Ruben Mattias Liljefors, born on 30 September 1871 in Uppsala and died on 4 March 1936 in Uppsala, was a composer, pianist and conductor. After studying composition and conducting in Leipzig and Dresden from 1895 to 1899, he worked as a choir leader and music teacher in Uppsala during 1899–1902. He then worked in Gothenburg during 1902–11 before becoming the principal conductor for the newly formed Gävle County Orchestral Society in 1912, as well as choir leader and music teacher in the same town. Liljefors’ music combines the tonal language of late romanticism with characteristics inspired by folk music. His most important major works included a symphony and a piano concerto. Today, however, he is best known for his Christmas song for children, ‘När det lider mot jul’.
Background and education
Ruben Mattias Liljefors was born in Uppsala; his father was a gunpowder merchant and bookkeeper – as well as a fiddler in his free time. He was the youngest of four brothers; the oldest was the painter Bruno Liljefors. During his school years he studied piano and harmony with the Uppsala University’s director musices, Ivar Hedenblad, as well as cello. After graduating from high school in 1890, he continued with studies in language and aesthetics at Uppsala University. In the mean time, he had already decided to become a musician, and it seems that a large part of his student years were spent on music activities, among them in the men’s choir Orphei Drängar and the Akademiska kapellet (Royal Academic orchestra). It was also in Uppsala that he set upon his path as a conductor – from 1891 he was music director for the student organization Uppland’s nation, and he founded his own choir.
Immediately after completing his Bachelor of Arts degree in September 1895, he travelled to Leipzig, where he studied composition for Salomon Jadassohn, cello under Julius Klengel and organ with Paul Homeyer. For economic reasons Liljefors had to cut this first study visit short in the spring of 1896. However, a little over one year later he was back in Leipzig, and in 1898 he received the national composer’s stipend, which made a third year of study possible.
He returned to Uppsala in April of 1899, and worked there for several years. He led the choir for the student grouporganization, Västgöta nation, and in 1902 was elected as the leader for Uppsala University’s choir Allmänna Sången. At the same time Liljefors studied organ independently and graduated as an organist in 1900 at the Kungliga Musikkonservatoriet (the Royal Conservatory of Music) without actually being enrolled in the program. In the summer of 1902 he studied conducting with Hermann Kutzschbach at the opera in Dresden – with the hope of getting a job as a rehearsal leader there. The job did not materialize but he kept in contact with Kutzschbach who helped him in several ways – among them with the orchestration for the symphony in E-flat major, which he was in the process of composing. In 1907 he complemented his church music education with a cantor’s degree.
The Gothenburg years and new studies
In the summer of 1902 Liljefors was invited to take over the leadership for two of Gothenburg’s leading choirs, the choir for the social order Göta Par Bricole and the Filharmoniska sällskapet (the Philharmonic Society). He then moved to Gothenburg where he became a music teacher at the co-educational Samskolan. In 1903 he also became a music teacher at the girls’ school Rudebeckska flickskolan – becoming that same year the choir leader for the Gothenburg student choir. His main function in the Filharmoniska sällskapet was as the rehearsal coach while better-known conductors such as Wilhelm Stenhammar and Tor Aulin led the concerts. He did, however, lead some symphony concerts and in November 1906 he conducted the recently formed Göteborgs orkesterförening (the Gothenburg Orchestral Society) in a concert consisting only of his own works, among them the piano concerto composed in 1899 and his newly completed symphony.
In the autumn of 1908 the Filharmoniska sällskapet was forced to temporarily suspend its operations for economic reasons. When it resumed its activities the following year, Tor Aulin took over the rehearsal duties, which resulted in a substantial reduction in income for Liljefors, who then began to look outside of Gothenburg for work. In 1908 he became a member of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) thus receiving important recognition from the official Swedish music establishment. With the death in 1909 of director musices Hedenblad in Uppsala, Liljefors applied for the job, but was unsuccessful. The same year, Liljefors and his family moved to Dresden while his wife convalesced after an operation. There he resumed his conducting studies under Kutzschbach, also studying piano, and composition under Felix Draeseke, and in the spring of 1910 took counterpoint and composition for strings with Max Reger in Leipzig.
