Lille Bror Söderlundh (1912−1957)


Lille Bror (Bror Axel) Söderlundh – composer, folk singer, conductor – was born in Kristinehamn on 21 May 1912 and died in Stockholm on 23 August 1957. He worked as a conductor at various theatres in Stockholm 1936–41 and as a choral conductor in Leksand and Borlänge. Renowned for his songs to lyrics by the likes of Nils Ferlin, published in collections such as När skönheten kom till byn, Prästkrage and Sorgmantel. Heavily influenced by folk music, he composed children’s operas, chamber music, and choral and instrumental music.

Early life and education

Lille Bror Söderlundh was influenced at an early age by his grandfather, Sven Söderlund, who was a teacher, organist, cantor, and active participant in the Kristinehamn music scene in the province of Värmland. Lille Bror’s father Wenzel was also involved in the city’s music scene, although unlike Lille Bror’s mother Lisa, who was spoken of as being mild-mannered, Wenzel was stern and insensitive. When Lille Bror was twelve, his father decided that he would play the violin. Lille Bror was punished with beatings if he had not practiced. In addition to the violin, Lille Bror Söderlundh devoted himself to the piano, but due to an injury to his right hand, he was never able to achieve any technically advanced level on the instrument. However, despite the injury, it was possible for him to play the violin and the guitar.

Late in the summer of 1926, when Lille Bror was 14 years old, his family moved from Kristinehamn to the small town of Charlottenberg in western Värmland. Lille Bror started his first music ensemble here and began to compose. He finished junior secondary school in 1929, but had poor marks in most subjects except for music. This was a deciding factor in his decision to become a musician, and in the autumn of 1929 he moved to Stockholm. When he was twenty years old, studying counterpoint with Gunnar de Frumerie, he wrote to his parents: ‘I want to become something. I want to continue in my grandfather’s beautiful thoughts. I want to nurture that what I have gained up to this point so that my grandfather will later be able to see his footprints in my songs’.

Information regarding Lille Bror Söderlundh’s music studies is unclear. He considered formal education to be overrated, but for several years he studied privately with Tobias Wilhelmi, a composer and the concertmaster of the Kungliga Hovkapellet (the Royal Court Orchestra). Lille Bror’s studies with Wilhelmi included violin and viola lessons, harmony and counterpoint. He also took private lessons for about a year with the Danish violinist and pedagogue Peder Møller in Copenhagen, where he resided in 1933..

One year later, in the autumn of 1934, Lille Bror Söderlundh was admitted to the Royal Conservatory of Music in Stockholm. Although he never graduated, he studied the violin with Charles Barkel and Julius Ruthström. Despite his hand injury, he also studied piano under Gottfrid Boon. In addition to instrument lessons, Lille Bror’s education included harmony and orchestral performance, ear training and music history. Several years later, in 1940, he applied to the composition program, but was not accepted.

Revue music and songs

During the 1930’s, Lille Bror Söderlundh supported himself as a restaurant musician. He met Christel ‘Tuss’ Hedström in 1932. They were married on 26 June 1935 and two months later, on 27 August, their son Ola was born. The following year, they submitted an application for a legal separation, but continued to keep in touch and even celebrated the 1937/38 New Year at Christel’s mother’s house, together with friends including Nils Ferlin.

According to his wife Christel, Lille Bror and Nils Ferlin had met at the Café Cosmopolite, a gathering place for artists, writers, actors and musicians in the Klara district of Stockholm. During these years Lille Bror Söderlundh composed music to a series of texts by Ferlin. The most famous of these songs includes ‘När skönheten kom till byn’, ‘En valsmelodi’ and ‘Får jag lämna några blommor’.

From the summer of 1936 until the 1940 season, Lille Bror and his orchestra supplied the entertainment at the Bellmansro restaurant, where he also appeared dressed as the 1700’s bard Bellman, performing his classic songs Fredmans epistlar and Fredmans sånger. But Lille Bror was uncomfortable in the role as entertainer. In a letter to Christel, who was in Paris at the time, he wrote: ‘I want to stop this damned clownery. And do good things. This eternal tavern groveling is running me down and is extinguishing the fire within me that I would rather spend on other, greater tasks.’

