Experimentation in a radical, theatrical style has
characterized much contemporary Swedish organ composition over the last twenty years, and Swedish organ composers have been prominent in the movement toward
secularization of the organ.
Marilou Kratzenstein writes:
One should remember that Swedish churches no longer play
much of a role in the spiritual life of the people, but rather concentrate on
being a cultural force. Organ concerts are encouraged in the churches, which
are viewed primarily as concert halls.
Major organ composers generally write little music for use in the church
service, but focus on concert works devoid of religious significance.1
A number of modern Swedish composers have found the organ's
array of tonal colors and wide dynamic range particularly useful for the
expression of musical thought in a modern idiom. As a result of the Orgelbewegung (Organ Reform Movement), the resurgence of interest in instruments with mechanical action has offered the possibility for greater expressive control and a greater range of performance techniques than were previously available on instruments with some form of remote action.
Swedish composer and organ virtuoso Hans-Ola Ericsson wrote
recently of modern composition:
The tendency is the same everywhere, in Sweden, too: it
seems that the 1980s mark the beginning of a new musical era. The composers are
striving for objectivity, diversity, and structural density or airiness. A new
æsthetic is growing up, far from the experimenting expressionism of the
1970s.2
If young Swedish composers now find themselves to be
innovators, they have come to the forefront of avant-garde composition as a
result of influential forebears, including Bengt Hambræus, one of the
first organists to introduce avant-garde techniques. Douglas Reed writes:
Following Hambræus' lead, a school of Swedish
contemporary organ music sprang up; it includes Arne Mellnäs (b. 1933: Fixations, 1967), Jan W. Morthenson (b. 1940: New Organ Music, 1961-73), and Bo Nilsson (b. 1937: Stenogramm, 1959).3
These Swedish composers and their contemporaries studied or
collaborated with György Ligeti, who began regular visits to the Stockholm
Academy of Music in 1961 to teach composition as a visiting professor.4 Under
Ligeti's tutelage, they pioneered new techniques in their organ compositions,
including virtuoso clusters, stop-knob manipulation, and switching the blower
on and off to produce a gradual sound decay. They have taken advantage of the
increased availability of tracker actions and have experimented with bending
pitch by playing or releasing the keys very slowly, sometimes assisted by
rubber mats placed under the keys. The works are clearly unintended for
liturgical use:
The new organ music of Ligeti and the Swedes is firmly
secular, having few if any religious connotations. It continues, perhaps
completes, the process of secularization started by Franck and Liszt in the
nineteenth century.5
Hambræus wrote recently about his intense
collaboration with Ligeti in the early 1960s:
When [Mauricio] Kagel, Ligeti, and I got a commission each
for an organ work to be performed in Radio Bremen in 1962, we decided between
us to apply different notations to achieve similar results; Ligeti selected the
"graphical" method, partly developed from what he had learnt from my Constellations (Ligeti worked in Stockholm at that time, and we knew each other very well!). His Volumina looks different than my Interferences, or Kagel's Improvisation Ajoutee.6
This article surveys four selected secular organ works by
modern Swedish composers and compiles relevant performance information in an
attempt to make the compositions more comprehensible and accessible to
recitalists, teachers, and students.
