Larsson, Lars-Erik

Larsson, Lars-Erik – Sinfonietta Op. 10 & Little Serenade Op. 12

Sinfonietta in C op. 10 for String Orchestra (1932)

I Allegro p. 1
II Largo – Presto – Largo p. 14
III Allegro p. 29

»Liten Serenad« (Little Serenade) in G op. 12 for String Orchestra (1934)

I Allegro p. 1
II Adagio cantabile p. 7
III Allegro vivace p. 12
IV First movement da capo without repeat p. 1

Preface
Lars-Erik Larsson is usually classified historically with the neo-classical “transitional generation” of Swedish music, along with Dag Wirén, Gunnar de Frumerie and Erland von Koch. This was the generation after Hilding Rosenberg and Gösta Nystroem – the first to break away from the Nationalist Romantic school and to establish Modernism as a counter-movement – but before the Monday Group, originally influenced by Rosenberg and represented by Karl-Birger Blomdahl, Sven-Erik Bäck, Åke Hermanson and Ingvar Lidholm, who dominated the Swedish musical scene since the Fifties. Their dissimilarities, however, to these four customarily associated composers are considerable and their similarities, in view of their common position between Post-Romanticism and Classicism, their loyalty to tonality and respect of form, are only superficial. Larsson, born in the South of Sweden, studied composition with Ernst Ellberg from 1925 and grew up in the Nationalist Romantic tradition, as is evident from his early works, such as his Symphony No. 1 Op. 2 (1927-28). In 1929 he went to Vienna to study under Alban Berg. He returned to Sweden via Leipzig and, under the influence of New Classisicim (Neue Klassizität) which then dominated Germany under its most notable exponent, Paul Hindemith, Larsson’s style underwent radical transformation. …

Read preface / Vorwort > HERE