NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDICHIGHLIGHTS in memoriam Lidholm Ingvar Paavo Heininenat80 S taern’s The Princess’ Tale 4/2017 NEWS

Högberg’s new solo concertos Two new solo con- certos by Fredrik Photo: Kaapo Hakola Photo: Photo: Saara Vuorjoki Saara Photo: Högberg will be pre- Photo: Jean-Michel Gueugnot Photo: miered in the spring Feklistoff Marco Photo: of 2018. Absent Il- lusions – A Hunt for the Eluded Muses is a multimedia concerto for violin/viola and orchestra with cine- matic features, written for Isabelle van Keulen. She will give the premiere on 16 March with the Düsseldorf Symphony orchestra/Alexandre Hakola, Lindberg, Tuomela: 3 x 60 Bloch. Th e concerto is jointly commissioned Kimmo Hakola, and Tapio Tuomela will each be 60 next year: Lindberg with the symphony orchestras in Odense, Norr- on 27 June, and one month later Hakola, who is planning a double concerto for Lauri Sallinen köping and Malmö. Swedish Radio P2 has, (clarinet) and Henrik Sandås (bandoneon). Tuomela’s birthday is on 11 October, and a date in together with the Gothenburg Symphony and October has been proposed for a concert of his works. He is also writing a choral work for Musi- the Danish National Symphony Orchestra, catreize and the Chamber Choir as part of the Tenso Network project. commissioned a Bassoon Concerto for Sebastian Stevensson, winner of the Swedish Soloist Prize Martinsson premieres New transcriptions for wind band 2016. Th e work will receive its premiere on 9 December 17th will Th e Nordic countries share a strong wind band May in Gothenburg under the baton of Tung- see the Austrian pre- tradition – including band transcriptions of sym- Chieh Chuang.

Photo: Mats Bäcker Mats Photo: miere of Rolf Mar- phonic works. Fennica Gehrman has published tinsson’s song cycle three new transcriptions for full-sized wind Schnelzer works on tour Garden of Devotion band including Einar Englund’s Th e Great Wall Evelyn Glennie and O/Modernt String at the Wiener of China – a landmark in Finnish theatre mu- Quartet are touring with Albert Schnel- Konzerthaus. So- sic. Uuno Klami’s Sea Pictures is faithful to the zer´s new version of Apollonian Dances, for prano Lisa Larsson original orchestral work, bringing the essence of percussion and string quartet. Performances is the soloist with his colourful style onto the band platform. Also will take place in Klaipeda and Vilnius, Lith- the Chamber included is Jean Sibelius’s Overture in F minor uania in December, at the Muziekgebouw, Rolf Orchestra under the transcribed for band by Robert Ambrose. Martinsson Amsterdam in February and at Kings Place, direction of Stefan in March. A Freak in Burbank is to Vladar. Th e new concert opener Shimmering be performed by the Monte Carlo Philhar- Islands will be premiered in Norway by the Tubin’s ballet on DVD monic in December, and in April of next year Kristiansand Symphony Orchestra on 18 Janu- Estonian Record Pro- the piece will go on tour with the Swedish ary next year, and Ole Edvard Antonsen will be ductions has released a Chamber Orchestra/Th omas Dausgaard to the soloist in the Polish premiere of the trumpet DVD of Marina Kes- Brugge, Belgium and Rosenheim, Germany. concerto Bridge with the Polish National Radio sler’s staging of Edu- Symphony Orchestra in Katowice on 1 Febru- ard Tubin’s ballet Kratt ary. (Th e Goblin). Eduard

Tubin and his librettist Jim Callaghan Photo: and wife Erika worked NORDIC HIGHLIGHTS 4/2017 on the ballet for more NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN than 20 years. During Sound samples , video clips a performance at the Estonia Th eatre in March and other material are available at 1944, Tallinn was bombed and costumed dancers www.gehrmans.se/highlights ran for shelter when the theatre took a direct hit. Fifteen years later Tubin reconstructed the ballet

Cover photos: Paavo Heininen (Saara Vuorjoki/Music from the remaining instrumental parts. What be- Finland), Håkan Hardenberger and Pernilla August in gan as a folkloristic rendering of old rural myths Stern’s The Princess’ Tale (Ralph Bretzer) has been transformed by Kessler into a visually Editors: Henna Salmela and Kristina Fryklöf stunning timeless play on themes of greed and Translations: Susan Sinisalo and Robert Carroll Design: Tenhelp Oy/Tenho Järvinen love. Even the history of the ballet fl ashes by when ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) the Devil pushes the air raid alert. Th e DVD can Printed in by TMG Sthlm, Bromma 2017 be ordered from ylle.veerg@.ee and will soon Evelyn Glennie be available from international distributors.

