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Bookofvisions EINOJUHANI RAUTAVAARA 1928 Symphony No. 1 (1955/1988/2003) 27:31 1 Andante 15:44 2 Poetico 7:41 3 Allegro 4:06 RAUTAVAARA 4 Adagio Celeste (1997/2000) 7:31 for String Orchestra Book of Visions Book of Visions (2003/2005) 40:16 Adagio Celeste 5 A Tale of Night 11:09 Symphony No. 1 6 A Tale of Fire 7:36 7 A Tale of Love 10:09 National Orchestra 8 A Tale of Fate 11:22 of Belgium [75:43] MIKKO FRANCK National Orchestra of Belgium MIKKO FRANCK, conductor Book of Visions was commissioned by the National 1–4 © Warner/Chappell Music Finland Oy Orchestra of Belgium, NHK c/o Fennica Gehrman Oy, Helsinki Symphony Orchestra and the 5–8 © Boosey & Hawkes Music Publishers Ltd Royal Scottish National Orchestra. OOde_1064_Rautavaara_coverde_1064_Rautavaara_cover 1 112.9.20052.9.2005 112:38:322:38:32 Symphony No. 1 (1955/1988/2003) Adagio Celeste (1997/2000) I wrote my First Symphony while studying in Adagio Celeste was prompted – like so many of my the United States in 1955, but the work has works – by a bit of text, in this case verses by Lassi since undergone two substantial changes. Th e Nummi written in 1982. I believe that the poem original four-movement structure changed into itself can say more about the music than the a two-movement structure in 1988, with an twelve-tone row upon which it is built: expansive, Romantic and pathos-laden principal Th en, that night, when you want to love me in the 2 movement followed by a grotesque and ironic deep of night, scherzo. Th is version seems to owe something wake me. to Dimitri Shostakovich, one of the idols of Our sheets are cool, white 1950s Modernism in Finland. Later I found that like the snow outside in the twilit landscape. the structure was out of balance, and in 2003 I I may have been waiting, may be tired of waiting, added a lyrical slow movement between the two come. existing ones. In order to preserve the 1950s Do not grow petrifi ed, supporting the world, like a black spirit of the original work, I based the slow tree standing alone, movement on a solo song I had written around come. Wake me. Let me wake the same time. through old age and death, and wake yourself, come like the snow, join us to the communion of the world. Let our love be groping and mumbling. Th rough the world it is love when you want, when you wake me, when it is the deep of night, when the world surrenders. Come. OOde_1064_Rautavaara_bookletde_1064_Rautavaara_booklet 2 112.9.20052.9.2005 115:27:155:27:15 Book of Visions (2003/2005) splendour, of hidden treasures. And indeed the 1. A Tale of Night opening of A Tale of Night is an omen: the 2. A Tale of Fire cantabile returns at the end of A Tale of Fate as 3. A Tale of Love a soaring, expansive melody. What about Fire, 4. A Tale of Fate then? I shall never forget the fl ames of war over A work of art is unpredictable; it makes its Helsinki; my profound respect for the element own rules. Th us it happened that it was in the found expression in my early Piano Sonata, Th e process of composing the four movements of Fire Sermon. And Love – my own unbelievable 3 Book of Visions that the character and title of love story has been the most important factor each movement began to emerge slowly. It was in my life. Finally, Fate. I am not superstitious not a question of describing ‘night’, ‘fi re’, ‘love’ by nature, but it could scarcely escape me or ‘fate’, but of describing the eff ect of these that immediately after writing A Tale of Fate I phenomena on me – or rather, on the music had a near-fatal attack, with no warning, that being born. Visions were indeed seen, and Tales hospitalized me for six months. were told, though not by me using the music Book of Visions would not exist if it were but by the music telling me. I could do nothing not for Mikko Franck. Not just because he but listen, with fascination, like the Sultan in wanted to commission a new composition, but the tales of the Arabian Nights. Each listener because I had come to know how naturally and will probably generate his or her own visions understandingly he conducts my music and and tales as I did, but as we know, the author’s what a brilliant interpreter of my music he is. interpretation cannot be considered any more valuable than anyone else’s. Einojuhani Rautavaara Translation: Jaakko Mäntyjärvi Nevertheless, I cannot refrain from relating how important the Night was for me as a child: it was a time of omens, of horror and OOde_1064_Rautavaara_bookletde_1064_Rautavaara_booklet 3 112.9.20052.9.2005 115:27:215:27:21 Einojuhani Rautavaara (b. 1928) has in recent Th e recording of Rautavaara’s breakthrough years become Finland’s internationally best- work, Angel of Light (Symphony No. 7) on the known living composer. His music was featured Ondine label received the Cannes Classical in over 100 orchestra concerts worldwide Award