Principal conductor in Gävle
In 1910 the Swedish parliament decided, on the initiative of the Kungliga Musikaliska akademien, to provide a state subsidy to stimulate orchestra activities in the provinces. This resulted in the formation of three new professional orchestras, one each in Gävle, Helsingborg and Norrköping. Liljefors was aware of what was going on and was well prepared when the job of principal conductor for the Gävleborgs läns orkesterförening (the Gävle County Orchestral Society) was announced. He was selected unanimously, even taking over the leadership of the music society Concordia that acted as the choir for the orchestra’s concerts when needed.
Liljefors had full responsibility for the development of the orchestra; guest conductors were rare and did not even exist before 1917. Since the purpose of the state subsidy was to raise the cultural level of the general public by offering ‘good entertainment’ for people from all walks of life, the orchestra’s activities were dominated by public concerts with a more accessible repertoire than symphony concerts. Even symphonies were played at the public concerts, and from time to time Liljefors was criticized for choosing a far too ‘difficult’ repertoire.
During Liljefors’ time in Gävle he was also pedagogically active, partly as a music teacher at the city’s secondary school and partly giving private lessons in piano, organ and music theory. His students included the composers Josef Eriksson, Knut Håkansson and Rune Wahlberg.
Throughout his life, Liljefors had a deep interest in folk music, the groundwork for which was laid in his parental home, which led him to learn to play the folk fiddle. In 1929 he edited a collection of 225 handwritten tunes collected from the region of Uppland on behalf of the Uppsala student union, Uppland’s nation. It took him six years of work to complete the project. He also authored an extensive foreword for the publication that included history and analysis.
The final years
In the spring of 1931 Liljefors resigned from his position as principal conductor. The official reason was his poor hearing (a problem that had followed him since his youth), however, another factor could have been a reorganization of the orchestra that reduced his influence on the repertoire and therefore gave room for more music that ‘accommodated the public’. It is not entirely clear whether he left on his own initiative or whether it was in reality a ‘gentle dismissal’. He took a leave of absence from his music teaching position, and in May moved to Uppsala, the city of his birth. During his last years he composed on a smaller scale and performed sporadically as a pianist. After taking part in the Internationella musikveckan (the International Music Week) in March of 1936, he died unexpectedly of a heart attack.
Ruben Liljefors’ creative output covers most genres, with an emphasis on orchestral music and songs. He composed throughout his life, but most of his major works were written in or around the first decade of the 20th century.
Liljefors’ music keeps to a moderate late Romantic style with touches of bold chromaticism and chordal compositions that raised a few eyebrows in its time. At least one of his early works, the overture in C minor, bears traces of the New German school. Inspiration from folk music is noticeable in many of his compositions, for example the orchestral symphony’s scherzo movement – called ‘Hambo’ – based through and through on lively folk dance melodies. His studies in Germany gave him a supreme mastery of compositional craftsmanship, which becomes most apparent in his larger scale works.
Among Liljefors’ instrumental works there are some in classical multi-movement forms: a symphony, a piano concerto, a violin sonata and a piano sonata; the violin sonata in particular (his first printed instrumental work), and to some extent his piano concerto, won the appreciation of both the critics and the public, including in Germany. Otherwise, Liljefors seems to have hardly been the critics' favourite, which may have contributed to him eventually focusing on composing smaller forms. His more popular orchestral works include ‘Tre bagateller’ and the suite Sommar, with a clear inspiration from folk music. Otherwise his orchestral production was dominated by single-movement works, often with the word ‘overture’ in the title.
Liljefors was a skilled pianist, even if he was not a virtuoso. He performed mainly as an accompanist, did not give piano recitals and never performed as a soloist with an orchestra, other than in his own piano concerto. This may explain his modest output for his main instrument; only two collections with minor pieces were published during his lifetime and even the unpublished pieces, which often had a folk music character, were written in smaller forms. One significant exception is the piano sonata in F minor that came out as late as 1925.
