Sven Blohm (1907−1956)


Sven Jacob Sigvard Blohm was born in Trelleborg on 26 July 1907 and died in Stockholm on 15 December 1956. He studied at the Royal Conservatory of Music in Stockholm and in 1934 he completed his degree in organ, followed the next year by a music teaching degree. Between 1938 and 1956 he was an organist at Skeppsholm Church in Stockholm. As a composer, he wrote music for piano as well as organ, chamber music and vocal music, often in a traditional and melodic style with archaic traits.


Background, early years and study

Sven Blohm’s father was Axel Theodor Blohm (1864−1941), a construction engineer, and his mother was Thea (née Brandt, 1871−1959). Sometime around 1900, the couple moved from the region of Skåne to Stockholm with their two children, but just before Sven was born, Thea temporarily returned to her mother in Trelleborg. The couple’s last two children were then born in Stockholm. The five siblings, like relatives on their mother’s side, were very musical and they played and sang when they got together. Sven learned early on to play both violin and piano.

Sven Blohm studied music theory with Melcher Melchers, but on the threshold of adulthood he was stricken with ‘a severe nervous disorder’ and was treated at the mental hospital in Konradsberg during 1927−28. In 1929, after regaining his health he began studying at the Kungliga Musikkonservatoriet (the Royal Conservatory of Music), completing his organ examination in 1934 and his music teaching examination in 1935. Notable among his teachers were Ernst Ellberg and Olallo Morales. One of his schoolmates was the prominent violinist Sven Karpe, with whom he had a lifelong friendship and who even became ‘a relative of the family’ when Karpe’s sister married Sven Blohm’s brother. Karpe inspired Blohm to write several works for violin and piano.

Organist, cantor – and composer

Beginning in 1930 Sven Blohm worked as an organist at the Garnisonssjukhuset (the Garrison Hospital) and then from 1938 until his death as an organist and cantor at Skeppsholmskyrkan (Skeppsholm Church) in Stockholm. The Admiralty pastor and priest at Skeppsholmskyrkan, Doctor of Theology, Gustaf Adolf Brandt (1883−1972), and the brother of Sven Blohm’s mother, was a learned and musical person. Blohm set several of Brandt’s texts to music.

On 4 February 1937, Sven Blohm debuted as a composer with a concert of his own compositions at the concert hall of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) that was publicized with a very large and flashy poster. He had assembled several of the country’s premier young musicians for this concert. Most of Stockholm’s music critics contributed detailed reviews, among them William Seymer who emphasized Blohm’s consummate and natural creativity and his melodic talent with a partiality for minor harmonies. The best was ‘Allan Pettersson [who] with a rich and warm tone superbly interpreted a three-movement suite, “Suite for viola and piano”.’ The Academy choir sang an old-style mass. Most of the reviewers were positive and recognized the good aspects, however they felt he was not yet a fully mature composer. Blohm would never again organize a similar evening of his compositions, but his works were reviewed now and again when they appeared on concert programs – including when he arranged a number of dramatized concerts with period costumes at Gripsholm Castle at the end of the 1940s.

Marriage and premature death

In 1943 Sven Blohm married Kerstin Grabe, a marriage that was childless and later dissolved.

Sven Blohm died unexpectedly at his home on 15 December 1956. Several of his works were performed during the funeral service; Sven Karpe played Aria de Chiesa (1921), the KFUM-kören (YMCA choir -Young Men’s Christian Association) and the Flottans Musikkår (the Royal Swedish Navy Band) performed piece from Julkantat (1936), Agnus Dei (1951) and parts of Galärvarvskyrkogårdens klockor that had its debut only three weeks earlier when the cemetery was inaugurated. His uncle, J.A. Brandt contributed an obituary in the newspaper Svenska Dagbladet in which he not only emphasized Blohm’s qualities as a composer but also revealed that he ‘remained throughout his life like a big, friendly and unique child, vividly receptive and very impulsive with little sense of daily life’s practical requirements.’


