Customer Reviews

Pettersson: Symphonies No. 7 & 16

5 star:		(3)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Allan Petterson (1911-1980) wrote 16 symphonies, three concertos for string orchestra, and an oratorio, but remains almost totally unknown to today's concert audience. Pity, because he could be called the last of the Romantics; an inheritor of the mantles of Mahler in his reliance on song and eventual world-weariness, and of Sibelius in his thriftiness of form and totally Nordic sound world.

Certainly the most well-known and most frequently performed of all of his symphonies, Pettersson's Seventh was dedicated to Antal Dorati, whose recording of it brought the world's attention to the reclusive composer. If the Sixth is a dark and desperate cry ending in resignation, the Seventh is the "song sung by the soul" that Pettersson sought so yearningly to reveal.

The symphony's origins are not clear. The work was premiered on October 13, 1968 in a concert for the Music for Youth series founded by Antal Dorati in cooperation with the Stockholm Philharmonic. Pettersson, in very poor health, was called to the podium with standing ovations four times after the work's conclusion. It was the last time he was able to personally attend a premiere of one of his symphonies. Some hear it as a "reconsideration" of the bleakness of the Sixth; others have compared its structure to the arch formed by the profile of a mountain range. Many members of the audience at the premier were in tears at the close of this remarkable work. Once again, Pettersson uses a roughly 40-minute single movement. Unlike earlier symphonies, this one is not as clearly divided into sections, but uses recurring themes throughout.

There are four recordings of the Seventh available. This is the original, the one that secured the composer's reputation worldwide, played by the Stockholm Philharmonic, conducted by Antal Dorati. It was recorded nine months after the premiere, September 18-20, 1969, in the Stockholm Concert Hall, and has been released on numerous LP labels. It is, at 40:00, the shortest recording. It has, of course, the stamp of authentic emotion and commitment, if not the clearest sonics. However, I have found at least one serious shortcoming: at the phrases beginning on page 68 of the score (20:08 on the Dorati CD, and 23:37 on the Albrecht, 22:24 on the Segerstam, and 21:11 on the Comissiona), the trombones are completely silent or absent. The horns are doubled by the cellos and, in a slightly different rhythm, the clarinets and bass clarinet (in the score). I have no information on what happened: the engineer may have goofed, or Dorati may have made a decision to back them off. Imagine listening to this recording for twenty years, and then hear the horns for the first time in a new recording! As an historic document, the recording is invaluable, but newer recordings have supplanted it. At it's length (and with no coupling) and skimpy notes, it isn't a bargain, but it stands as an example of the voice of the individual crying in the wilderness.

Allan Petterson (1911-1980) wrote 16 symphonies, three concertos for string orchestra, and an oratorio, but remains almost totally unknown to today's concert audience. Pity, because he could be called the last of the Romantics; an inheritor of the mantles of Mahler in his reliance on song and eventual world-weariness, and of Sibelius in his thriftiness of form and totally Nordic sound world.

Certainly the most well-known and most frequently performed of all of his symphonies, Pettersson's Seventh was dedicated to Antal Dorati, whose recording of it brought the world's attention to the reclusive composer. If the Sixth is a dark and desperate cry ending in resignation, the Seventh is the "song sung by the soul" that Pettersson sought so yearningly to reveal.

The symphony's origins are not clear. The work was premiered on October 13, 1968 in a concert for the Music for Youth series founded by Antal Dorati in cooperation with the Stockholm Philharmonic. Pettersson, in very poor health, was called to the podium with standing ovations four times after the work's conclusion. It was the last time he was able to personally attend a premiere of one of his symphonies. Some hear it as a "reconsideration" of the bleakness of the Sixth; others have compared its structure to the arch formed by the profile of a mountain range. Many members of the audience at the premier were in tears at the close of this remarkable work. Once again, Pettersson uses a roughly 40-minute single movement. Unlike earlier symphonies, this one is not as clearly divided into sections, but uses recurring themes throughout.

There are four recordings of the Seventh available. This is the original, the one that secured the composer's reputation worldwide, played by the Stockholm Philharmonic, conducted by Antal Dorati. It was recorded nine months after the premiere, September 18-20, 1969, in the Stockholm Concert Hall, and has been released on numerous LP labels. It is, at 40:00, the shortest recording. It has, of course, the stamp of authentic emotion and commitment, if not the clearest sonics. However, I have found at least one serious shortcoming: at the phrases beginning on page 68 of the score (20:08 on the Dorati CD, and 23:37 on the Albrecht, 22:24 on the Segerstam, and 21:11 on the Comissiona), the trombones are completely silent or absent. The horns are doubled by the cellos and, in a slightly different rhythm, the clarinets and bass clarinet (in the score). I have no information on what happened: the engineer may have goofed, or Dorati may have made a decision to back them off. Imagine listening to this recording for twenty years, and then hear the horns for the first time in a new recording! As an historic document, the recording is invaluable, but newer recordings have supplanted it.

The 16th, which could really be considered more of a concerto for saxophone and orchestra, is simply a piece that I have not been able to warm up to. Frankly, it just sounds loopy to me, and given the (to my ears) superior performance, sound quality, and coupling of the Segerstam disc (with symphonies 7 and 11), I can recommend this CD to ONLY those who MUST have the original, historic Dorati recording.

When I first heard this music in Stockholm conducted by Antal Dorati I almost cried, it is such powerful music. When I then heard this record I almost cried, so happy to be able to restore the feeling.

For excellent insights and analysis into that one particular shortcomming of the Dorati. Honestly I didn't keep the Dorati long enough to know about the trombone part missing.
I sold it to a friend shortly after purchasing this cd from another friend. Who claims it is "the best 7th"
Well I knew the CPO release well enough that it was a very very fine recording. So I admit that i had my doubts as to the Dorati surpassing the CPO. And I was disappointed right from the start. I got little emotional involvement with the Dorati. Nothing is right about this perforamnce. The Stockholm has no feelings for Pettersson what so ever. I guess Dorati did the best he had to work with.
I also bought the Comissiona live 7th/SWedish RSO. I enjoyed the Comissiona 14th ( I have since sold the 14th off /prefer the CPO 14th) . Good, I'd rate it a 8.
This week I got the Segerstam/BIS in, along with all the BIS in Pettersson. The Segerstam 7th might very well be my favorite. But not by much as I also love the CPO release, and am happy to have both. Those are my 2 favs of the 4 releases.
Now if we can get that Kamu on DG in the 10th released on cd some day. Or is it the 8th?

Paul
paulfbest@cox.net

When I first heard this music in Stockholm conducted by Antal Dorati I almost cried, it is such powerful music. When I then heard this record I almost cried, so happy to be able to restore the feeling.

Nice disc, as advertised, and a little hand written note from the seller. Very pleased.