With his first opus, Fyra sånger, Liljefors had a successful start to his public path as a composer. ‘Flickan kom från sin älsklings möte’ became particularly well known at the time when the opera singer Signe Rappe added it to her repertoire. Even his first orchestral song, ‘Vi ses igen’ op. 3 (text, V. Rydberg), was favourably received at its premier in 1897 with John Forsell as the soloist. Other songs include ‘Säf, säf, susa’ and ‘Intet är som väntans tider’. As seen in the examples above, his choice of texts was hardly original; much like many other composers of the time Liljefors was inspired by poets of the 1890s as well as by the lyrical poetry of the Finnish-Swedish author, Johan Ludvig Runeberg.
Another side of Liljefors’ vocal compositions were his children’s songs, inspired by his own growing brood during the early decades of the 20th century. These are largely forgotten today with one major exception: the highly popular musical setting of Jeanna Oterdahl’s Christmas text, ‘När det lider mot jul’.
Given that Liljefors was active as a choir director for almost his whole musical career, his choral compositions are remarkably few in number. Compositions for mixed choir are limited to two collections and the suite, Bohuslän. Even his pieces for men’s choir are relatively small in number and in many cases they were written for specific occasions. This also applies to his cantatas for soloists, choir and orchestra, all of them commissioned works, most of which were performed only once – naturally because of the textual content. One possible exception is the choral ballad, ‘Blomsterfursten’, composed for the 1907 Linnaeus jubilee in Uppsala. Inspired by Carl Snoilsky’s lyrical poem to Linnaeus – a shimmering saga of nature –Liljefors clothed the text in an impressionistically coloured tonality.
Liljefors’ most successful contribution to the theatrical genre was the music for a play with an ancient Nordic motif, ‘Fritjof och Ingeborg’, from which the composer later arranged an orchestral suite. He also composed an operetta, ‘Hans Höghet’, which was rejected as ‘not quite operetta quality’ (too ‘serious’?) and was never performed.
Sverker Jullander © 2016
Trans. Jill Ann Johnson
Publications by the composer
Upländsk folkmusik. Låtar och visor ur Uplands nations folkmusiksamlingar, på nationens uppdrag utgivna av Ruben Liljefors, Stockholm: Abr. Lundquists musikförlag, 1929.
Connor, Herbert: Svensk musik, vol. 2, Från Midsommarvaka till Aniara. Stockholm: Bonniers, 1977.
Frimureriska tonsättare och frimurerisk musik, Uppsala 2006: Forskningslogen Carl Friedrich Eckleff, pp. 312−313.
Hedwall, Lennart: ‘Ruben M Liljefors’, in: Svenskt biografiskt lexikon, vol. 23, Stockholm: Svenskt biografiskt lexikon, 1980−81.
−−−: Den svenska symfonin, Stockholm: AWE/Gebers, 1983, pp. 235−236.
Håkanson, Knut: ‘Ruben Liljefors’, Ur nutidens musikliv, vol. 3, no. 5, 1922.
Högman, Niclas: Ruben Liljefors – en biografi, CD-uppsats i musikvetenskap, Uppsala universitet, 2003.
Jonsson, Leif, and Martin Tegen (eds): Musiken i Sverige, vol. 3, Den nationella identiteten 1810–1920, Stockholm: Fischer & Co., 1992.
Percy, Gösta: ‘Liljefors, Ruben’, in: Sohlmans musiklexikon, vol. 4, Stockholm: Sohlman, 1977.
Rydin, Arthur: ‘Ruben Liljefors’, Musikern, vol. 24, no. 18, 1931.
Göteborgs universitetsbibliotek, Kungliga Biblioteket Stockholm, Krigsarkivet, Musik- och teatermuseet Stockholm, Musik- och teaterbiblioteket Stockholm, Uppsala universitetsbibliotek.
