Otto Olsson (1879−1964)

Otto Emanuel Olsson, born on 19 December 1879 in Stockholm and died there on 1 September 1964, was a composer, organist and music teacher. In 1896 he graduated with a degree in organ performance, and in 1899 with degrees in precentorship and music teaching from the Royal Conservatory of Music. He studied composition and counterpoint under Joseph Dente. He became organist in 1907 at the Gustav Vasa Church in Stockholm. From 1908 he taught harmony at the Royal Conservatory of Music and from 1925 he taught organ performance, becoming a professor in 1926. Olsson was the foremost concert organist and organ expert of his time and was the driving force behind the 1916 hymnbook committee for the Swedish Church. He was a versatile composer, however over time he focused on organ and church music. He became a member of the Royal Swedish Academy of Music in 1915 and received the Swedish royal medal Litteris et artibus in 1916.

Life

Study years and early career

Otto Olsson was born in Stockholm, a son of the coachman Johannes (Johan) Olsson and his wife Kerstin (née Nilsson). As a child he often followed his deeply pious mother to worship services at Blasieholmen Church. At that time one of the country’s foremost organists, Albert Lindström, served there. At the age of nine Olsson became Lindström’s student, first on piano and from 1893 also on organ. The lessons were held at St James’s Church where Lindström had previously been organist. In the spring of 1894 Otto Olsson was accepted as a student at the Kungliga Musikkonservatoriet (the Royal Conservatory of Music) where he completed his degree in organ performance in 1896, and three years later completed degrees in music teaching and precentorship.

After finishing his degrees he continued to study counterpoint and composition with Joseph Dente up until 1901. One person who came to mean a lot to the young Olsson was the organist and composer Emil Sjögren whom he met for the first time in 1897. Sjögren took on the young composer and encouraged him to continue writing music; even helping Olsson to get his first work published.

Olsson initially supported himself as an occasional substitute organist – often at St John’s Church where Sjögren was the organist – as well as a freelance musician and a private music teacher. At the same time he continued to compose extensively in various genres. He debuted in 1903 with an organ recital at St John’s Church and two years later he received a position as a church musician at St. Stephen’s Church in the parish of St John’s Church. During 1906−07 he substituted as the organist at Hedvig Eleonora Church where he had precentor and choir director John Morén as a colleague. Morén was a leading force within the group Kyrkosångens vänner (The Friends of Church Song) and his involvement in the church music of older times would come to greatly influence Olsson’s focus as a composer and as a musician.

Organist at Gustav Vasa Church

Despite his long period as a substitute, Olsson was passed over for the position of regular organist at Hedvig Eleonora Church. However, shortly afterward the position for organist at the newly built Gustav Vasa Church was announced. Olsson, who had substituted there for several months, was chosen by a large majority for the job of organist, and began his duties at the start of 1908. That same year he was hired as an assistant harmony teacher at the Kungliga Musikkonservatoriet, receiving a permanent position in 1919. His job at Gustav Vasa Church encompassed solely organ playing; however, he worked for a short time also as a conductor during 1908−09, when he led the Södertälje musikförening (the Södertälje Music Society).

In 1909 together with his colleague in the organ loft – precentor and choir director Carl Bohlin − he founded the association ‘Kyrkomusikens vänner i Gustav Vasa kyrka’  (The Friends of Church Music at Gustav Vasa Church), which until 1916 presented regular church concerts with both older and newer music for choir and organ. At the same time Olsson established himself as a prominent organ virtuoso and became increasingly engaged as an organ building inspector and examiner. He was also involved in the renovation of the organ in his own church. It had been built in 1906 by Åkerman & Lund, a firm that at the time dominated Swedish organ building – particularly in Stockholm. At Olsson’s instigation another leading organ building firm, Setterquist & Son from Örebro, was hired in 1915 to rebuild and expand the Gustav Vasa Church organ. The number of stops was increased from 40 to 64, becoming therewith one of Sweden’s largest and most versatile instruments. Olsson was a staunch supporter of French organ culture, which could clearly be seen in the rebuilt organ.

An ‘archbishop in miniature’ for church music

As a composer during the mid-1910s, Olsson had a substantial and diversified creative output behind him and had won the reputation, alongside Gustaf Hägg, as the country’s leading organist and organ expert. In 1915 he was elected a member of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) and the following year he received the royal Swedish medal, Litteris et artibus. On New Year’s Day in 1916, Archbishop Nathan Söderblom visited Gustav Vasa Church for High Mass. After the worship service the Archbishop went up the to organ loft to speak with Olsson. Thus began a longstanding collaboration within the new chorale book committee, whose work not only resulted in a new chorale book for the Swedish Church in 1921 – the first officially authorized of its kind – but also produced a Missal in 1923 as well as a Vesperale and a Psalterium in 1925. During the last part of the 1920s the committee also began preparing a hymnarium (an official church choir repertoire selection) that was never completed.

Olsson’s workload now increased dramatically; alongside his church job and teaching at the Kungliga Musikkonservatoriet (where in 1925 he became the organ performance teacher, being conferred with the title of professor in 1926), he continued work on the chorale committee and had responsibilities within the Kungliga Musikaliska akademien. In addition, a growing number of duties as an organ consultant and in various church music contexts took up more and more of his time. In a 1929 letter written to Söderblom he described himself as an ‘archbishop in miniature’ for church music. One curiosity in this context was his involvement – playing himself – in Sigurd Wallén’s motion picture, Med folket för fosterlandet from 1938. New duties continued coming his way during the 1940s such as becoming chairman for the Musikaliska konstföreningen (the Swedish Art Music Society) from 1940 to 1955 and the Stockholm stifts kyrkosångsförbund (the Stockholm diocese church song society) during 1943−49. His large workload made composing difficult and only a few works were written during the period from around 1920 until he retired from the Kungliga Musikkonservatoriet in 1945.

Musical ideals and personality

Olsson’s ideals regarding the organ were thoroughly rooted in the music of late Romanticism from his youth. Even though around 1930 he welcomed the new ‘organ movement’ and its more baroque-inspired sound ideal, he later came to believe that it had gone too far. He especially rejected the dominance of high pitches (‘screeching organs’) that in his opinion characterized organ building during the 1940s and 1950s. Additionally, he was a stranger to the trends of New Objectivity within church music of the time, and during a radio interview in 1952 he admitted having difficulty with ‘ultra-modern’ music. After retirement from his duties as organist at Gustav Vasa Church in 1956 he led a secluded life with increasingly ill health until his death in 1964.

