Pettersson: Symphonies 5 & 7 - Lindberg

Pettersson: Symphonies 5 & 7 - Lindberg

BIS  BIS-2240

Stereo/Multichannel Hybrid

Classical - Orchestral

Pettersson: Symphonies 5 & 7

Norrköping Symphony Orchestra
Christian Lindberg (conductor)

A characteristic trait in Allan Pettersson’s music is the use of strong contrasts – shifts between an enormous intensity and calm relaxation, between complex and violently dissonant passages and peaceful, simple melodies and harmonies. This certainly applies to both works recorded here by the Norrköping Symphony Orchestra and Christian Lindberg – the composer’s Fifth and Seventh Symphonies. Premiered in 1963 and 1968 respectively, these two symphonies contributed substantially to Pettersson’s public standing during the 1960s. The Fifth earned him the music prize of the newspaper Expressen, while at the same time Pettersson’s extensive use of traditional harmony, particularly in the slow ending of the work, caused a number of commentators to criticize it as ‘outmoded’.

In 1964, the symphony probably contributed to Pettersson being selected as one of the first recipients of a public remuneration scheme for composers which guaranteed them a lifelong minimum income. Four years later, the first performance of Symphony No. 7 was conducted by Antal Doráti, the dedicatee of the work. The event is often described as Pettersson’s ‘breakthrough’, and Doráti’s recording of the work in 1969 with the Stockholm Philharmonic Orchestra earned the performers and the composer a ‘Swedish Grammy’ Award each. Pettersson’s Seventh remains the most recorded and most frequently performed of all of his works. It is heard on disc in a performance from what are widely regarded as the leading Pettersson interpreters of our time.

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PCM recording

Recorded in June 2017 (Symphony No. 5) and in January 2017 (Symphony No. 7) at the Louis de Geer Concert Hall, Norrköping, Sweden, 24/96

Producers: Martin Nagorni (Arcantus Musikproduktion) (No. 5); Hans Kipfer (Take5 Music Production) (No. 7)

Sound engineers: Jeffrey Ginn (No. 5); Stephan Reh (No. 7)

Equipment: BIS’s recording teams use microphones from Neumann, DPA and Schoeps, audio electronics from RME, Lake People and DirectOut, MADI optical cabling technology, monitoring equipment from B&W, STAX and Sennheiser, and Sequoia and Pyramix digital audio workstations.

Post-production: Editing and mixing: Martin Nagorni (No. 5); Hans Kipfer (No. 7)

Executive producer: Robert Suff
Comments (1)

Comment by Dissonance - May 19, 2020 (1 of 1)

Deeply touching performances coupled with an exemplary engineering, thanks to the careful handling of the Take5 team. The recording was originally made in 24-bit / 96 kHz high-res PCM and then converted to DSD for SA-CD production, a typical process for BIS although a bit controversial for DSD zealots, like me. If just they could move to utilize higher resolutions, such as DXD or even 24-bit / 192 kHz, both are more effortless to distribute and stream compared to DSD...