Stenhammar, Wilhelm

Stenhammar, Wilhelm – »Sången« En Symfonisk Kantat Op. 44 for solo voices, mixed choir, children’s choir and large orchestra

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EDTION WITH ORIGINAL SWEDISH LIBRETTO, Poem by Ture Rangström,

Edition with German libretto available (adapted into singable German poetry) >HERE
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(b. Stockholm, 7 February 1871 – d. Stockholm, 20 November 1927)

(1920-21)
(Dikten av Ture Rangström)

»Sången« (Song). Eine symphonische Kantate Op. 44 (1920-21)
(Dichtung von Ture Rangström)

I Tempo andante, poco rubato, passionato, patetico (p. 1) – Tempo molto sostenuto (p. 26) – Poco a poco avvivando (p. 29) – Animato (p. 30) – Lo stesso tempo, ma tranquillo (p. 33) – Insensibilmente poco avvivando (p. 42) – Sempre più avvivando (p. 43) – Più animato (p. 47) – Patetico e con licenza (p. 57) – Sostenuto (p. 66) – A tempo vivace (p. 67) – Allargando (p. 68
II Mellanspel (Zwischenspiel). Molto adagio, solenne (p. 69) – Allegro ma non tanto (p. 74) –
Sostenuto (p. 88) – Grave (p. 93) – Allegro ma non tanto (p. 95) – Poco a poco rallentando (p. 118) –
Lento (p. 119)

Preface

The work of Wilhelm Stenhammar falls into the period in which Nordic music took its decisive upswing. Less than six years before his birth the two original geniuses of Nordic music, Jean Sibelius (1865-1957) and Carl Nielsen (1865-1931) were born. Among others they were soon followed by the Swedes Stenhammar, Hugo Alfvén, Ture Rangström and Kurt Atterberg, the Finns Leevi Madetoja and Toivo Kuula, then the idiosyncratic Dane Rued Langgaard, the Norwegians Ludvig Irgens Jensen, Fartein Valen and Harald Sæverud, and in Sweden Gösta Nystroem and Hilding Rosenberg as very divergend pioneers of modernism.

Stenhammar was not only the outstanding Swedish composer of his generation, but also a great conductor and pianist. By the age of 25 he had found his own unmistakable style. Apart from orchestral works, songs and piano music, above all it were the six string quartets that established his fame. They are highlights of chamber music in their epoch. After the turn of the century, and starting from his intensive encounter with Jean Sibelius, he became increasingly self-critical. In the last ten years of his life Stenhammar fell into a persistent creative crisis, resigned from the Gothenburg Symphony Orchestra in 1922 after 15 extremely successful years as their chief conductor, and unexpectedly succumbed to a stroke five years later. …

read more / weiterlesen … > HERE