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Creator performance by TOR MANN - Carl Nielsen’s Prophet in Sweden

Gösta Nystroem (1890-1966)

Sinfonia espressiva
[Symphony no. 2]

1. Lento con espressione
2. Allegro scherzando
3. Adagio
4. Allegro risoluto — Lentando, Grave — Tempo I

• Year of composition: Särö 1935
• Work category: Symphony
• First performed: 18 February 1937, Gothenburg Symphony Orchestra, cond. Tor Mann
• Duration: 30 min

Konsertföreningens orkester/Tor Mann
rec. Royal Academy of Music, Stockholm, 15 February 1944

In Sweden, Nystroem was regarded as a modernist in the 1930s, but in today's view, his music is only moderately modernistic. It is influenced by the French music of the time of his studies, but still has a Nordic, romantic tone, and is most often melancholic or sorrowful. As a person and artist Nystroem was dependent on the sea and preferred to live close to it.[citation needed]

Among Nystroem's most appreciated works are his romances. The most widely known collections are Sånger vid havet (Songs by the sea, with orchestra or piano, 1942), På reveln (At the reef, with piano, 1948) and Själ och landskap: nya sånger vid havet (Soul and landscape: new songs by the sea, with piano, 1950). The poet apparently closest to Nystroem's soul was the Swedish female writer Ebba Lindqvist (1908-1995). They shared a deep relationship with the sea. Five settings to music of Lindqvist's poems are to be found in the romance collections mentioned above.[citation needed]

Nystroem composed six symphonies. Among these, Sinfonia espressiva (1932–37) and Sinfonia del mare (1946–48) are considered to be the best. Sinfonia espressiva grows from a slow first movement scored for strings and timpani. In the second and third movements, groups of wind instruments and percussion are added, and only the finale is scored for full orchestra. The sea symphony, Sinfonia del mare, is written in one continuous movement, picturing different moods inspired by the sea. It is Nystroem's most popular work and might be said to have overshadowed other important works in his output. In the middle of the symphony is a section where a soprano sings a setting of Lindqvist's poem "Det enda" ("The one") about a person who has fled from the sea, "as one flees from the beloved", but who will soon return to "sit by the sea and know it's the one on earth". Nystroem's other symphonies, seldom played, are Sinfonia breve (1929–31), Symphony No. 4 (1952, originally entitled Sinfonia shakespeariana), Sinfonia seria (1962–63), and Sinfonia tramontana (1965).

4x12"  78 rpm record in non matching album

Condition:EXCELLENT needs cleaning, scuffs on 1, plays very quiet w some crackle

Tor Gustaf Theodore Mann, born 25 February 1894 in Stockholm , died 29 March 1974 in Stockholm, was a Swedish conductor .

FACTS ABOUT TOR MANN Born February 25 1894, died March 29 1974. Studies at the Royal College of Music in Stockholm 1910-19 (violoncello with Anton Andersén and Carl Lindhe, counterpoint & composition with Ernst Ellberg, playing in ensemble & conducting with Conrad Nordqvist, Georg Schnéevoigt and Olallo Morales). Orchestral practice as a cello player in Royal Stockholm Philharmonic Orchestra (former Orchestra of the Concert Association in Stockholm) 1915-19, and also in the Royal Orchestra 1917-18. Debut as a conductor in Stockholm (February 9, 1919), Berlin (September 22, 1921), Vienna (December 5, 1921), Prague (December 12, 1921), Dresden (February 24, 1922), Gothenburg (April 5, 1922), Malmö (February 24, 1924), Bergen (January 5, 1928), Helsinki (April 10, 1930), Oslo (February 12, 1934). Appointed as a second conductor of Gothenburg Symphony Orchestra (October 18, 1922), later first conductor (October 1, 1925) until April 30, 1939. Conductor of Malmö Symphony Orchestra 1924/25 and Gothenburg Chamber Orchestra 1930-37. Arranged the Nordic Music Days in Gothenburg 1937-39 and Stockholm 1941- 42. Teacher of conducting at the Royal College of Music 1939-61, professor in 1945. Teacher of conducting at the Music High School of Ingesund from 1961. In his lifetime Tor Mann gave more than three thousand concerts. His working capacity was tremendous, but in those days the music profession expected rapid results with minimum preparation. Back then, a broadcast concert used to have only half of the rehearsal time allotted nowadays. Mann was a scrupulous score reader and a sensitive listener, but pressure of time forced him to take short cuts through creating a good working climate at the beginning. His funny stories and jokes might have made a wrong impression as if he lacked depth and sincerity, which he definitely did not. To the contrary, he was an artist of rare integrity and perfection. He knew many composers personally, for instance Jean Sibelius, Carl Nielsen, Wilhelm Stenhammar and Ture Rangström, and he studied their conducting. He read their works but also works of other composers with such a degree of analytical perception, that he became famous for spotting their slips of the pen. He also conducted his own, corrected versions of the symphonies by Beethoven, Schubert and Brahms. As art director in Gothenburg and, later on, as a director of the broadcasted concerts, he became a determined educator of the public, widening its frame of references. Without him, it is doubtful if Franz Berwald or Wilhelm Stenhammar ever would have been Swedish classics, and if Jean Sibelius or Carl Nielsen at all would have gained such a general acceptance in Sweden. Booklet DACOCD 627-30 14/06/05, 15:45 11 12 Few of his colleagues — if anyone — could come up to Tor Mann’s capacity concerning Nielsen’s music, whose First Symphony he performed four times (1919-58), Second five times (1938-53), Third six times (1938-53), Fourth eighteen times (!! 1924-60), Fifth five times (1940-59) and Sixth six times (1934-54). Altogether this comes to forty-four performances including one cycle of all the symphonies for the Swedish radio in 1953/54.

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