Summary list of works
Operetta (Hans Höghet), incidental music (Fritjof and Ingeborg etc.), orchestral music (symphony, piano concerto, overtures, suites), vocal works with orchestra (cantatas and songs), chamber music (violin sonata etc.) piano music (sonatas etc.), solo songs with piano (Säf, säf susa and När det lider mot jul, etc.), choral works (Bohuslän, I natten, etc.).
Hans Höghet (based on F. Reuter), 1908. Not printed.
Herr Alariks bröllop, music for 8 tableaux for voice and piano. Not printed.
Marionettouvertyr [to the puppet theatre at the Stockholm Exhibition 1909]. Not printed.
Music for E. Högman’s play Fritjof och Ingeborg op. 17,1908. Piano reduction Stockholm 1909, the rest was not printed.
Symphony E-flat major op. 14, 1906, reworked 1917. Not printed.
Music for solo instrument and orchestra
Concerto for piano and orchestra F minor op. 5, 1899. Not printed. Ms. in MTB.
Romance for violin and orchestra (1917–18). Not printed.
Other orchestral music
Festspel, E-flat major, 1931. Not printed.
Celebratory overture C major, 1922. Not printed.
Four small pieces in a folk tone: Brudmarsch och gånglåt, Visa, Mellanspel, Gammel-vals, 1931. Not printed.
Intermezzo A major, 1903. Not printed. Ms. in MTB.
Concert overture C minor, 1905. Not printed.
Marionette overture for military band. Not printed. Ms. in MTB.
Overture C minor, 1897. Not printed.
Sommar, suite in five movements: 1. Gånglåt, 2. Kung Liljekonvalje, 3. Blåklockor, 4. Vall-låt, 5. Hambo, 1899; Blåklockor in Orkestern, 6, 1926. Otherwise not printed. Ms. in MTB.
Suite from the music for Fritjof och Ingeborg: Prelude, Drottkväde, Offertåg, 1916. Not printed.
Three bagatelles for string orchestra: 1. Romance, 2. Elegie, 3. Vaggsång. Not printed.
Works for choir and orchestra
Blomsterfursten op 14 (C. Snoilsky) for soprano and alto soli, mixed choir and orchestra, 1907. Uppsala 1907.
Festival song for the 250th anniversary celebration of Bohuslän’s joining Sweden through the peace achieved in Roskilde 1658 op. 15 (E. Evers) for solo, mixed choir and organ, 1908. From the following, with the title ‘Bohuslän’: Bohusläns sång, Skeppsgossarnes sång, Fiskarfolkets sång, Värnpliktiges sång, Kvinnornas sång, Skolungdomens sång. Stockholm: Abr. Hirsch, 1908. Otherwise not printed. Ms. in MTB.
Cantata for the inauguration of Gothenburg’s college 1907 [op. 15] (A.U. Bååth) for solo tenor, boy’s choir and orchestra, 1907. Not printed. Ms. in MTB and KB.
Cantata for the inauguration of the rebuilt Gefle högre allmänna läroverk 24 November 1914 (M. Sterner) for soli, choir and orchestra, 1914. From Skolgossarnas sång ‘Vi äro den knoppande våren’, Gefle 1914; otherwise not printed. Ms. in MTB.
Månhymn vid Lambertsmässan (E.A. Karlfeldt) for mixed choir and orchestra, 1908. Not printed.
Sång for the inauguration of Upplands nation’s repaired building (T. Tullberg), 1902. Not printed.
Till hembygden, cantata for the 100th anniversary of Gefleborgs läns hushållningssällskaps (H Hamilton) for solo baritone, mixed choir and orchestra, 1914. Not printed. Ms in MTB.
Works for solo voice and orchestra
De tysta sångerna (E.A. Karlfeldt) for baritone and orchestra, 1915. Version for voice and piano, Copenhagen: Wilhelm Hansen, n.d. otherwise not printed.
