MomsMobley

from http://pettersson100.de/literatur.html Literatur (Auswahl) Göran Bergendal, 33 svenska komponister, Stockholm 1972, S. 207–213. Rolf Davidson, Om Allan Petterssons sextiotalssymfonier, in: Nutida musik 17 (1973/74), H. 2, S. 30–36. Leif Aare, Allan Pettersson, Stockholm 1978. Paul Rapoport, Allan Pettersson and his Symphony No. 2, in: ders., Opus est. Six Composers from Northern Europe, London 1978, S. 108– 132. Allan Gustaf Pettersson 1911–1980, Berlin 1984. Peter Revers, Allan Pettersson: 7. Sinfonie, in: Melos 46 (1984), H. 3, S. 103–125. Gerhard Schönfelder, Allan Pettersson, 7. Sinfonie, in: Prinzip Wahrheit – Prinzip Schönheit, hrsg. von Gerhard Schönfelder und Hans Åstrand, Stockholm 1984, S. 311–340. Ivanka Stoianova, Die Raum-Symphonik von Allan Pettersson, in: Allan Pettersson Jahrbuch 1986, Wuppertal 1987, S. 17–34. Peter Revers, Gustav Mahler und Allan Pettersson, in: Das Gustav-Mahler-Fest Hamburg 1989, Bericht über den Internationalen Gustav-Mahler-Kongreß, hrsg. von Matthias Vogt, Kassel 1991, S. 363–373. Ola Nordenfors, »Känslans kontrapunkt«. Studier i den svenska romansen 1900–1950, Uppsala 1992 (= Skrifter utgivna av Litteraturvetenskapliga Institutionen 28). Musik von Allan Pettersson. Konzerte 1994/95 und ein Symposion, hrsg. vom Sekretariat für gemeinsame Kulturarbeit in Nordrhein-Westfalen, (Wuppertal 1994). Rolf Davidson, Allan Pettersson, in: Musiken i Sverige, Bd. 4: Konstmusik, folkmusik, populärmusik 1920–1990, hrsg. von L. Jonsson u.a., Stockholm 1994 (= Kungl. Musikaliska Akademiens skriftserie 74/4), S. 463–475. Allan Pettersson (1911–1980). Texte – Materialien – Analysen, hrsg. von Michael Kube, Hamburg 1994. Anna Kwak, A performer's Analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra, D.M.A. Ohio State University (Columbus / Ohio) 1994 (mschr.). etc etc *** Paul Rappaport also a notable Sorabjist & Holmboevine from memory? atypical maybe but

Duh. Rite had been published. Are we saying he could neither read music nor leave Sweden to hear it? And re. the difference between substance (Ligeti) and sound-effect (AP) - give me strength. Like all those reviewers in the Wire who think any example of grungy electronica is Stockhausen. So from Moms in the last few weeks we have had Pettersson yes Boulez no. Hm. uh... reading comprehension? i don't know Leif Aare but the implication is NOT that Pettersson didn't know Stravinsky 'Sacre' but rather that the musical conservatism of Sweden then excluded 'Sacre'-- which seems surprising but I'm not Swedish-- and thus it's instructive example of Pettersson's individualism that he'd pursue that line knowing the cold reception likely awaiting. re: Pettersson v. Ligeti, we await your more informed comparison of the scores? FWIW, Aare literally wrote the book on Pettersson-- https://openlibrary.org/works/OL2574845W/Allan_Pettersson Swedish Wiki sez (caveat lector)-- http://sv.wikipedia.org/wiki/Leif_Aare which doesn't mean Aare's correct, let alone infallible & he likely has a rooting interest but... ... who else would even bother? Sym 12 with chorus, texts fron Neruda, choral director above Anders Eby is revered by an informed coterie for his superb recording of JSB Massa H-moll http://www.amazon.com/gp/product/B00004UUGY

all good choices! "The House I Live In" screenwriter Albert Maltz (having suffered because of another, far less respectable House) came back two plus decades later with "Two Mules For Sister Sara," some pretty good music (to an excellent movie, praise be Don Siegel) there also-- can't forget this either though I can, ah, imagine a different arrangement-- thought occurs now to check a Frank gigography or the like, curious how long he kept "The House I Live In" in the stage act.

