Allan Pettersson: Symphony No. 9

1. Symphony No. 9
Composed by Gustaf Allan Pettersson
Performed by Berlin Radio Symphony Orchestra Conducted by Alun Francis

Allan Pettersson: Symphony No. 9,Gustaf Allan Pettersson,Alun Francis,Berliner Rundfunk-Sinfonie-Orchester,Deutscher-Symphonie-Orchester Berlin,Cpo Records,20th/21st Century Symphony,Classical,Classical Composers,Classical Music,Orchestral & Symphonic,Symphonic

Average customer rating:

Sheridan, , I'd like to see

Pettersson's Failure

A Voice Crying Out

Allan Pettersson: Symphony No. 9

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
Modern & 20th Century | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
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Allan Pettersson: Symphony No. 6

Allan Pettersson: Symphonies Nos. 5 & 16

Allan Pettersson: Symphony No. 12

Allan Pettersson: Symphony No. 8

ASIN: B000001RX8
Release Date: 1994-08-23

Tracks:

Symphony No. 9: Beginning
Symphony No. 9: Two Measures After No. 10
Symphony No. 9: Two Measures After No. 18
Symphony No. 9: One Measures Before No. 31
Symphony No. 9: Two Measures After No. 41
Symphony No. 9: Two Measures After No. 57
Symphony No. 9: Three Measures After No. 78
Symphony No. 9: One Measure After No. 87
Symphony No. 9: Four Measures After No. 122
Symphony No. 9: No. 139
Symphony No. 9: Five Measures After No. 153
Symphony No. 9: Four Measures Before No. 165
Symphony No. 9: No. 179
Symphony No. 9: Four Measures Before No. 181
Symphony No. 9: Four Measures After No. 189
Symphony No. 9: No. 203
Symphony No. 9: Three Measures After No. 208

Customer Reviews:

Sheridan, , I'd like to see.......2006-01-15

You update your review on the 9th. Its been 4 yrs, are you still keeping with this opinion or can you offer new thoughts.
As you can raed in all my reviews and also on Good Music Guide's web site, I keep to the belief that all of Pettersson's syms are part of a larger whole.
I would imagine a faithful Mahler fan says simuliar things about all of Mahler;'s syms. That they all are masterpices, and that if one has issues with any Mahler sym , the fault lies with the listener and has nothing to do with the sym.
Obviously music is for the most part of pure subjective reaction. But this heareing reaction can be distorted by a prejudice within us, or this listening displeasure may be caused by the content of the music clashing with our belief system, with our identity/philosophical beliefs.
IOW a certain 19th century composer clashes with me, almost everthing he wrote I find no interest, even disgust, yet is extremely popular. (composer's initials are LvB)
With Pettersson I find a kindred spirit, music(most of his works) that aligns pefectly with my deepest thoughts and EMOTIONS, ie the soul.
Sheridan would hope to see you follow up on your comments.

Daniel does a much better job than I am able with my limited vocabulary for revciews. I like his comments.
The 9th is a midway sym in the continuing saga of the symphonic journey into Pettersson's 2-11,13-15 masterly cycle.
IOW highly recommended. Performance is excellent as is all the CPO releases in Pettersson.

BTW I did click YES: Sheridan's review was helpful. It does not matter that we feel differently.
Why? Because anything written on this obscure and unknown composer helps me understand the wider public's view of this genius. Sheridan is expressing his reaction, which are personal to him at that time. I would like for Sheridan to relisten to the 9th and edit his comment. But as he does not give an email, I cannot write to him.
Schnittke and Pettersson, 2 bright shinning stars in an age of spiritual darkness.
Paul
paulfbest@cox.net
Baton Rouge

Pettersson's Failure.......2002-04-29

I hate to have to part company from my fellow admirers of this unusual, possibly unique, twentieth century composer, but for me the Ninth just does not cut it as a masterwork. I was "with" Pettersson up until the time I heard this work, but upon listening to it I must say a certain disappointment set in, and fairly quickly. I find it a lot of "sound and fury..."--well, you know the rest of the quote. And the final pages seem to me to be uninspired, as if Pettersson had no convincing way to end the work and tacked on what another reviewer (in Fanfare some years back) termed "a perfunctory Amen cadence." I think the composer just "wimps out" and goes soft at the end; he would never have been able to come up with a truly Mahlerian coda so he resorted to the "Amen"--Amen for what, anyway?
The performance and recording are, of course, another matter; they are top-flight. On the other hand, I'm certainly not surprised no other conductor (not even Segerstam so far) has tackled this unwieldy monster. Admirers of this composer (and I continue to be one of them, though nowhere near as enthusiastic as I may have been a few years back) will no doubt wish to respond to me, but I hold to my conviction that with the Ninth, before he was finished writing it, Pettersson ran out of things to say.

A Voice Crying Out.......2001-12-12

Pettersson's Ninth embodies the drama of a seemingly endless battle fought on many different fronts. Mercifully, this recording has been subdivided into 17 major "turning points" in the score. I would recommend to anyone interested in grappling with this work to start at track 10 and go from there. I say that simply because as this massive work approaches its concluding sections, there are some very beautiful and lyrical segments which may encourage the listener to make a complete exploration of this battle-scarred terrain. In fact there are treasures hidden throughout the work, but you must seek them out.

What I call the "fate motif" first appears in track 11. This motif (two short notes, one long, two short, with the last two emphasized) reappears often throughout the latter portions of the work, forcefully accented by brass or percussion. Finally, in the concluding track, a canto emerges unisono on the strings: a searing, searching theme of great beauty, which leads the listener into a whole new realm. It is as if one had emerged from a battlefield and suddenly coming up over a mountain ridge encountered a beautiful vista in the distance -- inexplicable, mysterious, bearing no resemblance to the bloody battlefield below. The symphony concludes gently in a major key, with an Amen (So Be It) played softly on the winds.

Track Listings:

Track Listings

track listings

Track Listings

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Brouwer: Guitar Concertos 3 and 4

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