Otto Olsson was an outwardly imposing figure: ‘with an expansive body, large and round with a thick neck like a bull’s, moustache and short-cropped hair’ (Erland von Koch). As a teacher he was very imposing, but mostly good-natured and friendly, if somewhat taciturn. Opinions about his teaching, however, fluctuated. He is described as an upright person, honest in his views and with a sharp humour that gave rise to many anecdotes. In his older years he felt increasingly isolated and there are signs of some bitterness regarding what he saw as a lack of understanding for his artistic ideals. In a detailed article about his compositions from 1958, composer and musicologist Lennart Hedwall expresses his surprise over ‘the indifference that meets [Olsson’s music] just now’. Well into the 1970s the picture had changed. Olsson’s music, especially (but not only) his organ and choral works were performed more and more often, and were documented on phonogram, later becoming the subject of research both within Sweden and abroad.

Works

Chronological overview

Otto Olsson’s earliest preserved work is the Adagio for organ from 1895 that was later published in a shortened form in the 1915 collection Sju miniatyrer. During the following two years he composed for his main instruments, piano and organ, but already in 1898 he broadened his register with two works for violin and piano, these being followed a year later by works that included his first violin sonata. Simultaneously in 1899 he created his first works for larger chamber music ensembles: a string quartet (unnumbered) and a piano quintet. These compositions were likely written within the framework of his studies with Dente and led to an orchestral symphony – the first movement being performed at a concert at the Kungliga Musikaliska akademien in 1901. The next year his first published work, Fire Klaverstykker, was given out by Wilhelm Hansen’s publishing house in Copenhagen.

During the first decade of the 20th century Olsson continued to be productive in all of the above-mentioned genres. Now he began to write vocal music, beginning with solo songs. His first choral work (if one discounts the unfinished music to Anna Maria Roos’s fairytale-themed play Arabia Land) is, remarkably enough, his altogether largest and one of his most significant compositions of all: Requiem, which was completed in 1903 but remained forgotten for more than 70 years until it was premiered in 1976. Olsson had greater success during his lifetime with his second large choral work, Te Deum (1906) for choir, harp and organ. It was later adapted for orchestra by the composer. Some time around 1905, Olsson began composing choral works for various vocal ensembles; in the beginning mainly for men’s quartets (a branch of his creative output that was stimulated by his membership in the singer’s guild named ‘Slumpetassarna’ up until 1914) as well as several sacred songs for mixed choir. Notable among his organ works from the beginning of the 20th century is the formidable first organ symphony from 1903.

As a newly appointed organist at Gustav Vasa church in 1908, Otto Olsson continued to diligently compose, but the direction of his creativity had now changed. His creation of orchestral works had already stalled in 1902 and after 1907 it was to be a more than 40-year pause in the composition of chamber music, with the exception of a romance for violin and organ in 1909. Only a few pieces for piano were written, which is in stark contrast to his previous productive stream of pieces of this kind. His compositional focus was now totally on organ and sacred choral music. During the years 1909−12 a long stream of significant organ music came into being, of which the largest are the three-movement sonata in E major, the fantasy and fugue on ‘Vi lofve dig, o store Gud’, Ten variations on ‘Ave maris stella’ and the Prelude and Fugue in C-sharp minor. Olsson’s more extensive composing for mixed choir began in 1909 with Sex körer a cappella, a collection of songs for the church year’s major holidays. The most important choral works of the 1910s, and which Otto Olsson himself considered the best of all of his compositions are: Sex latinska hymner from 1912−13, and the collection Advents- och julsånger from 1908−16, which was a more popular counterpoint to the former and includes ‘Advent’ – the best known of all of Olsson’s compositions. During the 1910s, in addition to these collections he produced a long string of choral works for use within the church – a number of these were composed for John Morén’s and U.L. Ullman’s hymnarium proposal, Förslag till hymnarium för svenska kyrkan, and for the anthology of church songs, Kyrklig sång. Olsson’s period of productivity composing church music ended in 1918 with the two important organ works, Prelude and Fugue in F-sharp minor, and the second organ symphony, Credo Symphoniacum.

After Credo Symphoniacum Otto Olsson’s flood of compositions stalled, with the exception of occasional choir songs and a few cantatas. A temporary flourish of creative activity occurred in the middle of the 1930s when he produced, among other things, his last major organ work, Prelude and Fugue in D-sharp minor. Around the same time Olsson returned to writing choral music with Latin texts for both women’s and mixed choirs. After retiring from the Musikkonservatoriet he started several large composition projects, however, the only one he completed, besides a cantata, was the third string quartet in 1948. Five years later he finished his composing activities with a men’s quartet, ‘En sångardag’.

Style and form

Olsson belonged to the late Romantic generation of Swedish composers and he remained untouched by modernism – bearing in mind that the he wrote the vast majority of his works before modernism’s breakthrough in Sweden. The ‘late Romantic’ label in Olsson’s case is primarily a temporal determination, as his music contains rich harmonies but remains well within the boundaries of tonality, and is seldom especially dramatic or pathos-filled. Olsson spoke highly of French music and its ‘clarity’ as a role model (with ‘French’ he meant primarily the organ masters Alexandre Guilmant and Charles-Marie Widor). In his own works this ‘clarity’ is seen in his disciplined use of form and a certain classical restraint in his expression. One exception to this is his highly dramatic Prelude and Fugue in C-sharp minor from 1910 inspired by the works of Liszt.

One unique aspect of Olsson’s works is his fondness for contrapuntal techniques and for polyphonic forms, which pervade his creative output, even in unexpected contexts. One example of this is the lyrically melancholic middle movement in his organ sonata in E major from 1909 in the form of a fugue. In the five-movement suite for organ op. 20 from 1904 he does not give the final movement its own theme, but instead unites the main themes from the other movements in quadruple counterpoint. This can be seen as a preliminary exercise for his 1918 Credo Symphoniacum, where the three movements, whose Gregorian or pre-Reformation main themes represent the Father, the Son and the Holy Spirit, and unite at the end like a musical representation of the Trinity.

This leads us to another side of Olsson’s composing; his interest in Catholic liturgical forms and language, as well as harmonies inspired by church modes and Gregorian chant. Yet in the magnificent Requiem from 1903 it is only his choice of text that hints of this interest – however, in Te Deum (1906) the melodic lines clearly show Gregorian inspiration. In organ works such as the fantasy and fugue on the 1909 Phrygian chorale melody, ‘Vi lofve dig, o store Gud’, as well as the 1910 variations on ‘Ave maris stella’ in Dorian mode, Olsson applies a strict church mode diatonicism – the works are played only on the white keys (with the exception of the final bars of ‘Vi lofve dig, o store Gud’). Similar features, although not nearly so consistently used, can be found in other Gregorian-based organ and choral compositions. At the same time Olsson maintains a wide stylistic breadth, and in both of his main works, ‘Sex latinska hymner’ and Credo Symphoniacum, one hears ascetic Gregorian and archaic vocal polyphony side by side with ‘classical’ Romanticism, and also in the organ symphony − expressive ‘New German’ chromaticism.

