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Swedish Music


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Author Topic: Swedish Music  (Read 3417 times)
jowcol
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« on: September 06, 2012, 01:18:26 am »

Music of Erland Von Koch
REPOST FROM UC-- CHECK THE UC DOWNLOADS FOLDER

None commercially released.

From the collection of Karl Miller


Double Concerto for Violin, Piano and Orchestra (Radio Broadcast, date unknown)
David Bartov, Violin, Inger Witstrom, Piano
Swedish RSO, Göron Alteas, Cond.

Symphony 4 “Sinfonia Seria”

Swedish RSO, Stig Westerberg (Radio Broadcast)

Symphony 5 “Lapponica”

Swedish RSO, Stig Westerberg (Radio Broadcast)

MP3, 192 kps


I’ve posted these in the downloads  from UC Folder.  For those of you (like me) that didn’t know much about him, I’ll provide some added content


From Wikipedia:

Born in Stockholm as the son of composer Sigurd von Koch (1879–1919), Erland von Koch studied at the Stockholm Conservatory from 1931 to 1935 and subsequently passed the advanced choirmaster and organist examinations. Between 1936 and 1938, he lived in Germany and France in order to pursue studies in composition with Paul Höffer, conducting with Clemens Krauss, and piano with Claudio Arrau. Later, he took private classes with Tor Mann in Sweden.[1]
Teaching at the Karl Wohlfarts Musikschule from 1939 to 1945, von Koch also spent the final two years of this period working as a sound expert and choirmaster for radio broadcasting. He composed much music for the Swedish film industry during a good forty years. From 1953 to 1975, he was lecturer in harmony at the Stockholm Conservatory,[2] where he was appointed a professor in 1968.[1]

von Koch became a member of the Royal Swedish Academy of Music in 1957. He has received numerous other honors and prizes at both national and international levels for his compositions. He has written six symphonies (of which the fifth, Lapponica, is dedicated to the Sami people),[3] twelve Scandinavian Dances, one opera (Pelle Svanslös), and five ballets, as well as music for wind orchestra.
Even in his nineties he composed/studied every day. His works can be described as uncomplicated and his motto was always to "keep the melody".[1]


At the website of the Swedish Society for Performing rights  there was supposed to be an interview.  The link is broken, but someone from the GMG forum posted it’s contents below.   



His father was composer Sigurd von Koch (1879-1919), and as a boy Erland would lie beneath the grand piano and hear Wilhelm Stenhammar and Ture Rangström play, among others. Since that time he has met many of the big names in 20th century music, including Rachmaninov, Bartók, Stravinsky, Hindemith and Alfvén.

 
Studies abroad
Although he grew up in musically rich surroundings, music was never the obvious option for Erland von Koch. It was not until his teenage years that he began playing piano and soon became interested in jazz. Together with some friends he formed the first jazz band - 'Electric Band' - at Östra Real secondary school in Stockholm, and he led the 'Diddle Kiddies' and 'Optimistic Stompers', always in dark glasses in case a teacher happened by.

 
At the end of the 1920s he won two composition contests organised by the Edda upper secondary association. His interest in music grew, and he gradually began considering a future as a composer.


Studies at the Royal Swedish Academy of Music followed, resulting in a degree in music majoring as a cantor and organist. This was followed by composition, conducting and piano studies in Berlin. The plan was to study under Hindemith, who unfortunately fell into disfavour with the Nazis and was forced to hand Erland von Koch over to his friend and colleague, Paul Höffer. He chose Claudio Arrau as his piano teacher and for conducting he studied under Clemens Krauss.


I ask him what he considers his biggest success as a composer.

"I would say my 'Liten svit för kammarorkester' (Small Suite for Chamber Orchestra), op. 1, which I debuted with - both as composer and conductor - at the Academy in 1934."


The 1930s Generation and the Monday Group
When Erland von Koch returned to Sweden in the late 1930s he was voted into the Association of Swedish Composers, FST, and he made his definitive breakthrough with 'Piano Concerto No. 1' which premiered in 1938 with the Stockholm Concert Association and pianist Herman Hoppe.