In 1940, Lille Bror Söderlundh was engaged as orchestra leader by the revue king Karl Gerhard for his first comedy Gullregn, which not only became one of Karl Gerhard’s biggest hits, but also put the spotlight on Lille Bror and his work as an orchestra leader and conductor. Karl Gerhard was a resolute anti-Nazi and Gullregn was a protest revue, including the opinion forming song ‘Den ökända hästen från Troja’, which attracted much attention at the time. Lille Bror composed the verse melody directly for this revue. A few years later, he was recruited to work on the Taggen musical at the Nya teatern in Stockholm. The concept behind Taggen had been initiated by the journalist Staffan Tjerneld, together with theatre director Per-Axel Branner. It was a bitter satirical reflection of the outlook on the ongoing war.

Another of Lille Bror Söderlundh’s activities was the transcription, harmonization and creation of new arrangements of music by other composers. He harmonized melodies by Ruben Nilson and Göte Hennix and made new arrangements of Carl Jonas Love Almqvist’s Songes and Bellman’s Fredmans epistlar. He also assisted the singer Evert Taube by transcribing melodies and writing arrangements.

To Dalarna

In 1938 Lille Bror became acquainted with Lisbet Jobs, who was a successful potter. They were married on 7 November 1939, and four years later the family moved to Västanvik, Dalarna where they enjoyed a period of harmony in their lives. Lille Bror Söderlundh read a great deal of poetry, and many poets from the 1930’s and 40’s were included in his circle of friends. When in February of 1948 he was offered a position as the new leader of Leksand’s men’s chorus, he was given the incentive to compose choral music – not only for men's choir, but also for mixed choir and women's choir.

Söderlundh made his film debut in 1939, singing his own songs in the film Frun till handa. He then composed original music to some twenty Swedish feature films until his death in 1957. He also had numerous theatre assignments, including conducting Kurt Weill and Bertolt Brecht’s ‘The Threepenny Opera’ on numerous occasions. He also wrote the music to performances of Midsommarnattsdröm i fattighuset at Blancheteatern in Stockholm and several performances at Dramaten (the Royal Dramatic Theatre), which included Federico García Lorca’s Mariana Pineda directed by Mimi Pollak and William Shakespeare’s Twelfth Night, directed by Alf Sjöberg, among others. He also composed children’s operas such as Barna Hedenhös på nya äventyr, I Annorlunda and Den flygande trumman which were performed at the Stora teatern in Gothenburg, the latter two with texts by children’s book author Lennart Hellsing.

His own concerts

Throughout his life, Lille Bror Söderlundh was torn between two roles: that of the famous and popular ‘bard’ and that of a serious composer of instrumental music. To showcase his talents, he arranged a private concert at the Stockholm Concert Hall’s ‘little hall’, now known as Grünewaldsalen. The sold out concert took place on 17 March 1944, with a program consisting completely of his own music, except for an arrangement of Almqvist’s Songes. He performed several of his most popular songs, including his own settings of Ture Nerman’s ‘Den vackraste visan’ and Ferlin’s ‘Får jag lämna några blommor’ and ‘När skönheten kom till byn’. Following this, the then 25-year old Sixten Ehrling premiered Intrada och Allegro for piano, which, however, many critics in attendance did not take kindly to. Composer and critic Kurt Atterberg wrote in Stockholms-Tidningen that it was ‘[p]iquant harmony with a certain pleasant scent of polytonality’ whereas Folke H. Törnblom from Morgon-Tidningen felt that the music certainly offered some bold sounds but still lacked ‘purpose and meaning’. Other works premiered at the concert included his Semplice for string quartet and Concertino for oboe and string orchestra. Just as Lille Bror experienced difficulty himself in having to choose one of his artistic pursuits over the other, the outside world also appears to have had difficulty accepting his versatility. In his review in Svenska Morgonbladet regarding the Grünewaldsalen concert, the composer and critic Dag Wirén wrote:

Instead of listening to Lille Bror Söderlundh, one felt like one was listening to Kreisler, Gershwin, Casella, Prokofiev, Gustaf Nordqvist, a Swedish country fiddler and several more. That is, the music was too clumsy and shapeless to have really come from any of them. Lille Bror Söderlundh is arguably at his best with the simple ballad, in which form is self-evident; his own style was unrecognisable in the more ambitious numbers. It is not even worthwhile to attempt to describe the works in which he failed so miserably it would be to include the greater part of the program.

