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Symphony No13 Allan Pettersson
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Norrköping Symphony Orchestra conducted by Christian Lindberg. • I - Beginning (0:00) - 5 Bars after Fig.15 (5:05) - 3 Bars after Fig.35 (11:33) - 5 Bars after Fig.70 [Tempo I] (23:04) - 3 Bars before Fig.87 (28:17) - 4 Bars before Fig.99 (32:10) - 5 Bars after Fig.128 (41:54) - 4 Bars after Fig.152 (48:45) - 3 Bars after Fig.165 [Tempo I] (51:46) - 4 Bars after Fig.169 (53:04) - 5 Bars after Fig.174 (54:45) - 4 Bars after Fig.194 (1:02:29) • Pettersson's Symphony No.13 was completed in 1976, as a commission from the Bergen Festival for the celebration of its 25th anniversary. It was premiered on June 7 of 1978, during the closing concert and performed by the Harmonian Orchestra of Bergen directed by Francis Travis. The work is dedicated to Karsten Andersen, the artistic director of the orchestra. Built in a single huge movement, its analysis is extremely difficult, being one of the most dense and complex symphonies of Pettersson. • It begins with an intense entrance of the strings, a motif that will be repeated later. Fanfares of trumpets and short motives from the trombone form other elements, which are surrounded by an extremely concentrated musical material. The primitive aggressiveness of music slowly becomes calmer, but then the music increases its aggressiveness, which then changes to more reassuring positions. The music becomes more tonal, with the repetition of a motif with a certain oriental character. It is the first lyrical island of the piece. Then, a cantilena appears on the cello. A crescendo takes us to a violent section with the intervention of percussion and brass. The strong, unstable rhythms are resolved in a more gentle section, but the tension soon increases again in a new outburst of fury and then fades into a kind of contrasting chiaroscuro. • A new motive appears, repeating itself insistently. The music reaches a state of great tension. Then it continues in a way that perhaps we could describe it as more lyrical, but only apparently. The oriental melody repeats itself in a new variation, before a more reflective section located in the central part of the work. A lyrical melody appears in a less aggressive climate. A figure in the form of a hymn begins to slowly unfold. The music softens, despite the continuous dissonance that surrounds it. A curious episode is a strange waltz, as if it was a tribute to the past. The section ends with a lyrical part, interrupted by short motives that increase its rhythmic character. Isolated motifs appear on the flute. The lyrical cantilena of the cello initiates a second lyrical island, characteristic of all Pettersson's work, this time in duplicate. It is inspired by the work of Berlioz Harold in Italy . The strings interpret a wide melody, which can be considered as the beginning of an extensive coda. Despite the sad funeral rhythm that accompanies him, it seems that the author expresses a moment of happiness or, at least, conformism. • Listening to this work invites us to make a series of reflections. It is very dense, difficult to hear and interpret. The person who is willing to listen to it for the first time will find it of an insuperable aridity. You will need to make an effort of concentration, if you want to penetrate the background of this music. In our world we listen to music many times as background sound, in a superficial way. It is difficult to concentrate forgetting our surroundings. But without this concentration it is impossible to access more complex works, whose beauty is not found on its surface. • In other artistic fields we can find similar examples. If we read a philosophical or poetic work as if it were a magazine or a newspaper, we will never be able to understand it. It is difficult for the current public, accustomed to direct sensations, to the impacts produced by the audiovisual world, in which we find ourselves immersed, to concentrate on a complicated work. The public wants to enjoy in a direct way the sensations that it receives, giving it a terrible laziness to have to think, the development of thought. For this reason the music that popularly triumphs is the most direct, the simplest. • Pettersson's music at this point has become somewhat less aggressive than in previous symphonies. We can not say that it is really happy, but the worsening of his physical condition is not really reflected in the work. The state help and welfare received produced him some well-being during his final years. Another aspect is the various quotations of motifs from other classical works, in a rather disguised way. • Source: https://bit.ly/3wKIx4L and https://bit.ly/2X2YaCG • Unfortunately the score is not available.
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