Axel Raoul Wachtmeister (1865−1947)
Composer, globetrotter and count, Carl Axel Raoul Georg Henrik Wachtmeister was born in London on 2 April 1865 and died in Malmö on 12 December 1947 after having lived an adventurous life and during extensive travels visited many countries. His musical education was fragmented but solid with studies in Stockholm, Copenhagen, Dresden, Leipzig and Paris. He composed an impressive amount of music in all genres and his works were, periodically, performed relatively often – but mostly abroad.
Life
Background and early years
Axel Raoul Wachtmeister was born into a cosmopolitan family and socialized from an early age within aristocratic circles. During his baptism ceremony in the Swedish church in Whitechapel London, it was the singer Jenny Lind who bore him. In his memoirs he mentions, not without humour, that it was the only time they met – however at that event it was he who contributed the vocal performance. He was the only child of the diplomat and count Carl Wachtmeister (1823−1871). Axel was born while his father was a Swedish minister (a diplomat) in London, however he lived from the age of three in Stockholm when his father was appointed Foreign Minister.
Axel Raoul Wachtmeister was only six years old when his father died and his mother Constance de Bourbel (1838−1910) took lone responsibility for him. She was heavily involved in disseminating the teachings of Theosophy – collaborating closely with one of its founders, Helena Petrovna Blavatsky – and Axel, already at age one, traveled with her, and also stayed with relatives and friends. Having inherited the desire to travel and being economically independent, he, after finishing his studies, traveled the entire globe taking adventurous trips filled with hardships. He climbed the Great Pyramid of Giza, visited Kashmir and Ceylon, socialized with writers such as Robert Louis Stevenson while on Samoa, and with Rudyard Kipling while cruising on a steamboat in northern India. In the company of Swedish author and Nobel Prize winner, Verner von Heidenstam, he searched for traces left behind by the soldiers of Sweden’s King Charles XII in Romania and southern Russia. In 1896 he was in Greece during the first modern Olympic Games and in 1898 he edited a theosophical journal in San Francisco. He describes these events and much more in his memoirs, Reseminnen published in 1943 – which is for the most part identical to his memoir written in English, Memories from 1936.
Music studies in Sweden and on the continent
Axel Raoul Wachtmeister began composing quite early and his piano piece, Det är qväll (dedicated to his mother’s good friend, Princess Eugénie), was published on his ninth birthday. At that time his studies included harmony lessons from the hovkapellmästare (chief conductor of the Royal Court Orchestra), Conrad Nordqvist. He continued piano lessons during his teen years even after moving in with good friends in Lund, where during two years time he led the small student orchestra while working on his student examinations, which he completed in 1884. After graduation he devoted himself to studies in harmony with Orla Rosenhoff (well-known as Carl Nielsen’s teacher) as well as piano under Franz Neruda in Copenhagen.
Thereafter, his music studies continued in Dresden where during two winters Wachtmeister studied counterpoint and organ. He then spent a winter in Leipzig studying under the legendary music theorist and composer, Salomon Jadassohn, while at the same time frequently attending concerts at the Leipzig Gewandhaus, conducted by such great names as Carl Reinecke and Arthur Nikisch. He also heard Clara Schumann play her husband’s piano concerto.
When Wachtmeister, after his wandering, felt the need for more in-depth studies, he searched out the composer Vincent d’Indy and his Schola Cantorum in Paris. For the most part he studied under d’Indy’s assistant, Auguste Sérieyx, who taught orchestration and the study of musical form. He also gave concerts with other musicians including Ignacy Paderewski and Jan Kubelík.
International successes
During the first decade of the 20th century Axel Raoul Wachtmeister arranged a series of concerts in which he presented his own music. In 1906 he held a concert at the amphitheatre in Berkeley, California with an audience of 3,000. In 1912 André Tourret and Alfredo Casella played his violin sonata at the Société National de Musique in Paris and the following year the violin sonata was performed again – as well as a selection of his songs – at Aeolian Hall in London.
During WWI Axel Raoul Wachtmeister lived in Los Angeles where he composed a number of songs including: ‘Fountain Song’, ‘Taj Mahal’ (which he incidentally visited during his travels), ‘Awaken my beloved’ and the ballet Vinrankan. There he made contact with the publishing house John Church Co. (later taken over by Theodore Presser Co.), which published a number of his works. He himself gave concerts in Cincinnati, Chicago, New York and Philadelphia.
If one names only some of the many concerts in which Wachtmeister’s music was played during the 1920s, they would include the 1923 concert with the premiere of his first symphony in Kristiania (renamed Oslo) that the Norwegian American Ole Windingstad conducted, as well as the performance of Månhymnen in London’s Queen’s Hall by a three-hundred-person choir and the orchestra of Sir Henry Wood in 1924. For a time during the 1920s Wachtmeister resided in a studio in Montparnasse and wrote many works with French titles, for example, Le Rêve and the piano pieces, La danse de l’âme and Génie de la forêt. His piano concerto and his second symphony were premiered in Livorno in 1926. He gave concerts in the large halls of the conservatories in Florence and Milan. The Vienna Symphony Orchestra presented his first symphony in 1928 as well as Klockans kväde the following year. In 1929 the male chorus, Wiener Männergesang-Verein performed Kalte Graal.
