Lars-Erik Larsson utilized his extraordinary technical and formal skill in a constant pursuit of the greatest possible simplicity in the means of musical expression. This simplicity combined with a flowing musical inspiration and lyrical-poetic stance has made Lars-Erik Larsson one of Sweden's most popular composers of all time.

In stylistic terms, Larsson has tried different paths during different periods of his creation. Representative of the neo-classical style of the earlier works is the Saxophone Concerto (1934), while from a subsequent, almost lyrical-romantic period, the Pastoral Suite (1938), music for A Winter Saga (1938) and the choral piece Förklädd Gud (1940), which are perhaps more than any other created the composer's extraordinary popularity even with the wider audience.

A more radical stance characterizes Music for Orchestra (1949) and Violin Concerto (1952), two highlights of Larsson's production, as well as his Three Orchestral Pieces (1960) and Orchestra Variations (1962), in which he applies a personally designed twelve-tone technique while preserving his lyrical and melodic vein.

An intermediate position in stylistic terms is occupied by the highly regarded series 12 Concertini (1953-57), one for each of the orchestra's instruments, where the string orchestra was designed with amateur orchestras in mind. Larsson's later production is characterized as something of a synthesis of traits from the earlier stylistic periods. Lyric Fantasy (1967) has a melodic depth reminiscent of the Pastoral Suite, while Due Auguri (1971) is characterized by a lush and subtle humor, as is the playful pastiche Barococo Suite (1973).

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