 Erland von Koch, Lars-Erik Larsson, Dag Wirén, Hilding Hallnäs and Gunnar de Frumerie all debuted in the 1930s after studying in France and Germany. They all had similar aesthetic values, and came to be known as 'Trettiotalisterna', literally 'the Generation of the 1930s'. Their music is relatively accessible and they were more influenced by Bartók, Hindemith and Honegger than by Schönberg and twelve-tone music.


The younger, radical generation which eventually made up the so-called 'Monday Group' came into opposition with the 'Trettiotalisterna', whom they considered far too traditionalistic. The Monday Group and its advocates had a strong influence on the Swedish music scene for a long time, partly because they held most of the important administrative positions. The 'Trettiotalisterna' felt left out in many respects, but the audiences appreciated their music.


Folk music and the Sami

During the 1940s, Erland von Koch became interested in Swedish folk music. Over the next decade this led to a series of works with some degree of folk musical influence, such as 'The Oxberg Variations' (1956), 'Lapland Metamorphoses' (1957) and 'Dance Rhapsody' (1957). As recently as 1990 he wrote 'Bilder från Lappland' (Images of Lapland), six choral songs based on Sami 'yoik' chants.


Personally, Erland von Koch thinks that he has been too readily and arbitrarily associated with folk music. After all, folklore is one of many elements in his style, and it is now almost fifty years since he moved on to concentrate on other styles.

This is how he describes his journey between the styles: "A tendency towards neo-classicism during the 1930s, a 'romantic' period around the mid-40s, orientation towards a more modern expression in the 1960s, and since then greater freedom encompassing all the trends and isms."

Even so, his interest in folk music and Sami chants strengthened his involvement in the Sami cause and environmental issues, which was expressed most powerfully in his symphony No. 5, 'Lapponica'. It was dedicated to the Sami people and is a kind of protest music against the way this indigenous people has been treated.

The melody is key
Erland von Koch's portfolio encompasses a large number of works in varying styles and forms. It includes 6 symphonies, 15 solo concerts, 12 'Scandinavian dances', the 'Impulsi' and 'Oxberg' trilogies for orchestra, the children's opera 'Pelle Svanlös' (Pelle - the Cat with the Very Short Tail), 5 ballets, an extensive repertoire of songs and even a few hymns.


"That's right, there's plenty on my conscience," he jokes.


He has also composed several solo works, some of the better known being those entitled '18 Monologues' - a series of skilfully executed studies of the orchestral instruments' capacity and expressive scope.

In addition - often simply to make a living, as he puts it - he has written the music for around 30 films, including half a dozen by Ingmar Bergman.

Animated rhythmic aspects - perhaps influenced by his time as a jazz pianist and by Bartók - are characteristic of Erland von Koch's music, as is the prominent role he assigns the melody. "The way I see it, the melody is the key element, the very life and soul of the music, and I have always endeavoured to cultivate its many expressive qualities," he explains.

Distinctions
Alongside his composing, Erland von Koch also worked as a harmony teacher at the Royal College of Music in Stockholm between 1953 and 1975. During the 1940s he was employed at Radiotjänst as conductor and harmony expert, and was also chairman of the Fylkingen New Music & Intermediate Art Society. He became a member of the Royal Swedish Academy of Music in 1957 and a professor in 1968.


Over the years he has been awarded a large number of prizes and distinctions: the Christ Johnson Prize in 1958, Vasaorden (RVO) in 1967, Litteris et artibus in 1979, the Atterberg prize in 1979 and the Alfvén prize in 1981. He was awarded the Royal Swedish Academy of Music medal for musical promotion in 2000.


Erland von Koch likes to quote Sibelius: "Don't think that the years make it any easier to compose music - it just gets harder and harder." At the same time, though, he says he is an incurable optimist:

"Above all I think that music can help us see - and even trust - the powers of good in life."


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« Reply #1 on: November 25, 2012, 10:01:22 pm »

Quote
Sten Broman (1902-1983) -  Symfoni Nº 7 par nastro electronico ed orchestra  (1972)...

I'm still not shure I should have posted this symphony. It is certainly not meant for most of us members here.

