_ _ _ _ _ _ _ _ _ _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t _ _ _ _ _ _ _ _ _ _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - a r t i s t allan pettersson a l b u m symphony 3 & 15 l a b e l Grammofon BIS g e n r e classical r i p d a t e 09.25.2003 s t r e e t d a t e 1998 o r i g i n a l r e l 1998 s u p p l i e r doodoo s o u r c e cd b i t r a t e 192 kbps, JS e n c o d e r lame 3.92 r e l e a s e n o t e s This disk contains two important works from Pettersson's early and late periods. Although the middle symphonies (Fifth through Ninth) are widely considered his greatest, this disk shows that Pettersson possessed the rare gift of musical genius throughout his whole career as a composer. Both the Third and the Fifteenth also show the manner by which his works fell into that dark and obscure world for which they were destined: The Third, dating from 1955, was ignored by the Stockholm Concert Society for about four years until they finally deigned to perform it in 1959. And the Fifteenth did not receive its initial premier until 1982, more than two years after the composer's death.s He long considered the Third to be his best work. The influence of Sibelius is obvious in spots, combined with P's enduring penchant for creating dark, somber soundscapes, oftentimes jarringly dissonant. Though it is in four movements, there is no actual break between the last three. The fourth movement is particularly impressive, as out of dark obscurity a beautiful lyric slowly begins to emerge on the flute at the conclusion of the work. The strings restate this gently haunting refrain in the face of several false endings. Finally the lower woodwinds speak up, ending the work on a curt three-note phrase, dark and cryptic. Drone and ambient post rock acts are "in" these days, and we like it too. But as always, FuFFENS wants to dive into things and point out influences for the music of today. Among others, the Canadian based Godspeed You Black Emperor! mentions Allan Pettersson as a huge influence. Pettersson received a grounding in the folk music of his native Sweden from his mother. He attended the Stockholm Conservatory where his instruments were viola and violin. He later began to study counterpoint. After a short period of study in Paris via the Jenny Lind Scholarship, Pettersson played viola in The Stockholm PO, and made his compositional debut in 1949 with his Concerto for violin and string quartet, both of which were poorly received. He returned to Paris to study 12-tone composition and, suffering from arthritis, abandoned his performing career to concentrate on composition. In 1968 his Symphony no. 7 brought him recognition, and this work became widely popular after it was recorded in 1972. Subsequent symphonies brought him continued success. Pettersson's music is marked by both dissonant, complex and explosive passages as well as simple sections born of his roots in folk music. The feeling tone of his work is one of compassion toward the persecuted and the outsider. The Fifteenth shows Pettersson still at the height of his powers, a master of the orchestral palette. It begins as a work of "hardened diction", abrasive, troubled, with ever-present militant snare-drum and clashing cymbals. Yet there is also a sense of mission. There seems to be an earnest desire to carve a meaning out of the darkness, and to move toward some redemptive inner vision. The work concludes with a prolonged chorale of raw beauty painted with long broad brushstrokes, mildly dissonant yet occasionally breaking into some really beautiful harmonics. Struggling toward some inner light, the work ends with an urgent and prolonged chord on the higher strings, as the light is finally seized, however briefly. ...and remember: s t a y f u f f e n s f o r l i f e t r a c k l i s t symphony no 3 - i introduzione 12:35 (andante con moto) - allegro con moto symphony no 3 - ii largo con espressione - attacca 08:45 symphony no 3 - iii allegro comodo - allegro deciso - attacca 04:14 symphony no 3 - iv allegro con moto (tempo di prima parte) 12:24 symphony no 15 (in one movement) 32:53 70:51 MB 97,4 g r o u p n e w s Now releasing more than the 5 rels per week our good old manifest said we would. We are growing every day, and we just cannot help it. h e l p f u f f e n s We are looking for quality sites in Europe and US, to be afilliated on. Remember, we are not in it for the creds, but for the spreading of quality music - we just want to get our releases out to the ppl that wants/needs it. More pre sites fills this purpose. Contact us on [email protected] g r e e t s CMS CMG diss DPS HiT2000 IGR JUST kw miso NuHS om sb sfE smc soup YOU s p e c i a l g r e e t s g o e s o u t t o : SChiZO _ _ _ _ _ _ _ _ _ _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y _ _ _ _ _ _ _ _ _ _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e ⌐ FuFFENS 2 0 0 3