Sven Blohm, who sometimes signed his works as Sven-Jakob or Sven-Jacob Blohm, often composed in a melodically contrapuntal style and created a lot of music within most genres. However, most of these were only preserved in pencilled manuscripts, with just a few published works. He wrote in a concise, concentrated style, including organ works inspired by J.S. Bach, masses written in an archaic manner, songs and music for solo piano. A 1944 passacaglia for orchestra was performed between 1946 and 1949 in Stockholm, Gothenburg, Helsingborg and Copenhagen as well as on British and German radio. His masses have been praised and the KFUM choir had very successfully sung one Agnus Dei on their tour of the United States that ended just as Blohm died. A jubilant Te Deum was performed during Advent in Skeppsholm Church, shortly before his passing. He often dedicated his works to his parents and his siblings.

His orchestral variations on the folk song Värmlandsvisan consist of twenty variations, each representing a well-known character from Selma Lagerlöf’s novels. The ballet Nirgitma is based on folk music from Mongolia that had been recorded onto wax cylindars.

Composer and music historian Lennart Hedwall wrote in Den svenska symfonin: ‘The foremost of his later works include a respectable sinfonietta for small orchestra from around 1950 in which a somewhat weighty and traditionally substantial facture is united with a 1930’s-like musicianship and a fantasy filled and often sonorous orchestral movement.’

The music of Sven Blohm was played by the orchestra of the Stockholms Konsertförening (the Stockholm Concert Society) – today the Kungliga Filharmoniska Orkestern – twelve times between 1935 and 1954. The conductor Adolf Wiklund was responsible for two premiers; the melodrama Öde jul on 14 December 1935 and ‘Passacaglia’ on 9 January 1946. He also conducted the two-movement composition Havet sjunger during a school concert on 18 January 1941 with Ernst Törnqvist as the violin soloist. Lars-Erik Larsson conducted Liten partita no fewer than eight times when either the Radiotjänst (Swedish radio service) chamber orchestra or their entertainment orchestra played on the radio (1938–54).

The symphony concert in which the Konsertföreningens orkester premiered Sven Blohm’s ‘Passacaglia’ resulted in a string of reviews signed by the elite of Swedish music reviewers including, William Seymer, Dag Wirén, Kurt Atterberg and Ingemar Liljefors. The reviews are remarkably consistent and one can surmise that the work was considered to have a finished form, a confident, dignified and well-balanced bearing – almost severe. One notes that it is a work written by an ambitious organist (it also comes in a version for organ) and is filled with the still peacefulness of archaic church music. There are many good ideas and the music is very pleasing to the ear and logically well made, decidedly sympathetic.

As for the relatively extensive list of piano works, Herbert Connor says the following in his book Svensk musik, ‘Sometime in July 1947 the composer found himself in the cavalier’s wing of Gripsholm Castle and became so inspired by the environment that he wrote the piano suite En liten Gripsholmsmusique, consisting of five short movements where there is dancing and conversation in the Vasa stately private rooms and the round salon of King Gustav III in which a rococo musical is performed on the theatre-King’s stage.’

Blohm also wrote several popular stories with music for children that even Swedish radio showed an interest in.

Stig Jacobsson © 2016
Trans. Jill Ann Johnson


Connor, Herbert: Svensk musik, 2, Stockholm: Bonnier, 1975−77.
Hedwall, Lennart: Den svenska symfonin, Stockholm: AWE/Gebers, 1983.

Summary list of works

Opera (Karin Månsdotter, incomplete), 2 ballets (Nirgitma, Uggel-Guggel), melodramas, incidental music, orchestral works (Suite from Uggel-Guggel, etc.), chamber music (mainly small pieces for violin and piano), works for piano, works for organ, songs and choral works.

Collected works

Works marked with * were collected in a folder by the composer, which is marked with the words, ‘Compositions written while suffering from severe nervous illness. 1927–1928.’ These are all labeled with the place name ‘Konradsberg’. He was very particular about dating his compositions. Works that are not marked with a date are incomplete, and in many cases comprise only pencil sketches of a few measures with melodic ideas.