I, for one, thank you for posting this work. I've had a tape of the work for 30+ years and have never had difficulty with the work. Personally, I don't feel it's wrong to post music here that pushes the boundaries a bit. If someone doesn't like it, they're certainly not compelled to listen to it.
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kyjo
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« Reply #2 on: December 31, 2012, 03:55:01 pm »

Thanks, Colin, for the von Koch Piano Concerto no. 2 Smiley

I have liked what little I have heard of von Koch's arch-conservative, folksy music and have wanted to hear more from one of the most under-recorded Swedish composers Smiley
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Toby Esterhase
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« Reply #3 on: January 10, 2013, 11:37:35 pm »

Dear Dundonnel
In the first  Skold's link mediafire there is a trojan please check.
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Dundonnell
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« Reply #4 on: January 11, 2013, 12:38:56 am »

Assuming that you mean the first movement of the Skold Symphony No.3, I ran two separate anti-virus checks on the file and received no reports of any problem.

I have however deleted the link, re-uploaded the movement and provided an entirely new link. I have also checked the new upload without any report of a problem.

Please let me know if you are still having problems.
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gabriel
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« Reply #5 on: January 12, 2013, 11:58:19 pm »

Thank you very much, Colin, for the symphonies of Skold. Do you know the orchestra(s) and conductor(s)?
Thanks again!!
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Dundonnell
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« Reply #6 on: January 13, 2013, 01:29:11 am »

Symphony No.3(1948):

      Royal Stockholm Philharmonic Orchestra(Cecilia Rydinger Alin)

Symphony No.4(1966):

      Royal Stockholm Philharmonic Orchestra(Heinz Freudenthal)

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JimL
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« Reply #7 on: January 15, 2013, 02:54:50 pm »

I've run into a bit of a quandary.  If I may refer back to the UC archive, I downloaded Erland von Koch's Musica malinconica for strings a while back.  There were four movements in the file, untitled.  In my efforts to discover the movement tempi/titles, I have come to find that the work is in only three movements (Andante tranquillo, Presto agitato, Andante sostenuto) and that the initial 9:23 minute-long slow piece at the beginning of the file is actually a completely independent work!  I have had the first page of each movement scanned and sent to me from the USC library, so there can be no mistake.  I believe jowcol uploaded that file to mediafire.  Jowcol, what is that mystery work?
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JimL
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« Reply #8 on: January 17, 2013, 03:40:24 pm »

If anyone has downloaded the von Koch Musica malinconica from the UC Forum, I have an alert.  The first movement is NOT the first movement!  The 9:23 long work at the beginning of the download is the Canzona for String Orchestra by the conductor of the orchestra in the performance (Öreboro Chamber Orchestra), Lennart Hedwall.  The next 3 movements constitute the entirety of the von Koch work.  Perhaps Karl Miller should be notified of this, since it was from his collection.
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« Reply #9 on: January 17, 2013, 03:48:11 pm »

JimL is absolutely right. I didn't download it from UC because I had it already from the radio. Now I gave it a good look and it appears that the Malinconia has three parts and after a UC download the second part sounded as my first.
Now I'm happy with my new download, because of a better sound quality

Thanks for the info

Elroel
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jowcol
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« Reply #10 on: January 18, 2013, 02:41:58 pm »

JimL--
Thanks for the research.  I'll see about a re-tagging of the files, and re-upload from the UC source-- however, if someone has the spare time, you have my permission (and profound thanks) if you could handle this and repost with the information.  And, as a standing offer, I would be delighted to update any movement informaiton or other details/errata you uncover for any posts I have on this site. 

wjp

I
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Elroel
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« Reply #11 on: January 18, 2013, 04:00:46 pm »

I will

Elroel
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JimL
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« Reply #12 on: January 18, 2013, 04:03:43 pm »

Two works for the price of one!  Grin  And another underrepresented Swedish composer (Hedwall)!
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kyjo
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« Reply #13 on: January 24, 2013, 08:12:13 pm »

Manu thanks, Roberto, for the Espana Overture by Ollalo Morales, brief though it may be! He has been a composer I have been intrigued by since purchasing an enjoyable disc of his solo piano music on the Almaviva label:



He also composed a symphony which I'd love to hear!
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JimL
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« Reply #14 on: January 30, 2013, 01:28:12 am »

In case anybody only has this download of the Atterberg PC, the movements are:

1. Pesante allegro
2. Andante
3. Furioso
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