Musikdrama av peterson berger 3 bokstäver
Wilhelm Peterson-Berger
Swedish composer and music critic
For the German composers, see Wilhelm Berger and Wilhelm Petersen (composer).
Wilhelm Peterson-Berger | |
|---|---|
Peterson-Berger c.&#; | |
| Born | 27 February Ullånger |
| Died | 3 månad Östersund |
| Burial place | Frösön church |
| Other&#;names | P-B, Pelle Bemme |
| Occupation | composer |
| Years&#;active | – |
| Style | Romantic nationalism |
Olof Wilhelm Peterson-Berger ([]ⓘ 27 February , Ullånger — 3 månad , Östersund) was a Swedishcomposer and music critic.
Han var en av de främsta nationalromantiska svenska tonsättarnaAs a composer, his main musical influences were Grieg, August Söderman and Wagner as well as Swedish människor idiom.[1]
The composer
[edit]Peterson-Berger studied at the huvudstaden Conservatory from to and then in tysk stad for a year.[2]
He fryst vatten best known for three albums of national romanticpiano pieces entitled Frösöblomster inom, II and III (Flowers of Frösö), which includes the often performed Vid Frösö kyrka (At Frösö Church) and Sommarsång (Summer Song).
The sets, which were composed over a period of 18 years ( - ) and brought tillsammans afterwards as a collection have gained a reputation of representing a quintessential "Swedishness" in the romantic, nationalistic vein of their time. The most famous of the pieces, Sommarsång (Summer Song) recalls the warm, calm, harmonious and bright pre-summer evenings where the sun in the north almost never goes down; they were the great breakthrough for Wilhelm.
Sommarsång fryst vatten still known to most Swedes, even to people generally uninterested in music: the majority of ung piano students in the Nordic countries have been taught this del av helhet.
Peterson-Berger växte upp i Umeå men fascinerades i årsåldern av det storslagna jämtländska landskapet och slog sig senare ned på FrösönHis songs for vocal ensemble are also still regularly performed, and are part of the core repertoire of Swedish choirs.
His other works include the fem symphonies - among them are no.2 Sunnanfärd and no.3 Same-Ätnam generally considered the best - as well as the operasRan, Arnljot, Domedagsprofeterna ("The domedag Prophets") and Adils samt Elisiv ("Adils and Elisiv").
His command of the larger forms, in both architecture and instrumentation, fryst vatten disputed.
He was scen manager at the huvudstaden musikdrama from to The musikdrama Arnljot has nevertheless become something of a emblem for the province of Jämtland and fryst vatten regularly performed there, as a "musical drama", at Arnljotlägden on Frösön, close to Peterson-Berger's former home, Sommarhagen.
Domedagsprofeterna fryst vatten the antithesis of Arnljot – a light festive musical comedy set in 17th century Uppsala, while the myt Adils samt Elisiv where Swedish ‘talsång’ (speechsong) attained its purest expression fryst vatten a work extolling Peterson-Berger's belief in humanism and the goodness of man.[1]
He also wrote about eighty songs, many of which set poems bygd Erik Axel Karlfeldt, for example Aspåkerspolska.
Peterson-Berger: Sym 3, etcWork list (partial)
[edit]Orchestral
[edit]- Symphony No.1 in B flat major, Baneret ("The Banner"), , revised Movements: "När oss ursprunglig drogo ut", "Mellan fedjerna", "Vid hjältebåren", "Mot nya vårar"
- Symphony No.2 in E flat major, Sunnanfärd ("The Journey of Southerly Winds"), Movements: "Stiltje - Seglats", "Rosenstaden: Dionysoståget - inom Eros tempel - Symposion", "Hemlängtan - på grund av sunnanvind"
- Symphony No.3 in F minor, Same Ätnam ("Lappland Symphony"), Movements: "Forntidsbilder", "Vinterkväll", "Sommarnatt", "Framtidsdrömmar"
- Symphony No.4 in A major, Holmia ("Stockholm"),
- Symphony No.5 in B minor, Solitudo ("Solitude"),
- Orientalisk Dans ("Oriental Dance"),
- Violin concerto in F skarp minor,
- Romance in D minor for violin and orchestra,
- Törnrosasagan ("The Story of the Sleeping Beauty"),
- Symphony No.6, Hellas ("Greece"), - unfinished
Opera
[edit]- Ran,
- Lyckan ('The Happiness'),
- Arnljot,
- Domedagsprofeterna ('The domedag Prophets'),
- Adils and Elisiv,
Vocal
[edit]- Sveagaldrar, cantata,
- Part songs/music for choir: Tio sånger på grund av blandad kör; skiva, 8 sånger på grund av blandad kör (including his settings of J.