Turning point

During the summer of 1950, Lille Bror Söderlundh was hospitalised for liver problems. After a stay in Skåne the following summer, he was hospitalised again. As a result of these hospitalisations, he suffered a life crisis, left his family in Västanvik, and moved into a studio in Falun. Some time later, he declared that he no longer wanted to compose songs. With role models such as Igor Stravinsky, Sergei Prokofiev, Carl Nielsen and especially Béla Bartók – and with his way of allowing a place for folk music in his works – he wanted to attempt to compose in larger formats. Included in his plans was an opera with a libretto by Ingrid Arvidsson. He also wanted to make a dramatic feature film featuring four professional musicians who would meet in the movie through music.

But this was a time of violin concertos. Both Hilding Rosenberg and Lars-Erik Larsson had recently come out with violin concertos and in the spring of 1950 Lille Bror Söderlundh began work on his own violin concerto, which came to be perhaps one of his most multifaceted works. He had heard a great tit singing outside his window and based one of the concerto’s themes on the bird’s song. The subtitle for the fourth and final movement is ‘Parus major’ – the Latin name for great tit.

In the violin concerto, primarily the orchestral movement is strongly affected by contemporary modernist currents. He had embraced twelve-tone music, which he found fascinating, and he greatly respected contemporary young Swedish composers. In 1952, for the Röster i Radio newspaper, he said: ‘The material, method does not matter; the artistic result alone is of course decisive. Of the young Swedish composers I would like to mention Ingvar Lidholm: he is sincere and honest; and he has the deliberateness that gives personal results.’

Yet Lille Bror Söderlundh never abandoned folk music as his main source of inspiration: ‘There is nothing but folk music to really hold on to, it is the only thing one has inside. He that forsakes folk music, forsakes himself; without folk music one is not a real composer.’

That folk music was his aesthetic starting point also becomes clear in works such as his oboe concertino, Folkliga valser, Havängsvit for piano and strings, and several choral works that he wrote for his choirs. But he also embraced Neo-Classicism, as in his Svit i barockstil and the dance suite Christinamusik, originally written for Strindberg’s play Kristina.

Lille Bror Söderlundh was extremely careful and meticulous in everything he did. ‘Tidy’, said Nils Ferlin. He was also a talented administrator and in 1955 he was hired as director of music at the Borlänge City Music School and as an advisor to the public schoo’s music department. A position he held until his untimely death from cardiac arrest in 1957, when he was only forty-five years old.

Göran Persson © 2016
Trans. Thalia Thunander

Publications by the composer

‘Om Nils Ferlin’, in: Stig Carlson and Axel Liffner (eds), En bok om Nils Ferlin, Stockholm: FIB's Lyrikklubb, 1954.


Cox, Roland: ‘Några minuter med Lille Bror Söderlundh’, in: Sångaren, vol. 82, 1995.
Eriksson, Axel: ‘En visans mästare, Lille Bror Söderlundh intervjuad’, in: Musikern, vol. 33, no. 16, 1941. 
Jacobsson, Stig: ‘Lille Bror Söderlundh’, in: Svensk Musik/STIM.
Mattsson, Christina: Lille Bror Söderlundh. Tonsättare och viskompositör, Stockholm: Atlantis, 2000.
––– : ‘Taube skriver brev till Lille Bror Söderlundh sommaren 1948’, in: Sumlen: årsbok för vis- och folkmusikforskning, Stockholm: Samfundet för visforskning, 1978.
––– : ‘Lille Bror Söderlundh och visans renässans’, in: Noterat, no. 7, 1999, pp. 73−85.
––– : ‘Kära Lille Bror min vän Söderlundh poet.’, in: Det kostar på. Evert Taube-sällskapets årsbok, 2002, pp. 86−102.
Runnquist, Åke: Poeten Nils Ferlin, Stockholm: Bonnier, 1958.
Pereswetoff-Morath, Magnus: ‘Lille Bror Söderlundh som tonsättare: en verkförteckning’, in: Musikologen, 1991, pp. 49−53.