The following abbreviations have been used: mx.c. = mixed choir, m.c = men’s choir, w.c. = women’s choir, SATB = soprano, alto, tenor, baritone/bass.

Karin Månsdotter. Opera in 3 acts and epilogue. (Nanna Lundh-Eriksson) incomplete, never performed.

Nirgitma, based on Mongolian folk music.
Uggel-Guggel. Mythical pantomime ballet after John Bauer in 1 act (S. Blohm, based on two sagas H. Kjellin and C. Granér) for voices and orchestra [also piano vocal score], 1939.
Älvalek, the excerpt Vid morgongryningen, 1926.

Incidental music
Prelude to Batrakoi (Grodorna), comedy by Aristophanes, piano, 1926.
Den svåra stunden, dramatic music (P. Lagerkvist) for organ, string orchestra and gong (‘To the student theatre’), 1930.

Fyra skisser, for orchestra, (for piano 4 hands), 1929. 1. Havet, 2. Slätterna, 3. Skogarna, 4. Fjällen.
Introduction and fugue, for orchestra on the chorale ‘Jag går mot döden, vart jag går’.
Karin Månsdotter, prelude to act III.
Liten partita, F major (three movements) (Divertimento) string orchestra, 1937. Stockholm: Gehrman, 1942.
Nordiskt poem, for orchestra. Piano reduction 4 hands.
Passacaglia, for large orchestra, 1944.
Sagostämning, Symphonic poem, incomplete score, 1927.*
Uggel-Guggel, suite from the mythical pantomime ballet, 1934. Premiere 19 Nov. 1934. 1. Trolldans, 2. Villvallaremans klagan, 3. Utanför Uggel-Guggels stuga i vildskogen.
Sinfonietta, 1950s.
Symphony, C minor, sketch for piano 4 hands, 1929.
Två orkesterstycken. [Score with incomplete Scherzo.] 1. Andante, 2. Scherzo.
Variationer över Värmlandsvisan, for string orchestra and timpani.
Visioner, orchestral poem, 1930.

Concert works
Adagio, D minor for organ with string orchestra.
Andante and Scherzo, for bassoon and string orchestra with timpani (‘To Erik Strömblad’).
Havet sjunger, for violin and orchestra or piano (‘To mother on her 60th birthday’). 1. Skymning, 2. Gryning.
Häxfantasi!, for piano with orchestra, 1927. 1. Skogen, 2. Trollsjön, 3. Bålet (incomplete) piano. *
Concerto for piano and orchestra, arr. for two pianos, incomplete, 1926.
Concerto for violin and orchestra, C minor, piano reduction, incomplete, 1929.
Concert piece for piano and orchestra, A minor [= Piano concerto (to Poldi Mildner)], 1932. Premiere 6 April 1935, Nils Andersson Bogerud, piano, conductor: the composer.
Nocturne, C minor for piano and orchestra, incomplete score.

Vocal works with orchestra
Hymnen Liksom en våg, (A. Österling), for solo, mixed choir and orchestra, incomplete piano sketch.
Installationskantat (G.A. Brandt) for S solo, 3 mixed choirs, organ, strings, 1942. 1. Choir and solo (‘O, Fader vår, som frid’), 2. Rec. and aria (‘Ack giv du mig’), 3. Choir finale ‘Vart skola vi människor gå’.
Jesus från Nasaret, oratorio ‘Icke rum! Icke rum!’, N. Bolander.
Julhymn, ‘Evige Gud’, for solo, choir and orchestra, 1926.
Julkantat, ‘Helig, helig’, for soli, choir, strings and organ, 1936.

