for both amateurs and professional players during decades to
come.[22]
Hence,
Hindemith and Larsson have in common a philosophy of practical music,
"Gebrauch musik," and music of pedagogical. Larsson stated:
Something
that I have had in mind for a long time is a piano method, for young players.
By that I do not have in mind a collection of boring exercises which smells
pedagogical sweat long way. No, music that is meant to inspire piano students
should not be done with "only your left hand".[23]
Larsson's
ideals resulted in the composing of Lätta spelstycken,op.56 and Fem
pianostycken, op.57.
In
an interview with Larsson, Herbert Connor finds similarities between Larsson
and Hindemithís philosophy concerning learning how to compose. Larsson agreed
to what Herbert Connor implied.[24]
Who
would a professor in composition teach if not by letting his student develop
through a improving artistic consciousness?[25]
Larsson
says, in other words, that to learn the craft of composition one has to study
form, harmony, counterpoint and have self discipline.
In
contrast to other prominent composers, Larsson and Hindemith made themselves
known through small scale genres, as chamber music, rather than through grand
operas and symphonic forms. Hindemith's use of folk music, however, contrasts
with Larssonís denial of any influences of that sort.
Instead,
Larsson inherited two main characteristic traits from Hindemith style of composition
by attending Hindemithís concert performance of his own Viola Concerto.
Larsson's
visit to Vienna introduced him to both Schönbergís twelve-tone techniques as
well as Hindemithís neo-classical style.[26]
Musicologist
Göran Bergendal has recognized Hindemithís neo-classical style as being an
influence in Larssonís compositions from the early 1930ís.
More
important (than the Vienna school) was Larssonís confrontation with Paul
Hindemithís music; Larsson had an opportunity to see the composer soloist in
his own Viola Concerto. This performance introduced Larsson to a style of
fresh, sometime witty, sometime strident and up front modernism, which would
remain as an influence in Larssonís composition during years to come. Among
other, the baroque-like Sinfonietta op.10 (1932) strident sonorities and
motorious rhythms, verifies such influence. The outer movements are
overwhelming in their expression of intense energy and frenetic impelling
forces. The aggressive, almost frightening scherzo is flanked by a ponderous
baroque-like largo, resembling a movement of a concerto grosso.[27]
Hindemith
would later on, in his Craft of musical Composition,[28]
defined these characteristics as; linear counterpoint and harmonic fluctuation.
Concerning the latter, Hindemith declared a devotion to tonality and the triad.
The
triad can never be avoided for more than a short time without completely
confusing the listener.[29]
With
the same philosophy, but expressed in different words, Larsson often stated the
same concern of maintain his music comprehensible for the listener. He sometime
declared his intentions simply and brief.
I
want to write music that is beautiful.[30]
At
other occasions, Larsson expressed himself more explicitly.
I
want to write beautiful music. I want to give people a chance to listen to
music in the old fashion way. That does not mean that music can not be
complicated, but complicated compositional procedures should not be of the
nature which might bother the listener.[31]
The
harmonic relations that Hindemith presents in Underwiesung im Tonsatz in
1937, emerge in Hindemith's composition prior to that date, thereby providing
Larsson with compositions from which Larsson could have been influenced.
Subsequently, an orthodox use of Hindemith's chord groups, and, as a result a
strict increase/decrease of harmonic tension is not likely to be found in the
Saxophone Concerto, but the philosophy of fluctuation between various degrees
of consonant and dissonant sonorities is present.
Teddy
Nyblomís report on the international performances of Larssonís Konsertouvertyr
nr.1, a year after the completion of the Saxophone Concerto, indicates the
overall influence of Hindemith.
A
year after Larssonís international recognition at the ICMS festival in
Florence, 1934, he was accomplished with still another recognition of the same
status. Larssonís Konsertouvertyr nr.1 was nominated by the
international jury to be the only new composition to be presented at the music
festival in Karlsbad and Prague. Hence, Konsertouvertyr nr.1 was
featured on the immense master program at the music festival. The piece recalls
the style of Hindemith and that is probably why it was selected. the critics of
modern music insinuated that the pulse of modern time is maintain through every
measure of this composition, and the praised it as one of the most significant
contemporary compositions. [32]
The
non-functional harmonic structure in the Saxophone Concerto indicates, as well,
Hindemithís impact on Larssonís composition. In the opening five bars of the concerto
there is a sense of harmonic fluctuation, created by a increase/decrease of the
dissonance between the accompaniment and the solo part.