Du gamla, du fria, arr. for voice and orchestra. Not printed.
Himlens blå (V. Rydberg), for solo baritone and orchestra. Piano vocal score Stockholm 1915, otherwise not printed.
Intet är som väntans tider op. 7:1 (E.A. Karlfeldt). Piano vocal score Stockholm 1901, otherwise not printed.
Jungfru Maria op. 8 (E.A. Karlfeldt), for soprano and orchestra. Piano vocal score Stockholm: Abr. Hirsch, 1903, otherwise not printed.
Kung Liljekonvalje op. 4:1 (G. Fröding). Piano vocal score Stockholm 1898, otherwise not printed.
På vandring (A. Mörne) for soprano and orchestra, 1920. Piano vocal score Gefle 1922; also Berlin: Raabe & Plothow, n.d., otherwise not printed.
Three songs for one voice and orchestra op 42. 1. Sång (K.G. Ossian-Nilsson), 2. Återvändo till livet (B. Persson), 3. Möte (J.L. Runeberg). Version for voice and piano Stockholm: Gehrman, 1936, otherwise not printed.
Träd (Olof Thunman), Stockholm 1931, piano vocal score Gefle 1931.
Vi ses igen op. 3 (V Rydberg) for baritone and orchestra. Piano vocal score Stockholm: Abr. Hirsch, 1897, otherwise not printed.
Work for declamation and orchestra
En spelmans jordafärd (D. Andersson), 1925. Not printed.
Sonata E minor for violin and piano op. 2, 1895. Stockholm 1896.
Andante A major for violin and piano. Not printed. Ms. in MTB.
Wedding march, 1889. Not printed.
Efter dansgillet, schottische. Not printed.
Four preludes and fugues, 1898. Not printed.
Mazurka F minor. Not printed.
Menuet, 1886. Not printed.
Moment musical, 1928. Not printed.
Norrlandstrall. Not printed.
Sonata F minor, 1925. Stockholm, 1938.
Three melodies op. 6, 1898–1899. Stockholm. 1901.
Tre uppländska folkmelodier. Not printed.
Ur skizzboken: Gavotte, Romance, Albumblad, Novelette, Bagatelle, Vaggvisa, I folkton, Polska. Stockholm, 1914.
Songs with piano
Adagio op. 34a (Bo Bergman). Gefle, 1922. Also Berlin: Raabe & Plothow, n.d.
Biskop Thomas frihetssång. Not printed.
Bleib’ bei mir /Dröj hos mig (M. Pagenstecher de Sauset). Stockholm, 1913.
Blommornas bok op. 10, eleven children’s songs (J. Oterdahl): 1. En vårvintersaga, 2. Maskrosor, 3. Kattfötternas visa, 4. Visan om lilla Gull, 5. Prinsessan Nyponblom, 6. Rågen, 7. Blåklockorna, 8. Biet, 9. Hos mor Malena, 10. Hasselbusken, 11. Kantareller, Stockholm: Abr. Hirsch, 1906. Also in a Dutch edition (trans. Karin Kvant-Törngren).
Blomstervisa (E A Karlfeldt). In Svensk sång vol. 1, 1900. Also printed separately, Stockholm, 1916 and Copenhagen: Wilhelm Hansen, n.d.
De tysta sångerna (E A Karlfeldt). Gefle, 1922. Also Copenhagen: Wilhelm Hansen, n.d.
En herde-och namnsdagsvisa op. 11a (E.A. Karlfeldt). Stockholm: Gehrman, 1909.
En ny visa tryckt i år (K.G. Ossian-Nilsson), 1925. Not printed. Ms. in MTB.
Ett litet förskinn (H. Lagerlöf). In Vintersol, appendix, Gothenburg 1908.
Februarschnee (F. Flaischlen). Stockholm 1916. Also Copenhagen: Wilhelm Hansen n.d.
Five little songs op. 31 (E.A. Karlfeldt). 1. Vårlåt, 2. Visa i enskogen, 3. Vårsång, 4. Maja hönstjuv, 5. Den misskände spelmannen. Gefle, 1922.
