The twelve concertinos composed by Lars-Erik Larsson represent a definitive achievement in Swedish repertoire, showcasing his ability to write idiomatically for every instrument in the standard orchestra. His career, spanning the mid-20th century, balanced rigorous academic instruction with the demands of cinema, radio broadcasting, and the stage, establishing him as a central figure in his nation's musical history.
Formative Training and European Influences
Born in 1908 in Burlövs parish, Larsson began his formal education at the Royal College of Music in Stockholm between 1925 and 1929 under the instruction of Ernst Ellberg. Seeking to broaden his technical foundation, he traveled to Vienna and Leipzig from 1929 to 1930, where he studied alongside Alban Berg and Fritz Reuter. These years abroad provided him with exposure to advanced continental compositional practices, including the serial techniques of Arnold Schoenberg, which he was the first Swedish composer to utilize in 1932.
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Larsson's creative output was marked by an eclectic approach, alternating between neo-classical structures and post-Sibelian romanticism. His most recognized works include the 1937–1938 suite A Winter's Tale, based on Shakespeare, and the 1938 Pastoral Suite. In 1940, he completed the non-religious cantata God in Disguise for narrator, soloists, choir, and orchestra. Beyond these suites, his symphonic contributions consist of three symphonies composed between 1927 and 1945, alongside a sinfonietta and the widely performed Little Serenade.
Professional Tenure and Pedagogical Impact
Throughout his life, Larsson maintained various professional roles as a conductor, organist, and record producer. He served as a teacher at the Royal College of Music in Stockholm from 1947 until 1959. His academic commitment continued at Uppsala University, where he held the position of Director musices from 1961 to 1966. Among the students who benefited from his guidance was the composer Hans Eklund. His career was also punctuated by institutional recognition, including the Christ Johnson Prize in 1976, the Litteris et Artibus award in 1977, the Kurt Atterberg Prize in 1978, and the Hugo Alfvén Award in 1986.
Late Works and Legacy
The composer's later career remained prolific, encompassing varied formats such as the Violin Concerto, Op. 42, written in 1952, and the opera Prinsessan av Cypern. His commitment to the saxophone as a serious concert instrument resulted in the 1934 concerto written for Sigurd Raschèr, which experimented with non-standard tonality. Larsson passed away on 27 December 1986 in the parish of Helsingborgs Maria church, following complications from diabetes, and was subsequently buried at Pålsjö kyrkogård.
Fast facts
- Born: 1908, Burlövs parish, Sweden
- Died: 1986, Helsingborgs Maria church parish
- Education: Royal College of Music in Stockholm
- Key Orchestral Works: Three symphonies, Pastoral Suite, Twelve Concertinos
- Notable Awards: Kurt Atterberg Prize, Christ Johnson Prize, Hugo Alfvén Award
- Burial Site: Pålsjö kyrkogård
- Academic Positions: Royal College of Music in Stockholm, Uppsala University
Questions readers ask
What stylistic range did Larsson cover in his music?
His work ranged from late Romanticism and neo-classical forms to serial music based on twelve-note techniques.
Which instruments did he write concertinos for?
He wrote a series of twelve concertinos for flute, clarinet, bassoon, oboe, horn, trumpet, trombone, violin, viola, cello, double bass, and piano.
Achievements
- Kurt Atterberg Prize — 1978
- Christ Johnson Prize — 1976
- Instruments: organ
- Genres: opera and symphony