A
possible model for this structure can be found in Hindemith's Konzertmusik
für solo-Bratsche und größeres Kammerorchester, op.48 (1930), which Larsson
heard performed by the composer in 1930. In this work, Hindemith begins with a
full score in unison, descending from an A to a F#. Thereafter a various and
alternating degree of dissonance and tension takes place, until an open fourth
(C# and F#) appears before the solo entrance at bar 18. Mid way through the
first solo episode a F major chord appears at bar 35 and this section finally
comes to a close on a C major chord at bar 87, with the indication Halten. In between these major
sonorities a non-functional progression appears, creating various levels of
tension and release. Thus, the movement represent the application of harmonic
fluctuation. In the second movement this structure continues to be of
significance. The movement opens with a repeated C7 chord (bar 1-5) with an
additional Ab, which through the repetition resolves to an A. Mid way through
the movement, at the double bar a C# major chord appears. This stable sonority
and the opening is dispersed with an arched shaped succession of tension
building dissonance and resolving consonance.
In
Larsson's concerto, throughout the first theme area (bars 1-25) and transition
area (bars 26-46), it is evident that phrases begin and end with resolved and
stable sonorities, contrasting the progression of each individual phrase
through various degrees of tension. A theoretical determination of such a
procedure might seem unnecessary since inherent in all music of earlier
periods, harmonic tension and release appear according to an arch shaped form.
Contrasting, Hindemithís harmonic fluctuation and the back and forth reactions
between consonance and dissonance employed by Larsson, is the progression
through apparently non-functional harmony. In a similar fashion, the closing
section (bars 80-107) employs this same concept by concluding with clearer
sonorities at structurally significant points (such as the downbeat of bar 84,
88, 91 and 92.) The analysis found in chapter III, determined that the
transition (bars 26-46) in the first movement finally established the tonal
stability for the secondary theme (bars 47-79) which had been lacking in the
primary theme area (bars 1-25). The secondary theme (bars 47-79) further
increases in chromaticism, arriving at a more atonal closing section (bars
80-107). Within a large scale perspective these alternations between dissonance
and consonance, progressing from one thematic area to another, also resemble
harmonic fluctuation.
Concerning
linear counterpoint, Hindemith's Konzertmusik für solo-Bratsche und größeres
Kammerorchester, op.48 (1930), appears as a possible model for Larsson's
application of the same technique. Bar 1-18 feature contrapointal texture,
where each part is horizontally independent and therefore not bring about any
functional harmony. Each part is double or in octaves within the same
instrument family (e.g. bass clarinet doubling clarinet, violoncello doubling
double bass, etc.). At bar 23-34 the same texture re-appears, now intensified
by the soloistís participation. In the second movement linear counterpoint
continues to be the major texture featured throughout the movement, but
doubling parts has now been substituted with additional independent
contrapointal lines.
The
use of linear counterpoint in the Saxophone Concerto is most obvious in the
closing sections (bars 80-107) of the first movement. The bass line begins with
an contrary motion of the top voice (bars 80-81), which is decorated with
preceding sixteenth-notes. A single inner voice contributes with a independent
ascending line, reaching the departure for a sequential section after two
measures (bars 80-81). The nature of this sequential section (bars 82-87) is a
combination of an independent descending line of thirds in the inner voices,
while the outer voices appear through a more traditional contrapuntal texture
(bars 82-87). Further, contrary motion is to be found between the inner voices
and the bass line (bars 84, 86-87), while the top line grows more independent
from bar 84-87. In other words, a varied linear contrapuntal structure prevails
where the harmonic and cadential hierarchy is suppressed by the interaction
between the bass line and upper voices, and their individual arrival points and
departures.
The
use of descending and ascending bass lines in the primary theme area the first movement (bars 1-25) , be
considered a result of the use of a linear technique. The same structure
continues in the bass line through the transition (bars 26-46). Descending/ascending
structure of the bass line even returns for the second half of the secondary
theme area (bars 62-78). This structure is maintained throughout the development
(bars 110-183), where voices are presented in independent linear structure,
eliminating functional harmony.
First
in the finale, after more conventional voice leading in the Adagio, does linear
structure regain its dominance over a completely functional harmonic
progression. Still, Hindemith-like strident sonorities found in the first
movement is limited by more frequent use of functional harmony towards
cadential points.