Befria mig ur friheten! All denna frihet! by Sven-David Sandström
Background
Sven-David Sandström, born in Borensberg, Sweden in
1942, studied composition with Ingvar Lidholm at the State College of Music in
Stockholm, where he was Lidholm's teaching assistant until 1974. Sandström
also studied composition with György Ligeti and Per Nørgård,
and has worked since 1974 as a composer. Since 1981 he has taught composition
and improvisation at the State College of Music in Stockholm, where he was
appointed professor of composition in 1986.7 He has also been an administrator
in the Society of Swedish Composers since 1979, and was chairman of the Swedish
section of the International Society for Contemporary Music (ISCM) in 1983. He
received the Christ Johnson Prize in 1974 and the Nordic Council Prize in
1984.8
Sandström's works are primarily for orchestra or
chamber ensemble, although he has also composed solo instrumental and choral
works, including several operas. His music often involves serial and
post-serial techniques, microtones, and aleatoric procedures.9
The work selected for this article, Befria mig ur
friheten! All denna frihet! (Liberate me
from freedom! All this freedom!), is the second movement of a three-movement,
large-scale organ work, Libera me.10 Befria mig can be performed successfully as an independent work, however. The title comes from the Tobias Berggren text, "replete with sadistic obscenities and pornographic proclamations," to Sandström's Requiem: De ur alla minnen fallna (Mute the Bereaved Memories Speak), which Sandström composed at the same time as Libera me.11 The Requiem is "a graphic and expressionistic tonal painting, an indictment of the Nazi murders of children during the Second World War."12 Besides Libera me, Sandström has composed two other solo organ works: The Way (1973) and Openings (1975).13
Befria mig was
composed in January 1981 and dedicated to organist Hans-Ola Ericsson; the
premiere took place in Zurich at Grossmünster on December 25, 1981.14 The
score, published in 1984, is a legible photocopy of the original manuscript.
Structure
In Biographies of Modern Swedish Composers
style='font-style:normal'>, Hans-Gunnar Peterson writes about the philosophy
and design of Sandström's compositions:
Desperation--security: these opposite relationships dominate
his thoughts on composition and make his works unusually existentially
orientated [sic]. The fact that music has the power to bring about great mental
changes or to create inner peace interests Sandström. Formally, his music
is concentrated, often with complicated schemes as bases of his works.15
Although Befria mig
has highly concentrated notation, the piece has a simple scheme as its basis: an
extended crescendo. Little by little, the texture thickens, the dynamic
increases, the tempo broadens, the range widens, and the key modulates from G
minor to C minor. Ericsson describes the evolution in brochure notes to the
recording:
The course of events is simple: a slow, almost unendurable
culmination, which alternates the whole time between major and minor, and which
does not reach its goal until the ecstatic C-minor chord of the final bar. The
movement--in 10 parts [voices]--is unbelievably complex in its inner
structure.16
The dense texture restricts the melodic movement of
individual voices, so chromatic or stepwise movement predominates. The
intricate writing suggests choral polyphony, and the stylistic influence is
unquestionably Ligeti.
Befria mig, composed
in 4/4 meter solely as a structural convenience, has five continuous sections,
or stages, that are delineated by tempo changes. Although the texture varies
within each section, it is usually ten voices. The incremental changes in
texture, dynamic, and range take place gradually from beginning to end, but the
tempo changes occur in terraces--not as a gradual ritardando. Table 1 is a
structural outline of the piece.
Registration
The manual changes and couplers in the Libera me
style='font-style:normal'> score are marked for a four-manual instrument;
indeed, a performer playing the entire work does need a large instrument for
the intended effect. As a single movement, however, Befria mig can be performed on any instrument with sufficient dynamic range and enough stops for the gradual crescendo, since the piece is played entirely on one manual, the Hauptwerk.
The manual compass of the piece is F-sharp to g''' and the
pedal compass is C to a-flat'. The pitch a-flat' is unlikely to exist on any
pedal clavier, and probably results from Sandström--who is not an
organist--forgetting the pedal range of the instrument. Fortunately, it occurs
only once (m. 55, in eleven-voice ffff texture), and can be omitted
inconsequentially. In addition, the pedal pitch g', which also occurs only in
m. 55, might also have to be omitted to accommodate a 30-key pedal clavier. An
alternate solution is to have a console assistant play one or both notes on the
Hauptwerk.
The long crescendo, a six-minute, fifty-seven measure
crescendo from ppp to fffff, is created mainly by incremental stop additions,
which can be made by a console assistant, by an adjustable combination action,
or by using the crescendo pedal. The stop additions occur nine times, and are
marked "reg. cresc." (register crescendo) in the score.17 Two
"reg. cresc." markings also coincide with tempo changes (mm. 24 and
48) for heightened dramatic effect. If a crescendo pedal is used for the stop
additions, additional stops and couplers can still be added by thumb pistons or
a console assistant. The score does not indicate expression pedal usage,
although it is effective to open available expression pedals gradually
throughout the piece.
