It’s worth mentioning that the fragment towards Symphony No. 17 was used in Peter Ruzicka’s …das Gesegnete, das Verfluchte…, so even the CPO cycle has them in a sense.
After a Norrköping performance of the Viola Concerto, I sat on the train back to Stockholm next to one of the orchestral musicians. Until we chatted, she was completely unaware that the concerto was an unfinished work. I had never thought before that even if conductors carefully study a score, those insights aren’t necessarily shared with the performers.
Bob Berry
9 months ago
Many thanks for this quite outstanding, extended piece of music criticism. I am a convert to Pettersson!
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It’s worth mentioning that the fragment towards Symphony No. 17 was used in Peter Ruzicka’s …das Gesegnete, das Verfluchte…, so even the CPO cycle has them in a sense.
After a Norrköping performance of the Viola Concerto, I sat on the train back to Stockholm next to one of the orchestral musicians. Until we chatted, she was completely unaware that the concerto was an unfinished work. I had never thought before that even if conductors carefully study a score, those insights aren’t necessarily shared with the performers.
Many thanks for this quite outstanding, extended piece of music criticism. I am a convert to Pettersson!
Thanks for your comment, Bob – i’m delighted that you’re a convert!