Chamber music
Aria di chiesa, for violin and piano, 4 March 1921.
Andante religioso, for string quartet, 25−26 October 1926.
Caprice, for violin and piano, 31 July 1936.
Festklanger, D major for violin and piano, 1929.
Festmusik, on the occasion of the newlyweds’ return home, for violin and piano, 31 July 1926.
Fuga, D major for string quartet, 6−7 April 1931.
Introduction and caprice, for violin and piano. Only the violin part is extant.
Liten serenad, for violin and piano, 12 April 1922.
Melodie, for violin and piano.
Menuett i gammal stil, F minor for violin and cello, 28 September 1929.
Miniatyrsuite för 3 trädblåsare, 1935. 1. Preludium, 2. Sicilienne, 3. Gavotte, 4. Musette, 5. Gigue.
Nala och Damayanti, Indiska akvareller. Only the violin part is extant. 1. Bland bergen, 2. Ormarnas dans, 3. I templet, 4. På torget.
Pastorale, F major for violin and piano, 23 August 1941.
Regnet, for violin and piano, 1926.
Romance, for violin and piano/orchestra.
Romance, ‘Liebling, ich muss’ slow fox-trot for violin and piano, 1935.
Serenata, G minor for violin and piano, 23 September 1926.
Små variationer och fughetta on a German folk song from ‘Berliner Liederbuch 1370’, for string quartet, August−September 1935.
Sonata, for violin and piano D minor, incomplete pencil sketch. Scherzo arr. for 2 violins, cello and piano.
Suite, for viola and piano, 1936.
Suite, for violin and cello incomplete pencil sketch.
Svit i gammal stil. Only two of the violin parts from Sicilienne are extant.