Later years
From 1929 Axel Raoul Wachtmeister resided in St. Sylvestre north of Nice, but spent his summers in the southern Swedish village of Tyringe. Several of his works were performed in Nice, among them his first symphony and the piece Sappho for choir and orchestra. In 1935 his third symphony, called Méditerranée was played in the Salle Gaveau, Paris. However, perhaps the largest event of the 1930s was the setting of Prins Siddartha, an opera-oratorio depicting the life of Buddha. It premiered in London’s The New Scala Theatre in 1937 and was performed later in the Salle d’Iéna, Paris.
Axel Raoul Wachtmeister was active both as a pianist and a composer until the very end of his life. In his older years he lived for a long time in various boarding houses in Stockholm, however his last years were spent in Tyringe (Hässleholm), where he also died.
After his death the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) received a donation of 150,000 crowns.
Works
Axel Raoul Wachtmeister’s especially rich creative output is seen as very much an international legacy. He spent 50 of his 81 years abroad and his music has rarely been played in Sweden. Neither the Stockholm Philharmonic Orchestra nor the Gothenburg Symphony Orchestra have, to this date, played his music. However, the Helsingborg Symphony Orchestra and the Kungliga Musikhögskolans orkester (the Orchestra of the Royal College of Music) have performed his work. Folke Wedar and Birgit Nilsson sang some of his songs when they were students.
His music has only been performed sporadically in Sweden. The fantasy Professorn kommer – written after recovering from a difficult operation – premiered in Paris and was performed as well in Lund, conducted by Gerhard Lundqvist. The Persian legend Qurrat-ul-Ayni was performed in New York in 1939 and also in October of 1942 by the Sveriges Radios symfoniorkestern (the Swedish Radio Symphony Orchestra) in Stockholm, conducted by Tor Mann. This was likely the largest production of his music in Sweden and the reviews were positive. Kurt Atterberg wrote in the newspaper, Stockholmstidningen, that the work testified to skilful craftsmanship, that it is straightforward, simple, clear and transparent, without speculation or problematic details. The piece has a likeable modesty and a trim tonal language. In the newspaper, Socialdemokraten, Patrik Vretblad says about Wachtmeister: ‘up until now he has kept himself shyly out of our programs’ but that ‘one meets in this tone poem a noble-minded and musically knowledgeable composer, who dresses his ideas in tonal apparel that is predominantly romantic, however, with dramatic moments that are motivated by the saga’s content. He also knows how to impart an orchestral sound to these tones, which remain veiled rather than developing active colouring. The tone poem as a whole, invited one to a respectful listening and summoned one to a sympathetic engagement.’
Axel Raoul Wachtmeister’s music has often been printed by various European and American publishers. Some critics have found his music solidly convincing, while others saw him as a talented amateur who took after Wilhelm Stenhammar’s, Wilhelm Peterson-Berger’s or Emil Sjögren’s Nordic-sounding art music. In several of his works one can find elements of salon music with ‘definite allure’. The reception of foreign performances of major works suggests a considerable ability to appeal to his audiences.
Stig Jacobsson © 2016
Trans. Jill Ann Johnson
Publications by the composer
Reseminnen, Stockholm 1943
Bibliography
Lundholm, Lennart: Axel R. Wachtmeister: är hans musik olämplig för svenska öron? Landskrona, 1997.
Sources
Musik- och teaterbiblioteket
Summary list of works
Dramatic music (En framtidsdröm, Prins Siddartha), ballet (Vinrankan), orchestral works (4 symphonies, symphonic poems, 2 solo concertos, etc.), vocal works with orchestra, chamber music (5 string quartets, piano quintet, piano quartet, 2 string trios, 3 violin sonatas, cello sonata etc.), piano music (2 sonatas, Tankebilder etc.), songs (ca. 200), choral works, melodramas (Das Märchen von der Wolke, La famine, Färgernas sång etc.).
Collected works
Wachtmeister’s manuscripts are never dated, and very few of the vocal works have an attribution to the author of the text. Perhaps this is a sign that the texts were written by Wachtmeister himself. He also adapted his works for various ensemble constellations and to various languages.
Operas/Comic operas
En framtidsdröm/A dream of the future. Comic opera in three acts.
Prins Siddartha/Prince Siddharta/Prinz Siddartha/Le prince Siddharta, opera-oratorio in 2 acts and 20 scenes, voices and piano, 1936. Premiere in London 1937.
Balet
Vinrankan, ca 1915.
Symphonies
Symphony no. 1 in D minor. Premiere in Kristiania 1923.
Symphony no. 2 in E minor. Premiere in Nice 1933.
Symphony no. 3 in A minor ‘Symphonie Méditerranée’. Choir in movement IV. Premiere in Paris, Salle Gaveau, 1935.
Symphony no. 4 in B-flat minor.
Concert pieces
Elegie for violin and orchestra.
Concerto for piano and orchestra in C minor. [Also arranged for two pianos.] Premiere in Paris 1926.
