Music of Sweden Online
schlagerlåt skriven av Bryan McFadden från Westlife!
Chris Doran som framför Irlands bidrag "If My
World Stopped Turning" i Istanbul på lördag har fått
sin låt skriven av ingen mindre än Bryan McFadden från
Westlife och Jonathan Shorten (Gabrielle, Joss Stone).
Med svart bälte i karate och 8 medaljer från Irländska
karate mästerskapen så kommer Chris Doran att vara en
farlig motståndare för de övriga deltagarna i
Istanbul både på och utanför scenen!
"If My World Stopped Turning" är en
storslagen ballad som ligger 1:a på Irländska
singellistan. Singeln finns till försäljning från och
med 16 juni.
om Chris Doran ...
Onto Our Love" är Englands bidrag på lördag! (12/05)
Erann special skriver sång till danska kungabröllopet! (05/05)
Jöback på Åhlens City Sthlm 29/4 kl 17.30 (28/04)
Arts & Culture
Swedish Museum of Architecture, Stockholm
Culturenet Sweden is comissioned by the Swedish Government to be the national
gateway to all organizations and individuals working with culture in Sweden. (in
10,000 tons of crystal clear ice from the Torne River, and 30,000 tons of pure
snow gare needed to build the Ice Hotel every year
Sweden's oldest (and best) rock club ("The culture company"), Malmö
The Nobel Foundation
The Swedish National Council for Cultural Affairs
Swedish UFO organization with scientific ambitions
Sony Music in Sweden HERE
Swedish Music Literature Biblilography HERE.
A sample follows:
SMHB is an annual bibliography and database of Swedish literature on music,
produced by the Archives and Documentation Department at the Music Library of
Sweden. It covers books, articles in all Swedish music periodicals (except
fanzines), articles on music in other periodicals, contributions to collective
volumes, record liner notes (when substantial), selected documents on the
Internet, reviews, etc.: a more detailed listing is found below. The
bibliography is not limited to scholarly literature: it includes music
literature of all kinds on all subjects.
Svensk musikhistorisk bibliografi has been published annually since
1926. Until 1989 it appeared in Svensk tidskrift för musikforskning (Swedish
Journal of Musicology), 1990-1993 (see below) it was a separate publication
Starting with the year 1991, the bibliography is part of the LIBRIS database
(the union catalogue of the Swedish research libraries). Books and other
monographic publications are catalogued as they appear. Articles are done
periodical by periodical after the end of the year. In August 2003 the
bibliography included some 3,200 books and academic theses, 14,000 articles and
580 reviews in 315 periodicals. See the Swedish
page for a continuously updated
list of fully indexed periodicals.
SMHB can be accessed online (free of charge) in two
(1) As an integral part of the main Libris
database: this will find monographs that have not yet been indexed for the
bibliography, and is the preferred means of access for books and academic
theses. To limit the search to articles or reviews, either use Advanced
Search and the Publication type pop-up menu at the
bottom of the page, or
(2) search only
the bibliography (Swedish interface only).
(There is a third option, the LIBRIS
Articles Database, which contains all articles and reviews - but no books -
from all the subject bibliographies.)
The printed bibliography was discontinued with the 1993 volume, published in
September, 1998. Back numbers are available from Statens musikbibliotek (SEK
150.00 for institutions, SEK 100.00 for individuals).
Some 10-15% of SMHB's contents are forwarded (with English abstracts) to the
international bibliography, RILM. RILM is
available on CD-ROM at the library, and online
(by subscription only).
literature on music published in Sweden or by Swedish authors regardless
of subject matter or audience (scholarly as well as popular)
a selection of foreign literature on Swedish music ("suecana")
all genres and types of music
all musicological sub-disciplines (history, acoustics, philosophy,
psychology, gender studies, popular music studies, etc.)
There are three exceptions to the inclusive coverage of popular literature:
reviews, liner notes and Internet documents are limited to scholarly or
books by individual authors (monographs)
articles in periodical and collective volumes
A search on the periodical title will bring up all articles indexed from the
periodical. There is also a link from the record for the periodical itself
to the indexed articles.
sections on music in monographs on other subjects. Individual chapters
in a book on music by one author are not indexed (but may be covered by
unpublished theses and undergraduate papers. (Swedish doctoral
dissertations are always published and are treated as any other book.)
Swedish Music 1900-1950 MORE.