Piano music
Akvarell, Pan spelar!, pastorale, 15 June 1928.
Akvareller, 28 February 1930. 1. Pastorale, 2. Dans på ängen, 3. I folkviseton, 4. Älvor, 5. Månsken, 6. Näcken spelar.
Amiral Lybecks festpolonäs, (‘To Admiral Otto Lybeck on his 70th birthday’), 19 February 1941.
Arabisk svit, 25 July 1927. 1. Väktarsång, 2. I öknen, 3. Vid ökenkällan.
Arietta, A minor, incomplete.
Arietta, A minor, 2 April 1926.
Arietta, G major, En liten visa i folkton!, 28 June 1926.
Ariette, 10 April 1926.
Bagatelle, G minor, 13 April 1928. *
Bagatelle, G minor, 8 May 1928. *
Berceuse, 9 March 1928. *
Berceuse, 1 April 1928. *
Capriccioso, 28 June 1924.
Elégie, 20 February 1927.
En liten Gripsholmsmusik, July 1947. (‘To Elisabeth Blohm’).1. Preludium: Färd till Gripsholm, 2. Sarabande: I Vasagemaken, 3. Minuet: Konversation i Gustaf III:s runda salong, 4. Gavotte och Musette: I Gustaf III:s teater, 5. Postludium: Färd från Gripsholm.
En liten, liten Djurgårdsmenuett, 13 April 1956.
En liten vals utan ord, 17 June 1931.
Fantasie, A minor, 17 August 1925.
Festklanger, G major op. 27, 2 April 1929.
Festpolonäs, 19 February 1941.
Fuga, G minor.
Gatan, choreographic study in 8 kaleidoscopic pictures for 2 pianos (Lalla Cassel), 12 December 1936.
Gavotte, G major, 1926.
Gavotte, G major, 9 December 1927. *
Gavotte, G major, 9 April 1928. *
Gavotte and musette, C major, 17 August 1930.
Gavotte and musette, F major, 25 July 1930. 
Höstskymning, (‘To Herbert Westrell’), 9 September 1930.  
Julnatt, orchestral poem arr. for piano 4 hands, 1926. 
Chorale on the theme Bror Gadelius, 13 January 1928. *
Lantlig svit, Dans på ängen, Christmas Eve 1930.
Legend, D minor, 11 January 1926.
Legend, G minor, 29 December 1928. *
Lillpysens vaggvisa, 3 June 1927. *
Meditation, 18 August 1925.  
Minuet, A major, 29 October 1926.
Minuet, A major, 8 December 1928.
Minuet, D minor, 28 April 1930.
Minuet, G major, 15 March 1927.
Minuet a la l’âncien régime, G major, 18 January 1928. *
Minuet, Glädjen, G major – Sarabande, Sorgen, 31 March 1928.  
Midsommarnatten, Dance for piano from the melodrama of the same name.
Namnsdagsmenuett on the theme Carolina, 19 May 1928. *
Nocturne on the theme (crossed out), D minor, 25 May 1926.
Nocturne, E minor (with orchestra), 15 March 1926.
Nocturne de claire de lune, G-flat major.
Nocturne-serenade, G minor, 27 December 1926.
Norrlänningarna, two leitmotifs to the film, 1930. 
Oktavetyd, 1933. 
Pastorale, A minor, 2 October 1929. 
Pastorale ‘Rosen’, G minor op. 24, 1924.
Pastorale, G minor (crossed out: I St Gallen. Act I.).
Preludium, C major. 
Preludium, (‘To Sakari Heikinheimo’), July−August 1937.
På fäbodvallen, 31 August 1927.  
Sagostämning, symphonic poem, 1927. Incomplete pencil sketch. *
Saltsjöbadens flickscoutkårs marsch, 20 January 1927.
Saltsjöbadens scoutkårs paradmarsch.
Skogs-scener, Akvareller for piano, July 1928. 1. Huldrans dans, 2. Aftonstämning, 3. Trolldans.
Skymning vid havet, Blekinge skärgård, 20 July 1931. (Title changed to: Nocturne). 
Snöflingor, 1928. *
Sorg, 30 January 1928. *
Souvenir d’un carnaval, 14 February 1927.
Spinnvisa, 13 April 1926. 
Theme with variations and canon, E minor, 8 March 1926.
Theme with variations (and canon), G minor. 
Trollskogen, symphonic poem. Incomplete piano sketch, 26 October 1928.
Tusen och en natt, symphonic fantasy for piano 4 hands (for orchestra according to the cover), 1928.
Två pastoraler, G minor, 15 February 1928. *
Une serenate (sic) petite, A minor, 1 March 1926.
Ur barnbilderboken, 4 små akvareller for piano, 9−11 February 1930. 1. Prinsessan i rosengården, 2. Pan spelar på sin flöjt, 3. Det stora trollet, 4. Den lilla älvans dans.
Valsmelodi, for piano 4 hands, 29 January 1929.
Variationer, 1923.
Vision, tone poem for piano, 20 November 1925.
Vårdag, stämning vid pianot, 25 March 1926.
Vårfantasier, ‘Vattenplask’, 16−17 May 1926.
Vårmelodi, en liten drömmelodi, 19 January 1952.
Älvalek, Vid morgongryningen from the ballet ‘Älvalek’, 1926.

Organ music
Fantasie, A minor op 25, 23−24 July 1924. 
Figurerade koraler. 1. ‘Die Nacht ist vor der Tür’ by Telemann, 1730, 2. Koral no. 4 from ‘Bergensons koraler’,  3. ‘Wir waren krank’ by Gregor 1784, 4. ‘Der du mit Flehn und Tränen’ by Schicht 1844.  
In memoriam Lisa och Ivar Stål, 9 September 1953.
Koralsonat for large organ. Incomplete pencil sketch.
Koraltrio. Skisser. (‘To Alf Linder’).
Liten vaggvisa. 
Meditation över två temata, 20 December 1955.
Passacaglia, transcribed for large organ. Gehrmans 1946.
Preludium, D minor. Incomplete pencil sketch.

Songs with orchestra (see also Songs)
Afton (‘Det lider mot afton’, Prince Wilhelm).
Klockbojen (‘Det klingar en klagande ton’, K. Asplund).
Skymning, for voice and strings (anon.).
Vårregn (‘Hur du sjunger svala regn’), for voice, harp and strings (D. Stenberg), 1950.

Sagas with spoken words and music
Den förtrollade julafton.
Den förtrollade speldosan. Musik AB Westin & Co 1952.
Den lille hästen Trolle-Russ.
Hur trollen firade julafton.