Sandström marks dynamics in the score, as illustrated
in Table 1, but individual stops or timbres are unspecified. Therefore,
registration for the piece, within the dynamic bounds indicated, is left to the
discretion of the performer. Pedal coupler additions are marked at four points
in the score:
Measure style='mso-tab-count:1'> Coupler
24 style='mso-tab-count:1'> Sw./Ped.
36 style='mso-tab-count:1'> Bw./Ped.
48 style='mso-tab-count:1'> Rp./Ped.
57 style='mso-tab-count:1'> Hw./Ped.
These coupler additions signal a louder pedal, whether
accomplished by the specific couplers (if available) or by the addition of
pedal stops.
The registration in the score has all secondary manuals
coupled to the Hauptwerk from the beginning of the piece, so that stop
additions from any division affect timbre and dynamic immediately. This
arrangement works well on a large, orchestrally conceived instrument, but might
be disadvantageous on a smaller instrument. On a two-manual instrument, for example, it might be better to begin the piece on the Hauptwerk alone, and then to couple the other manual to the Hauptwerk later, as part of the crescendo.
Another possibility is to begin the piece on a secondary manual and move to the
Hauptwerk later. Three rests in mm. 14, 27, and 43, respectively, provide
opportunities for the hands to change manuals. The last practicable opportunity
to move to the Hauptwerk is at m. 48, beat 4, where both hands must shift down
almost an octave; the hands can easily change manuals in the process. Whether
or not a console assistant is necessary for stop additions, an assistant must
play three chords in mm. 56-57.
Interpretation
Relentless tension characterizes Sandström's works, as
described in Musical Life in Sweden:
"In the case of Sven-David Sandström, it would be no exaggeration to
speak of an incessant struggle between constructive and destructive powers,
with constant reminders of the existence of other worlds."18
The Befria mig score
gives no performance directions or interpretive suggestions, perhaps because
the challenge of the piece is largely technical, not interpretive. It is a
major technical obstacle to play four contrapuntal voices per hand--and two to
four pedal voices--for nearly six minutes, while creating an aural effect of
continuously weaving lines. Despite the dense textures that tend to lock the
wrists in position, it is necessary to keep the wrists flexible and relaxed.
Light articulation will help to combat a tendency to become mired in a
continuous, overlapping legato. Moreover, a live acoustic is a virtual
necessity.
The steadily increasing tension inherent in the piece
exacerbates the tendency toward tension in the wrists. Frequent finger
substitution is neither advisable nor practical in this texture. The pedal
texture is from two to four voices; pedal articulation is legato, whenever
possible.
Complex rhythmic units include supertriplets and
superquintuplets, played in various cross-rhythms between the manual and pedal
voices. To keep the tempo steady, the performer must maintain a strong internal
beat. As noted in Table 1, subito decreases in tempo occur four times in the
work. A metronome is helpful in learning to judge the relative tempos.
Curiously, the word "Affettuoso" is placed over m.
39, although it is unclear how a tender mood can be produced in ten-voice
texture at ff dynamic. The piece ends in m. 57 with "General tutti sempre
al fine." A sforzando mechanism, if available, can be engaged on the long
C-minor chord that ends the work. A sixteen-note cluster (m. 57, beat 4)
effectively serves to disintegrate the C-minor chord (and symbolically,
perhaps, to liberate the listener from tonality), but the cluster is omitted in
the only commercial recording of the piece that was found, a compact disc
recording by Ericsson at Katarina Church in Stockholm on February 24, 1986.19
Performance time for Befria mig
style='font-style:normal'> is seven minutes and thirty-two seconds on the
recording, but Ericsson's performance tempo is quite broad in comparison with
the performance time of five minutes and forty-five seconds listed by
Sandström in the score. Sandström's time agrees exactly with the
tempos marked in the score, but a broader tempo might be appropriate in a live
acoustical setting. Performance time for all three movements of the
fifty-three-page Libera me is
twenty-three minutes.