Follow these text links depending on your interest.
by Stig Jacobson, writer and
programme director for the Norrköping Symphony Orchestra
Exhibitions of Swedish art from
the previous century have met growing appreciation around the world.
Music composed in the first half of the 20th century also has many
secrets to reveal to a non-Swedish audience. Increasing interest, not
least from CD producers, has astonished many abroad that this music has
not been available earlier.
A romantic tradition
For the first decades of the 20th century, a
national-romanticist ideal still dominated in Sweden. The
majority of composers wrote music suited for home use by skilled
amateurs. There were violin sonatas, songs and genre exercises
for the piano. Emil Sjögren (1853-1918) was a typical poet who
never tested his skills with an orchestra but who wrote
decidedly memorable violin sonatas, songs and piano pieces. Much
the same can be said of other composers born even later in the
Wilhelm Peterson-Berger (1867-1942) was most loved for his folk
music-inspired songs and his three collections of Frösöblomster
(Flowers from Fröso Island), with their finely sculpted
piano pieces permeated with folklore feelings. It has long been
ignored that he also composed great operas, a masterful violin
concerto and five splendid symphonies (especially the No. 2 Sunnanfärd
and No. 3 Same Ätnam). Not until the last decade have
these works rewon public interest. His career as a much-feared
music critic may have overshadowed the composer too greatly. He
was an educated man with a good knowledge of European thinking,
and produced an excellent translation of Nietzsche's Also
Even if Hugo Alfvén (1872-1960) also established a
reputation through his smaller pieces, not least his virtuoso
choral arrangements of Swedish folk music, he was the first
composer in the last years of the 19th century to dive
courageously and very successfully into music for the orchestra.
He too wrote five symphonies but is most famous for his three
Swedish rhapsodies: Midsummer Vigil (sometimes known as
the Swedish Rhapsody), the Dala Rhapsody and
the Uppsala Rhapsody. A pre-condition was the founding
of several orchestras in Sweden during this period. To the Royal
Swedish Chamber Orchestra (one of the world's oldest in
existence) were added orchestral societies in Stockholm, Göteborg,
Malmö, Helsingborg, Norrköping and Gävle.
In his lifetime, Kurt Atterberg (1887-1974) was one of the most
performed Swedish composers, at home and on the Continent. He
attracted special attention when his sixth symphony, the Dollar
Symphony, won an international competition sponsored by the
Columbia Graphophone Company in 1928. Swedish folk music
influences were a major element in many of Atterberg's
Ture Rangström (1884-1947) also wrote massive symphonies and
other works for the orchestra, but is most known for his
dramatic songs, revealing an unsurpassed insight into the
demands and potential of vocal music. He was himself a trained
singer and singing teacher and his songs are included in the
repertoires of all Swedish singers, not least Birgit Nilsson and
Anne Sofie von Otter.
In contrast to these often romantic ecstatics, Wilhelm
Stenhammar (1871-1927) seems a sober and business-like
classicist, whose technical skill and safe, aristocratic taste
place him in a category of his own. His six string quartets are
exceptional and his two symphonies and two piano concertos
masterful, as is the almost impressionistically glowing
orchestral serenade. His songs have stature and class. In
addition to composing, he was also one of the most prominent
pianists of his day and a far-seeing conductor who brought to Göteborg
numerous first-performances of European avant-garde
The first modernists
The ever-curious Stenhammar supported his younger colleagues
even when not seeing eye-to-eye with them regarding musicality.
Hilding Rosenberg (1892-1985) was one such innovator; when
European borders reopened after the First World War, he was
quick to absorb all kinds of modernity - to the horror of his
countrymen, especially Peterson-Berger, the critic, who
thunderously decried such madness. In his extremely long career,
Rosenberg was able to witness how the musical breeding ground
radically changed with time. The scandal greeting his first
string quartet had transformed into reverence and national
acclaim by the time he produced his twelfth and last. This
series of quartets has no match in the modern era and is as
strongly established as Stenhammar's. Rosenberg composed in all
the genres of his time and his symphonies, solo concertos and
major oratorios (Holy Night, The Revelation of St. John)
are still regularly performed.
Gösta Nystroem (1890-1966) delighted in the openness of Paris
in the 1920s. He let himself be influenced by French modernism
and composed for the Ballets Suédois that scandalised Paris.
But even this troupe found the Skating Rink ballet,
with Cubist-inspired costumes by Fernand Léger, far too rich.