Songs – for voice and piano unless otherwise noted
Afton (‘Det lider mot afton’, Prince Wilhelm).
Ave Maria, C minor, for voice, violin and piano.
Ave Maria, C minor, 1924.
Ave Maria, D minor, for voice and organ.  
Bröllopshymn (‘All äkta kärleks hemlighet’, J.A. Eklund), (‘To sister Elsa’), 20 October 1934.
Chanson (‘En liten jungfru flätar’, from the Scanian medieval opera ‘Tärningspelet’, for voice and piano, N. Lundh Eriksson). Elkan & Schildknecht, Carelius 1938. (See Visa i medeltidsdräkt).
Den sista sången (‘Släck dina stjärnors sken’, D. Andersson), (‘To Gunilla’), 1946.
Det är vackrast när det skymmer (P. Lagerkvist), 30 November 1930.
Fanfar (‘Hell dig vår präst’), for S, Bar. and piano, 25 January 1953.
God natt (‘Sitt någon här’, G.A. Brandt), 1929.
Hemmet, (E.N. Söderberg), with obl. violin and piano/organ, 1952.
Hyllningsfanfar on the occasion of their wedding anniversary, 1927. (‘To Greta and Gösta Blohm’).
Hymn (‘O Gud, som de heliga nalkas’, D. Andersson), for voice and organ? Defective.
Julhymn (‘Evige Gud’), for soprano voice, violin and piano, Christmas Eve 1926.
Klockbojen (‘Det klingar en klagande ton’, K. Asplund), 2 December 1932.
Milrök (‘Längst, djupast i ändlösa skogar’, D. Andersson), sketch, 1943.
Mondnacht (‘Es war als hätt der Himmel’, J. von Eichendorff), 20 December 1927. *
Visa i medeltidsdräkt (‘En liten jungfru flätar’, Tora Johansson), (‘Till Dagmar Stenberg’), 9 August 1929.
Vårregn (‘Hur du sjunger’, D. Stenberg), incomplete.
Wehmut (‘Ich kann wohl manchmal singen’, J. von Eichendorff), 1927. *