Champs by Bengt Hambræus
Background
Born in Stockholm in 1928, Bengt Hambræus first
studied organ performance with Alf Linder and later with Swedish musicologist Carl-Allan Mo-berg at Uppsala University. Hambræus completed his dissertation in medieval studies at Uppsala, and then taught there from 1947 to 1956. After joining the music department of Swedish Radio in 1957, he became director of the chamber music section in 1965 and its production manager in 1968.
Some of Hambræus's early compositions paralleling the
work of György Ligeti first earned major recognition in the 1960s. Known
as a musicologist specializing in medieval and baroque studies, Hambræus
has composed for stage, orchestra, chorus, solo voice, various ensembles, and
organ, and was the first Swedish composer to work in the field of electronic
music. As a result of work at electronic studios in Cologne and Milan, he has
also produced a number of works on magnetic tape. He has been a member of the
Royal Swedish Academy of Music since 1968. In 1972 he left Sweden to become a
professor of composition at McGill University in Montreal, where he has
remained to the present.20
Hambræus's organ works are Toccata och Fuga
style='font-style:normal'> for organ solo (1946), Chorale Partita: In
Dich hab' ich gehoffet, Herr for organ solo
(1946-48), Fantasia for organ
solo (1947), Chorale Partita: Puer natus in Bethlehem
style='font-style:normal'> for organ solo (1947), Concerto for organ
and harpsichord (1947-51), Concerto for Organ and String Orchestra (1948), Koralförspel
style='font-style:normal'> for organ solo (1948), Orgeltrio
style='font-style:normal'> for organ solo (1948), Toccata pro tempore
pentecostes for organ solo (1948), Introitus et Triptychon for organ solo (1949-50), Musik för Orgel for organ solo (1950), Liturgia
style='font-style:normal'> for organ solo (1951-52), Permutations and
Hymn: Nocte surgentes for organ solo (1953),
Psalmus CXXI for soprano and organ (1953), Psalmus
CXXII for soprano and organ (1953), Konstellationer
I for organ solo (1958), Konstellationer
II for organ and tape (1959), Konstellationer
III for organ and tape (1961), Interferenser
style='font-style:normal'> for organ solo (1961-62), Tre Pezzi
style='font-style:normal'> for organ solo (1966-67), Nebulosa
style='font-style:normal'> for organ solo (1969), Toccata: Monumentum
per Max Reger for organ solo (1973), Ricercare
style='font-style:normal'> for organ solo (1974), Continuo a partire
de Pachelbel for organ and orchestra
(1974-75), Icons for organ solo
(1974-75), Extempore for organ
solo (1975), Advent: Veni redemptor gentium
style='font-style:normal'> for organ, brass, and percussion (1975), Antiphonie
style='font-style:normal'> for organ solo (1977), Konstellationer IV
style='font-style:normal'> for organ and percussion (1978), Livre
d'orgue for organ solo (1980-81), Voluntary
on a Swedish Hymn Tune from Dalecarlia for
organ solo (1981), Sheng for oboe
and organ (1983), Variations sur un thème de Gilles Vigneault
style='font-style:normal'> for organ solo (1984), La Passacaille
errante-autour Haendel for organ solo
(1985), Pedalexercitium for organ
solo (1985), Canvas with Mirrors
for organ and tape (1987-90), Après-Sheng
style='font-style:normal'> for organ solo (1988), Cadenza
style='font-style:normal'> for organ solo (1988), Missa pro Organo:
In memoriam Olivier Messiaen for organ solo
(1992), Organum Sancti Jacobi for
organ solo (1993), and Meteoros
for organ solo (1993). A Ph.D. dissertation by musicologist Per F. Broman at
Göteborg University, Sweden, is currently being prepared in consultation
with Hambræus; it contains a comprehensive list of Hambræus's
works, and a complete discography.21
The work selected for this article, Champs style='font-style:normal'> (Fields), is the ninth movement in Volume I of Livre d'orgue, published in 1981. A foreword to the score describes the movement as a piece in which "the performer is exposed to one kind of cluster notation which has been rather common in contemporary organ music after 1960."22 Livre d'orgue exemplifies Hambræus's well-known preoccupation with timbre to a greater degree, perhaps, than any of his other works. Modeled after the livres d'orgue of the Classical French period, whose movements were often named for the organ colors specified, the Hambræus work adheres to Classical French tradition in retaining the integrity of typical classical registration, which he indicates clearly in the score, and in requiring no dynamic changes by means of the expression pedals.
