Karl-Birger Blomdahl - 100 Years, 2. Instrumental Works (1950s - 1960s)

In the 1950s Karl-Birger Blomdahl (1916 - 1968) remained true to twelve-tone techniques and to Hindemith's legacy. The works often display an explicit lyricism alternating with a rhythmic drive, all in a concertante style with original instrumentation. In time his technique became more pointillistic and individual. ⁽¹⁾

With the Symphony No. 3, Facetter (Facets) (1950) Blomdahl became known internationally. Some consider it one of the best symphonies after World War II, and that idea may not be far off the mark.

It’s a fast moving twelve tone variation form piece that shows exceptional invention in its layering of string textures. The brass is ringingly defiant, indeed remorseless, and there’s incremental hieraticism and complex development. It’s only with the solo flute’s lone impress that we hear the re-intensification of those swirling strings, gaunt and impassive, and the blocks of brass.⁽²⁾

Danssvit No.2 (Dance Suite) (1951) is scored for clarinet, cello and percussion.



Chamber Concerto for Piano, Winds and Percussion (1953), I. Lento, maestoso e pesante, II. Allegro, molto deciso e ritmico, III. Adagio, and IV. Presto, is quintessential Blomdahl.

... a quarter of an hour work ..., can be brusque but also contains moments of reflection and also unease. In three fairly obvious sections the second has a dramatically rhythmic drive and the third section is very much more interior and wounded.⁽²⁾

Title music from Gycklarnas Afton (Sawdust and Tinsel) (1953), an Ingmar Bergman movie.



Blomdahl enters the realm of mythology with Sisyphus (1954), a ballet suite with the following sections: Introduction - The banquet - The Young girls' dance - The dance with Death - Masque dance - Sisyphus' victorious dance - The dance of life.

These two Dances, the Dance with Death – grimly and insistently interjectory – and the Dance of Life - intensely rhythmic, propelled by jazzy rhythms with far-flung winds and brute trombones and scurrying percussion – both show his instrumental command.⁽²⁾

The Trio for clarinet, cello and piano (1955) is a good example of Blomdahl's introverted lyricism.



Forma Ferritonans (1961), one of his last and most individual works, was inspired by 'the industrial processes in one of the big Swedish steelworks.'⁽³⁾⁽⁴⁾

... was written for the opening ceremonies of a new iron foundry, Blomdahl meticulously researched the iron-making process, from smelting to pig iron, and used melodic and harmonic intervals based on the periodic table. The first part is sonorous, swelling to a monstrous, ear-splitting crescendo; the second part is a heavy dance.⁽¹⁾

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⁽¹⁾ Alexander J. Morin, "Classical Music: The Listener's Companion." Composer entry, San Francisco, Backbeat Books, Hal Leonard Corporation, 2002, p. 158. (https://books.google.com/books?id=ayT5T59ckzIC&lpg=PA158&dq=karl-birger%20blomdahl%20chamber%20concerto%20year%20composed&pg=PA158#v=onepage&q=karl-birger%20blomdahl%20chamber%20concerto%20year%20composed&f=false (04/29/2016))
⁽²⁾ Jonathan Woolf, "Karl-Birger Blomdahl (1916-68)." CD review, MusicWeb International website. (http://www.musicweb-international.com/classrev/2003/Nov03/Blomdahl_Sisyphos.htm#ixzz47GWnMXik (04/29/2016))
⁽³⁾ Bo Wallner, "Karl-Birger Blomdahl (1916-1968)."Perspectives of New Music Vol. 7, No. 2 (Spring - Summer, 1969), pp. 186-189. (http://www.jstor.org/stable/832305 (04/29/2016))
⁽⁴⁾ Blomdahl's early college training was in biochemistry, and it is clear that he still had a scientific disposition toward the end of his life.