Concerto for violin and orchestra in A major.
Meditation for violin and piano or orchestra.
Romance for violin and orchestra [orchestrated by Tor Mann].
Sous les palmiers, for cello and orchestra.
Other works for orchestra
Ghosts/Fantômes/Gespenster.
Klockans kväde/Le récit de l’horloge/The story of the clock. Poême symphonique après un poême de la comtesse M. Prozor. Premiere in Paris ca 1925.
La danse de l’âme.
La famine.
La ronde des animaux. 1. Le colibri/Kolibrin, 2. L'éléphant/Elefanten, 3. L'écureuil/Ekorren, 4. Les gazelles/Gazellerna, 5. Minet persan/Den persiska katten.
Le rêve/Der Traum. Suite romantique pour orchestre/Romantische Folge.
Professorn kommer, fantasi. Premiere in Paris 1930s.
Qurrat-ul-Ayn (Ögonfröjd), persisk fantasi. Premiere in New York 1939.
The song of the colours/Chant des couleurs (Taj Mahomed).
The vine/L’âme de la vigne.
Vocal works with orchestra
Awake my Beloved (B. Irwin). John Church Co, n.d.
Blank som en klippas koppar och stål ligger havet, for voice and orchestra.
Damophyla (Beatrice Irwin), for voice, strings and harp. London: Novello & Co, 1914.
Das Sonnenlied/Cantique du soleil (‘Allerhöchster, allmächtiger guter Gott/Très haut, tout puissant’, Francesco d’Assisi).
Der Postillon (‘Lieblich war die Maiennacht’, N. Lenau), for male choir and orchestra.
Die Puppe Wunderhold/The doll beautiful (‘Ich habe einst viele Thränen/So many tears’, A. Cosmar), for voice and orchestra.
Esaias Tegnér (‘Var det en slump’, prolog av A. Österling), for one voice, recitation/song and orchestra. [See also Songs.]
Eveille-toi, ma bien aimée, for voice and orchestra.
Evolution (‘Om natten öppnar jag’), for baritone, female choir and orchestra.
Fountain song/Le chant de la source/Källans sång/Lied der Quelle (‘Je suis l’ésprit de la source/Ich bin der Geist von der Quelle’, J.G. Neihardt), for solo soprano, female choir, SSA and orchestra. John Church Co, n.d.
Four duos, for soprano, alto and orchestra. 1. April (‘Sunbeams! Sunbeams!’), 2. Life and death (‘Dear heart!’), 3. Noontide (‘A softest sky’), 4. Knowledge (‘I am the wind’).
Hymne à la vie/Hymn of Life (‘Le temps s’écoule’, Anne Armandy, trans. Walter Baxendale), for soli (SSAA), female choir and orchestra. Paris: Pierre Schneider, n.d.
I Mora (‘Han trädde upp/He stood alone/Er ging voran’, E.A. Karlfeldt), for voice and orchestra [versions in E minor and D minor].
I nattens timme (‘Är det i natt som jag skall dö?’, A. Setterwall-Ångström), for solo baritones, 3-part choir and orchestra.
Kiss (‘Softer than surf’, Beatrice Irwin), B major. London: Novello & Co, n.d.
L’angelus (‘L’angelus annonce le soir/Aftonen är inne’, A.H.H. von Fallersleben, trans. A.C. Tamm), for SSA and orchestra D major.
La mélopée du méhariste (‘Leïla fille d'Allah’, Paul Castéla), for baritone, flute and strings.
Le chant du printemps (‘Printemps est ce toi’), for choir, SSA and orchestra.
Le glas (‘Las! mon coeur las’), for voice and orchestra.
Les Ondines (‘Nous jouons sans fin’, J. Heugel), for SSA and orchestra. Paris: Heugel, n.d.
Prière de Merlin (‘Seigneur d'amour et de pitié’, J. Heugel). Paris: Heugel.
Résurrection (‘Renais, Adonis immortel’, J. Heugel) for voice and orchestra [E major or D major]. Paris: Heugel.
Sappho (‘At thy white feet/A tes pieds blancs/De böja knä’), for mixed choir and orchestra. Premiere in New York, Carnegie Hall, 1917.
Sång till Stockholm (‘Stad, den stoltaste bland städer, F. Personne), for voice and orchestra.
Tell me O Muse thy Charm (A.E. Cheney). John Church Co, n.d.
The frozen Grail/Der kalte Graal/Le Graal glacé (‘Singt nicht das Epos/Why sing the legends/Pourquoi chanter’, E. Barker), for male choir and orchestra or piano 4-h, ca 1929. John Church Co, n.d.
The Invisible Bride (Edwin Markham). John Church Co, n.d.
The lilac hour/L’heure mauve/Den violetta timmen (‘The trees where wind/Le vents’endort dans les arbres’, B. Irwin), for low voice and orchestra. John Church Co, n.d.
The moon-hymn/Hymne à Selene/Mond-Hymne (‘Selene! Rabitna! Astarte!’, B. Irwin, trans. to German: P. Reuterswärd), for baritone solo, mixed choir and orchestra, before 1924. John Church Co, n.d. [See also Songs.]