Sverker Jullander © 2016
Trans. Jill Ann Johnson

Publications by the composer

‘Den kyrkomusik som nu tillverkas lider av blodbrist’, [survey response], Musikvärlden, vol. 2, no. 4, 1946.
‘En kyrkosångens befrämjare’, in: Hågkomster och livsintryck 15: Till minnet av Nathan Söderblom, Uppsala, 1934.
Harmonium-spelets teknik. Orgelharmoniumskola pedagogiskt ordnad med särskild hänsyn till såväl självstudium som lärareledning, Stockholm, 1917. (Together with A.O. Assar.)
‘Några minnen av Emil Sjögren’, in: Hågkomster o livsintryck, vol. 24, Musikmänniskor, ed. Folke H. Törnblom, Uppsala, 1943.
‘Om orgelspelet vid den allm. gudstjänsten’, in: Förhandlingar vid tredje allmänna svenska kyrkosångsmötet i Göteborg den 3–4 maj 1916, Göteborg, 1916.
‘Svante Sjöberg’, Tidskrift för kyrkomusik och svenskt gudstjänstliv, vol. 9, 1934.
Svenska kyrkomusici, ed. Helge Olsén, with editorial contributions by Otto Olsson, Stockholm: Olsén, 1928, 2nd ed. 1936, 3rd ed. 1944.

Bibliography

Aulin, Arne & Herbert Connor: Svensk musik, vol. 1, Stockholm: Bonnier, 1974.
Barkefors, Laila: Gallret och stjärnan. Allan Petterssons väg genom Barfotasånger till Symfoni, diss. in musicology, Göteborg: Department of Musicology, University of Gothenburg, 1995.
Bengtsson, Nils Otto: Otto Olsson och Lunds domkyrkoorgel’, Orgelforum, vol. 10, no. 1, 1987.
Bengtsson, Nils Otto: Preben Nodermann – legend i Lund, Lund: Gamla Lund, 1988.
Blomberg, Göran: ‘Liten och gammal – duger ingenting till.’ Studier kring svensk orgelrörelse och det äldre svenska orgelbeståndet ca 1930–1980/83. En bakgrundsteckning: Förutsättningar – teoribildning – ideal – värderingar, diss. in musicology, Uppsala University, 1984.
Brotherton, Jonathan P.: An Examination of Three Choral Works by Swedish Composer Otto Emanuel Olsson, D.M.A. thesis, University of Cincinnati, 1998.
Carlsson, Curt
: ‘Olsson, Otto’, in: Sohlmans musiklexikon, vol. 4, 2nd ed., Stockholm: Sohlmans, 1977.
−−−: ‘Otto E Olsson’, in: Svenskt biografiskt lexikon, vol. 28, Stockholm: Svenskt biografiskt lexikon, 1993.
−−−: ‘Otto Olsson’, Kyrkomusikernas tidning, vol. 64, no. 17, 1984.
−−−: ‘Otto Olsson – Ad Dominum’, [text booklet], Ad Dominum, Musica Sveciae CD MSCD 611, 1989.
−−−: ‘Otto Olsson – ett tonsättarporträtt’, Musiklivet – Vår sång, 1973.
−−−: ‘Otto Olsson 100 år’, Upptakt, vol. 12, 1979.
−−−: ‘Svenskt uruppförande – efter 73 år’, in: Röster i radio TV, no. 47, 1976.
Carlsson, Curt and Erik Lundkvist: Orgelmusikens vänner i Gustaf Vasa 1995–2005, Stockholm: Orgelmusikens vänner i Gustaf Vasa, 2006.
Castegren, Nils: ‘Veckans tonsättare: Otto Olsson’, in: Hörde Ni, vol. 6, no. 7, 1952.
Connor, Herbert: Svensk musik, vol. 2, Från Midsommarvaka till Aniara, Stockholm: Bonnier, 1977.
Edholm, Dag: S:ta Cecilias tjänare – om kyrkomusikens utövare i Stockholm under fem århundraden, Stockholm: Edvard Vincents orgelstiftelse, 2002.
Falsjö, Mark: ‘Nytt ljus över ’diss-moll’, reflektioner kring en nyfunnen Otto Olsson-autograf’, in: Orgelforum, vol. 21, no. 4, 1999.
Gustafsson, Ralph
:Otto Olsson’, in: commentary booklet to Otto Olsson, The Complete Works for Organ, Swedish Society Discofil SCD 1121–1128, 2001–2006.
Hedwall, Lennart:Svenska kyrkotonsättare V: Otto Olsson’, in: Kyrkomusikernas tidning, vol. 24, 1958.
Heide, Heddo: ‘Otto Olsson, Stockholm 1879–1964. Aspects de l’esthétique de la musique, de la facture d’orgue et de l’interprétation d’Otto Olsson’, in: La renaissance de l’orgue, Bruxelles: La renaissance de l’orgue, 1991.
Johnsson, Anders: ‘Uppsala domkyrkoorgel som den aldrig blev’, in: Orgelforum, vol. 29, no. 2, 2007.
Jullander, Sverker: Credo Symphoniacum – en studie i musikalisk form och symbolik, unpub. thesis, The Conservatory of Music in Stockholm, 1979.
−−−: ‘French and German Influences in the Organ Music of Otto Olsson’, in: Proceedings of the Göteborg International Organ Academy 1994, eds Hans Davidsson och Sverker Jullander, Göteborg: Department of Musicology, University of Gothenburg, 1995.
−−−: Rich in Nuances – A Performance-Oriented Study of Otto Olsson’s Organ Music, diss. in musicology, Göteborg: Department of Musicology, University of Gothenburg, 1997.
−−−:’The Composer’‚ ’The Music’, in: commentary booklet to Otto Olsson, Organ Music, vol. 1/2, Daphne CD 1011/1013, 1999/2000.
−−−: ‘Till Gustav Vasa-orgelns tidiga historia’, Orgelforum, vol. 16, no. 2 and 3, 1994.
−−−: ‘Tonsättarens favorit. Om Otto Olssons Sex latinska hymner’, in: Frispel. Festskrift till Olle Edström, Göteborg: Institution for Musicology, University of Gothenburg, 2005.
Karlsson, Karin: ‘Valdemar Söderholm’ [interview], Noteria Allehanda, no. 3 1989.
Klomp, Dick: ‘Otto Olsson’, in: Het Orgel, 1991.
Koch, Erland von: Musik och minnen, Stockholm: Författarförlaget Fischer & Rye, 1991.
Krieg, Gustav A.: ‘Skandinavische Orgelromantik’, Musik und Kirche, no. 1 1990.
Kube, Michael: ‘Otto Olsson (1879–1964), Fackelträger der schwedischen Kirchenmusik’, in: Orgel International, no. 4 1998.
Köritz, Tim: ‘Skandinavische Chormusik. Singen als Volkssport in Skandinavien’, Musik und Gottesdienst, vol. 65, no. 3, 2011.
‘Liten intervju med en orgelprofessor’, Dagens Nyheter, 25 June 1945.
Lundborg, Gösta: [Otto Olsson] som lärare, in: Kyrkomusikernas tidning vol. 5, 1939.
Lundkvist, Erik: ‘Berömda orgelverk: Otto Olssons Credo-symfoni’, in: Svensk kyrkomusik, vol. 10, 1979.
−−−: ‘Interpretation av Otto Olssons orgelverk I–III’, Svensk kyrkomusik, vol. 10 and 11, 1979, 1980.
−−−: ‘Otto Olsson, giganten vid Odenplan’, Konsert-nytt, March 1984.
−−−: ‘Otto Olsson. Renässans för en senromantiker’, Musikrevy, vol. 34, 1979.
Malmberg, H.: ‘Våra tonsättare för manskör 9: Otto Olsson’, Sångartidningen, vol. 14, 1935.
Mardirosian, Haig: ‘Otto Olsson (1879–1964): A Review of the Otto Olsson Festival, Stockholm, Sweden: The Search for ‘Perfect Church Music’, April 26–29 1993’, in: The American Organist, vol. 27, no. 7, 1993.
Nelson, Timothy G.: The Organ Music of Otto Olsson, D.M.A. thesis, Evanston, Ill.: Northwestern University, 1988.
Olson, Daniel: ‘Minnen av Otto Olsson’, Svensk kyrkomusik, vol. 12, 1971.
‘Orgelns Otto Olsson’ [interview], Gustav Vasa församlingsblad, Dec. 1949.
Raasted, Niels Otto: ‘Otto Olssons orgelkompositioner’, Tidskrift för kyrkomusik och svenskt gudstjänstliv, vol. 7, 1932.
Rathey, Markus: ‘Cavaillé-Coll und der skandinavische Orgelbau’, Ars Organi, vol. 45, 1996.
Rosenquist, Carl E.: ‘[Otto Olsson] som orgelexpert och orgelspelare’, Kyrkomusikernas tidning, vol. 5, 1939.
Stuart, Marianne: ‘Otto Olsson. En mångsidig musiker, musiklärare och tonsättare’, Vår Sång, tidskrift för det folkliga musiklivet: organ för Sveriges körförbund, vol. 3, 1930.
Svedlund, Karl-Erik: ‘Nutida svenska kompositörer XIIIN: Otto Olsson’, Vår Sång, tidskrift för det folkliga musiklivet: organ för Sveriges körförbund, vol. 22, 1949.
Waldenby, Michael: Människor, myter och musik. Senromantikens inflytande på kyrkomusikens utveckling i Stockholm under 1900-talet, Stockholm: Verbum, 2002.
Åhlén, David: ‘Otto Olsson’, in: Kyrkomusikernas tidning, vol. 30, 1964.
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Summary list of works