Livre d'orgue uses a contemporary harmonic idiom, however.
The work comprises four separate volumes containing twelve pieces each, and is
graded from the easier pieces of Volume I to the more difficult in Volume IV.
Even though Hambræus describes Volume I as "easier," its pieces
nevertheless require advanced technique. The preface to Livre d'orgue states that although each volume can be considered a complete suite, it is unnecessary to play all the pieces from the volume, and it is permissible to mix pieces from one volume with those from other volumes.23 This practice of selecting pieces is consistent with common practice in the Classical French tradition.
Hambræus composed Livre d'orgue
style='font-style:normal'> for the installation of the Hellmuth Wolff organ in
Redpath Hall at McGill University, Montreal, in 1981. On May 26, 1981, John
Grew played three pieces from Livre d'orgue
style='font-style:normal'> at the Montreal Symposium, a three-day series of
recitals and panel discussions on historical organ construction held to
inaugurate the new instrument; however, Hambræus does not recall whether
Champs was performed. He writes that he has heard the work performed only
once--in Redpath Hall on a 1982 or 1983 exam recital by Josée April, a
student of Grew.24 Livre d'orgue
is dedicated to Hambræus's son Michael, who first conceived of the
project, and to McGill University, which made it possible.25
Structure
Champs is a moderately
difficult study in cluster technique, the most challenging technical aspect of
the piece. Hambræus writes that the piece is related to other pieces from
Livre d'orgue:
There are internal relations between corresponding pieces in
the respective volumes [of Livre d'orgue]; somebody who has played the more easy items in volume I has got acquainted with my music language (harmony, texture, momentum, density, etc.) and can easily understand how basic ideas develop; compare, for instance, the first movements in volumes I and IV! Regarding Champs--"Fields"--it is a link between other pieces in Livre d'orgue: what is in other movements notated with pitches in dense clusters has just been notated differently here.26
As shown in Table 2, registration changes punctuate major
sections of the piece, illustrating Hambræus's characteristic use of
timbre as a compositional element. Champs
is formally constructed from two double periods and a four-measure ending. In
the first double period, the Grand Orgue and Positif bourdons are set in
contrast to each other. In the second, parallel stops on each manual are added
to the bourdons at major structural posts. In the final measure, however, the
sound is reduced by removing the two stops added last, thus serving to taper the
crescendo shape of the piece.
Registration
Hambræus composed Livre d'orgue
style='font-style:normal'> with a specific instrument in mind: the Hellmuth
Wolff organ in Redpath Hall at McGill University. Completed in spring, 1981,
the large tracker instrument was built "in accordance with the detailed
descriptions in Dom Bédos de Celles's important treatise L'art
du facteur d'orgues (1766-78)."27 The
inside back cover of each volume of Livre d'orgue
style='font-style:normal'> has the complete stop list for the instrument.
Since Champs is a manualiter piece for Grand Orgue and
Positif, pedals are not used. As illustrated in Table 2, the two manuals
maintain dynamic balance by the simultaneous addition or removal of stops from
both divisions at major structural posts. The specific registration for the
Wolff instrument, listed in the score, is helpful in selecting stops of the
same pitch and timbre on a different instrument. The following stops are
specified in the score:
Grand Orgue
8' style='mso-tab-count:1'> Bourdon
22/3' style='mso-tab-count:1'> Nazard
Cymbale
III
Fourniture
IV-III
2' style='mso-tab-count:1'> Doublette
Positif
8' style='mso-tab-count:1'> Bourdon
22/3' style='mso-tab-count:1'> Nazard
Cymbale
II
Fourniture
III
2'
style='mso-tab-count:1'> Quarte
de Nazard
All stop changes occur at rests, so it is possible for the
performer to add or remove the stops without assistance. Expression pedals are
not used.
