The Vocal Symphony in the Interpretation of Leif Segerstam and Pehr Henrik Nurdgren
Abstract
The present article analyzes the approach toward the genre of the vocal symphony of two
contemporary symphonic composers – Leif Segerstam and Pehr Henrik Nurdgren; analysis is
given to Segerstam’s Symphony No.14 “Moments of Peace III” and Nurdgren’s Sixth Symphony
“Interdependence” (1999–2000), which have different orchestral ensembles and structure.
Segerstam’s symphony presents a 16-movement cycle for tenor and symphony orchestra
and discloses a spectrum of feelings of its lyrical hero. The symphony combines sonoristic and
aleatory techniques, reflecting the features intrinsic to Segerstam of the authorial “technique of
free pulsation.” In this case the specificity of its realization is connected with the special role of
the verbal text in the overall composition. According to the composer’s indications, the aphorisms
of John Brown, which lie at the symphony’s foundation, have the option of not being sounded,
since the soloist’s timbre during the process of performance is variable (either a voice or one of the
instruments). Consequently, the text here preserves its connection with verbal notation: Segerstam
used it in his first oeuvres created in his technique.
Nurdgren’s symphony draws different performance means: an orchestra, a chorus and two
solo vocalists (a soprano and a tenor). The massive ensemble is determined by the composition’s
theme: it is written on the text of the “Declaration of Interdependence,” the document which
states the basic principles of environmental law. The symphony consists of three movements; all
of their particular features (its composition, applied means of vocalization, etc.) are determined
by the vocal text, since the directives of the “Declaration” serve as the predominating element
in the composition.
Thereby, the analyzed compositions demonstrate the fluency of the vocal symphony, its ability
to embody diverse types of content and artistic conceptions. At the same time, they demonstrate
two paths along which this genre can develop. Being a hybrid genre in its nature, it brings in the
means of a vocal cycle (Segerstam’s symphony) or a cantata or oratorio (Nurdgren’s symphony).
Keywords: vocal symphony, Leif Segerstam, Symphony No. 14 “Moments of Peace III,” John
Brown, Pehr Henrik Nurdgren, Symphony No. 6 “Interdependence,” David Suzuki, Jan Sibelius,
“Kullervo” symphony.
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DOI: http://dx.doi.org/10.33779/2587-6341.2020.4.225-240
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