Up to now,nothing has hit me with such force as the discovery of Mahler's symphonies. And to think he was unappreciated up until recently. Now the exact thing is happening to me all over. A new star rises on my horizon that somehow trumps even Mahler and Bruckner etc. This endless volcano of haunting magical orgiastic passionate beauty that leaves me transformed at every listening. And, unlike with Mahler, I can listen to A.P over and over. Its hyper expressive triumphant heroic aural images are so stupendous I can only gasp and wonder why practically no one knows of his music.
Thank you, Mr Mengel, for your hearty approbation for Gustav Allan Pettersson. Apart from the huge amount of excellent recordings already available, his entire reportoir is being freshly recorded with Christian Lindberg on BIS records. You may get details of what is happenning by looking at the Allan Pettersson Project on Face Book. So we now have plenty of interpretations to choose from!
Man braucht sehr viel Geduld um dieses Werk bis zum Ende zu hören.Gegenüber seiner früheren Werken feht meines Erachtens die Einfalskraft für wirklich Neues.Es ist eher ein Mosaik aus diesen Sinfonien.Trotzdem ein großes Werk , dass aber aus den genannten Gründen wohl nur Insidern bekannt bleiben wird.Lob für die Arbeit des Orchesters und des Dirigenten.
I love Commission'a 8 and 14, because they are so incredibly melodious and tuneful, the haunting beauty of Pettersson's meoldies gets full justice there. But Sanderling on the other hand stresses the dark and mysterious beginning of 8, and some parts of Arnell's interpretation sound exceptionally astringent and scornful, as if the Fate him/herself mocked some poor and wretched human being. It's impossible to choose the "definite" interpretation yet, we don't have such abundance of Pettersson as
...of Bethoven or Mahler, I doubt it's soon going to change. I am not taking trouble at all, to listen to A.P.. Actually after Pettersson most of the other music sounds to me not intense enough and boring, nothing else gives me more deep and catharctic experience, neither engages more fully my emotions. Even Shostakovich and Mahler don't seem so interesting now. Maybe it's because A.P.is more valid for my living in the post-modern, technologized and overwhelmed with chaotic information society.
I have a slightly different opinion on the optimism in the 13th and 14th symphony. There are moments in 14th (probably heard more clearly in Arnell's interpretation) that are extremely sinister, not unlike the finale of Mahler's 6th. Overall, 13 has for me much more optimistic and liberating overtone than 14. Of course different interpretations are permissible.
Response:- Thank you, Stasiastes, for your comments and feedback. I'm touched that you are taking the trouble to listen to Al's works. Wouldn't he, perhaps, have been delighted that people across the globe could share in this way the fruits of his labor, and discuss their personal feelings about them. I agree that the Arnell no 14 is very excellent. It is very difficult to choose between them. And his ending is particularly cold and bleak.
The black and white sketches come from the web site of philosophical Russian scientist Vadim Zeland. The idea in these sketches is that life is a MAZE of different pathways from which we have to choose.Sometimes, we get trapped in the wrong one, giving us unpleasant circumstances. But, Zeland says, the choice is ours: although we cannot change the life pathway that we are on, we can cross over to a different one. "Life is a space of variations". His contestable theories are contained in 5 books.
Kuang-Li Cheng, I am surprised to read that. I find the 14th clarifies and concentrates Pettersson's symphonic thought in new, unpredictable and unprecedented ways. It brings forth hope and solace out of rage and despair. It may be my favorite of this great master's symphonies.
@@kuang-licheng402 I agree with you. Compared to e.g. 7th and 8th, this sounds rambling; almost as if Pettersson gave in to some kind of automatic writing. Glad others enjoy it. There will always be people who do, and some who find words to justify it.
Up to now,nothing has hit me with such force as the discovery of Mahler's symphonies. And to think he was unappreciated up until recently. Now the exact thing is happening to me all over. A new star rises on my horizon that somehow trumps even Mahler and Bruckner etc. This endless volcano of haunting magical orgiastic passionate beauty that leaves me transformed at every listening. And, unlike with Mahler, I can listen to A.P over and over. Its hyper expressive triumphant heroic aural images are so stupendous I can only gasp and wonder why practically no one knows of his music.