The Valley/Le vallon/I dalen (‘Je sais un vallon/I know a valley’), for voice, violin, cello and piano in G major, or voice, strings, flute and harp.
The Wanderer (B. Irwin). John Church Co, n.d.
The witch cypress/Le cyprès sorcier/Troll-cypressen (‘I know a place’, G. Jones), for low voice and orchestra. London: Novello & Co, n.d.
Chamber music
Allegro moderato, C major, for violin and piano.
Barcarolle (Auf dem Wasser), pour violon et piano. Ries und Erler Berlin, n.d.
Douleur, arr. pour violoncelle et orgue.
Elegi, for violin and piano.
Elégie, pour trautonium ou violoncelle avec piano.
Fantasietta, for violin and piano. John Church Co, n.d.
Gavott, for violin and piano. Stockholm: Th. Dahlström.
Ghosts/Fantômes, for organ and piano. [See also Other works for orchestra and Piano music.]
Quartet for piano and strings in D minor.
String quartet [no. 1] for strings in G minor.
String quartet no. 2 in G minor. Petit quatuor à cordes no. 2.
String quartet no. 3 in G minor.
String quartet no. 4 in A minor.
String quartet no. 5 in G minor.
Quintet for piano and strings in C minor.
Meditation for violin and piano. Stockholm: Elkan & Schildknecht, 1945.
Redowa, polsk dans for cello and piano. John Church Co, n.d.
Rêve d'Italie, for string quartet and bass.
Romance for violin and piano.
Solgårdspolska, for violin and piano. Stockholm: Schildknecht, also Abr. Lundquist, 1913.
Sonata no. 1 for violin and piano, ca 1910. Premiere in Paris, Schola Cantorum 1912. Paris: Novello & Co.
Sonata no. 2 for violin and piano, 1937. Berlin: Schneider.
Sonate no. 3 in C minor for violin and piano, 1939.
Sonata in Three Movements, for cello and piano. John Church Co, n.d.
Sonatine, for trautonium.
Sonatine, for two harps, D major.
Sous les palmiers, for cello and piano. Paris: Heugel, n.d.
Swedish country-dance. Boston music, 1918.
Suite for harp. Paris: Heugel. 1. Gavotte, 2. Aria, 3. Rondeau.
Trio for harp, violin and piano. Paris: Heugel, n.d.
Trio no. 1 for piano, violin and cello. Premiere in Paris, Salle Pleyel, 1923. København: Scandinavisk Musik Forlag.
Trio no. 2, for piano, violin and cello, C minor.
Piano
Bröllopps-marsch [sic].
La capricieuse, mazurka (to Helen Desmond). John Church Co, 1920.
Det är qväll, 1874. Stockholm: Meisel.
Deux pièces, for piano, 1933. Paris: Heugel. 1. La danse de l’âme, 2. Rêve d’Italie.
Fem karaktärsstycken. Stockholm: Elkan & Schildknecht, 1947.
Festmarsch. [Arr. for four hands.]
Gavotte − Air − Rondeau.
Génie de la fôret.
Ghosts. John Church Co, n.d.
Impressions of American cities.
La ronde des animaux, 1936. J. Jobert Paris. 1. Le colibri, 2. L’Éléphant, 3. L’Écureuil, 4. Les Gazelles, 5. Minet Persan.
Mops-polka.
Morceau de phantaisie.
Prelude – Aria – Rondeau. Heugel Paris.
Preludium och fuga, for two pianos. John Church Co. [For one piano. London: Novello & Co, n.d.]
Rondeau och Aria, C-flat major.
Sarabande, G minor.
Solgårds-polska. Stockholm: Elkan & Schildknecht, n.d.
Sonata B-flat minor (‘To Carola Wachtmeister’), pub. 1941.
Sonata no. 2 in G minor.
Suite – three piano pieces − Trois morceaux, for piano left hand (‘To Oscar Nissen’), København: Wilhelm Hansen, 1929. 1. Glädje/Joy, 2. Sorg/Sorrow, 3. Återuppvaknande/Resurrection.
Suite romantique. Paris: Heugel.
Tankebilder/Pensées par images (‘To Ingrid Kjellström’), 1942. 1. Första stegen/Les premiers pas, 2. Eftertanke/Reflexion/Méditation, 3. Vid porlande källan/A la source riante/Murmures d’une source, 4. Vidare framåt/Encore en avant/En avant toujours, 5. Fåglarna sjunga/Les oiseaux chantent, 6. Dans i hagen/Danse sur la pélouse, 7. Irrbloss/Feux follets, 8. Tvivel/Doute, 9. I rytmens tecken/Mésures rytmées [sic]. Sous le signe du rythme, 10. Idyll/Idylle, 11. Hjältemod/Héroïsme, 12. Vid målet/Au but désiré.
Tonbilder (‘To Professor Willy Klasen’), pub. 1942. 1. Staden, 2. Vid tropisk strand, 3. Mellan pelarna, 4. Karnevalen, 5. Vågorna, 6. Idyll, 7. Isberget. [Orchestrated by Tor Mann.]
Älvornas dans.