No
matter what sources of influence, Larsson seems to be aware of new features of
composition appearing in his own time. Still, Larsson approaches every element
with caution and with a personal integration - while attempting a middle
course. Even if he wished, Larsson would never soar as gallant as Mozart. Nor
would he, like Beethoven, be quoted by the future as "the man who sailed
the wide shoreless sea .......to its limits". But Larssonís music will
always be appreciated and heard somewhere between ("in the middle course
of") soaring birds and sailing boats.
[1]Göran Bergendal, "Lars-Erik Larsson på lyssnarens sida," Tonfallet (n4 1989):9-13.
[2]New Grove Dictionary, Berg, Alban, by George Perle.
[3]"Lars-Erik Larsson - Ung komponist med publiktycke." Svenska Dagbladet, 11 October 1936.
[4]Lars-Erik Larsson - ung komponist med publiktycke. Svenska Dagbladet, 11 October 1936.
[5]Lars-Erik Larsson - ung komponist med publiktycke. Svenska Dagbladet, 11 October 1936.
[6]Anders Tykesson, "Lyrisk expressionism och sträng kontrapunkt: några skeden i Lars-Erik Larssons skapande," årsskrift Kungliga Musikaliska Akademien (1987):38-39.
[7]Herbert Connor, Samtal med tonsättare, (Stockholm: Natur och kultur, 1971), p.21.
[8]Lars-Erik Larsson. Söndadsproträttet, Stockholms-Tidningen 13 March 1949.
[9]Herbert Connor, Samtal med tonsättare, (Stockholm: Natur och kultur, 1971),p.21.
[10] F.H. Törnblom, "Lars-Erik Larsson," Studiekamr. 31 (1949): 75-76.
[11]Documenta Bart¢kiana. vol 5, (Budapest: Akademiai Kiado), 1964-), p.100.
[12]"Larsson i 6A." Aftonbladet, 8 April 1985.
[13]"Teater & Musik." ÷stergötlands folkblad, 28 November, 1934.
[14] Nicolas Slonimsky, ed., Music Since 1900, 5th ed. (New York: Schirmer Books, An Imprint of Macmillan Publishing Company, 1994), p.376.
[15]Nicolas Slonimsky, ed., Music Since 1900, 5th ed. (New York: Schirmer Books, An Imprint of Macmillan Publishing Company, 1994), p.377.
[16] Sixten Nordström, "Lars-Erik Larsson," Konsertnytt (n1 1983/84): 20-22.
[17] Sohlmans Musiklexikon, 5 vl. 2nd ed. by Hans åstrand. Stockholm: Sohlmans Förlag AB, 1977. "Larsson, Lars-Erik" by Göran Bergendal.
[18]New Grove Dictionary, "Hindemith, Paul; works of 1933-63," by Ian Kemp.
[19]Donald J. Grout and Claude V. Palisca, A History of Western Music, 4th ed. (New York : W.W. Norton & Company, Inc., 1988), p. 831.
[20]Gösta Percy, Konserterande för alla instrument, Musikrevy 13 (1958):83.
[21]Berit Berling, "Han föder glupsk fågelunge med musik," Röster i Radio TV 25 (n4 1958):43.
[22]Lennart Bagger-Sjöbäck, "Hur har det gått med Lars-Erik Larsson's concertinor," Musikrevy 14 (1959):212.
[23]Herbert Connor, Samtal med tonsättare, (Stockholm: Natur och kultur, 1971),p.25.
[24] Herbert Connor, Samtal med tonsättare, (Stockholm: Natur och kultur, 1971), p.20.
[25]Herbert Connor, Samtal med tonsättare, (Stockholm: Natur och kultur, 1971), p.20.
[26] Sohlmans Musiklexikon, 5 vl. 2nd ed. by Hans åstrand. Stockholm: Sohlmans Förlag AB, 1977. "Larsson, Lars-Erik" by Göran Bergendal.
[27]Göran Bergendal "Lars-Erik Larsson på lyssnarens sida," Tonfallet (n4 1989):10.
[28]Paul Hindemith. The Craft of Musical Composition, vol 1, eng. trans. by Arthur Mendel. (New York: Associated Music Publishers, Inc., 1945)
[29]Paul Hindemith. The Craft of Musical Composition, vol 1, eng. trans. by Arthur Mendel. (New York: Associated Music Publishers, Inc., 1945), p.115
[30]"Lars-Erik Larsson död." Sydsvenska Dagbladet - snällposten, 28 December 1986.
[31]Göran Bergendal, "Att flyga som Mozart," Röster i Radio-TV 35 (n.19 1968):20-21.
[32]Teddy Nyblom, De nya herrarna. (Stockholm: Nyblom, 1959),p.292-3.