Frank, once at least half-mensch, sings Earl, also, father of Perry Screenwriter Albert Maltz will return

Before I clicked the link, I thought to myself, "I hope Paul recommended the 'right' JLH CD." He did, of course - that's the one to have. on Krazy Kat, double lp vinyl has about a side more tracks than the otherwise fine CD. http://www.amazon.com/Boogie-Awhile-John-Lee-Hooker/dp/B00000DUWP the set recorded by Gene Deitch Detroit '49 >>>>> all Bill Evans trio recordings combined, Philly Joe included. http://www.amazon.com/Jack-O-Diamonds-1949-Recordings/dp/B0001Z36EG

an important question & evidence, if more was needed, how generally deleterious Evans' career was that the best-- the correct-- answer hasn't already been offered. Re: Evans, the George Russell sides are best, a few others OK, the rest one, two and three are much better listening to Scriabin, Rachmaninov, Prokofiev, numerous non-Russians, NEVER fucking Jarrett, tho' admittedly Hampton Hawes did rip Keith off on that gospel album for Contemporary I'm forgetting the title of.

Though I always liked him, I've become a huge admirer of Bohuslav Martinu, who did great work in all forms from solo piano to opera. His piano trios, string quartets, piano quartet etc should give great pleasure, elightenment. There's tendency to underrate Martinu because of near baroque fecundity but having heard nearly everything available, there's very little I'd want to do without. The Suprahon label especially is full of wonders, though Hogwood cond. violin concertante series on Hyperion is also excellent, likewise lots of Chandos discs etc. Don't miss Ernst Bloch's quintets either-- much more to suggest, of course...

The BIS series is tremendous, I agree Ligeti, though the CPO and other stray recordings, like the DG Baltimore 7th also valuable. You might get kick out of this excerpt from liner notes of Swedish Caprice recording of Concerto for Strings No. 1 "... the largely self-taught composer uses rhythms and sounds that could belong to Stravinsky's "La Sacre du Printemp (which in 1949 had never been performed in Sweden). Likewise, he anticipates the compact sound sounding clusters that Ligeti and Penderecki were to develop into a stylistic device in the 1960s. But the difference is important. Pettersson uses these dense sound-effects as a rhythmic and dynamic relish, whereas Ligeti fashions them into the substance that bears up his practically static world of sound." -- Leif Aare, 1977

lest we forget... from http://www.tv.com/shows/the-cosby-show/theo-and-the-joint-6811/ THEO AND THE JOINT, season 1, episode 17, airdate 7 February 1985 I'd seen interviews with AB where he recalls this less than pleasantly but I admit, I'd not thought to look it up before. Impossible, of course, it was a "coincidence."

LK, I blew off Pettersson at first myself, generally wanting more harmonic advernture in my modernism but once that need/preference passed... I was initially turned on by the three concertos for string orchestra (1949-1957), then the sonatas for two violins-- and the 2nd vc above (which is Haendel/Blomstedt btw) & the symphonies. i sing this in the shower lately also-- https://www.youtube.com/watch?v=iwCA-vPcQyU certainly-- to use 'pop' repertoire examples-- all Sibelians and most who listen to/enjoy 1960s/70s Shosty would find Pettersson at least interesting.

I am a fan.