Summary list of works

Operas (children’s operas: Barna Hedenhös på nya äventyr, Den flygande trumman, I Annorlunda), incidental music (circa 15 plays), film music (circa 25 films), orchestral works (circa 15 solo concertos, 25 pieces for smaller orchestral ensembles), cantatas (Skogsrikedomen and Ynglingen och stjärnan), chamber music, piano pieces, songs/ballads (circa 250), choral music.

Collected works

Children’s operas
Barna Hedenhös på nya äventyr (B. Almqvist arranged by F.G. Sundelöf). Premiere 26 Dec. 1953, Medborgarhuset, Stockholm.
Den flygande trumman (L. Hellsing). Premiere 29 Nov. 1953, Stora Teatern, Göteborg.
I Annorlunda (L. Hellsing). Premiere 1953, Falun.

Incidental music
Christina. Incidental music (A. Strindberg). Premiere 26 December 1941, Nya Teatern, Stockholm.
Drömmarnas berg. Incidental music (M. Andersson). Premiere 28 October 1948, Malmö stadsteater, Malmö.
Emigranten, ett skillingtryckspel i tio bilder ur en amerikafarares liv (O. Husáhr and R. Lindström). Comp. 1952.
Fröken Rosita eller blommornas språk. Incidental music for two guitars and piano and songs (F.G. Lorca). Premiere 10 February 1951, Göteborgs stadsteater
Havskoral. Incidental music. Comp. 1939.
Liolà (L. Pirandello). Premiere 11 September 1953, Kungliga Dramatiska Teatern, Stockholm.
‘Mariana Pineda’. Incidental music (F.G. Lorca). Premiere 8 September 1954, Kungliga Dramatiska Teatern, Stockholm.
Midsommarnattsdröm i fattighuset.  Incidental music (P. Lagerkvist). Premiere 21 November 1941, Blancheteatern, Stockholm.
Sagan. Incidental music [for string quartet] (Hj. Bergman). Premiere 16 January 1942, Dramatikerstudion, Stockholm.
Salome. Incidental music (O. Wilde). Premiere 27 September 1943, Nya Teatern, Stockholm.
Spökdamen. Incidental music (P. Calderón, trans. Hj. Gullberg). Comp. 1952. Premiere Göteborgs stadsteater. 
Twelfth Night. Incidental music for voice and orchestra (W. Shakespeare). Premiere 1 February 1946, Kungliga Dramatiska Teatern, Stockholm.
What You Will and As You Like It. Scenes from four Shakespeare comedies with a prologue by Karl Ragnar Gierow. Premiere 31 January 1951, Kungliga Dramatiska Teatern, Stockholm.

Film music
Himlaspelet, including: Marias vaggvisa and Kung Salomos visa (R. Lindström.) Dir: Alf Sjöberg, 1942.
Livet måste levas, including: Jag mötte (N. Ferlin). Dir: Elof Ahrle, 1943.
Kejsarn av Portugallien. Dir: Gustaf Molander, 1944.
Tre söner gick till flyget. Dir: Rolf Husberg, 1945.
Vandring med månen. Dir: Hasse Ekman, 1945.
Jagad. Dir: Bengt Palm, 1945.
13 stolar. Dir: Börje Larsson, 1945.
I dödens väntrum, including: Ma bella mia Maria (Kj. Löwenadler). Dir: Hasse Ekman, 1946.
Tant Grön, Tant Brun och Tant Greddelin. Script and Dir: Rune Lindström, 1947.
Från lillstuga till storföretag. A film on Åhlén & Holm’s history during a half century, 1948.
Smeder på luffen, including: Jag tager din hand and träskolunken (R. Lindström.) Dir: Erik ‘Hampe’ Faustman, 1949.
Stora Hoparegränd och himmelriket, including: Jag byggde en bro (T. Zetterholm.) Dir: Gösta Folke, 1949.
När kärleken kom till byn, including: När skönheten kom till byn (N. Ferlin.). Dir: Arne Mattsson, 1950.
Mot framtiden. Dir: Rune Lindström, 1950.
Malin går hem. Dir: Mimi Pollak, 1951.
Vägen till Klockrike, including: Bollelåten (R. Lindström). Dir: Gunnar Skoglund, 1953.
Vi tre debutera, including: Folklig vals no 2. Dir: Hasse Ekman, 1953.
Storm över Tjurö, including: Folklig vals no 2. Dir: Arne Mattsson, 1954.
I rök och dans. Dir: Yngve Gamlin and Bengt Blomgren, 1954.
Karin Månsdotter. Script and Dir: Alf Sjöberg, 1954.
Ung man söker sällskap, including: Den vackraste visan om kärleken (T. Nerman) and Tingen (A.G. Wide). Script and Dir: Gunnar Skoglund, 1954.
Sista ringen. Script and Dir: Gunnar Skoglund, 1955.
Luffaren och Rasmus, including: De’ ä’ någe’ visst me’ de’! (R. Lindström), Tingel-Tangel, Folklig vals no 2. Dir: Rolf Husberg, 1955.
En drömmares vandring. Script and Dir: Lars-Magnus Lindgren, 1957.
Far till sol och vår. Dir: Lars-Eric Kjellgren, 1957.