Interpretation
The main challenge of Champs is the interpretation and performance of graphically notated
pentatonic, diatonic, and chromatic clusters, as well as cluster glissandos.
Some pentatonic or diatonic clusters also develop into chromatic ones.
Hambræus defines pentatonic clusters as black-key clusters and diatonic
clusters as white-key ones; chromatic clusters involve both black and white
keys.
Hambræus notates each pentatonic and diatonic cluster
as a geometric figure that outlines the cluster's position on the staff. The
geometric figure encloses either the letter P, for pentatonic clusters, or the
letter D, for diatonic ones. If there is insufficient room for the letters to
be placed inside narrow clusters, the letters are placed directly above. Both
chromatic clusters and chromatic cluster glissandos are notated as filled-in
geometric shapes. Small notes at the beginning of each cluster indicate its
precise span.
The pentatonic black-key clusters found in Champs
style='font-style:normal'> are played either with the fingers or with the top
of the palm and the fingers, if the fingers alone cannot span the cluster. In
either situation, it is easier to play such clusters with the fingers held at a
right angle, instead of parallel, to the keys. Diatonic white-key clusters can
either be played by the fingers or with the thumb placed at a right angle to
the keys. When a diatonic cluster expands to a chromatic cluster, the length of
the thumb and the inside base of the palm are used to play the white keys,
while the fingers are held above the black keys for the expansion, as
illustrated for the left hand in mm. 8-9. The process is immediately repeated
in a mirror-image inversion for the right hand in mm. 10-11.
Hambræus indicates the correct realization of his
cluster notation in a footnote, but provides no physical description of the
techniques needed, except to write that "in order to execute cluster
glissandos, the performer must use all of the hand in different positions, in
addition to the fingers!"28 Two distinct kinds of chromatic cluster glissando occur in Champs: an hourglass-shaped cluster glissando in mm. 25-26, and common cluster glissandos that span a
specific interval (mm. 26-28, for example). Both kinds of glissando begin on a
C-sharp to G tritone and end on a G to c-sharp tritone.
The left hand plays the hourglass-shaped cluster glissando
in mm. 25-26. It is begun with the back of the fingers sustaining all possible
keys within the C-sharp to G tritone; the palm is facing up, at this point. The
thumb-side of the hand is then gradually raised until the hand is perpendicular
to the keys, with the back edge of the hand (little finger) resting on G and on
surrounding notes. Finally, the palm is gradually lowered onto all possible
keys within the G to c-sharp tritone.
The common cluster glissandos in mm. 26-28 occur in both
hands simultaneously. They are played entirely with the palms down. The middle
finger pivots on the pitch G as the fingers and part of the hand to the left of
the middle finger play all possible keys within the C-sharp to G tritone. Then,
as the wrist moves gradually from left to right, the fingers and part of the
hand to the right of the middle finger gradually play all possible keys within
the G to C-sharp tritone. It is helpful to flatten out the hand and to place
the middle, pivot finger near the back of the G key--between F-sharp and
G-sharp, if possible. This procedure allows all of the hand to be used
effectively, and achieves a consistent texture throughout the glissando.
The tempo (quarter note = 56) is maintained by carefully
counting beats throughout the piece. Constant, internal counting is the
performer's only rhythmic guideline, since clusters begin and end at irregular
intervals, and structural posts rarely occur on a discernible beat.
