Allan Pettersson

Allan Pettersson (1911-1980) was a Swedish composer whose output included fifteen completed symphonies, three concertos for strings, two violin concertos, a song cycle and the cantata 'Vox Humana'. His reputation has been steadily growing since his death, but arguably he still deserves to be better known than he is.

The core of Pettersson's work is his symphonies. These are intensely serious pieces in which the darkness and pain of human life is unflichingly explored, but with a sense of heroism as well as visions of peace and redemption. Most of the symphonies are informally divided into two parts. In the first part grief and horror predominate and the listener has the sense of being in a never-ending nightmare. Naturally dissonance is liberally used in this phase. In the second part, the music typically becomes more lyrical, suggesting nostalgic reminiscences, although there are normally echoes of earlier terrors at this stage too. Often the transition between the two stages is very marked, rather as if one were awakening from a terrible dream.

The emphasis on the dark and despairing is understandable when one learns something of Pettersson's life. He was brought up in a Stockholm slum with a violent alcoholic father who was contemptuous of young Allan's violin playing. The grim conditions of his childhood left a legacy of ill health later in life – he suffered from a painful arthritic condition, which eventually left him dependent on an amanuensis to transcribe his music. That he was able to accomplish great feats of musical creation under such conditions makes his achievement all the more remarkable.

Some have suggested that Pettersson's music is 'self-pitying', a ridiculous and even heartless accusation in my view. First, with what justification do these critics suppose that the expressions of sorrow in his music express this emotion as opposed to compassion for others? Second, if the intense difficulties of his life are reflected in his music, who could reasonably blame him for that? After all, I have never heard this complaint raised against, say, Tchaikovsky.

Pettersson's most popular work is undoubtedly his seventh symphony, the piece which established his international reputation. I think this is also the work that newcomers to his music should begin with, as so many of its passages have an immediate appeal. These include a long lyrical string passage towards the end of the work, steeped in nostalgia and, at the conclusion of the entire symphony, a soulful rhapsody on high strings and woodwind, which seems to lead the reader off to a promised land. But all this comes at a price! As I have said, the sense of warmth and comfort in Pettersson's symphonies is usually preceded by a long enactment of terrifying conflict and the seventh is no exception. I would nevertheless urge listeners not to be put off by this. With each hearing, even the more tormented passages start to repay the time spent on them. This symphony, and the works of this composer more generally, are well worth getting to know.