Organ
In memoriam für Orgel mit Pedal. (‘For Gustaf II Adolf’s 300-year memorial 1632-1932’). København: Wilhelm Hansen, 1932.
Joie arr. pour orgue.
Songs
For voice and piano unless otherwise noted.
A Délie (‘Toi, sois chaste’, J. Heugel efter Tibullus). 1. E major, 2. F-sharp major.
A lament (‘Swifter far than summer’s flight’, P.B. Shelley).
A Notre Dame des Oiseaux (‘Nous irons porter’, P. Castéla), for soprano, tenor and piano.
A sea-symphony (I hear a wideworld symphony’, L.-A. Zerbe). London: Stockwell, n.d.
A whisper of spring (‘There’s the downiest nest’).
Ach, wüsstest Du wie schön Du bist/Ah, could’st thou know how fair thou art (R. Hamerling, English trans. E. Heartt Dreyfus). London: Novello & Co, 1910.
Antoine et Cléopâtre (‘Tous deux ils regardaient’, J.-M. de Hérédia).
At Coral Gables (‘I ripple the fronds’, G. Merrick). London: Stockwell, n.d.
Blodets röst (‘Och blodet sjöng’).
Blow, blow thou winter wind (W. Shakespeare). [Two versions: B minor and F-sharp minor.]
Cantique du soleil (Francesco d’Assisi) mélodie pour voix graves avec accompagnement de piano.
Çavitri (‘Pour sauver son époux’, P. Verlaine).
Chanson d’automne (‘Les sanglots longs’, P. Verlaine).
Chant du printemps (‘Printemps est-ce toi’).
Crépuscule au cimetière (‘Le quadrige du soir’, C.-M. Robert). [Versions in B-flat minor and A minor.]
Dann will ich singen (‘Was pochet an mein Fenster’, M. Hartmann). Berlin: Ries und Erler.
Darzee’s chant (‘Singer and tailor am I’, R. Kipling).
Das Veilchenfest (‘Schneeweisse Wölklein’, K. Ginzkey), for recitation and piano.
Der schwere Abend (‘Die dunklen Wolken’, N. Lenau). Berlin: Ries und Erler.
Det är vår (‘Nu är det vår’).
Die Nächte stürmen (J. Grosse).
Dionysos i Borgeby (‘När mänskan vaknade’, E. Norlind), song for alto or baritone at the piano.
Dis-moi, o muse, ton charme!
Dream song. Drömsång (‘I danced with you/Vi dansade samman’, C. W. Stork). John Church Co, n.d.
Du anar ofärd (‘Helt oberörd’).
Eblouissemement (‘Tout le soleil’, J.A. Longpré). Paris: Heugel.
Eld! Eld! (Prins Wilhelm). Stockholm: Svala & Söderlund, 1932.
Elden inom oss (‘Dansa, dansa en virvlande dans’, E. Langenskiöld-Hoffmann).
Erster Schnee (M. Hartmann). Berlin: Ries und Erler, n.d.
Esaias Tegnér (‘Var det en slump’, prologue by A. Österling), for recitation/song, and piano.
Ett drömackord/Dream Chord (‘Djupt i de djupa seklerna stupa’, G. Fröding). Stockholm: Dahlström, 1913.
Eveille-toi, ma bien aimée.
Fem sånger, for mezzo-soprano or baritone at the piano (A. Fredenholm). Stockholm: Svala & Söderlund, 1944. 1. Gryning (‘Nu flödar gryningsglöden’), 2. Blodets röst (‘Och blodet sjöng’), 3. Du anar ofärd (‘Helt oberörd du dina ögon sluter’), 4. Det är vår (‘Nu är det vår’), 5. Om du kunde …
Fem sånger, for soprano or tenor with piano [no. 5 also harp] (A. Setterwall-Ångström). Carelius, 1943. 1. Jag går med tiggarskålen, 2. Det skymmer sakta, 3. Bland virvlarna, 4. Bär mig i din tanke, 5. Ditt hjärtas sång. [No. 3 orchestrated by Tor Mann.]
Floderna (‘Genom natten floderna rinner’, A. Österling). Stockholm: Th. Dahlström.
Four duets, for soprano, alto and piano. 1. April (‘Sunbeams! Sunbeams!’), 2. Life and death (‘Dear heart!’), 3. Noontide (‘A softest sky’), 4. Knowledge (‘I am the wind’).
Frêle comme un roseau, (A. Armandy). Paris: Heugel.
Fyra sånger, for soprano or tenor with piano (A. Setterwall-Ångström), 1948. 1. Nu faller höstens regn, 2. Pilgrimssång (‘Jag vandrar med ut i den stora pilgrimshop’), 3. Nu är det tyst omkring mig, 4. Vandring (‘Än mina fötter utav vägens stenar blöda’).
Gryning (‘Nu flödar gryningsglöden’).
Herbststimmung/Nachsommer (‘Die Luft so mild’, O.W.).
Hjärtats hem (‘Var är ditt hem, jag frågade mitt hjärta’, Carl XV), for soprano or tenor and piano. Stockholm: Svala och Söderlund, 1941.
