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The Swedish Art Music Society (Musikaliska konstföreningen) is a non-profit organi-sation with the aim of publishing Swedish art music. It was founded in 1859. Each year, one or two musical compositions are selected for publication. Often contem-porary music is chosen, but sometimes we publish older masterpieces which have remained unpublished.


Claude Loyola Allgén (1920-1990)

Vexilla Christus inclyta for mixed choir.

The hymn Vexilla Christus inclyta is written in iambic dimeter (the most common metre of hymns for the divine office, as in ‘Before the ending of the day, / Creator of the World, we pray’) and with impeccable classical quantitative metre. This hymn, which ex-presses a theocratic ideal, was not included in the post-conciliar renewal of the Liturgy of the Hours, Liturgia horarum (1970). When Allgén pursued theological studies in Innsbruck and the Netherlands in the early fifties, this hymn was prescribed for morning prayer in the Latin Liturgy of the Hours for the last Sunday in October, the Feast of Christ the King. Anders Piltz


Omslag Allgén Vexilla


Jan Sandström (1954-)

Landskap med solar for mixed choir a capella.

Jan Sandström, who had his breakthrough as a choral composer with his imaginative reinterpretation of Praetorius’ Christmas hymn “Lo how a rose e’er blooming”, finds inspiration here from Tomas Tranströmer’s poem “Landskap med solar [Landscape with suns]”. Heinrich Isaac’s choral song “Innsbruck, ich muss dich lassen” emerges from the choral weave as an ever clearer dream-like vision.


Omslag Sandström Landskap


In Flanders Fields for mixed choir.

The Radio Choir of Westdeutscher Rundfunk Köln commissioned this work of Sandström to a text of the Canadian physician and lieutenant colonel, John McCrae, a poem from the battlefield during the First World War that was very popular in its day. Sandström constructs the work as a rondo, a vocal marche funèbre, charged with controlled emotion.


Omslag Sandström Flanders



Corde Natus Ex Parentis. Vesper hymn for Christmas-tide.

To this dynamic composer and church musician, the secrets of vocal sound were well known. For the women’s choir Tyresö Cantores he composed in 1985 this vesper hymn för Christmastide scored for solo soprano, women’s choir, and organ. Alf Härdelin’s Swedish text is here put in a glowing choral setting. As a textual counterpoint, Nilsson incorporates an antiphon to a text from the Song of Solomon: “For love is strong as death”.


Omslag Strom L´Heur


Joachim Nikolas Eggert (1779-1813)

Symphony in G minor

Interest in the Swedish composer J.N. Eggert has grown in recent years: his four symphonies have their roots in Viennese classicism but point towards pre-romanticism. His artful instrumentation arouses admiration. In 2011 MK published the orchestral scores to his symphonies. The Symphony in G minor now appears in a new edition, this time by Christian Marina.

Omslag Eggert G min


Staffan Storm (1964 - )

L´heure bleue pour piano

”L´heure bleue” immediately catches the listener’s attention with its dark introduction, contrasted with enticing treble trills. The dark character develops into lyrical outbursts and resting chords, and the entire register of the piano is allowed to flourish. The title “the blue hour” aptly describes the mood of dusk, where the last glimmers of sunlight finally give way to a dramatic conclusion. Franciska Skoogh, pianist


Omslag Strom L´Heur


Briefe zur Nacht för piano


In Nordic art and music, “Nordic light” is a common motif. But there is also “Nordic darkness”. Staffan Storm’s symphonically-hatched piano work ”Briefe zur Nacht” begins in this darkness, with orchestral and menacing resonances. The German title makes us associate “Briefe zur Nacht” with German romanticism. Words like “letter” and “night” convey the intimate and confiding tone of this piano poem, and of the nocturnal darkness that harbours unease, secret thoughts and dreams. Hans Pålsson, pianist


Omslag Storm Briefe



Poem för piano


”Poem for piano, op. 242”, composed in 2008, is truly a sonic work, partly with inspiration from an impressionistic soundscape: bell chimes, harp-like arpeggios, expressive cantilenas, all like dream visions that the composer carefully sorts. Erik Lundkvist, organist



Omslag Karkoff poem


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