The sea fascinated Nystroem and his magnum opus is the gripping Sinfonia
del Mare. As well as composing for large orchestras, he
also wrote well-formed and touching songs, here too, often with
For Swedish music in the first half of the 20th
century, each new decade often brought a reorientation in style.
After the modernism of the 20s-generation with its outlook on
the Continent, the next decade brought a reaction in the shape
of a neo-classicist, neo-romanticist, simple folkloric ideal. A
textbook example of this was Lars-Erik Larsson's (1908-86)
immeasurably popular A Swedish Pastorale (especially
the middle movement, Romance) for orchestra and the
choral suite, Förklädd Gud (God in Disguise). Both
these works, completed in the 1930s, were originally for radio,
a medium of wide range and impact. But nothing would be further
from the truth than to label Larsson a lightweight
neo-classicist. His profound scholarship, humility and great
technical skill produced memorable music in all genres, and it
is not to be forgotten that he visited Alban Berg and was the
first in Sweden to compose according to the twelve-tone system.
Larsson's many solo concertos are well worth listening to.
Larsson was also a recognised professor of composition and
several of his pupils had their breakthroughs as moderate
modernists in the 1950s: Jan Carlstedt, Bo Linde, Hans Eklund
and Maurice Karkoff.
Dag Wirén's (1905-86) Serenade for Strings belongs
like Larsson's A Swedish Pastorale among the most often
performed Swedish orchestral works - but should a composer
strike it lucky in this fashion, there is the related risk that
the rest of his or her production will be overshadowed. Such is
the case with Wirén, who rarely had the opportunity to listen
to his own fastidious but enormously skilfully written
symphonies and concertos, often shaped by a personal,
Also a part of this generation was the brilliant composer of
romances, Gunnar de Frumerie (1908-87) and the multi-faceted
Erland von Koch (b. 1910) with his rich and valuable production
of orchestral works, often with folkloric elements but equally
as often with a tight, unequivocal tone language.
A new wave of modernists
Alongside his copious composing, Hilding Rosenberg was also much
in demand as a teacher of composition, nurturing several
generations of composers. The Swedish composers who broke
through in the 1940s had mostly been tutored by Rosenberg and
reflected his modernistic view. At the beginning of that decade,
young innovators would gather in the tiny Stockholm flat of
Karl-Birger Blomdahl (1916-68) to listen to each other's works
and study Paul Hindemith's ideas. The meetings were held on
Monday evenings, leading to the name Monday Group. Among members
were working musicians and music theorists, many of them later
to occupy important positions in Swedish music. They had great
insights and admirable intentions - but also a lack of
understanding of those who, in the 1950s, rediscovered an
interest in a less avant-gardistic view of music creation.
Blomdahl's own music was widely noticed; he introduced jazz
rhythms into his oratorio I speglarnas sal (In the Hall
of Mirrors), and in the world's first space opera, Aniara,
there are early examples of electro-acoustic tones.
Ingvar Lidholm (b. 1921) has shown, in work after work, strong
humanistic passion and each new work has thrown up another new
imaginary world. Not infrequently, Lidholm has upset the
contemporary applecart, as with his festival music for the
Stockholm Philharmonic Orchestra's 50th anniversary in 1963,
when the organisers were perhaps not expecting radical musical
theatre in the shape of the now-classic orchestral work Poesis.
His Kontakion builds on Russian Orthodox choral music,
while Greetings salutes the American Bicentennial in
European mediaeval tones. His choral composition, Laudi,
paved the way for the innovative Swedish choir music connected
with the international success of Eric Ericson and his Chamber
Also numbered among Monday Group members were Sven-Erik Bäck
(1919-94) and Sven-Eric Johanson (1919-97), two multi-faceted
and imaginative composers.
A lone wolf
Alongside all the established groups and styles, there are often
mavericks who refuse to adapt. First among these in Sweden is
the symphonist Allan Pettersson (1911-80) whose early production
in the 1930s of folklore-based songs (Barfotasånger
Barefoot Songs) was ignored because of its simple folksong air,
while his symphonies from the 50s and 60s were deemed difficult
because of their intense and singular tone language. But with
the clever and gripping message of the seventh symphony, his
uncompromising music gained almost patriotic, heroic status,
which simply grew with each succeeding masterpiece. His tragic
ill-health and his racy way of expressing himself boosted his
popularity, but music alone made him the most performed Swedish
symphonist on the world stage.
Sweden - Here is a music link rack. Click on each letter to hear a short