Volume III of Livre d'orgue was recorded by John Grew (McGill University Records, LP 85024, now
out of print), and volume IV by Hans Hellsten (MAP CD 9236, currently
available). Two pieces from volume IV, Ouverture and Récit de Nazard,
were recorded by Erik Lundkvist (MAP CD 9026). Marilou Kratzenstein recorded
selections from volume I (WMC LP 4593) approximately twelve years ago, but the
record was not located; it is therefore unknown whether Champs was on the
album.29 Performance time for
Champs is two minutes and thirty-five seconds. n
Notes
1.
style='mso-tab-count:1'> Marilou
Kratzenstein, Survey of Organ Literature and Editions (Ames, Iowa: Iowa State
University Press, 1980), 147.
2.
style='mso-tab-count:1'> Hans-Ola
Ericsson, brochure notes for Organo con Forza, Phono Suecia PS CD 31, 2.
3.
style='mso-tab-count:1'> Robert
Douglas Reed, "The Organ Works of William Albright: 1965-1975"
(D.M.A. diss., The University of Rochester, Eastman School of Music, 1977), 21.
4.
style='mso-tab-count:1'> Paul
Griffiths, György Ligeti, ed. Nicholas Snowman (London: Robson Books,
1983), 39.
5.
style='mso-tab-count:1'> Reed,
22.
6.
style='mso-tab-count:1'> Hambræus,
Letter to this writer, November 23, 1993.
7. style='mso-tab-count:1'> Ericsson, 9-10.
8.
style='mso-tab-count:1'> Hans-Gunnar
Peterson, Swedish Composers of the 20th Century: Members of the Society of
Swedish Composers (Stockholm: Svensk Musik, 1988), s.v. "Sandström,
Sven-David," by Hans-Gunnar Peterson.
9.
style='mso-tab-count:1'> Stanley
Sadie, ed., The New Grove Dictionary of Music and Musicians (London: Macmillan
and Co., 1980), s.v. "Sandström, Sven-David."
10.
style='mso-tab-count:1'> Sven-David
Sandström, Libera me (Munich: Edition Modern, 1977), 12-15.
11.
style='mso-tab-count:1'> Nicolas
Slonimsky, ed., Baker's Biographical Dictionary of Musicians, 8th ed. (New
York: Schirmer Books, 1992), s.v. "Sandström, Sven-David;"
Ericsson, 10.
12. style='mso-tab-count:1'> Lena Roth, ed., Musical Life in Sweden, trans. Michael Johns (Stockholm: Norstedts Tryckeri AB, 1987), 55.
13. style='mso-tab-count:1'> Sadie; Slonimsky.
14. style='mso-tab-count:1'> Ericsson, 10.
15. style='mso-tab-count:1'> Peterson.
16. style='mso-tab-count:1'> Ericsson, 10.
17. style='mso-tab-count:1'> Register crescendo is the German Rollschweller, a type of crescendo pedal.
18. style='mso-tab-count:1'> Roth, 55.
19. style='mso-tab-count:1'> Ericsson, Organo con Forza recording.
20. style='mso-tab-count:1'> Sadie, s.v. "Hambræus, Bengt."
21.
style='mso-tab-count:1'> Brian Morton and Pamela Collins, eds., Contemporary Composers (Chicago: St. James Press, 1992), s.v. "Hambræus, Bengt;" Per F. Broman,
"Bengt Hambræus: Work List and Discography," (supplied by
Hambræus from Ph.D. diss. in progress, Göteborg University, Sweden).
22. style='mso-tab-count:1'> Hambræus, Livre d'orgue, vol. 1, preface, 3.
23. style='mso-tab-count:1'> Ibid., 4.
24. style='mso-tab-count:1'> Hambræus, Letter to this writer, November 23, 1993.
25.
style='mso-tab-count:1'> Peter
Williams, "The Organ in Our Time: Montreal Symposium," The American
Organist 15, no. 9 (September 1981): 58; Hambræus, Livre d'orgue, vol. 1,
title page.
26. style='mso-tab-count:1'> Hambræus, Letter to this writer, November 23, 1993.
27. style='mso-tab-count:1'> Hambræus, Livre d'orgue, vol. 1, preface, 2.
28. style='mso-tab-count:1'> Ibid., 8.
29. style='mso-tab-count:1'> Hambræus, Letter to this writer, November 23, 1993.
This article will be continued.