Hvi flyr du bort (A.R. Wachtmeister). Stockholm: Dahlström.
Häxridt (‘Två häxor flyga fram’, E.A. Karlfeldt). Stockholm: Dahlström.
I Mora (‘Han trädde upp’, E.A. Karlfeldt), song for baritone and orchestra. Stockholm: Dahlström.
I natten/In the Night (‘Tyst är lunden’, V. Rydberg, trans. to English by Ch.W. Stork). Stockholm: Dahlström.
I nattens timme (‘Är det i natt som jag skall dö?’, A. Setterwall-Ångström), for baritone and piano.
Il fait noir, (Anne Armandy). Paris: Heugel.
Indische Weisheit (‘Der Ganges rauscht’, E. Geibel). Berlin: Ries und Erler.
Jag vill sjunga (‘Mitt hjärta vill sjunga’).
Je ne sais pourquoi? (P. Verlaine). Paris: Heugel.
Julen bringar fröjd, 1898.
Kiss (‘Softer than surf’, B. Irwin) B-flat major. London: Novello & Co.
L’angélus pour chant et orgue.
L’angelus (‘L’angelus annonce le soir’, A.H.H. von Fallersleben), for voice, violin, cello and piano, D major, for voice and piano. [Also for fl, 2 vl., vla, vc.]
L’illusion (‘Etendue!’, J. Heugel). Paris: Heugel, n.d.
La dernière feuille (‘Dans la forêt’, T. Gautier). Paris: Heugel.
La Vague du Soir (Paul Castéla). Paris: Heugel.
Le gigot perdu (‘Donnez-moi les serviettes’, A.R. Wachmeister). Duo for soprano and mezzo-soprano and piano. Paris: Senart.
Le glas (‘Las! mon coeur las’, J.A. Longpré). Paris: Heugel. [See also Vocal music with orchestra.]
Le récif de corail (‘Le soleil sous la mer’, J.-M. de Heredia).
Le vent (‘Oh vent qui sembles plein’, J. Heugel). Paris: Heugel, n.d.
Le vieux moulin (P. Castéla), for soprano, tenor and piano.
Les Ondines, for two sopranos, alto and piano (J. Heugel). Paris: Heugel, 1935.
Lied vom Winde (‘Sausewind, Brausewind’, E. Mörike). Berlin: Ries und Erler, n.d.
Lied (‘Kalt und schneidend weht’, Hermann Lingg), 1906.
Livets herre (‘Jag sökte livets herre’).
Love in autumn (‘Gold of the leaves/Guldet af löf’, Ch. Wharton Stork). John Church Co, n.d.
Långsamt går tiden (C. Edelberg).
Ma rose (‘Elle était jolie’, P. Thémanlys).
Maiden of Dreams (trans. Georgina F. Jones from Swedish). London: Novello & Co, n.d.
Mélodies, 1937. [No. 1−8 missing] 9. Il fait noir (1928), 10. Ébluissement (1927), 11. Crépuscule au cimetière (1927), 12. Antoine et Cléopatre (1928), 13. La dernière feuille (1928), [no. 14 missing] 15. Le récif de corail (1937) 16. Rondel (1937).
Midnattsvaka (Prins Wilhelm), 1920. Stockholm: Dahlström, n.d.
Moon-snow in a Peking courtyard (‘Snow must have fallen’, Ida Hoyt Chamberlain). Boston: White-Smith Co, n.d.
Morgon i Maj (‘Den korta natten!/So kurz die Nacht’, O. Stjerne, trans. K Vechselmann). København: Wilhelm Hansen.
My dream castle (‘I wander alone’, M. Worthington). Boston: White-Smith Co, n.d.
My heart is weary (A.R. Wachtmeister). London: Novello & Co, n.d.
Nightingale lane/Näktergals-stigen (‘Down through the thicket/Djupt ifrån snåret’, William Sharpe, Swedish text: Otto Witt), 1907. London: Novello & Co, n.d.
Nu faller höstens regn.
Nu hänga höstens harpor högt (S. Neander-Nilsson).
Nu är det tyst omkring mig.
När kommer dagen/The Day of Liberation (‘Bethlehem slumrar/Naar kommer Dagen/Bethlehem slumrer’, A. Guldberg), for voice and organ. John Church Co, n.d.
Pilgrimsgång (‘Jag vandrar med’).
Prière de Merlin (‘Seigneur d'amour et de pitié’, Jacques Heugel). Paris: Heugel.
Psyche (‘Imperishable cloud’, B. Irwin), song with accompaniment by piano or harp. London: Novello & Co, n.d.
Puppe Wunderhold (‘Ich habe einst viele Thränen’, A. Cosmar).
På okänd stig (‘Jag går på okänd stig’).
Résurrection (‘Renais, Adonis immortel’, J. Heugel). Paris: Heugel.
Romance dans le parc (‘Le mysterieux crépuscule’, P. Castéla), for soprano, tenor and piano.
Rondel (‘Le temps a laissé’, Ch. d’Orléans), for voice and string quartet.
Serenade (‘Ah, County Guy/Ah, grefve Sven’, W. Scott).