25-öresvals, for small orchestra, n.d.
Adagio for string orchestra, 1936.
Adagio for string orchestra, study, 1956.
Allegro for string orchestra.
Bollelåten for small orchestra.
Bourrée for strings.
Christina-musik, suite for string orchestra.
Dalasvit for string quartet/string orchestra.
Dödssynder sju går i dansen for small orchestra.
Eda-suite for small orchestra.
En sommarkväll vid Hugn for small orchestra.
Fyra sommarlåtar for string orchestra.
I Dalarna, suite for small orchestra.
Kejsarn av Portugallien, suite for orchestra.
Lindellkvartettens jubileumskavalkad for small orchestra.
Melodikum-polka for small orchestra.
Music for a Finnish poem-suite for small orchestra.
Nattvisa till Lindelin for string orchestra.
Suite for string orchestra.
For a choreographer, ballet suite for orchestra.
For Norwegian poems for small orchestra.
Three folk waltzes for string orchestra.
Trollkonedans for small orchestra.
Waltz intermezzo for small orchestra.
Vintermåne, meditation for small orchestra.
Vinterträdgård for small orchestra.

Concertos/works for one ore more solo instruments and
Allegro concertante for two violins and string orchestra.
Aria and rondo for oboe, strings and percussion.
Concertino for oboe and string orchestra.
Concerto per violino ed orchestra.
Dalamusik, suite for clarinet and string orchestra.
Elegi for solo violin and string orchestra.
Havängsvit for piano and string orchestra.
Kustlandskap, suite for strings and a little drum.
Rondino for piano and string orchestra.
Siciliana seria for solo viola and string orchestra.
Suite, arr. for solo viola and chamber orchestra.
Tuna-suite for soloists and orchestra.
Visor i följd for two voices, guitar, clarinet and string orchestra.

Choir with soloist(s) and orchestra
Amanda for soloists, choir and string orchestra.
Impressioner for Hugo Alfvén.
Kejsarn av Portugallien: ballet music with a prologue and epilogue.
Skogsrikedomen: cantata for soloists, choir and orchestra.
Ynglingen och stjärnan, cantata for soloists, choir and orchestra.

Works for other ensemble types
Karusellrondo for tinsmith, rock blaster bass, typist, lute singer with a cold and orchestra.
Klockrikesvit for reciter and woodwinds.

Chamber music
Duet for two alto violins.
Duo for violin and viola.
Little suite for two violins.
Little waltz for two guitars.
Matutin for clarinet/viola and piano/organ.
Miniatures for two violins.
Ormtjusaren for two clarinets.
Pastorale and Gavotte for two recorders.

Instrument with piano/organ
Adagio for violin and organ.
Arietta for clarinet/viola and piano/organ.
Wedding music for violin and organ.
Canto for violin and piano.
Canzonetta for violin and piano.
Simple piece for flute and piano.
Little suite for clarinet and piano.
Piece for violin and piano.

