Land- scape was premièred in Örebro, Sweden, in the spring of 1978 by the Örebro Chamber Orchestra and the tubist Michael Lind. The composer had the idea for the work when he was spending some time on the west coast of Sweden. He wrote: ‘It is not a depiction of a landscape – rather the title alludes to the ideal state that reigns in nature, or the landscape, until the ecological balance is disturbed – and figuratively speaking this also applies to the inner “landscape” of man…’ As regards the technical aspect of the work, he went on to say: ‘I have wanted to provide the soloist with the opportunity to show completely different aspects of the tuba than those that we are used to and routinely associate with the instrument. In the literature the verdict is unanimous: the tuba is not suited for playing fast passages, it has no expressive powers whatsoever, it’s hardly able to play a line legato, let alone cantabile, etc. etc. … My aim has been to disprove each of these allegations, one by one…’
The work plays without a break but three sections can be discerned within it. The first presents a variety of moods: fast, extrovert episodes are followed by more reserved passages of a more melancholy melodic character. The tuba is heard at the beginning of the work with a low C sharp. The second section, An- dante, is dominated by the tuba’s rise up from a low to a high register while the orchestral scoring is generous, even majestic. This section concludes with a solo cadenza where the tuba is heard in every available register and plays glissandi spanning more than two octaves. This cadenza serves as a springboard into the final section, characterized by clearly defined rhythms and rapid triplets from the tuba. Although it begins Presto, this section manages to increase in pace still further, and ends Prestissimo. In the last bars, the tuba triplets reach a C sharp – thus ending the work on the same note with which it began.