Stage music (Arabia Land, unfinished), orchestral works (symphonies, Introduction and scherzo for piano and orchestra, etc.) vocal works with orchestra (Requiem, Te Deum for choir and organ/orchestra), chamber music (4 string quartets, 2 violin sonatas), piano music (Sex scherzi, Elegiska danser, etc.), organ music (2 symphonies, sonatas, 3 preludes and fugues, a fantasy and fugue, etc.), songs, cantatas (including for the inauguration of Engelbrekt Church), choral songs (Sex latinska hymner, etc.), chorales, liturgical music, arrangements (for piano, organ and choir).

Collected works

Stage Music
Music for the fairy-tale play Arabia Land (A.M. Roos), 1901. [Complete parts: Röfvarnas kör, Älfvornas sång, Slafvinnornas sång, Svaldrottningens visa, Polska, Visan om tre lustiga riddare.]

Orchestra
Symphony G minor op. 11, 1901−02.
Suite A minor for small orchestra op. 12, 1902.
Introduction and Scherzo, for piano and orchestra A minor op. 19, 1905.
Festspel öfver Bellmansmelodier, 1911.
3 elegiska danser for small orchestra [arr. of nos 1, 4 and 5 from op. 34 f. piano].
Marche funèbre for organ op. 21 no. 2, arr. for orchestra, 1914?
[Orchestra piece D major], ca 1935, incomplete.
Three Études for organ [op. 45], arr. for string orchestra by Tor Mann, 1935.

Chamber music
String quartets
String quartet no. 1 G major op. 10, 1901.
String quartet no. 2 G major op. 27, 1906−07. Stockholm: Musikaliska konstföreningen, 1913.
String quartet no. 3 A minor op. 58, 1945−48. Stockholm: Musikaliska konstföreningen, 1979.
String quartet G minor, 1899.
Menuett D major fr string quartet, 1899. [Also arr. for piano.]
String quartet piece F major, 1900?
String quartet B-flat major, 1902−03.

Piano and strings
Piano quintet A major op. 1, 1899.
Piano quartet A minor, 1904. [Last movement incomplete.]

Violin and piano
Fugerad fantasy for violin and piano, 1898.
Suite in F for piano and violin, 1898.
Three lyrical pieces for violin and piano op. 7, 1899−1902. 1. Berceuse, 2. Fantasistycke, 3. Cantilena.
Violin sonata no. 1 D major op. 4, 1899. Stockholm: Musikaliska konstföreningen, 2014.
Serenata F major for violin and piano, 1904.
Violinsonat no. 2 D minor op. 22, 1905. Stockholm: Musikaliska konstföreningen, 2014

Other chamber music
Suite for clarinet and piano, 1902.
Allegretto B-flat major for clarinet and piano, 1902?
[Andante and elegie] for violin and organ, 1905. [The elegie is incomplete.]
Romance for violin and organ op. 24, 1910, in: Kompositionen für Violine und Orgel, Wien: Universal Edition, 1990; also in Stockholm: Eriks, 1996.
Marche funèbre for organ arr. for string quintet, 1914?
Gratulation for cello and piano, 1937.

