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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 Often contem-porary music is chosen, but sometimes we publish older masterpieces which have remained unpublished.

Harald Fryklöf (1882-1919)

Konsert-Ouverture, op. 1.


Harald Fryklöf (1882-1919) was a Swedish composer whose life ended far too early as a result of the dreaded Spanish Flu, which was rampant at the close of the First World War. He studied to be a pianist, organist, and composer at the conservatory in Stockholm. Thereafter he continued to study priately in Stockholm and Berlin.

Fryklöf’s debut as a composer occurred on 13 March 1908 when his opus 1, “Concert Overture”, was performed by the orchestra of the Concert Society in Stockholm under the baton of Tor Aulin. In the autumn of the same year, on 25 November, it was also played in Gothenburg by the Symphony Orchestra there. The conductor on that occasion was the principal conductor of the orchestra at the time, Wilhelm Stenhammar. After that, the work was completely forgotten.

In connection with the 100th anniversary of Fryklöf’s death, Musikaliska konstföreningen has decided to bring Fryklöf’s premier work back to life by publishing both the score and orchestral parts. The source for this edition is Fryklöf’s autograph score. The bowing marks are those added by Tor Aulin, conductor and violinist.

 

Affisch

Lennart Hedwall (1932)


Lennart Hedwall (born 1932) is a Swedish composer with many strings to his bow: conductor, pianist, fortepiano-player, musicologist, and author. The art of writing songs has been important to him as a composer, researcher, and accompanist. He has documented the Swedish art of song-writing both through a series of radio broadcasts and the monograph På sångens vägar (On the paths of song) as well as by accompanying many Swedish singers in recordings and concerts, often with Swedish repertoire. Moreover, he has composed almost 300 songs.

As a composer, Hedwall has often turned to Swedish poetry. Musikaliska konstföreningen has compiled two booklets with his settings of poems by Swedish poets.

 

Affisch

Nio sånger (Nine songs).

1. Det var en tid… (C.J.L. Almqvist)
2. Om så det skulle hända… (C.J.L. Almqvist)
3. En Måne, dock… (C.J.L. Almqvist)
4. Sovander gårdar (V. von Heidenstam)
5. Den tyngsta vägen (V. von Heidenstam)
6. En skogsvisa (Bo Bergman)
7. Barmark (Bo Bergman)
8. Nödsignal (Bo Bergman)
9. Varsel (Bo Bergman)

Sex sånger (Six songs).

1. Nocturne (Sigurd Agrell)
2. En resa (A.T. Gellerstedt)
3. Livets bok (C.G. Strandberg)
4. Bleka skimmer… (H. Larsson)
5. Varför till ro så brått? (V. von Heidenstam)
6. Über allen Gipfeln (V. von Heidenstam)

Affisch

Kurt Atterberg (1887-1974)

Sonata for horn and piano, Op. 27 bis.


In 1925 Kurt Atterberg completed an experimental sonata for a single string instrument and piano with three different string parts – for violin, viola, and violoncello respectively – to the same piano part. Musikaliska konstföreningen published the sonata in 1930. Atterberg seems to have counted the experiment a success, for in 1954 he wrote a further part for the French horn which until now has remained unpublished.


The horn part is now included with the Sonata for a string instrument and piano, Op. 27.

 

Affisch

Wilhelm Stenhammar (1871-1927)

Sången. A symphonic canatat, Op. 44.


Sången (The Song) for soloists, choir, and orchestra to a poem by Ture Rangström was composed in 1921 to commemorate the 150th anniversary of the Royal Swedish Academny of Music. A vocal score by the composer was published in 1924 and after being out of print for some time is once again available in facsimile.


Vocal score with text (piano reduction of the orchestra and all vocal parts).

 

Affisch

Michael Waldenby (1953-)

Ithaka, ballad for mezzosoprano and organ Op. 13.


Ithaka was composed in 1982 to text from a poem by Oscar Levertin with the same title. An important source of inspiration for both Levertin and Waldeby is Arnold Böcklin's famous painting Isle of the Dead – Die Toteninsel.


Organ score with text.

 

Affisch

 

Henning Mankell (1868–1930)

Klaverstycken (Piano Pieces) Op. 60.