Shiv and the grasshopper (‘Shiv, who poured the harvest’, R. Kipling).
Sju sånger (Axel Fredenholm). 1. Störst (‘Stor är den välvande jorden’), 2. Solsång (‘Nattmörkret viker’), 3. Lotusblomman (‘Ur sin rot’), 4. Längtan (‘När jag de höga bergen ser’), 5. Vigda klockor (‘Klangen av vigda klockor’), 6. Tonen (‘Har du hört’), 7. En dag (‘En dag skall gry’).
Sjusofvarevisa (‘Idag är det sjusofvaredag’).
Skulle jag sova nu? (O. Stjerne, also in English). København: Wilhelm Hansen. [Orchestrated by Tor Mann.]
Som en ton av en själ/Einer Seele Ton (‘Jag ser ned/Ich seh tief’, O. Stjerne). København: Wilhelm Hansen. [Orchestrated by Tor Mann.]
Song is so old (H. Hagedorn). John Church Co, 1918.
Sonnenlied/Le cantique du soleil (‘Très haut, tout puissant’, Franciskus av Assisi).
Spring (‘Awake! the warbling robin said’, F. Zeigen). London: Stockwell.
Sunshine and shadow (‘With wistful eyes’, B.T. Bradley).
Sång till Stockholm. 1. Sång till Stockholm (‘Stad, den stoltaste bland städer’), 2. Vid Ravaln (‘Sida vid sida i sommarkväll’), 3. Östgötasång (‘Östgötar, bördiga slätternas söner’).
Tankens duva (Verner von Heidenstam). Stockholm: Dahlström, n.d.
Tears (‘When I consider life’, L. Woodworth Reese).
The Dove of Thought (trans. from Swedish by G.F. Jones). London: Novello & Co, n.d.
The last furrow (‘The spirit of earth’, E. Markham). John Church Co, n.d.
The valley/Le vallon/I dalen (‘Je sais un vallon/I know a valley’, E. Markham), for voice and piano in E major, or voice, violin, cello and piano in G major, or voice, strings, flute and harp.
The witch-cypress/L’arbre magique (‘I know a place/C’est un lieu’, G.F. Jones). London: Novello & Co.
Three Recitations (trans. L. Hope from Hindu). John Church Co, 1917. 1. Before Dawn (F. Ula), 2. The famine (anon.), 3. Song of the colours (Taj Mahomed). [No. 2 & 3 also orchestra.]
Three songs (G. Fröding, trans. Elsa Barker). 1. Consolation, 2. Titania, 3. Winter-night. London: Novello & Co, 1912.
Three songs. (Boston music). 1. Spring song, 2. Autumn mood, 3. Evening song.
Three Wild Swans (trans. G.F. Jones from Swedish). London: Novello & Co.
Tio ‘Sångoffer i öknen’ (Axel Fredenholm), for mezzo-soprano or baritone and piano. Also orchestrated by Ivar Hellman. 1947. 1. Jag vill sjunga (‘Mitt hjärta vill sjunga’), 2. Dagen och natten (‘Dagen har tre mantlar’), 3. Väverskan (‘Jag hänger upp garnet’), 4. Livets herre (‘Jag sökte livets herre’), 5. På okänd stig (‘Jag går på en okänd stig’), 6. Det första regnet (‘Mörka moln stiga’), 7. Sångens hemlighet (‘Hur kunde dagen gå fram’), 8. Stridssång (‘Vår stam är stark’), 9. Mitt hus, 10. Tankar på taket (‘Jag sitter ensam på taket’).
Titania (‘A whisper of small’, G. Fröding, trans. Elsa Barker, F.A. Cazals). London: Novello & Co. Nice: Delrieu. [Also sketches for accompaniment by string quartet.]
To sange (B. Bjørnson). København: Skandinavisk Musik Forlag. 1. Dagen er oppe, 2. Tak for dit raad.
To sange, for baritone and piano (G. Gunnarsson). Stockholm: Elkan & Schildknecht, 1942. 1. Island (‘De guldne Længslers Land’), 2. Ulfurs Sang (‘Adalbjørg i røde Sko’. [No. 2 orchestrated by Tor Mann.]
Tre sånger (F. Personne), for mezzo-soprano or baritone and piano.
Trois duos, for soprano, tenor and piano. Paris: Jobert, 1934. 1. Le vieux moulin (P. Castéla), 2. Romance dans le parc (Le mystérieux crépuscule, P. Castéla), 3. A Notre Dame des Oiseaux (P. Castéla).
Tröst/Consolation (G. Fröding, trans. Elsa Barker). Stockholm: Dahlström, n.d. London: Novello & Co, n.d.
Två sånger vid piano (Dahlström). 1. Hvi flyr du bort?, 2. Tankens dufva.
Två sånger (E. Langenskiöld-Waerland). Stockholm: Elkan & Schildknecht, 1946.
Två sånger (M. Ekman). Stockholm: Svala och Söderlund, 1946. 1. Jag är (‘I spel utav krafter’), 2. Fröet (‘Din kamp blev hård’).
Un grand Sommeil Noir (P. Verlaine). Paris: Heugel.