Piano
Fantasy A-flat major, 1896.
3 Fantasy pieces, 1896.
Waltz B minor, 1896.
Two small études [C minor, C-sharp minor], 1897.
Aqvarell G major, 1897.
Four small pieces, 1897. 1. Vår, 2. Sommar, 3. Höststämning, 4. Vinter.
Fantasy C major, 1897.
Fantasy D major, 1897.
Fugue C major, 1897?
Prelude and fugue C minor, 1897?
Fantasy G major [on Stagnelius’ Näcken], 1898.
Gavotte C minor, 1898.
2 waltzes [A minor, B-flat major], 1898.
Six pastorales, 1898. 1. I dalen, 2. Qvarnen vid bäcken, 3. På berget, 4. Söndagsmorgon, 5. Vid dansplanen, 6. I solnedgången.
Lied ohne Worte B major, 1898.
Slummersång A-flat major, 1898.
Vid juletid, 5 mood pieces op. 3 [book 1], 1898–1902. Printed. 1902
Three preludes and fugues, B-flat major, C minor & G-sharp minor, op.6[A], 1898−1901.
Prelude and Toccata E minor, 1899.
M. H., ett flickporträtt, 1899.
Andante G major, 1899.
Allegretto C minor, 1899.
Andante D major, 1899.
Folk melody G minor, 1899.
[Piano piece] A major, 1899.
[Piano piece] D minor, 1899); Scherzo A major, 1899.
Andante B major, 1899.
[Piano piece] G major, 1900.
Fughetta C minor, 1900.
Allegretto F major, 1901.; Lied ohne Worte G major, 1901.
Allegretto amoroso G major, 1901.
Fire Klaverstykker [op.2], 1898–1902. Köpenhamn: Wilhelm Hansen, 1902. 1. Prélude, 2. Impromptu, 3. Serenad, 4. Canon.
Andante con moto F-sharp major, 1902.
Fuga A minor, 1902.
Canzonetta [op.8:2], 1902.
Tempo di valse G minor, 1902.
Soluppgång D major, 1902.
Chariwari-serenade G major, 1902.
Moderato B-flat major, 1903.
[Piano piece] B-flat major, 1903.
[Piano piece] A major, 1903.
Allegro scherzando G major, 1903.
[Piano piece] G minor, 1903.
Akvareller [op.8], 1897-1903. 1. Barcarolle, 1902, 2. Canzonetta, 1902, 3. Pastorale, 1903, 4. Chanson slave, 1900, 5. Elegie, 1897, 6. Albumblatt, 1899. Printed 1903.
Three piano pieces op.18[B], 1903–04. 1. Marin, 2. Sommarafton, 3. Sorgeklockor.
Allegretto F-sharp major, 1904.
Prelude and fugue D minor, 1905.
Andantino D-flat major, 1905.
Six scherzi op. 9, 1901−05.
Vid juletid, book 2, 1907.
Andante con moto E major, 1908.
Elegiska danser, 7 piano pieces op. 34, 1905–08, Stockholm: Dahlström, 1910(?) [No. 1, 4 and 5 also arr. for orchestra.]
Ur Skizzboken [op.43], 1905–09. 1. Entrata, 2. Fughetta, 3. Siciliano, 4. Capriccietto, 5. Intermezzo, 6. Variazioni, 7. Arietta, 8. Resignation, Stockholm: Dahlström, [1921?].
Gondoliera, 1909. [Originally in Ur Skizzboken as no. 8.]
Albumblad D major, 1911.
Förlofningslåt for piano 4 h, 1913. [Also arr. for piano 2 h.]
Canon G major, 1914?, in: Karl Wohlfarts pianoskola 1914.
Gratulation, waltz for piano, 1935.