Allhelgonaklockor (‘All helgons klockor ringa över tidens möda’, G.A. Brandt) (‘To the memory of my father’), m.c. TTBB piano 1946. Triangelförlaget.
Ave Maria, C minor, song with solo, 2 violins, choir [SAB], organ (harmonium) and piano, December 1924.
Begravningsbön, for the officiant of the funeral mass (‘Herren vare med eder’),  1944.
Björkökantat, Hemlanden (‘Nu vilar i lövsprickningsdagar’, G.A. Brandt) for mx.c., May 1939.
De profundis (‘O Herre, du allrahögste’), for soli SB, mx.c., orchestra, harp and organ (R. Tagore) incomplete.
Doxologien, music for the Holy Week and Pentecost (‘Ty riket är ditt’, for 3 part w.c., 3 March 1930.
Du bar ditt kors, (Sv. Ps. 89), mx.c. a cap, 1931.
Eldbegängelsehymn (‘Herre! O Herre! Rör vid mitt liv’, R. Tagore), for mx.c., 25 September 1929. (The title was later changed with pencil to Hymn).
En gammal dansrytm (B. Bergman), for 4 women’s choirs SSAA.
Frimicklig högtidshymn (S. Blohm), mx.c., harmonium (‘To A Nordieng and Helga Israelsson’), 17 June 1942.
Förvandla mig, o Herre Krist (‘Vår vardag fylls’, G.A. Brandt), for w.c. SSA, 20 February 1952.
Galärvarvskyrkogårdens klockor, cantata, for SAB, mx.c., fl, ob, eng ho, org, 1956. 1. Kör (‘Det susar i sekelåldriga träd’), 2. Lillklockan, soprano solo (‘Ring, fridens klocka’), 3. Mellanklockan, alto solo (‘Giv, att vår tysta griftefärd’), 4. Storklockan, baritone solo (‘Ring, själaringning på vår griftegård’), 5. Trio and choir finale (‘Tre klockor sjunga sin själasång’).
Hymnen, (A. Österling), for solo, choir and orchestra, 1935.
Höstblomman (‘Bladen falla sakta’, S. Brandt), for m.c. TTBB, 18 September 1953.
Jordens oro viker, (J.O. Wallin), for 3 women’s choirs, 1925.
Julmorgon, cantata (‘Det stiger över vinterdunklets skumma sky’, G.A. Brandt), for S solo, 3-part w.c. and organ, December 1930. Gehrman, 1943.
Klockorna, cantata, (G.A. Brandt) for soli, choir, strings, bells and organ.
Kyrkokantat, (anon.), for unison choir & m.c. (movements II, V).
Kyrkoorgeln, cantata (G.A. Brandt), for soli, choir, bells, strings and organ.
Lotusblomman, (S. Agrell), for m.c. a cap, 1936.
Minneskantat, (G.A. Brandt), for soli, w.c., m.c., mx.c. and orchestra, 1942. 4. Te Deum.
Missa dolorosa, (Mässordinariet), for mx.c. a cappella. (‘To the Academy Choir and its conductor Johannes Norrby’), 22 December 1945. Kyrie, Agnus Dei, also sketches to Gloria and Sanctus.
Missa jubilate, for children’s choir, men’s choir, organ and timpani, 1953−55. Triangelförlaget. Premiered by KFUM-kören [YMCA choir]/Martin Lidstam 24 November 1955 in Engelbrektskyrkan. Kyrie, Gloria, Credo, Agnus Dei.
Mässa, for men’s choir a cappella, April 1942. Premiered by KFUM-kören [YMCA choir]/ Martin Lidstam.
Mässa, (Mässordinariet), for 4 solo voices or mx.c. a cap, 1951. SK, CG. Kyrie, Agnus Dei.
Mässa, for soli, choir, strings and organ, B minor, 1928. Kyrie, Gloria. Incomplete pencil sketch.
Mässa, for mx.c. a cappella, with Swedish text (‘To professor Ernst Ellberg’). SK 1939.
Orfeus, mx.c. (M. Hirdman), (‘To Carl Milles’), 1937.
Psalm, (Nattvardshymn, G.A. Brandt), for 3 treble choirs (‘To G.A. Brandt and his confirmands Spring 1948’).
Signaturmelodi, for ‘Nordisk ton’ (F.A. Sjögren), for mx.c. a cap (‘To Nordisk ton and F.A. Sjögren’), 1949.
Skeppsholmskyrkans klockor, cantata (G.A. Brandt), for SB soli, mx.c., bells, strings, organ. Premiered 31 Dec. 1929.
Snöflingor (G. Cederschiöld-Breitholtz), for m.c., 1946. Published 1949.
Song of the Great Wall (Lio Hsuech-An), for vocal quartet.
Sången (G.A. Brandt), for baritone solo, strings and timpani.
Sång till människan (‘Människa, du gudasända’), for T solo, TTBB and piano, incomplete.
Te Deum (‘Höga majestät, vi alla’, compiled from the Swedish Hymnal 3, 124), for mx.c., trumpet, horn, trombone, timpani, organ (‘To the congregation of Skeppsholm’s Church’), 30 October 1936.
Tempelsång (‘Stilla skrida morgonklara timmar’, G.A. Brandt), for 3 women’s choirs and organ 17 March 1930.
The young voyageur, for mx.c. and piano.
Ti Tu Tang (V. Nyberg), for mx.c. and piano (‘To Novakvartetten’), 1951.
Vitsippan (T. Moll), for vocal quartet with piano, (‘To Novakvartetten’), 1935/1951.

