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My pleasure. And I'm immensely grateful to Christian Lindberg, for making this material available with English subtitles, and for letting it remain here on TH-cam.

It's from his 10th symphony, around 6-7 minutes into the piece.

@@LuleNorrbotten Thanks

​ @paul best ​ As far as I am informed, the view that Pettersson was neglected and "thrown under the bus" by the Swedish establishment needs to be nuanced and somewhat revised. Fur sure, Pettersson _himself_ always struggled with feelings of neglect and/or having the establishment working actively against him; that's the story we most often hear from Allan himself, from biographers and from his devoted admirers. However, looking at facts such as how often his music was played, in concerts and on radio, how often his name was mentioned in the media, and the general respect that surrounded his name in Swedish music life (from the 60s and onward), it can hardly be argued that he was neglected or treated unfairly in any way. As suggested elsewhere in this comment section, he may well have been on the (autism-)spectrum, there was mental illness in the family, he mostly preferred loneliness and avoided social interaction. And last but not least he was crippled by rheumatism just when his great symphonic production started to take off. At least after the 7th symphony and throughout the 70s he was - in spite of his personal struggles and "difficult" personality - one of Sweden's most highly respected culture persons.

Shostakovich is a bit more accessible. I think a big factor is, Shostakovich was and is a part of geopolitics - his struggle with authorities is a big marketing plus inthe west. Pettersson doesn't have that.

@paul best I myself am particularly fond of the 11th. Admittedly I don't know his ouvre that well. He speaks with a unique and hauntingly beatiful voice, though. I don't think the essence of the docu, as you explain it, was lost on me. It is rather hard to miss. It is just not a story well told in my opinon. Considering the length of the film, one would expect more historical context, more of a critical perspective and generally more information. The film is rather monochromatic and slow and makes strange choices, such as lingering over hearsay and false memories (e.g. the story about the composer that was supposed to have climbed onto the balcony of the house where Petterson lived (can't remember his name). The docu more than suggests that that story is one Petterson fabricated. Yet the director chooses to interview the landlady about it, and dives into a digression about the climber, who is not a significant figure in Pettersons life, or in music, anyway ). One thing that emerges celarly though, in my opinion, is that Petterson was probably on the spectrum. His sense of entitlement, his self-aggrandizment, his curtness (on the verge of abusiveness) with his wife. It made it difficult for me to accept without further ado the image that is peddled by the record companies of Petterson as a great humanist. He was clearly waaay more complex than that, and not unequivocally a fan of his fellow human beings. That is interesting, of course, so I suppose I learned something after all.

@paul best ...... ok. So not a great humanist then we agree :)

Paul best just lost his right to comment on this channel. Hatred towards ethnic groups is not acceptable here or elsewhere on youtube.

Thank you Michael. Like you, I am also very thankful to Christian Lindberg and Bis records, not least for their generosity to let these subtitled videos remain on TH-cam. Pettersson's music and personal story deserves all international exposure it can get.

yes Michael , I am also grateful for this interview. I wish the word ''HELL'' was not in its title question. I have a feeling that the ruling elites of Sweden did give the deserved recognition to Allan Pettersson, because he was from working class, and he let everybody know about his social class and his childhood sufferings. Greetings from California.

@@sanramondublin I have studied new music ever since my teens during the 1960s. I discovered Pettersson from a solitary LP I found in a record store. The second LP I only found much later in 1982. Pettersson was a member of the many new composers whose music was regarded as unacceptable because it did not conform with the conventional unadventurous standards of the time. I made a big collection of the music which was very rarely aired even on radio, for example Charles Ives and Arnold Schoenberg. My family and friends regarded these works as breaking the ":rules of proper music", and regarded Pettersson ( and myself) as one of them. So I believe this is the reason why he was regarded as one of the outsiders. It was not just a "Swedish" eccentricity. I have always been one of the outsiders to this very day. But very fortunately the public attitude changed at the turn of this Century, and Pettersson is now rightfully regarded as a genius who wrote unconventional music which dealt with unpopular aspects of our very "wayward" society in a most brilliant way, and under the most adverse circumstances. I believe he has now become a "cult figure", and I fantasize that somehow he can see how much his work has come to be revered and appreciated. His works always give me compensation and sustenance during the troubled periods of my own life.