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Gustaf Allan Pettersson (19September 191120June 1980) was a Swedish composer. Today he is considered one of the most important Swedish composers of the 20th century. His symphonies developed a devoted international following, starting in the final decade of his life. ==Biography== Pettersson, the youngest of four children of a violent, alcoholic blacksmith, was born at the manor of Granhammar in Västra Ryd parish in the province of Uppland, but grew up in poor circumstances in the Södermalm district of Stockholm, where he resided during his whole life. He once said of himself: "I wasn't born under a piano, I didn't spend my childhood with my father, the composer... no, I learnt how to work white-hot iron with the smith's hammer. My father was a smith who may have said no to God, but not to alcohol. My mother was a pious woman who sang and played with her four children."〔 cited in 〕 In 1930, he began study of violin and viola, as well as counterpoint and harmony, at the conservatory of the Royal Swedish Academy of Music (Royal College of Music, Stockholm). He became a distinguished viola player, but also started composing songs and smaller chamber works in the 1930s. At the beginning of the World War II he was studying the viola with Maurice Vieux in Paris. During the 1940s he worked as a violist in the Stockholm Concert Society (later the Royal Stockholm Philharmonic Orchestra), but also studied composition privately with Karl-Birger Blomdahl, Tor Mann, and Otto Olsson. His production from this decade include the song cycle twenty-four ''Barefoot Songs'' (194345) based on own poems and a dissonant concerto for violin and string quartet (1949). Latter work is influenced by Béla Bartók and Paul Hindemith. In 1951, Pettersson created the experimental ''Seven Sonatas for two Violins''. At the same time he also composed the first of his seventeen symphonies, which he left unfinished. This work has recently been recorded in a performing version prepared by trombonist and conductor Christian Lindberg. In September 1951, he went to Paris to study composition, having been a student of René Leibowitz, Arthur Honegger, Olivier Messiaen, and Darius Milhaud. Pettersson returned to Sweden at the end of 1952. The next year 1953 he was given the diagnosis rheumatoid arthritis. Pettersson about the symphonic output of this decade: "No one in the 1950s noticed, that I am always breaking up the structures, that I was creating a whole new symphonic form." By the time of his fifth symphony, completed in 1962, his mobility and health were considerably compromised. In 1964, the government granted him a lifelong guaranteed income. It took four years to write the conceptual and style-defining sixth symphony (196366). His greatest success came a few years later with his seventh symphony (196667), which was premiered on 13October 1968 in Stockholm Concert Hall with Antal Doráti conducting the Stockholm Philharmonic Orchestra. The release of a recording of his seventh symphony with same conductor and orchestra in 1969 was a breakthrough, establishing his international reputation (Grammis 1970). The seventh and the eighth symphony (196869) have received more recordings than his other works and are probably his best-known works. The conductors Antal Doráti and Sergiu Comissiona premiered and made first recordings of several of Pettersson's symphonies and contributed to his rise to fame during the 1970s. Pettersson was hospitalized for nine months in 1970, soon after the composition of his ninth and longest symphony, beginning to write the condensed tenth (1972) from his sickbed. He recovered, but rheumatoid arthritis confined him most of the time to his apartment.〔 cited in Kube 2013, p. 19.〕 He composed two related works about social protest and compassion, the twelfth symphony for mixed chorus and orchestra (1973–74) to poems by Pablo Neruda with contemporary relevance and the cantata ''Vox Humana'' (1974) on texts by Latin American poets. In Autumn 1978, he moved to a state living quarters. During the prolific last decade of his life he also wrote a concerto for violin and orchestra (1977–78, revised version 1980) written for the violinist Ida Haendel, a sixteenth symphony (1979) which features a bravura solo part for alto saxophone commissioned by Frederick L. Hemke, and an incomplete, posthumously discovered concerto for viola and orchestra (197980). He also started to write a seventeenth symphony, but he died in Maria Magdalena parish, Stockholm, aged 68, before finishing it. Pettersson is buried in Högalid Church columbarium. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Allan Pettersson」の詳細全文を読む スポンサード リンク
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