”Härliga Ego!”

Reflexioner om tonsättarbiografier

Abstract

“Glorious Ego!” Reflections on Composer Biographies
This article discusses the composer biography as a genre with reference to ten Nordiccomposer portraits from between 1973 and 1999, most of them published in the 1990s (Hugo Alfvén, John Fernström, Edvard Grieg, Rued Langgaard, Carl Nielsen, Allan Pettersson, Ture Rangström, Harald Sæverud, Jean Sibelius and Wilhelm Stenhammar). By comparison, for example, with authors, composers are described in a very conventional manner, and where this genre is concerned there has been very little debate worth mentioning. One exception is an article published in Melos in 1975, by Carl Dahlhaus, whose perspective bears the imprint of the new criticism. He pronounces composer biographies dead, arguing that life stories and musical analyses are impossible bedfellows. The ten biographies resolve the relation between life and works in a variety of ways. Most often the author maintains a respectful distance at which myths and anecdotes are more underpinned than unveiled. In particular the outward attributes of the late Romantic composers (Jean Sibelius, Hugo Alfvén, Ture Rangström, Harald Sæverud) describe a delicate psychological balance between private and public. They can be said to represent the romantic Poet, as distinct from the “class migration” and solidarity with other social classes characterising Allan Pettersson and John Fernström. The eye of the needle in this genre is the biographer, who is not always conscious of the projections and idiosyncrasies which can easily develop in the long-lasting relationship between author and composer. The authors, however, are generally reluctant to reveal too much, and they would rather defend than criticise. The trappings of this genre also include musical analyses which are frequently objective, impartial and descriptive but very seldom indeed interpretative, explanatory. One exception here is Jørgen I. Jensen’s biography of Carl Nielsen, in which the composer’s marital crises are viewed in relation to his composing. The models of purely musical analysis or pure psychoanalysis which are sometimes applied too narrow and should be supplemented by other angles of approach, and above all by greater insight into the conditions and problems of creativity, so that, in musicology as elsewhere, there can be a development and renewal of biography.