in 1997 and also a Grammy nomination. in 2004. He studied composition fi rst with Th e Violin Concerto on the disc Angels and Aarre Merikanto at the Sibelius Academy in Visitations likewise received the Cannes Classical Helsinki, then with Aaron Copland, Vincent Award in 1998. Ondine’s extensive series of Persichetti and Roger Sessions in New York Rautavaara discs has continued to win several and Tanglewood in 1955–56, and fi nally with international recording awards. Rautavaara is still Wladimir Vogel in Switzerland and Rudolf active and writing in the same powerful vein. 4 Petzold in Cologne. Rautavaara subsequently developed a considerable reputation as a Founded in 1936, the National Orchestra of composition teacher; he was professor of Belgium can be proud of a rich career path, composition at the Sibelius Academy from 1976 punctuated with encounters with reputed to 1988. conductors and renowned soloists. Over the Stylistically, Rautavaara’s music has ranged years, it has forged its own identity and is over a wide spectrum from post-war Finnish distinguished today by its specifi c contribution and Scandinavian modernism to avantgarde and qualities. constructivism and thence through a more It is an orchestra which does not hesitate to romantic musical language, anchored in tonality, take to the road. While it does take up residence to a post-modernist style that combines both in the Brussels Palais des Beaux-Arts to off er modernist and more traditional elements. varied cycles of concerts in partnership with Rautavaara’s extensive and highly individual BozarMusic, the NOB also travels to the four oeuvre includes ten operas (including chamber corners of Belgium to get closer to the public. operas and choral operas), eight symphonies, Th e orchestra counts on the enthusiasm of eleven concertos for various instruments young people. Bubbling with ideas, Mikko with orchestra, and a large number of other Franck, the young Finnish conductor, has been orchestral, vocal and chamber works. the NOB’s musical director for three seasons OOde_1064_Rautavaara_bookletde_1064_Rautavaara_booklet 4 112.9.20052.9.2005 115:27:225:27:22 5 Einojuhani Rautavaara OOde_1064_Rautavaara_bookletde_1064_Rautavaara_booklet 5 112.9.20052.9.2005 115:27:225:27:22 now. Th e NOB’s many young recruits and Sibelius Academy. Still only in his 20s, Mikko the choice of soloists also bear witness to the Franck has rapidly established himself as one confi dence which the orchestra has in talented of the most exciting international conductors, young artists. building up a wide range of repertoire both with Th e orchestra works through a truly vast symphony orchestras and in the opera house. repertoire without confi ning itself to works of Mikko Franck is currently Music Director a particular style, period or country. Classical and Chief Conductor of the National Orchestra and romantic works mix with pieces from the of Belgium and has been appointed General 20th century in its programme, alongside some Music Director of the Finnish National Opera, daring projects as fi lm music, its participation a post which he will take up from the 2006/07 6 to the FilmFestival van Vlaanderen, the season. collaboration with the Tactus project for young In recent seasons, Mikko Franck has worked composers, a large choice of projects for young with orchestras such as the Berlin Philharmonic, people and last but not least its co-operation Munich Philharmonic, Philharmonia, Israel with the International Queen Elisabeth Music Philharmonic and Washington National Competition of Belgium. Orchestras, Berlin Staatskapelle, Super World After its second Japan tour in July 2004, the Orchestra Japan, Deutsches Symphonie- NOB is invited to play in the most important Orchester Berlin, Leipzig Gewandhaus, Los cities of Switzerland and Germany during the Angeles Philharmonic, Dallas Symphony and 2005–2006 season. Chicago Symphony Orchestras and both the Chamber Orchestra of Europe and the Mahler Mikko Franck began to play the violin at Chamber Orchestra. He has toured Japan with the age of fi ve and entered Helsinki’s Sibelius both the Bamberger Symphoniker and the Academy in 1992, subsequently studying in National Orchestra of Belgium, and in 2002 New York, Israel and Sweden. It was in 1995 he was artistic director of a Rautavaara Festival that he began conducting studies; at fi rst with the Helsinki Philharmonic. At the Finnish privately with Prof. Jorma Panula, then between National Opera, productions he has conducted 1996 and 1997 in the conducting class of the have included Th e Magic Flute, L’Elisir d’Amore, OOde_1064_Rautavaara_bookletde_1064_Rautavaara_booklet 6 112.9.20052.9.2005 115:27:235:27:23 Don Giovanni, La Bohème, Mussorgsky’s Khovanshchina and, in autumn 2003, the world première of Rasputin by Einojuhani Rautavaara.
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