Thank you, Mr Mengel, for your hearty approbation for Gustav Allan Pettersson. Apart from the huge amount of excellent recordings already available, his entire reportoir is being freshly recorded with Christian Lindberg on BIS records. You may get details of what is happenning by looking at the Allan Pettersson Project on Face Book. So we now have plenty of interpretations to choose from!
Pettersson forever.
Blood, sweat and tears. The vitality of his music is unmatched.
Man braucht sehr viel Geduld um dieses Werk bis zum Ende zu hören.Gegenüber seiner früheren Werken feht meines Erachtens die Einfalskraft für wirklich Neues.Es ist eher ein Mosaik aus diesen Sinfonien.Trotzdem ein großes Werk , dass aber aus den genannten Gründen wohl nur Insidern bekannt bleiben wird.Lob für die Arbeit des Orchesters und des Dirigenten.
Thank you, thank you, thank you!
As I listen to this symphony the quote of Niet\sche: "" Öne must häve chaos in one to give birth to a dancing star"" takes on new meaning.
I love Commission'a 8 and 14, because they are so incredibly melodious and tuneful, the haunting beauty of Pettersson's meoldies gets full justice there. But Sanderling on the other hand stresses the dark and mysterious beginning of 8, and some parts of Arnell's interpretation sound exceptionally astringent and scornful, as if the Fate him/herself mocked some poor and wretched human being. It's impossible to choose the "definite" interpretation yet, we don't have such abundance of Pettersson as
Thank you. That marry-go-round is a really apt metaphor for social inequalities.
...of Bethoven or Mahler, I doubt it's soon going to change. I am not taking trouble at all, to listen to A.P.. Actually after Pettersson most of the other music sounds to me not intense enough and boring, nothing else gives me more deep and catharctic experience, neither engages more fully my emotions. Even Shostakovich and Mahler don't seem so interesting now. Maybe it's because A.P.is more valid for my living in the post-modern, technologized and overwhelmed with chaotic information society.
oh, yes, this is what i want to say about Pettersson's works
... chaotic and aggresive information bombarding my senses.
I have a slightly different opinion on the optimism in the 13th and 14th symphony. There are moments in 14th (probably heard more clearly in Arnell's interpretation) that are extremely sinister, not unlike the finale of Mahler's 6th. Overall, 13 has for me much more optimistic and liberating overtone than 14. Of course different interpretations are permissible.
Response:- Thank you, Stasiastes, for your comments and feedback. I'm touched that you are taking the trouble to listen to Al's works. Wouldn't he, perhaps, have been delighted that people across the globe could share in this way the fruits of his labor, and discuss their personal feelings about them. I agree that the Arnell no 14 is very excellent. It is very difficult to choose between them. And his ending is particularly cold and bleak.
The black and white sketches come from the web site of philosophical Russian scientist Vadim Zeland. The idea in these sketches is that life is a MAZE of different pathways from which we have to choose.Sometimes, we get trapped in the wrong one, giving us unpleasant circumstances. But, Zeland says, the choice is ours: although we cannot change the life pathway that we are on, we can cross over to a different one. "Life is a space of variations". His contestable theories are contained in 5 books.
Who is the author of the picture with merry-go-round (around 30:50), and probably of some others?
Sorry, only now I read the last two sentences of your commentary. :) In 22:45 also starts one of those gloomy places.
not his best
Kuang-Li Cheng, I am surprised to read that. I find the 14th clarifies and concentrates Pettersson's symphonic thought in new, unpredictable and unprecedented ways. It brings forth hope and solace out of rage and despair. It may be my favorite of this great master's symphonies.
sorry, maybe i have a tin ear for it. still, i love his others
@@kuang-licheng402 I agree with you. Compared to e.g. 7th and 8th, this sounds rambling; almost as if Pettersson gave in to some kind of automatic writing. Glad others enjoy it. There will always be people who do, and some who find words to justify it.