Sold Date: December 29, 2024
Start Date: March 27, 2024
Final Price: $31.96 (USD)
Seller Feedback: 12709
Buyer Feedback: 0

Yes we combine shipping for multiple purchases. Add multiple items to your cart and the combined shipping total will automatically be calculated.
1957 Dag Wiren Lars Erik Larsson The Disguised God (Lyrical Suite, Op. 24) / Symphony No. 4, Op. 27 Vinyl LP Record VG+
LARSSON Disguised God. Op. 24 (Lyrical Suite) Elisabeth Soderstrom, soprano Erik Saeden, baritone Lars Ekborg, recitation Martin Lidstams Vocal Ensemble Stockholm Radio Orchestra Conducted by Stig Westerberg WIREN Symphony No. 4, Op. 27 Stockholm Radio Orchestra Conducted by Sixten Ehrling Between 1937-1945 Lars-Erik Larsson was connected with the Swedish radio network. During this period the network broadcast
several programs which presented a type of composition no longer in use—the lyrical suite, in which music and poetry alternate. In many cases music already composed was used for these suites, but for special occasions new scores were composed. Larsson composed several works of this type—the Pastoral Suite, The Swedish Country, Intimate Miniatures for String Quartet, and The Disguised God. Most often the music was later separated from the sections of recitation and performed by itself, but The Disguised God won such popularity with the Swedish public that it has held its place in the repertoire, and has been performed hundreds of times throughout the country. In The Disguised God, as in all his music, Larsson strove for simplici- ty—the music is melodious, the expression fresh and lyrical, and the technical demands made on the performers are fairly moderate; Larsson considers the process of composing a sort of distillation, in which the composer sifts out the superfluous, surveys, scrutinizes, approves or discards his work—aiming always at simplicity and clari- RECITATION Not for the strong in the world, not for the zealous in war, but for the coun- tryman with peaceful root, ploughing his furrow unjealous, a god plays on his flute. It is a tale from Hellas . . CHORUS Who breathes an air in season upon his pipe at dawn too high for human reason, born of the heaven-born? Who makes interpretation, knows the flute's hidden word turned earthly elation for plant and herd? Who is it gently lead- ing his flock afield to graze, kindly his creatures feeding with herb and crystal lays? Who walks amid the meadow where sultry summer falls, and sleeps In earth’s shadow on straw with thralls? RECITATION Apollo dwells in a Thessalian stall. There are no laurels round his golden head: sent down from the high gods’ Olympian hall, doomed for a year to earn his daily bread, a shepherd lives in a Thessalian stall. The servants know him not in their attire, far down the board they lay his bowl and spoon. He shares his bed with cattle in the byre. No earthly object does he call his own. A god goes hid in shepherd’s plain attire. BARITONE ANO CHORUS Round watchful autumn embers he ga- thers the shuddering band, and binds up the wounded members with comfort- ing hand A home,in story fits him, in song and poem his birth. Yet plaint- less he acquits him In duty on earth CHORUS Where gods have passed over will blessing be spread. What though the cloak cover his golden head, bare soil blossoms forth in his tread He plays in a hollow new-turned by the plougher, for creatures to follow, for sun and shower, where Death is deprived of his power. RECITATION Nov/ blessed be Thessalla’s lord, within whose courts we toll, When cock-crow summons his abroad, he walks on hal- lowed soil. For he who dwells with hinds in stall, whose common fare he shares, has moon for sister, sun at call, and walks among the stars. SOPRANO AND CHORUS What woodland Is transmuted In ra- diance, as wedding-songs are fluted, and creatures dance? From out what unknown portal took he his way, who is not as a mortal, nor come to stay? Does he remember, banished by mead and shore, a world of music vanished and known no more? Does he recall the singing, the virgin choir, the ecsta- sy outwinging a deathless lyre? RECITATION And gods are walking yet upon this earth. One of them may be sitting by your hearth. Do not suppose a god can ever die. He passes you unmarked by your dull eye. He bears no purple robe no sceptred rod. Only his influence reveals the god The never-broken rule runs in this wise: A god who walks on earth walks in disguise. SOPRANO AND BARITONE Think you at morning hour sheep-flocks would crop the mound, that grass grown earthy bower, if gods could not be found? Think.you the spring would flower binding a wreath around all dead men’s earthy bower, if gods could not be found? CHORUS If a look bid us mingle In quiet Agape —us, dull and coldly single as most men be; if a hand, all unbidden, like true celestial balm on soul-misery rid- den, should touch our palm-, and if a radiance guide us where we tormented trod then unrevealed beside us there walks a god. Dag Wiren (born 1905) belongs to the group of composers who made their start about 1930; at that time many radical musicians considered it their main task to bring music back to simplicity and purity from what they considered the extravagance of late romanticism. They maintained that the ideals of classicism had to be reborn; a somewhat indefinite program perhaps, but, as an artistic aim, fully satisfactory. The importance of this so-called new classicism in the history of modern music cannot as yet be estimated or defined. The composers of the 1930’s became the advocates of the new classicism in Swedish music, and no one has been its spokesman more vigorously than Dag Wiren. Time after time he has professed his belief in “Mozart, Nielsen, and absolute music,” and in his own works he has strictly striven to follow existing laws governing the musical material. A good example of his way of working is the Third Symphony. It develops from nothingness—a tone engenders motion, from this motion a theme is developed, and gradually the theme acquires a definite character; Wiren, basing the creation of his music on such principles, admits without reservation his reliance on the inherent forces of music, in the manner of the classicists. Wiren’s classicism, however, is not—as has sometimes been stated— synonomous with superficial elegance and the “divertimento” spirit. While there are many such ingredients in his most-performed work, the Serenade for String Orchestra, a far more representative charac- teristic is the Nordic austerity, somewhat akin to Sibelius, of his Sinfonietta (1934) and in the Third Symphony mentioned above. The Symphony No. 4, Op. 27, completed in 1952, gives concrete evidence of Wiren’s personal interpretation of the ideals of classicism. The form is that of the classical symphony, and the musical develop- ment is dynamically vivid, clear and well-balanced. Wiren, being a true classicist, uses limited musical material—each theme in the symphony is derived from the introduction of its first section.
Thank you for your business.
Gallimoresgoods