Vandring (‘Än mina fötter’). John Church Co.
Vinternatt/Nuit d’hiver/Winter Night (‘Låt oss åka sakta/Nous glissons dans le vent’, G. Fröding). Stockholm: Dahlström, n.d. London: Novello & Co, n.d.
Voici l’Été (F.A. Cazala). Nice: Delrieu, n.d.
Wenn die Sonne weggegangen (C. Brentano).
When darkness covers the trembling sea.
Zehn Lieder. Leipzig: Klemm, 1902. / Tio sånger (trans. A.C. Tamm). Dahlström: Stockholm, n.d. 1. Die Nächte stürmen/I stormen, 2. Herbststimmung/Höststämning, 3. Wenn die Sonne weggegangen/Se när solen skön försvunnit, 4. Abendlied/Aftonen är inne, 5. Frühling, sind das deine Boten/Vårsång, 6. Von dunklem Schleier umsponnen/Af dunkla slöjor omspunnen, 7. Lied des Harfenmädchens/Harpspelerskans klagan, 8. Nacht/Natt, 9. Mut/Mod, 10. Im Walde/I skogen.
Choir
A Clymène (‘Mystiques barcarolles’, P. Verlaine), for SAT.
A un aubépin (‘Bel aubépin verdissant’, P. de Ronsard), for SSA, string quartet.
Autumn Mood, for female choir. The Boston Music Co, n.d.
Chant de la source/Lied der Quelle, for solo soprano, SSA.
Ett bondebragdens, vikingvandelns hem (Oscar Fredrik), for TTBB and piano. [Orchestrated by Tor Mann.]
Evening Song, for female choir. The Boston Music Co, n.d.
Evolution (‘At night I open my window/Om natten öppnar jag mitt fönster’), for baritone, female choir and piano.
Fountain song (John G. Neihardt), for solo soprano, SSA, piano. John Church Co, 1917.
Hunting song of the Seeone Pack (‘As the dawn’, R. Kipling), for male choir.
L’angelus (‘Aftonen är inne’, A.H.H. von Fallersleben, övers. A.C. Tamm), for SSAA and piano.
Le Brenn vaincu (‘Le soir a fait cesser’, J. Heugel), for SAT.
Lukannon (‘I met my mates’, R. Kipling) for male voices.
Morphée au soleil (‘Regnéz, divin sommeil’), for SATB.
Namnsdagshymn till fröken Helena Munktell (‘Det susar vildt’), for SATB.
Pendant la nuit (‘O soleil du songeur’, J. Heugel) for SAT.
Portrait de François I (‘De sa beauté’), for SATB.
Prayer (‘O God we thank thee’), for female choir.
Prinsessen (‘Prinsessen sad höjt’, Bjørnstjerne Bjørnson), for SSAA and piano.
Road-song of the Bandar-log (‘Here we go’, R. Kipling).
Spring Song, for female choir. The Boston Music Co.
Swannanoa! (L Oliver), for SATB.
Taj Mahal (‘Tyst suckar vinden’, A.E. Cheney), for solo baritone, SSA and piano. John Church Co, 1918.
The Moon Hymn/Mond-Hymne (B. Irwin ö. Patrik Reuterswärd), for SATB. John Church Co, n.d.
Till Linköpingspojkarna i Stockholm (‘Kamrat som vaktar troget genom åren/My friend thou faithful guard through many ages’, E. Aurelius), for mixed choir, 1930.
Titania (‘La voix d'un petit violon’, G. Fröding, trans. F.A. Cazals), for SATB and piano.
Trios a capella [sic], for SAT. 1. A Clymène (‘Mystiques barcarolles’, P. Verlaine), 2.
Le Brenn vaincu (‘Le soir a fait cesser’, J. Heugel), 3. Pendant la nuit (‘O soleil du songeur’, J. Heugel).
Trois quatuors à capella [sic]. 1. Morphée au Soleil, 2. Portrait de François Premier, 3. Sur la mort de Ronsard.
Vårsång (‘Hvilket lif, hvilket sus’, A.C. Tamm), for SSAA and piano.
Är det i natt som jag skall dö? (A. Setterwall-Ångström), for solo baritone, 3-part choir and piano.
Melodramas/Recitation
Das Märchen von der Wolke (‘Der Tag ging aus’, R.M. Rilke), for recitation and piano.
Ett öga/Le regard/An Eye (‘Lefvande, lefvande rymd, o älskade, strålande öga/Ciel vivant’, S. Ek), for recitation and piano. Stockholm: Dahlström, n.d.
Fjällstorm/Mountain Storm (E.A. Karlfeldt, trans. Ch.W. Stork), 1920. Stockholm: Dahlström, n.d.
La famine, melodrama, for recitation and orchestra.
The song of the colours/Chant des couleurs/Färgernas sång (Taj Mahomed), for recitation and orchestra.
Vindarnas och vågornas sång (‘Långt ifrån människornas sorl’, A. Strindberg), for recitation and piano.
Vintervila/Winter Repose (E.A. Karlfeldt, trans. Ch.W. Stork), for recitation at the piano 1920. Stockholm: Dahlström.