Dag Wirén

Dag Wirén isn’t widely known outdoors his local Sweden, though his music began gaining see internationally on recordings in the 10 years following his loss of life. His first significant compositions date towards the 1930s and divulge a neo-Classicism tinged by an enchanting warmth. By the center of the following 10 years, his style got settled right into a sort of early type of minimalism, but with styles, usually brief, motto-like masterpieces divulging a far more complicated and subtle type of evolution, counting on small repetition and therefore achieving a completely different sort of impact from that of the minimalists. Within the end, he must be evaluated as a second figure, he might however generate a re-evaluation and reach front-rank, or almost front-rank, position. Dag Wirén demonstrated musical talent young, but didn’t enroll on the Swedish Royal Academy of Music in Stockholm until 1926. There he examined composition using the conventional composer Ernst Ellberg. Wirén’s very own conventional design in the 1930s should be accounted for partly by Ellberg’s impact. The youthful composer also examined organ on the academy, getting quite proficient over the device, but hardly ever developing enough curiosity to create for the device as he’d the piano, that he composed several solo items (Ironic Small Items, Op. 19; Sonatina, Op. 25, etc.) and which come in compositions throughout his chamber functions list. Wirén graduated through the academy in 1931 and departed for Paris, where he’d study structure from 1932-34 with Leonid Sabaneyev. There he also created a camaraderie with fellow Swedish composers Gunnar de Frumerie and Gösta Nystroem. Wirén recognized that his contact with the music of Prokofiev, Stravinsky, and Honegger got a great impact on him, though he still regarded as Bach, Mozart, and Nielsen his idols. He created his Symphony No. 1 in 1932 and the next in 1939, neither producing a lot of a tag, the former becoming withdrawn from the composer as well as the second option often viewed by musicologists as light, Sibelius-like fare. While his design was still growing in the 1930s and frequently not effective, Wirén did create his most well-known composition after that, the 1937 Serenade for Strings, whose march-like 4th movement is becoming familiar to listeners around the world. In 1938, Wirén became music critic from the Stockholm newspapers Svenska Morgenbladet, offering in that capability until 1946. Through the battle years, Wirén made up a few of his most significant compositions, like the Symphony No. 3 (1942-43). In 1943, he constructed incidental music for the stage production from the Product owner of Venice and by the finish of the battle, he completed his String Quartet No. 2, Op. 28 (1941-45). In 1947, Wirén became the vice-chair for the Swedish Composers Association, a post he’d keep until 1963. By that point, he was focusing on his 5th (and last) symphony, which he finished the following calendar year. Wirén produced a reasonably sizable result, but following the early 1970s, he composed virtually nothing at all of significance and his afterwards compositions — those in the last mentioned 1960s — frequently divulged a lightness of expressive vocabulary.