Organ
Adagio F minor, 1895, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Sonatina D major, 1897, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Suite I, 1897, in: Otto Olsson, Orgelverk, vol. 2, Rimforsa: Runa nototext, 2005.
Andante E major, 1898, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Aftonstämning, 1898, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Prelude, 1898, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Suite II, 1898, in: Otto Olsson, Orgelverk, vol. 2, Rimforsa: Runa nototext, 2005.
Fantasy on the chorale in the Swedish Hymnal No. 225, 1897. Stockholm: Verbum, 1983; also in Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Suite III, 1898, in: Otto Olsson, Orgelverk, vol. 2, Rimforsa: Runa nototext, 2005.
Suite IV, 1898, in: Otto Olsson, Orgelverk, vol. 2, Rimforsa: Runa nototext, 2005.
Sonata Pastorale A major, 1898 [movement 2 incomplete), in Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Chorale, 1898.
Allegretto A minor, 1898, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Sonata E minor, 1900, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Adagio from Symphony G minor, op. 11 no. 2, arr. for organ, 1902, in Otto Olsson, Orgelverk, vol. 3, Rimforsa: Runa nototext, 2005.
Symphony [no. 1], op.15, 1902, in: Otto Olsson, Orgelverk, vol. 3, Rimforsa: Runa nototext, 2005.
Adagio [D-flat major], 1903. Stockholm: Elkan & Schildknecht, 1903; Stockholm: Eriks, 1978.
Suite [G major], op. 20, 1904. London: Augener, 1931.
Meditation [E minor], op. 14 no. 2, 1905. Stockholm: Elkan & Schildknecht, 1907
Marche solennelle, op. 17 no. 1, 1906), in: Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
Fünf Pedalstudien, op. 26, 1906?. Leipzig: Hofmeister, 1907; Stockholm: Eriks, 1981.
Cantilena op. 17 no. 2, 1908. Stockholm: Musiktidningen, 1914; Slite: Wessmans, 1975; also in: Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
Pastorale op. 17 no. 3, 1908. Stockholm: Eriks, 1996; also in Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
Twelve organ pieces on chorale motifs, op. 36, 1908. Stockholm: Körling, 1936, 2003.
Fantasy and fugue on the chorale ‘Vi lofve dig, o store Gud’. Stockholm: tonsättarens förlag, 1910?; Stockholm: Körling, 1936.
Sonata E major, op. 38, 1909–10. London: Augener, 1924; Stockholm: Eriks, 1977.
Fünf Canons, op. 18A, 1903–10. Leipzig: Otto Junne, 1910; Stockholm: Eriks, 1981.
Prelude and Fugue C-sharp minor, op. 39, 1910?. Köpenhamn: Wilhelm Hansen, 1911; also
Three preludes and fugues, Göteborg: Cantorgi, 2006.
Ten variations on the Dorian plainsong ‘Ave maris stella’, op. 42, 1910?. London: Augener, 1913; Stockholm: Eriks, 1976.
Gregorian melodies in the form of organ pieces, op. 30, 1910. Stockholm: Abraham Hirsch, 1911; Stockholm: Gehrmans, 1930, 1978.
Fantasia cromatica, 1910?. London: Augener, 1912; Stockholm: Eriks, 1976.
Sestetto, 1910?. London: Augener, 1911; Stockholm: Eriks, 1977.
Berceuse, 1910?. London: Augener, 1912; Stockholm: Eriks, 1977.
Five Trios, op. 44, 1911?. London: Augener, 1931; Göteborg: Cantorgi, 2010?
Six Pieces on Old Church Songs, op. 47, 1912. London: Augener, 1931; Arkelstorp: Cantorgi, 2010.
Variations sur un choral, op. 48, 1913?, in: Les maîtres contemporains de l’orgue, vol. 6, Paris: Maurice Sénart, 1914; also in Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.
Entré, op. 21 no. 1, 1914?, in: Organistens favoritalbum, häfte 1, Gävle: N.E. Anjou, 1916; also in Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
Marche funèbre, op. 21 no. 2, 1915?, in: Organistens favoritalbum, häfte 1, Gävle: N.E. Anjou, 1916; also in Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
[no title], op. 21 no. 3, 1915?, in: Otto Olsson, Orgelverk, vol. 4, Rimforsa: Runa nototext, 2005.
[three preludes in dorian, phrygian and mixolydian modes], in: Organistens favoritalbum, häfte 2, Gävle: N.E. Anjou, 1916.
Miniatures – 7 easy organ pieces, op. 5, 1895−1915?, Stockholm: Nordiska Musikförlaget, 1916.
Easy chorale preludes for organ or organ harmonium, op. 51, 1915?. Stockholm: Dahlström, 1915.
[Five preludes to chorales as suggested for the Norwegian hymnal], 1916?, in: Organistens preludiealbum, Gävle: N.E. Anjou, 1918.
12 preludes in church key signatures, 1918?, in: Modulationer och preludier till gudstjänsteligt bruk, Stockholm: Svenska kyrkans diakonistyrelse.
Prelude and Fugue No. 2 F-sharp minor, op. 52, 1918. Köpenhamn: Wilhelm Hansen, 1921; also in: Tre preludier och fugor, Göteborg: Cantorgi, 2006.
Credo Symphoniacum, organ symphony no. 2, op. 50, 1918. Stockholm: Elkan & Schildknecht 1927.
[23 chorale preludes], 1920s?
Prelude to chorale 298: 15th Sunday after Trinity Sunday, 1927, in: Tidskrift för kyrkomusik och svenskt gudstjänstliv, 1927.
Postlude: Christmas Day, 1927, in: Tidskrift för kyrkomusik och svenskt gudstjänstliv, 1927.
Prelude to the chorale 305 Välsigna gode Gud, vår konung och vårt land, ca 1930.
Prelude and fugue D-sharp minor, op. 56, 1935. Köpenhamn: Wilhelm Hansen, 1940; also in Musica Organi bd III, Köpenhamn: Wilhelm Hansen, 1957; also in Tre preludier och fugor, Göteborg: Cantorgi, 2006.
Wedding prelude, 1936.
A little organ fantasy, 1941, in: Otto Olsson, Orgelverk, vol. 1, Rimforsa: Runa nototext, 2005.

Harmonium
Préambule, 1905?
Canon, 1905.
Suite for organ harmonium, 1908. Stockholm: Dahlström [1909?]; Stockholm: Körling [?].

Solo songs
Kärlekens stjärna (H. Heine), 1900.
Visan om tre lustiga riddare (A.M. Roos), Stockholm: Elkan & Schildknecht, 1904.
I natten (S. Johansson), 1901.
Den tysta elden (M. Lybeck), 1903.
Tantum ergo for 1 voice with violin and organ [op.23:1], 1906. Stockholm: Gehrmans, [1906].
Spiritual songs op. 35, 1908. Stockholm: C.A.V. Lundholm, [1909]. 1. Ej med klagan, 2. Nu tystne de klagande ljuden, 3. Min högtidsdag går in, 4. Rädens ej.
I natten (V. Rydberg), 1908.
Three psalms of David [op.41], 1908. Stockholm: Körling, 1966. 1. Herre straffa mig icke, 2. Hjärteligen kär, 3. Såsom hjorten längtar.
Ave Maria for 1 voice with violin and organ [op.23:2], 1909. Köpenhamn: Wilhelm Hansen [1910].
Lullaby: Sof, sof barnet mitt, ca 1910?
Serenade (E.W. Ruda), 1911.
Hur i min själ jag glöder (B.E. Malmström), 1912.
Songs and melodies [arr. by men’s quartets]. 1. Och linden blommar, 2. Jan Hinnerk, 3. Dalvisa (Oscar Fredrik), 4. Septemberafton, Stockholm: Gehrman, n.d. [1915].
Det strålar i Betlehems nejd ett sken, 1917?, Svenska kyrkans diakonistyrelse, [1918]. Vår skara växer (J. Saxon) 1918 (?).
Glöm aldrig mor! (M Olofsson), 1917?. Stockholm: Dahlström, [1919?].
Härlig är helgedomen (A. Lund), 1931, Stockholm: Nordiska Musikförlaget, [1932].
Himlen blå (V. Rydberg), 1934.
Lullaby (L. Rickson), 1935, reworked piano piece fr. 1898.
Three wedding songs op. 57, 1942. Stockholm: Nordiska Musikförlaget, 1943. 1. Himmelske fader, 2. Välsigna o Gud, 3. Vi önska nu.

Larger works for choir and instruments
Requiem for soli, choir and orchestra op. 13, 1901−03. Choral score Stockholm: Nordiska Musikförlaget, 1984, the rest is unprinted.
Te Deum for choir, organ, strings and harp op. 25, 1905–06). Piano vocal score Stockholm: Musikaliska konstföreningen, 1912, 1920, 1948, 1964, 1987, 1990; version for choir and large orchestra, 1929.