Free variations on the composer’s own theme for string trio.
March for three clarinets.
Meditation on a chorale melody for string trio.
Menuet for piano trio.
Three (small) pieces for harp trio.

Dalasvit for string quartet/string orchestra.
Idea 1 & 2 for saxophone quartet.
Semplice – four pieces for string quartet.
Two small pieces for oboe and string trio.
Lullaby for string quartet.
Vid en ung diktares bortgång for string quartet.

Sommarmusik: little suite for harp quintet.
Stämningsbilder for harp quintet.

Allegro (1) for piano.
Allegro (2) for piano.
Allegro (3) for piano.
Intrada and allegro.
Petri förnekelse, ballet music for piano.
Piece for piano.
Theme and variations.

Two pianos
Den förlorade sonen, ballet music.
Svensk suite, ballet music.

Adagio and interlude for organ.
Siciliana seria.
Sophie Wærn’s wedding march.
Music for mourning at my father’s deathbed.

Ack om jag vore kung.
Allting går igen ur tidens grums och mögel.
Att bara få sitta så här.
Att vara fånge är så trist.
Avsked till sommaren.
Badet i skogssjön.
Balladen om den tysta staden.
Ballad till sjömännen.
Bed om min syn.
Bellmansros seglarvals.
Blomma min stad.
Blås, blås du vintervind.
C’est la guerre.
Dagen är släckt.
De flänga och de gno och gny.
De händiga herrarna.
Den blomstertid skall komma.
Den tysta kärleken.
Den vackraste visan.
Den vise.
De svarte Morhianer.
Det blåser kallt på väg och mo.
Det hände en gång i mitt unga liv.
Det levde en jungfru i riddarens borg.
Det var så mörkt.
Det är Cuba, min fröken.
Det är vackrast när det skymmer.
De’ ä’ någe’ visst me’ de.
Drottningen av Saba.
Du hjärtans tröst och lilja.
Du Lasse, Lasse liten.
Du är sol.
Dykar Fridolfsson.
Då reste du långt över tusen hav.
Där uppe i himlen där stjärnorna bor.
Edvard och Hulda.
Eget hem.
En liten förälskad åsnefjant.
En långtradarvals.
En midsommarvisa.
En sagobok med gubbar i.
En skål I bröder, som vilse vandra.
En sommar har gått.
En ungersven med kärestan sin.
En ung poet.
En valsmelodi.
En visa om vanskligheten.
En vårprinsessa.
Ett barn och en bok.
Ett vallhjon jag vorden.
Expohästens visa.
Figaros visa I-II.
Fjärran går ett spinnrockshjul.
Flickan från drömmarnas by.
Från antiken fram till våra dars historia.
Främmande man.
Fyra vita kossor.
Får jag lämna några blommor.
För klingande dukater.
Först blev det ganska tyst i byn.
Gamle kungen.
Gammal visa.
Genom en vägg.
Gråt inte flickor.
Guds moders ros.
Gumman vid vägen.
Hambon den går.
Hit och dit-visan.
Hos dockdoktorn.
Hur ska jag få veta.
Här kommer ett skepp.
Här kommer flottan.
Här ska ni få höra.
Här är visan som är fin.
Hästen från Troja.
Hör du fiolen i backarna.
Hör så de’ klang.
I kanongjuteriet.
I Kattebohult bor det tattarepack.
I lyckans gudomliga allvar.
I natt sov jag kärlekens sömn.
Ingen må mig det förneka.
Inte ens.
I sommarens tid då du gick.
I stenåldern har vi så kul.
I svarta kläder går Balders maka.
Jag beckar det svartaste läder.
Jag byggde en bro.
Jag födde dig åt sommaren.
Jag lärde mig gå på händer.
Jag målar en ros.
Jag mötte en syster i natten.
Jag ringde en vän och jag ringde väl två.
Jag sitter och läser mitt brev till dej.
Jag tager din hand efter dansen.
Jag tar din hand.
Jag vandrar att göra min plikt.
Jag var ett speglande vatten.
Jag ville att du sutte här.
Jag ville vara tårar.
Jag vill måla dina ögon.
Jag väntar på vind i mitt segel.
Jag älskade någon, jag vet inte vem.
Jorden den rullar.
Jordisk kärlek.
Kisses visa I–II.
Klä’ vitt, klä’ vitt.
Kokott, kokott.
Kom, Lilla Ola.
Krakel Spektakel, Kusin Vitamin.
Krog-Jennys visa.
Kungen, du och jag.
Kvinnor, kvinnor, kvinnor.
Kyskheten är ett kosteligt ting.
Kärlek och hat-sång.
Kärleksvisa efter Wivallius.
Liolàs visa.
Liten vaggvisa.
Lustvin dansar en gavott.
Lätt som en svala.
Mamma var är alla moln.
Marie vaggsång.
Men kunde vi bara få vind igen.
Midsommar leker kring tun och näs.
Min dröm är död.
Min kära på ‘Stadt’.
Min sång skall vara ljus och ung.
Moder ta mig ut på fälten.
Mor hon skall väva ditt konungalin.
Mot gjallarbron.
Månen kommer och solen går.
Månen lyser över stan.
Mörk är den purpur.
Narrens första visa.
Narrens andra visa.
Narrens sista visa.
Natt med fyra månar.
Nog ville jag sörja.
Nu far vi – ja, det gör vi.
Nu är det klang i mässingen igen.
När skönheten kom till byn.
När änglarna sova.
Och Bolle han vandra.
Och när jag var ett snällt litet barn.
Och skymningen den föll som förr.
Och sorgens makt är större.
Oh, miss Florida.
O, ja kom, o kom fort död.
Permanente grisen.
Per Skotte.
Prästkrage säg.
Pulex irritans.
På Arendorffs tid.
På höga fäbovretar.
Pålles visa.
På serveringen.
Räkna till tusen – till tusen och ett.
Se mot rutorna kastats kaskader.
Sinande flöjt.
Sista visan.
Skeppar Sjöstrands farväl.
Skön är morgonen.
Sol som vi saknat lys du oss igen.
Sotarns visa.
Sov under vänliga stjärnors sken.
Spansk fantasi.
Stadens visa.
Stjärnan i din hand.
Så här om våren.
Then wägh som op till himla bär.
Tingen växte som mandelblom.
Tre länder jag tagit.
Tänd lampor och ljus.
Tänk, det gick bra ändå.
Tänk jag drömde i natt.
Ute blåser sommarvind.
Vad är det som regnar.
Vaggvisa för dockan.
Vals under aftonstjärnan.
Vart villar du dig bort.
Vi har en trumma.
Vi har svettats vid hyttor och ugnar.
Vinden är vresig.
Vinter i parken.
Visan om Norge.
Vita råttans visa.
Vitt land.
Vore du skön som den ädela ros.
Vårt vita hus i Fontainebleau.
Väck mig till sömns i dig.

