Wilhelm Peterson-Berger

Wilhelm Peterson -Berger ( born February 27, 1867 in Äskja gård, Ullånger; † December 3, 1942 in Östersund ) was a Swedish composer and music critic.

  • 3.1 Orchestral works
  • 3.2 Stage Works
  • 3.3 Vocal Music
  • 3.4 Piano Music
  • 3.5 fonts

Vita

The first musical impressions received Peterson -Berger as a child by his mother, who played as a talented pianist, Beethoven and Chopin. This imprinted to him so deeply, that he in his piano pieces " Fyra Danspoem " processed later. At 18 years, Peterson -Berger 1885 went to Stockholm to there to visit the Conservatory. Here he studied under composition with Joseph Dente, a student of Franz Berwald. A deep impression was made by the performance of Richard Wagner's " Die Meistersinger " in April 1887 in Stockholm. Peterson -Berger employed since his school days with Wagner. Wagner was not only a musician, but a cultural phenomenon for him. Peterson -Berger later translated some of Wagner's writings into Swedish.

At age 21, put Peterson -Berger 1888 his examination at the Conservatory and went to a study visit to Dresden. Two years later he returned to Sweden and taught in Umeå in Västerbotten ( Norrland ) music. A year earlier, he had met during a summer stay, the landscape of Jämtland ( Norrland ), which should be determinative of his life and work. The nature and the landscape of Jämtland were his sources of inspiration of his music (as in the piano pieces " Frösöblomster " and in his opera " Arnljot "). The open-air life and more -week hiking in the northern Swedish landscapes were an important recovery, a retreat from civilization for Peterson -Berger. Peterson -Berger wrote about his hikes in the annals of Svenska Turistföreningen. Direct link with hiking experiences also has the cycle "En Fjällfärd " ( A mountain hike ) for male choir from 1893, which he himself wrote.

For a long time but did not think Peterson -Berger in Umeå: With 25 years (1892 ) was appointed Peterson -Berger as a music teacher to Dresden. But it could not really captivate Dresden. After only two years he returned to Sweden and settled a year later in Stockholm down. Here he began, now 29 years old, one of his most momentous steps: He was music critic of the major Swedish daily Dagens Nyheter. His reviews with the abbreviation P.-B. soon became the most feared in the country. P.-B. created with its relentless demand for truth and simplicity, his rejection of everything artificial and contrived lifelong enemies and was in the Swedish musical life an increasingly isolated figure.

Peterson -Berger, in addition to his criticisms also published many works that are still worth reading, especially his analysis of the " cultural phenomenon " of Richard Wagner. The increasing isolation also found in the outer circumstances of life expressed as Peterson -Berger at age 43 (1910 ) on Frösön, an island in the large lake in Jämtland Östersund, bought a piece of land on which he was four years later in the midst of unspoilt landscape built a house - overlooking the Oviksfjället, one of his favorite mountains. Here he died in 1942, at the age of 75 years.

Musical creativity and style

Arnljot

Musically works Peterson -Berger with leitmotifs. As with the Wagner classification number of the opera is canceled: The text is designed as a chant, punctuated by arioso games (mostly are the passages in which the actors themselves reflect ). Excellent succeeded the moods of nature are in the second act, where it is Peterson -Berger succeeded in making the mystical magic of the forest solitude of the Swedish Norrland musical. Arnljot long been listed on the Stockholm stage as an integral part of the repertoire. Since Peterson - Berger's time are also held open-air games on Frösö every year. In the first few games as well as at its premiere in Stockholm Peterson -Berger himself had directed it.

Piano Pieces

Peterson - Berger's piano pieces are enjoying great popularity until today, when they were meant more as a byproduct also by the composer. This is precisely why Peterson -Berger in these pieces, perhaps most himself and most relaxed most. In the center of piano compositions, the three books " Frösöblomster " and the piano suites. " Sommarsång " ( Song of Summer ) from Frösöblomster II was almost a hit and " INTAG i Sommarhagen " ( entry into Sommarhagen, Peterson - Berger's house on Frösön ) from Frösöblomster III to epitomize Swedish summer music. Even with the piano music includes pieces with moods of nature among the strongest. Are the early works still affected by the late-Romantic tradition and by Edvard Grieg, developed Peterson -Berger over the years an impressionistic style, especially in the third book of the Frösöblomster " Sommarhagen " ( Peterson - Berger's house on Frösön ) and in the cycle " I Somras " ( last summer ) to the breakthrough comes.

Other works

The vocal works of Peterson -Berger is comprehensive: the composer was a diligent reader, and it gave him great pleasure to discover new writers. New friends he was with the poet Erik Axel Karlfeldt, who was also secretary of the Swedish Academy, and thus a member of the committee that awarded the Nobel Prize for Literature. Peterson -Berger took so even on the awarding of the Nobel Prize to the Swiss Carl Spitteler influence, of whose works he was thrilled. Besides Karlfeldt Peterson -Berger poems by Oscar Levertin, Jens Peter Jacobsen, Friedrich Nietzsche, Ricarda Huch, August Strindberg, Werner von Heidenstam, Anders Osterling, Bo Bergman, Gustav Fröding, Heinrich Heine set to music, among other things

Peterson -Berger also created orchestral works in an idiosyncratic, sonically interesting and almost exotic musical language. The breakthrough work was the Symphony No. 2, " Sunnanfärd " ( Sun ride), which portrays the desire of the composer in the classical Greece as a sailing trip to the Mediterranean. The Third Symphony "Same Ätnam " is inspired by the Sami folk music. The Violin Concerto experimented with pentatonic scale.

Works

Orchestral works

  • Symphony No. 1, " Baneret " B Flat Major, 1889-1890
  • Symphony No. 2, " Sunnanfärd ", Es-dur, 1910
  • Symphony No. 3, " Same- Ätnam " F Minor, 1913-1915
  • Symphony No. 4, " Holmia " A Major, 1929
  • Symphony No. 5, " Solitudo ", h- moll, 1932-1933

Stage Works

  • " Ran"
  • " Arnljot " action in three acts for soloists, chorus and orchestra, 1907-1909
  • " Dommedagsprofeterna " ( The Prophet of the Last Judgment )
  • " Adils och Elisiv "

Vocal music

  • Poetry Svensk ( Swedish poetry), poetry by Heidenstam, Levertin, Fröding, Rydberg
  • Ur " Fridolin Lustgård " ( From " Fridolin's Pleasure Garden " ), poems by Erik Axel Karlfeldt
  • Frukttid, poems by Anders Osterling

Piano music

  • " Frösöblomster " (flower Frösö ), Issue 1
  • " Frösöblomster " (flower Frösö ), Issue 2
  • " Frösöblomster " (flower Frösö ), No. 3, " I Sommarhagen " ( In Sommarhagen )
  • " I Somras " ( last summer ), Suite
  • " Anakreontika " Suite

Writings

  • Richard Wagner som kulturföreteelse, 1913
  • P. B. recensioner. Glimtar och skuggor ur musikvärld Stockholm, 1886-1932, 2 vols, 1923
  • Melodins mysterium, 1937
  • Om music. Ett av urval essayer och critic, 1942
  • Minnen [ memories ], ed. Telemark Fredbärj, 1943
  • Från Utsiktstornet, Essayer om musik och annat, edited by Telemark Fredbärj, 1951
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