Fosterlandet (A. Lundegård). In Sångboken, pub. F. Erlandson, F. Körling and A.F. Österberg, Stockholm, 1928.
Four poems by Erik Axel Karlfeldt op. 7. 1. Intet är som väntans tider (1899), 2. Hembygdens huldra, 3. Du ler, 4. Ormvisa. Stockholm: Abr. Hirsch, 1901.
Four songs op. 1. 1. Flickan kom ifrån sin älsklings möte (J.L. Runeberg), 2. Mine Stjerner (G. Kallstenius), 3. Til Hende (C. Schejen), 4. Höstnatt (G. Kallstenius), 1895−96. Stockholm: Abr. Hirsch, 1896. Flickan kom från sin älsklings möte also in arr. for soprano and orchestra (not printed).
Gu’ signe’n Far. In Jämten, 1936.
Gyllne sol (J. Aakjær, trans. M. Holmström-Ingers). In Nykterhetsfolkets sångbok, Stockholm, 1955.
Här är vårt land, for the editor of Saxon on its 75th anniversary (arr. of original composition by K.G. Liefwendahl), 1934. Not printed.
Höstens vår op. 11b (E.A. Karlfeldt). Stockholm: Gehrman, 1909.*
I skörl-ann (A. Kristenson). In Jämten, 1938.
I vår-ann (A. Kristenson). In Jämten 1938.
Landstormssång (A. Björk). Gefle: Gefle-Postens tryckeri, 1914.
Mitt barn op. 34b (B. Gentele-Sillén). Gefle, 1922. Also Berlin: Raabe & Plothow, n.d. Also in Svensk romanssång, Stockholm: Sveriges körförbunds förlag, 1937.
När det lider mot jul och andra barnvisor op. 19. 1. Lilla Ingas sommarvisa (J. Oterdahl), 2. Bygga bo (J. Oterdahl), 3. När det lider mot jul (J. Oterdahl), 4. Rida ranka (‘Hopp, trava, fåle’, J. Oterdahl), 5. Rida ranka (‘Och nu skall jag rida’, J Oterdahl), 6. Gökvisa (K.E. Forsslund), 7. Landet Vitavall (A.-M. Roos), 8. Barnens vårsång (A. Strindberg). Stockholm, 1909. När det lider mot jul also in a version for mixed choir.
När i nattens lugn du tänker (1889). Not printed ms. in MTB. Also with the text ‘Helga kärlek’ [Emma Söderlund) In Nykterhetsfolkets sångbok, Stockholm, 1925.
Om du vore min ändå (C. L[ind]). Gefle, 1922. Also Copenhagen: Wilhelm Hansen, n.d.
Pingstvisa (W Björkhagen). In Nykterhetsfolkets sångbok, Stockholm, 1955.
Psalm (A. Kristenson). In Jämten, 1942.
Schliesse mir die Augen beide (Th. Storm). Gefle 1922. Also Copenhagen: Wilhelm Hansen, n.d.
Till Sverige jag längtar [in ms.: Till Norrland jag längtar] (B. Mankell), 1892. Stockholm, 1925. Ms. in MTB.
Troll- och tomtehistorier, songs to texts from För barn och barnbarn (H. Hamilton). 1. Lilla söta astrakan, 2. Ko-söta, kolilla, 3. Nu ä' smultronen mogna, 4. Moster Cikoria, 5. Flyg, flyg, storkefar, 6. Lopp-ritten, 7. Tomtarne och julgrisen, 8. ‘Flunsan’, 9. Hennes Kungl. höghet Klutaluta, 10. Solnedgång, 1925–1926. Stockholm 1926.
Two poems by J.L. Runeberg op. 36. 1. Den första kyssen, 2. Löjet, 1921. Gefle 1922. Also Berling: Raabe & Plothow, n.d.