Den första valpurgisnatten (‘Ur röken flamman stiga må’, J.W. von Goethe, trans. Carl Snoilsky), for piano, recitation and choir, 1927.
Hemmet, for voice, violin and piano/organ (E.N. Söderberg), (‘To Elisabeth and Per-Olof on their wedding day 26/7 1952’).
Midsommarnatt, from which Dans.
Öde jul (‘Mot fönstret smäller en höststorm’, H. Blomberg) for recitation and orchestra, 1928/1934. Premiere in Stockholm’s Konserthuset Åke Nygren rec, Konsertföreningen.

Arrangements of folk music from various countries
Adieu Dundee, Scottish folk song for vocal quartet and piano, 1949.
A highland lad my love was born, for vocal quartet and piano, 1949.
Alouette, old French melody for mx.c. and piano.
Angels we have heard on High, ‘very old Christmas song’ for vocal quartet and organ.
Au claire de la lune (J.B. Lully).
Auld lang syne, for mx.c. and piano.
Clementine, for mx.c. and piano.
Come o’er the stream, Charlie, Scottish folk song for mx.c. and piano.
Coventry carol, Christmas song from the 16th century for vocal quartet.
Das goldene Ringlein, for mx.c. and piano.
Den ljusa dag framgången är, Danish folk melody from the 16th century for string quartet.
Der Kossack und sein Mädchen, Russian folk song for mx.c. and piano.
Die drei Röselein, folk song for mx.c. and piano.
Die Würzburger Glöckli, German folk song for vocal quartet, 1949.
Du, du liegst mir im Herzen, German folk song for mx.c. and piano.
Duncan Gray, Scottish folk song for mx.c. and piano.
Elslein, folk song from the 14th century.
Gammalfinsk psalm (‘Friden Herrens helgon fingo’, from the Finnish chorale book from 1943) for SATB, 18 May 1955. Triangelförlaget.
Guter Mond, German folk song for TTBB and piano. Triangelförlaget.
Hör, när tempelsången stiger, older French melody (G.A. Brandt, Swedish Hymnal 525:4) for TTBB.
John Anderson, my Jo, Scottish folk song for mx.c. a cap.
Kristallen den fina, for w.c.
Livet och döden, folk song for vocal quartet and piano (T. Hedberg), 1926/1951.
Lob der edlen Musik, German folk song for vocal quartet, 1949.
Lord Gregory, Scottish folk song for mx.c. and piano.
My gentle harp, for vocal quartet and piano.
O Charlie is my darling, for mx.c. and piano.
Och hör du unga Dora, for SATB and piano.
Som den unga björk i skogen, for TTBB, 1917.
Så är det natt i världen (Ingegerd Granlund).
The battle of Preston, Scottish folk song for mx.c. and piano.
The drunken sailor, for men’s quartet with piano.
The young voyageur.
Weinblüte, Bohemian folk song for vocal quartet and piano.

Other arrangements
B. Flies: Wiegenlied (‘Barn, lilla kära, sov gott’. (German text: F.W. Gotter. Swedish text: G.A. Brandt) for TTBB and piano. 1954. Triangelförlaget.
E.G. Geijer: Vallgossens visa, for voice and piano.
K. Knutsson: En ghasel (‘Ungdomsdrömmens ord’, F.G. Bengtsson) for voice and piano.
K. Knutsson: Gammal dansvisa (‘Vi leka om igen’, F.G. Bengtsson) for voice and piano.
F. Schubert: Ave Maria, only violin 2 and cello parts preserved.
A. Söderman: Kor av Kirkefolk, (from Peer Gynt, H. Ibsen) for TTBB.

Capriccioso op. 6, piano.
Danse macabre, piano.
Divertimento (‘Composed at the age of 13−14, played by Saltsjöbaden’s samskola’s orchestra. At the piano: the composer.’)
Klaverkconcert D-flat major.
Minuet op. 11, piano.
Overture op. 7, piano.
Piano Concerto No. 1 G-sharp minor op. 14 (‘12 years old’).
Rondo and Capriccioso op. 21.
Scherzo op. 4, piano.
Sorgmarsch, piano.

Works by Sven Blohm

There are no works by the composer registered