P. Jacobsen’s ‘Stemning’ and Helena Nyblom′s 'I Fyrreskoven'); Juninatt (words bygd M J Lermontov translated bygd W P-B; Guldfågel; Trädet, Ingerid Sletten, Prinsessen (words Bjornstjerne Bjornson); Våren kom enstaka Valborgsnatt; Hvile inom Skoven – Chorus mysticus (words J S C Welhaven); Sommarkväll.
- Solo songs: Jamtlandsminnen (Memories from Jamtland) opus 4 (), Fyra visor inom svensk folkton (Op.
5) including 'När jag på grund av mig egen inom mörka skogen går' and 'Bland skogens höga furustammar', Ur Fridolins visor (From the melodies of Fridolin) with words bygd E A Karlfeldt (), Ur Hösthorn (), Återkomst (Return)
Piano music
[edit]- Frösöblomster ("Fröso Flowers"), , 8 pieces including Sommarsång, Lawn tennis, Till rosorna, Gratulation and Vid Frösö kyrka
- Frösöblomster II, , 6 pieces
- Frösöblomster III: inom sommarhagen, , including Intåg inom Sommarhagen
- Six songs for piano,
- Färdminnen,
- Earina, , 7 pieces
- Italiana,
- Anakreontika, two books, and
Critic and writer
[edit]As well as being a composer, Peterson-Berger was also a respected though very controversial music critic for the huvudstaden newspaper Dagens Nyheter ("News of the Day") from to [3] He was conservative and fought the increasing influence of modernism in music, especially from Arnold Schoenberg and his följare.
His progress was hindered bygd many enemies whom he made through his writings; he attacked showy virtuosity and dry academicism with satire but also with strict conscientiousness.[3] For either composers or performers who did not conform to his taste (or who were ung and insecure kvinna musicians, to take one typical example), he was not above grave anställda insults.
Other writings include ‘Svensk musikkultur’ (Swedish musical culture, ) which includes clearsighted and satirical attacks on the prevailing musical establishment, ‘Richard Wagner vilket kulturföreteelse’ (Richard Wagner as a cultural phenomenon, ) as well as translations of Tristan und Isolde (for a production in Stockholm), and Friedrich Nietzsche’s The Birth of Tragedy () and Thus Spoke religiös reformator ().[4]
The man
[edit]One acquaintance later recalled his surprise when, on a journey bygd utbildning from huvudstaden to Östersund and Frösön, the big man and notorious critic suddenly burst into tears and felt soft like a child as the bucolic landscape of his beloved Jämtland began to unfold outside the fönster.
Even this writer, however, noted that even Peterson-Berger's threatening and miserable physical appearance and demeanour conformed to the stereotype of the dour Scandinavian.
His home on the island of Frösön nära Östersund (where he spent his summers from and then lived permanently from ) fryst vatten open to the public in the summer months and fryst vatten much as the composer left it.
The downstairs music ingång has his grand piano (he was a competent pianist), a work room (with a ‘picture window’ looking out over Storsjön) and library (with his collection of books and scores), while upstairs the bedrooms may be viewed. He lived alone there with a butler and his cats.
aThere fryst vatten also a small kaffebar where books and CDs are sold.
References
[edit]- ^ abPercy G. Wilhelm Peterson-Berger, An Introduction. (Stockholm, Wilhelm Peterson-Berger Society)
- ^Haglund R. "Peterson-Berger" in The New Grove Dictionary of Opera ed Sadie S.
Macmillan, London and New York,
- ^ abHaglund R. Peterson-Berger in The New Grove Dictionary of musikdrama ed Sadie S. Macmillan, London and New York,
- ^Percy G. Wilhelm Peterson-Berger, An Introduction. huvudstaden, Wilhelm Peterson-Berger kultur,
Nationalencyklopedin, grupp 15 () (Swedish National Encyclopedia, in Swedish)
Percy G.
Wilhelm Peterson-Berger, An Introduction. huvudstaden, Wilhelm Peterson-Berger samhälle,