Choral music
Mixed choir
Det är ej tid.
För vilsna fötter sjunger gräset.
Herre, lär mig betänka.
Här var jag aldrig riktigt hemma.
Jag blir ej färdig.
Jag blåste i min pipa.
Jag skall hålla mig i min hand.
Leksands klockor.
Maria Magdalena.
Såsom hjorten träget längtar.
Three madrigals to poems by Gunnar Björling.
Two madrigals in the spirit of Wivallii.

Women's choir and treble choir
Casida om den klara döden.
Den signade dag.
Idrottsda’ i Borlänge sta’.
Inte ens en grå liten fågel.
Kyskheten är ett kosteligt ting.
Malgomaj och Nattavind.
Så ensam.
Träden därute.

Men's choir
Av dig.
Beckoxar gå på Siljan.
Dalarnas land, Dalarnas land.
De döda sova.
Dig är en törnekrans.
Fejden om brast.
Fly, fly från dig själv.
För vilsna fötter sjunger gräset.
Inte ens −.
Jag biter himlen.
Jorden sov i veka drömmar.
Kväll i inlandet.
Leksands klockor.
Människans hem.
När skönheten kom till byn.
Och när jag var ett snällt litet barn.
Tuna ting.
Tvenne madrigaler i Wivallii anda.
Vakna skogsjö!
Våren skall vakna.