Gergiev is not a fraud, perhaps overrecords, nearly always valuable in the Russians (& Mussorgsky, of course, and more Prokofiev than most realize deserve multiple recordings/performances), when I can afford them, I like to get sports massage with his Shostakovich "The Nose" as soundtrack, pound pound pound, stroke stroke stroke... aiiiieeee! Worst you can say about VG is same as other jet setter/stars cf. warhorses though VG illuminates the odd corner also... dig the Toradze/Gerg Prok pcs & Scriabin also.

https://www.youtube.com/watch?v=S1rLbO6RcCg

i credit your deadpan perversity here SW & I say that as someone w/ DOZENS of hours of Knappertsbusch at hand, lotsa Wagner, natch, some Bruckner... but I wouldn't recommend his AB be anyone's first or second or likely even third recording of a given work... what's next, Kabasta & Abdendroth? For $1-3 a pop, Tintner is worthwhile, sometimes better, that reminds me of Celibidache & Asahaina but, speaking of perversity, though Celi has that in spades & sometimes sounds "scrumptious" in so doing, I'd hold off now. best integrale that also fuels love/hate though most never saw it & few will be able to find it today is the mostly Eichorn (with some by Martin Sieghart (whose Schmidt 4 on Chesky is "fucking delectable" according to Virgil Thomson) box with Bruckner Orch Linz on Japanese Camerata. Obv. I mostly prefer individual issues in all the sym but the box economy will out.

Resist both. I'm not anti-Solti but the Bruckner set is largely charmless & in fact, most Bruckner 'integrales' are lacking so fear not, your missing little. Gunter Wand/Kolner Rundfunk is mostly excellent, however, $20 Can-- http://www.amazon.ca/Bruckner-Symphonies-Nos-Classical-Masters/dp/B0042U2HLY Also, more expensive but worth more than Karajan, Barenboim, either Jochum combined is Skrowaczewski-- http://www.amazon.com/Bruckner-11-Symphonies-12-CDs/dp/B00005K36Y Haitink Bruckner is pretty good, skip Furtwangler for now, Tintner cond. Naxos are worth grabbing, etc. re: the Vienna sarcophagus, there are some good recordings in their but for 140 bones & a chintz package (what, it doesn't include a locket with John Culshaw's pubic hairs?!?!), it seems an inefficient use of $$$, space, attention. if someone had NO classical music in their home, there are worse introductions, sure, but for the Serious Listening Artist... pass. You can get the same rep cheaper elsewhere & explore great swaths of repertoire Decca/Vienna was too lame to even consider recording.

Ah, but Moms that sly old foxy grandma never suggested one compare any of those works; she simply posted them because youtube clips were easily available. Comparison with Hindemith is a larger one in terms of eagerness to compose works highlighting disparate intstruments etc. Aho is far more ambitious & prolific a symphonist than Hindemith but if someone wants to draw a big circle around Hindemith's concertos, Villa-Lobos' Choros & Bachianas & symphonies (which I rate high, for the most part, but though I can sing you Bruckner movements from memory, I'm NOT in the slightest hung up on Austro-German/Nielsen/Sibelian 'symphonic development'; a symphony is like a novel, it can be proceed in any way, be shaped like almost anything, even a mandala) etc etc... That's the context Aho is operating in (with Shostakovich, Schnittke, likely Vagn Holmboe and Allen Pettersen also). I was a teenage Hindemithian btw and know his music very very well, including nearly all the largely interesting-to-excellent repertoire that's often ignored, not infrequently derided.

turd obliteration from an unexpected source-- http://www.newyorker.com/culture/richard-brody/coltranes-free-jazz-awesome

Aho does what he wants = familiarity, fluency with all major 20th c. 'modernist' streams, as well as the harmonically & texturally adventurous 'romantic' streams preceding, so he was widest possible pallette to techniques/sounds to work with. Plus, like say Hindemith (but more colorful) and Martinu (but less balletic, folkloric) and Villa-Lobos, he clearly enjoys writing for all manner of instruments, ensembles. Aho is often fun but never patronizing or merely 'clever' like so many neo-minimal/pop referent saps. Larry Kart, I'm surprised you didn't enjoy Symphony #7, not that it's "like" them in formally but for anyone who digs Villa-Lobos, Koechlin, Messiaen...