A source of inspiration that resonates deeply in the music of Henning Mankell is nature. The wide-open sea outside his hometown, Härnösand, the deep forests, mighty mountains, and powerful rivers of Lappland all captivated him. He always spent his summers in the part of Sweden where he grew up, and the intense impressions the north country made on him often served as material for his atmospheric music. This is noticeable even in the four pieces of opus 60, which are here presented together for the first time: “Barcarole”, “Evening mood”, “Storm brewing”, and “Light swell”.


This edition is based on Mankell’s own autographs at Musik- och teater-biblioteket in Stockholm

 

Omslag Waldenby Juloratorium

 

Michael Waldenby (1953-)

Christmas Oratorio for soprano, baritone, choir, organ, and orchestra Op. 17.


The Christmas Oratorio is composed to biblical texts (in Swedish) for mixed choir and orchestra (with organ) with a solo soprano in a double role as the Virgin Mary and an angel, and a solo baritone as the narrator. The composer relates the following about what inspired the oratorio:
- The natural setting of Lake Orsa, with its blue mountains, burn-ing sunsets, and shadowy forests, has strongly influenced the musical language of my Christmas Oratorio. Many years ago I used to sit by the lake and dream. Some of the dreams touched upon this music. The words are taken partly from the prologue to the Gospel according to St. John, and partly from the Christmas story. Mary's lullaby in the second part has a text by Lope de Vega. The two parts of the oratorio frame an orchestral intermezzo that has the motto: The light shines in the darkness, and thereby the darkness does not overcome us.

The work is available in a vocal score and a full score. Orchestral parts are available for hire from the publisher.

 

Omslag Waldenby Juloratorium

 

Lennart Fredriksson (1952-)

Trio-Sonata for violin, cello, and piano.


Trio-Sonata was composed by Lennart Fredriksson in 1990-91 with three movements: Allegro inquieto – Canzone: Adagio – Allegro precipitando. The work is dedicated to the Stockholm Arts Trio. However, the first performance took place in London, Ontario, Canada in April 1995 because it received an honourable mention in an international competition to which over 100 piano trios had been submitted.

 

The last movement is a direct development of the motives and structure of the first movement. The directions for execution Inquieta (restless) and Precipitando (precipitously) indicate both the dramatic and virtuoso character of these movements. The second movement, Canzone, begins with a calm, simple, and meditative polyphony. After a more agitated episode, there appears a quotation from Alban Berg's string quartet op. 3. At the end of the movement the music strives to return to its original calm.

Stig Jacobsson 

 

Omslag Fredriksson Trio-Sonata

 

Hugo Alfvén (1872-1960)

Cantata for the Reformation Commemoration in Uppsala 1917 for baritone solo, choir, och orchestra.


In 1917, 400 years had passed since Martin Luther nailed his ninety-five theses to the church door in Wittemberg and thus began his reformation of the church. In Uppsala it was decided to celebrate this jubilee by commissioning a canatata from Hugo Alfvén to be performed in connection with the conferment of doctoral degrees in October that year. The text for the first part was collated by Archbishop Söderblom. For the second part a commission was given to Erik Axel Karlfeldt, who wrote the poem ”Luthers hammare” ("Luther's hammer"). A hundred years later we mark the 500th jubilee by republishing the choral score with piano transcription of Alfvén's Reformation cantata in a facsimile of our original from 1921. Moreover, we have released a transcription of the orchestral setting for organ by Michael Waldenby.

In addition, we release a version of the whole work translated into German with a further adaptation for organ by Wilfried Pankauke. There are two separate parts in this version, one a choral score and the other a special part for the organist with fewer pages to turn. Wilfried Pankauke has aimed to be faithful to Alfvén's original yet keeping the technical demands at a level that can be met by most competent church-organists. We hope that many more ensembles will thereby be able to perform this stirring work by Alfvén.











 

Omslag Alfvén klaverutdrag

Omslag Alfvén organ part (German)

Omslag Alfvén choral score (German)

Omslag Alfvén organ part (German)

 

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

 

TORSTEN NILSSON (1920-1999)

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

 

MAURICE KARKOFF (1927-2013)

Poem för piano

 

”Poem för 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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