Two songs op. 4 to texts by Gustaf Fröding: 1. Kung Liljekonvalje, 2. Säf, säf, susa. Stockholm: Abr. Hirsch, 1898.
Ungdomssånger op. 11. 1. Ungdomsvisa (K.E. Forsslund), 2. Skörd: Sommar, sommar, högblå himmel (K.E. Forsslund), 3. Slipsten snurrar (K.E. Forsslund), 4. Min sång (K.E. Forsslund), 5. Folket i vapen (K.G. Ossian-Nilsson). Stockholm: Abr. Hirsch, 1907.
Uplandssången (O. Thunman). Stockholm: Abr. Lundquist, 1929.
Valbosång (A. Stackelberg). Valbo: Valbo hembygdsförening, 1922.
Vinternatt (G. Fröding). In Den svenska sången, vol. 3, n.d.
Visor ur Solhult (J. Oterdahl). Not printed. Ms. in MTB.
Våraning (K. Nyblom). Stockholm, 1936.
Zwei Gedichte von Richard Dehmel op. 32: 1. Stimme im Dunkeln, 2. Nach einem Regen. Gefle, 1922. Also Berlin: Raabe & Plothow, n.d.
Four songs. 1. Fosterlandet (A. Lundegård), 2. Ungdomsvisa (K.E. Forsslund), 3. Sommar (K.E. Forsslund), 4. När det lider mot jul (J. Oterdahl). Not printed. Ms. in MTB.
Three old songs from Uppland. 1. I det friska gräset gröna, 2. Spelmansvisa, 3. Hej, hej, du modiga gosse. Stockholm: Körling, 1935.
Kantareller (J. Oterdahl), Maskrosor (J. Oterdahl), Landet Vitavall (A.-M. Roos), Prinsessa Nyponblom (J. Oterdahl), 1931. Not printed. Kantareller, Maskrosor and Nyponblom also in Blommornas bok op. 10, Stockholm, 1906; Landet Vitavall also in Det lider mot jul och andra barnvisor op. 19, Stockholm, 1909.
Hästkarlar (E.A. Karlfeldt). In Studentsången, vol. 5, 1914.
I natten (V. Rydberg), Stockholm 1906.
Cantata in celebration of the naming of A Jonason as Commander of merriment for 50 years of unbroken membership (G. Wiesner) for men’s choir and piano. Not printed.
Cantata for the 40th anniversary of Heimdal (A.U. Bååth) for men’s choir and piano. Not printed. Ms. in MTB.
Serenade (B. Bergman) with solo baritone. Not printed. Ms. in MTB.
Serenade (J. Nybom), Stockholm, 1917.
Svensk frihetssång (Biskop Thomas). Not printed. Ms. in MAB.
Sång till glädjen (F. Holmgren). In Qvartettsånger, vol. 8, 1899.
Song for the naming of F.M. Collianders as Commander of merriment for 50 years of unbroken membership (C. Ramberg)
Song for the inauguration off Uplands nation’s newly repaired building (T. Tullberg), Stockholm n.d.
Säg dock, vad vill jag (J.L. Runeberg). Stockholm, 1905.
Tanken (J.L. Runeberg). Not printed. Ms. in MTB.
Trollsjön (E Geibel). In Qvartettsånger, vol. 2, 1897.
Song (A.T. Gellerstedt). Stockholm, 1916.
Arrangements for choir
Bellman, Carl Michael, Fredmans epistel nos 11, 63, 66 and 72, for men’s choir. Not printed. Nos 11 and 72 in ms. in MTB.
Bellman, Carl Michael, Fredmans sång no 5c., for men’s choir. Not printed.
Josephson, Jacob Axel, En visa som alla andra, for men’s choir. Not printed.
Marseillaise, 1900, for men’s choir. Not printed.
Psalm 440, Old hymn from Dalarna, for mixed choir. Not printed.
Sibelius, Jean, Atenarnes sång, for boy’s choir. Not printed.
Sibelius, Jean, Goternas sång, for boy’s choir. Not printed.