Cantatas
Cantata for the installation of the pastor for soli, mixed choir and organ op. 31, 1907/1938, 1938.
Cantata for the consecration of the church [Engelbrecht’s Church in Sthlm] for soli, mixed choir and organ op. 46, 1913, printed 1938.
Cantata sung at Thomas Wildley’s institution at [Odd Fellow-]lodge no. 41 in Sthlm 15 April 1909 for soli, men’s choir and piano [op. 49:1] (1909), 1909.
Cantata att the 100-year celebration of the Odd Fellow order 26 April 1919 for soli, men’s choir, piano, organ and obbligato violin [op. 49:2] (1918), 1919.
Cantata at the inauguration of the Odd Fellows’ new locale in Sthlm 21 Oct. 1926, 1926.
Cantata at the 600-year jubilee of the Maria Magdalena congregation for soli, boy’s choir, mixed choir, violin and organ op. 59 (1947). From: Påskdagsmorgon, Stockholm: Gehrmans, 1948, otherwise unprinted.
Choir song for the installation of the pastor 1948: Inför den eviges ansikte for mixed choir and organ op. 60 (A. Lund) 1948.

Other original works for choir
Mixed choir
Easter hymn, 1904.
Easter song (with organ), 1905.
Pentecost song (with organ), 1905.
Six choir songs a cappella op. 32, 1909. 1. Trettondedagssång, 2. Långfredagssång, 3. Kristi himmelfärdsdag, 4. Pingstsång (O du Helge Ande), 5. Vid nattvardsgång, 6. Lovsång, 1910. No. 4 also in Stockholm: Körling, n.d. and Slite: Wessman, [2005].
Fädernas kyrka och Med Jesus fram, 1912?, in: Ungdomens sångbok, 1913.
I denna ljuva sommartid, 1912?, in: Hymnarium, 1913.
Helige Ande o du himlens duva, 1912?, in: Hymnarium 1913; also in Stockholm: Svenska kyrkans diakonistyrelse, n.d.
O vakna värld, 1912?, in: Hymnarium, 1913.
Sion din konung, 1912?, in: Hymnarium, 1913.
Du konung som tronar, 1912?, in: Hymnarium 1913.
Vår fader i höjden, 1912?, in: Hymnarium, 1913.
Välsignad Gud, 1912?, in: Hymnarium, 1913.
När skall den tallösa hedningaskaran, 1912?, in: Hymnarium, 1913.
Tag vår hyllning, 1912?, in: Hymnarium, 1913.
Sex latinska hymner op. 40, 1912–13?. 1. Psalmus CXX, 2. Canticum Simeonis, 3. Psalmus CX, 4. Jesus dulcis memoria, 5. Ave maris stella, 6. Rex gloriose martyrum, Stockhom: Nordiska Musikförlaget, 1919, 1954; Ft. Lauderdale, Florida, USA, ca 1979; även separatutgåvor, Stockholm: Nordiska Musikförlaget, 1954; no. 1 även sep. Stockholm: Gehrmans, 2005.
Fladdra fana, 1913?, in: Godtemplarordens sångbok, 1913.
Septemberafton [arr. av manskvartett], 1913.
Bundna toner [arr. av manskvartett], 1913.
Höstkväll [arr. av manskvartett], 1913.
Sköna tempel Herrens boning dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan 1914.
Jorden oss alla skall en gång församla dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan, 1914.
Se gravens tysta skumma famn dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan 1914.
Huru ljuvliga äro icke dina boningar dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan 1914.
Jesu du som barnen alla dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan, 1914.
O Jesu värdes mig ledsaga dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan, 1914.
Utur djupen ropar jag till dig, 1913?, in: Förslag till hymnarium för Svenska kyrkan, 1914; även sep. Stockholm: Nordiska Musikförlaget, 1954.
Allt fullkomna[d]t är, 1913?, in: Förslag till hymnarium för Svenska kyrkan, 1914, och i Musica Sacra, 1915.
Advents- o julsånger f mixed choir o orgel op. 33: 1. Advent (Sions dotter lyft din panna, 1916?), 2. Julsång (Lovsjungen Herrens nåd o makt, 1908), 3. Gammal julvisa (Guds son är född, 1911?), 4. Davids 121 psalm (Jag lyfter mina ögon, 1915), 5. Nyårspsalm (O Gud som åter tänder, 1916?), 6. Det brinner en stjärna −−−, 1916?, 7. Jungfru Marias lofsång (Min själ prisar storligen), 1916?, Stockholm: Svenska kyrkans diakonistyrelse, [1917]; no. 1 och 4 Stockholm: Sveriges Körförbund, [1931?]; no. 1 och 3 med engelsk text, Rock Island, 111 [1927]; no. 7 även sep. Westerberg, 1976, och Stockholm: Eriks, 1980.
Vid Lutherfest, 1917?, 1917.
Säll den som livad än ödet skickar, 1917, in: Kyrklig sång, 1918.
De skördar som åkrarna bära, 1918?, in: Kyrklig sång, 1918.
Förtröttas ej, 1918?, in: Kyrklig sång, 1918.
Kärlek av höjden, 1918?, in: Kyrklig sång, 1918.
Likt vårdagssol, 1918?, in: Kyrklig sång, 1918.
Jesus har kommit, 1918?, in: Kyrklig sång, 1918.
O Jesu tag bort all vrede, 1918?, in: Kyrklig sång, 1918.
Fader som i evigt ljus, 1918?, in: Kyrklig sång, 1918.
Davids 100:de psalm, 1922; printed [1922].
Hälsning, 1923?, in: Folkkörboken, 1923.
En dunkel örtagård, 1928?, in: Kyrklig sång, 2. uppl 1928.
Tre latinska körsånger op. 55. 1. Jesu corona celsior, 1927, 2. Auctor beata saeculi, 1936?, 3. Aeterne Rex altissime, 1936?. Separatutgåvor Stockholm: Eriks, 1981–82.
Krist är uppstånden, 1932?, Stockholm: Svenska kyrkans diakonistyrelse, 1966.
Troshymn, 1933?, in: Laudamus, 1934.
Kväll i skogen, 1949, in: Vår sång, 1949, 1973.

