If anyone were to be given the epithet national composer of Sweden it would most assuredly have to be Lars-Erik Larsson. With such masterpieces as "Förklädd Gud" ("God in Disguise") and "Pastoralsvit" ("Pastoral suite") he attracted the largest crowd of listeners of all composers during the 20th century. But Lars-Erik Larsson also accomplished a vast and varied musical production that included works that may not be familiar to the general public. He studied in Vienna and one of his teachers there was Alban Berg. On returning to Sweden Larsson took up position as conductor of Kungliga Teatern (the Royal Theatre) and later on, between 1937-54, as conductor employed by Sveriges Radio (Swedish Broadcasting Corporation).
One of the important periods in Larssons life took place when he worked as a teacher in composition at the College of Music in Stockholm. This was the place where he taught several of those young musicians who were later on to form a school in his name, as an antithesis to the well-known "Måndagsgruppen" ("the Monday group").

During his active years as a composer Lars-Erik Larsson covered a number of musical styles and influences. Before his going to Vienna Larssons music was characterized by national romanticism, tinted by an influence from Sibelius and Nielsen. After having come in contact with the music of Hindemith and Schönberg Larsson wrote his famous "Sinfonietta". And then followed a period of neo-classicism, illustrated by "Serenade" for string orchestra, as well as the internationally acclaimed "Saxophone concerto". At the end of the 30s and the beginning of the 40s Larssons music was marked by a romanticism which entailed success with the public: "God in Disguise" (a lyrical suite for recitation, soloists, choir and orchestra) and "Pastoral suite" (including the well-known and much acclaimed "Romance").
After the war Larsson returned to the legacy of Hindemith and he for instance wrote twelve "Concertini" for various solo instruments. And in 1952 he composed his well-known violin concerto, which today stands out as one of the most important Swedish musical works ever to have been written for the violin.

During the 60s Lars-Erik Larsson applied a clearly formulated dodecaphonic technique to his music and in the process gave it a very personal touch. This resulted in such works as "Three pieces for orchestra", as well as his orchestral variations. By the end of the 60s Larsson returned to the romantic musical style and produced, for instance, "Lyrical Fantasy" and "Aubade" for oboe and string trio.

Anyone may have their own opinion about Larssons musical fluctuations but when he appeared in a television interview the reporter asked him what he saw before him when he wrote "Pastoral suite": "Nature, birds or water?" suggested the reporter. After a moments consideration Larsson answered in his broad, southern dialect: "Naah, I didnt see anything." The reporter persisted. "Didnt you have a vision of flowers and all things beautiful in nature?" But Larsson held on to his first answer and personally I think this shows Lars-Erik Larsson to have been a truly genuine musician. To him music was primary. Whatever other people saw, or how they interpreted the music he wrote, was something entirely up to them.

Sinfonietta (1932)
Saxophone concerto (1934)
The opera "Princess of Cyprus" (1937)
Second symphony (1937)
Pastoral suite (1938)
God in Disguise op 24 (1940)
Music for orchestra (1940)
String quartet no 2 (1944)
Third symphony op 34 (1944-45)
Cello concerto (1947)
Violin concerto op 42 (1952)
Missa Brevis (1954)
Twelve Concertini for various solo instruments op 45 (1953-57)
Three pieces for orchestra (1960)
Orchestral variations (1962)
Lyrical Fantasy (1967)
Sonatina for cello and piano (1969)
Aubade for oboe and string trio (1972)