Work
His works were quite varied and included two completed symphonies, a substantial Serenade for Orchestra, two piano concertos, four piano sonatas, a violin sonata, six string quartets, many songs and other vocal works, including several large-scale works for chorus or voices and orchestra: the early ballad "Florez och Blanzeflor" op. 3 written around 1891, "Ithaka" op. 21 from 1904, the cantatas Ett folk (A people) from 1905 and Sången (The song) op. 44 from 1921.
Writing in The Chamber Music Journal, R.H.R. Silvertrust notes that Stenhammar's six string quartets are the most important written between those of Brahms and Bartok. Whether or not this is so, there is no denying that Stenhammar's quartets represent a very important development during the twenty-five years he was writing chamber music. Tonally, they range from the middle late Romantics to a style akin to mature Sibelius. Though not unknown by the Swedish chamber music public, his string quartets have been sadly neglected elsewhere. In 2008 Musikaliska konstföreningen published the world premiere edition of his Allegro Brillante for piano quartet composed in 1891 and his Allegro non tanto for piano trio composed in 1895.
Stenhammar was considered the finest Swedish pianist of his time. Concert pianists who venture into the realm of the string quartet often wind up writing compositions which sound as though they were composed at, and are perhaps better played on, the piano. That Stenhammar's works show no such trait is because for nearly half of his life, he worked intimately with the Aulin Quartet, the top Swedish string quartet of his day and one of the best then performing in Europe. In fact, he toured throughout Europe with them for many years and a piano quintet was nearly always featured on their programmes. Thus it is no accident that his quartets show a fine grasp of instrumental timbre and technique. The part writing is sure, always idiomatic and evenly distributed.
Stenhammar recorded five piano rolls for Welte-Mignon on 21 September 1905.
Read more about this topic: Wilhelm Stenhammar
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“The form of act or thought mattered nothing. The hymns of David, the plays of Shakespeare, the metaphysics of Descartes, the crimes of Borgia, the virtues of Antonine, the atheism of yesterday and the materialism of to-day, were all emanation of divine thought, doing their appointed work. It was the duty of the church to deal with them all, not as though they existed through a power hostile to the deity, but as instruments of the deity to work out his unrevealed ends.”
—Henry Brooks Adams (1838–1918)
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—Ralph Waldo Emerson (1803–1882)
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—Henry David Thoreau (1817–1862)