Damkör
Pentecost song (‘Hos Gud finns inga hinder’, mel. by M Haydn arr for women’s choir 1905?)
Vi samlas här till ädel strid, 1914?, in: Vita bandets sångbok 1915,
De tempore vernali op. 54, 1935: 1. In vernali tempore, 2. Tempus adest floridum, Nordiska Musikförlaget, 1947

Men’s choir
Bland sångarbröder (E.A. Karlfeldt), 1905. Sällskapet för den svenska kvartettsångens befrämjande (SSKB) 1905, also arr. for mixed choir.
Septemberafton, 1905, SSKB 1905.
Visa, 1905, SSKB 1905
Drömmar (E.A. Karlfeldt), 1905, SSKB 1905.
Bundna toner (E.N. Söderberg), 1905?. SSKB 1905, also arr. for mixed choir.
Aftonsol (A.M. Roos), 1906, in: Från tonernas värld, 1914.
Solsång, 1906?
Jan Hinnerk, 1906, printed 1915.
Goternas sång, 1906, SSKB 1906.
Storm o lugn, 1906?, SSKB 1906.
Två fjärilar, 1906.
Krönikan, ca 1907.
Blomman, ca 1907.
Höstkväll, 1908, SSKB 1908, also arr. for mixed choir.
Tomten, 1908, SSKB 1911.
Domaredansen, 1908?, Stockholm: Gehrmans, 1913, 1954.
Four folk melodies, 1908. 1. Gammal dryckesvisa, Sångartidningen 1956, SSKB 1964; 2. Vaggvisa, SSKB, 1964; 3. Dalvisa, 1915; 4. Orsa polska.
Fjärran på enslig stig (D. Fallström), 1909?, printed 1910(?)
Vallarelåt, 1910, printed 1913.
Hvit vilar snön, 1910?, printed 1913
Jungfrun i det gröna, 1911?, SSKB 1911.
Svenska sången [Nordiska sången], 1911, SSKB 1913.
Mårten Holk, 1911?, printed 1915.
Mälardrottningen, 1913?, printed 1913.
Celadons klagovisa (G. Fröding), 1922?, SSKB 1922.
Stilla mitt hjärta, 1922?, printed 1922.
Cortège nocturne, 1923?, printed 1923.
Fågelkvitter, ca 1924?
Svensk bön, 1925?, SSKB 1925.
Stjärnor som glimma, 1925?, in: Sångar-förbundet, del 2, 1926.
Vårstorm, 1925?, in: Sångar-förbundet, del 2, 1926.
Song for the opening of the Stockholm Exhibition 1930, op. 53, 1930.
En sångardag, 1953.

Hymn melodies
Vår blick mot helga berget går, in: Nya psalmer 1921:523; Den svenska koralboken 1939:140; Koralbok 1987:165.
Välsigna, gode Gud, vår konung och vårt land, in: Den svenska koralboken 1921:305, Den svenska koralboken 1939:490.
Vänta efter Herren, in: Nya psalmer 1921:602; Den svenska koralboken 1939:206, Koralbok 1987:205.

Liturgical music
Musik for the Missale for the Swedish Church, 1923. [Including melodies for the initial Holy (also in Den svenska mässboken, 1942.]

Arrangements for piano
Näckens polska, in: Carl Axel Rudolf Lothigius, En bakgrund till Näckens polska. Lecture held in S:t Olof’s guild in Norrköping, autumn 1900, Stockholm: Dahlström, 1914.
Vid julbrasan, fantasy on known Swedish Christmas melodies, Stockholm: Nordiska musikförlaget, [1917].
Ack Värmeland du sköna, n.d.
Abbe Vogler, Hosianna [f. harmonium], n.d.

Arrangements and transcriptions for organ
August Söderman, Wedding at Ulfåsa, wedding march, Stockholm: Abr. Lundquists musikförlag, [1903].
Also in manuscript som 10 organ transcriptions of others’ works.

Collections with own arrantements for piano, harmonium or organ
20 Swedish folk melodies for the school and home, n.d.
Bellman melodies in easy settings for organ harmonium, n.d.
Well-liked circle games in easy settings for organ harmonium, Stockholm: Dahlström, n.d.
Kring majstången, Stockholm: Dahlström, n.d.
Julglädje, ringlekar, n.d.
Sweden’s melody book, vol. 1 (together with A.O. Assar), Stockholm: Nordiska musikförlaget, n.d. [1922?]
Chorale book for the school and home. Contains music for the Swedish hymnal from 1819 and Nya psalmer from 1921, in accordance with the royally approved 1921 chorale book, Stockholm: Svenska kyrkans diakonistyrelses bokförlag, 1922, 2nd ed. 1923, 3rd ed. 1925.
Christmas melody book. 100 Christmas hymns, songs and dances, Stockholm: Nordiska musikförlaget, n.d. [1924], 2nd ed. 1944; new ed. 1957 with the title Christmas melody book melodibok. 100 Christmas hymns, songs and dances in settings for piano with texts and analyses.
Chorale book for the home. Contains music from the 1819 hymn book and Nya psalmer from 1921, Stockholm: Svenska kyrkans diakonistyrelses bokförlag, 1933.
Angelica. Selected songs, etc. for the church, school and home, set for organ [harmonium], n.d.
Bach-Händel album for harmonium, Stockholm: Dahlström, n.d.

Arrangement for solo voice
Bellman: Märk hur vår skugga, arr. for solo voice and instrumental ensemble.

Arrangements for choir
Mixed choir
Han är uppstånden (melody J.G. Ebeling 1905), in: Hymnarium, 1913. [Also with another text: Den gyllne solen; also in, Stockholm: Svenska kyrkans diakonistyrelses bokförlag, n.d.]
Nine old church melodies in settings for choir, 1918?. 1. En öppen grav (mel. 1739), 2. Gud vår Gud för världen all (G. Josephs), 3. Gud är vår starkhet (J. Brand), 4. Helga natt jag hälsar dig (J.W. Franck), 5. Jesus Kristus är vår hälsa (medieval mel.), 6. Kom o Jesu väck mitt sinne (mel. 1614), 7. Nu kommen är vår påskafröjd (mel. 1608), 8. Sig fröjde nu var kristen man (mel. 1611), 9. Till dig o milde Jesu Krist (mel. 1787), all in, Stockholm: Svenska kyrkans diakonistyrelses bokförlag, n.d. [1918–24?]. [‘Nu kommen är vår påskafröjd’ also 1966.]
Säg mig den vägen (old mel. fr. Dalarna), arr. 1939, in: Sången, no. 2, 1939, also in, Stockholm: Gehrmans musikförlag, 2004.
I hoppet sig min frälsta själ förnöjer (German folkmel. fr. 1600s), arr, 1939, in: Sången, 1939.

Men’s choir
Fredmans epistlar (C.M. Bellman) no. 6, 44, 58, 68, 71, 81 (no. 71 1907, the others ca 1907–1911.
Fredmans sång (C.M. Bellman) no. 6.
Ädla skuggor, vördade fäder, from Gustaf Wasa (J.G. Naumann), 1932. Stockholm: Elkan & Schildknecht, 1932.


Works by Otto Olsson

This is not a complete list of works. The following works are those that have been inventoried so far.

Number of works: 51