HIG HLIG HTS 4/2017 Aho’s 17th symphony Wennäkoski at the Turku has been asked to write Cello Competition PREMIERES his 17th symphony for 2019 as a joint Romain Etienne Photo: A work for the Turku Cello Com- December 2017 – March 2018 commission by several orchestras. petition beginning on 16 February MATTHEW WHITTALL Th e world premiere is scheduled for has been commissioned from Lotta Lauantaisauna for mixed choir spring 2019 by the Lahti Symphony Choir/Jani Sivén Wennäkoski. Called Foliage, it exists 2.12. Helsinki, Finland Orchestra. Th e work will be long in versions for cello and piano and for Voice of the hidden waterfall – 63 minutes – but the move- orchestra and will be the compulsory Harri Mäki, clarinet, Irina Zahharenkova, piano ments can also be performed 20.12. Helsinki, Finland as independent symphonic work for the six competition fi nalists. MIKKO HEINIÖ poems. Aho will be 70 Th e Turku Philharmonic Orchestra Amen for male choir conducted by Klaus Mäkelä will ac- Laulu-Miehet/Matti Hyökki, 3.12. Helsinki, Finland years old on 9 March LOTTA WENNÄKOSKI 2019. Gramophone company the cellists in the fi nals on Uniin asti (Until the Dreams) 22–23 February. for male choir and orchestra Finnish RSO, Polytech Choir/Hannu Lintu magazine raved in 6.12. Helsinki, Finland 2013 that Aho has a Foliage for cello and orchestra strong claim to the Turku PO/Klaus Mäkelä, sol. fi nalists of the Turku Cello Competition 22.-23.2. Turku, Finland title of greatest living TAPIO TUOMELA symphonist. Henna SalmelaPhoto: Crossroads Lahti SO/Dima Slobodeniouk, 6.12. Lahti, Finland 50th anniversary of Pettersson’s 7th JONAS VALFRIDSSON Svanhamnen for bassoon and strings Daniel Harding and the Swedish Radio Symphony Or- Musica Vitae, sol. Sebastian Stevensson, bassoon chestra are observing the 50th anniversary of Allan Pet- 11.1. Växjö, Sweden tersson’s legendary Symphony No. 7 with two performanc- ROLF MARTINSSON Shimmering Islands for orchestra es on 1 and 2 December in . On 10 June next Kristiansand SO/Eivind Aadland year Pettersson’s Seventh will be performed for the fi rst 18.1. Kristiansand, Norway time in Musikverein Vienna during the Norrköping Sym- TUOMAS TURRIAGO Per Aspera phony Orchestra’s tour together with . Pekko Pulakka, violin, Elina Sipilä, cello, Jarmo Hyväkkö, clarinet, Tuomas Turriago, piano, 28.1. Tampere, Finland Lotta Wennäkoski, Rumon Gamba and OLLI KORTEKANGAS Petri Kumela at the premiere of Wen- Veljeni vartija (My Brother’s Keeper) Profi le of Matthew Whittall näkoski’s Guitar Concerto (See: Reviews) Tampere Opera, Tampere PO/Santtu-Matias Rouvali, Alba Records has released sol. Tuuli Takala, Ville Rusanen, Tuomas Katajala, Virpi Räisänen etc., 16.2. Tampere, Finland a disc of music by Mat- thew Whittall featuring Finland 100 jubilee Northlands for horn Finland’s fi rst centu- and strings, ad puram ry as an independent annihilationem meam for republic has been choir and narrator, and celebrated this year Th e return of light for in numerous musical choir and orchestra. Th e events and is gathering strength as 2017 orchestras are the Finnish draws to a close. Scheduled for Inde- Radio Symphony Orchestra and the Tapiola Sinfonietta, pendence Day, December 6, are a record and the Helsinki Chamber Choir sings the choral parts. number of concerts, a lot of Finnish mu- MATS LARSSON GOTHE In modo lidico (Ein Heiliger Dankgesang) Th e disc has already had an enthusiastic reception. Canadi- sic, premieres of commissions and other for string quartet an-born Matthew Whittall is a an exciting name highlights. Among them will be Uniin asti Uppsala Chamber Soloists, 25.2. Uppsala, Sweden in Finland. His recent piano concerto Nameless Seas (Until the Dreams), a work by Lotta FREDRIK HÖGBERG Absent Illusions – A Hunt for the Eluded Muses was premiered in Ottawa on 5 October, with Angela Hew- Wennäkoski for orchestra and male choir for violin/viola and orchestra and Crossroads for orchestra by Tapio Düsseldorf SO/Alexandre Bloch, sol. Isabel van Keulen itt as the soloist. Risto-Matti Marin was the soloist in the 16.3. Düsseldorf, Germany Finnish premiere in November (see: Reviews). Tuomela (see: Premieres).

Rehnqvist and Staern awarded Th e Swedish Music Publishers’ Honorary Award 2017 has been awarded to Karin Rehnqvist for her signifi cant achievements in Swedish and interna- tional musical life. In the jury’s poetical citation she is described as ”the one Törnblom Karin Photos: who connects us with our heritage, our folk music and its singular voices, who fearlessly designs the music of the future with backwards fi gures, and attires it in just as much blinding light as smarting darkness”. Also Benjamin Staern was awarded by the Swedish MPA for his Air-Spi- ral-Light, a concerto for guitar, seven instruments and electronics, in which he “mixes airy and quick sections and with his full-bodied art of orchestration paints in numerous colours”. Norrbotten NEO, guitar soloist Jacob Keller- mann and conductor Christian Karlsen will bring the work on tour of Swe- den and to the NJORD Biennale in Copenhagen in January.

HIG HLIG HTS 4/2017 Ingvar Lidholm in memoriam Ingvar Lidholm passed away on 17 October, at the age of 96. He started out as a Nordic romanticist and evolved into a noble-minded expressionist, with deep roots in the tradition. Bellander Sten Photo: idholm was born in 1921 in the town Unique feeling for the human of Nässjö in southern Sweden, and he voice developed his astounding talent for Lidholm’s operatic works A Dream Play and music in Södertälje, where his father the TV opera Th e Dutchman were devoted to Lworked on the railway. Like many colleagues August Strindberg, whose texts were also set of his generation – including Sven-Erik Bäck, to music in songs and choral works. A Dream Sven-Eric Johanson, , Claude Play was staged in Stockholm in 1992 and lat- Loyola Allgén and Åke Hermanson – Ingvar er in opera houses abroad, including Santa Fe, Lidholm grew up in a religious environment, Bern and Weimar. Th e drama for male choir Th e which naturally involved music as well as exis- Persians and the dramatic scene Nausicaa Alone tential questions. were born from Lidholm’s continual proximity to the ancient world. Lidholm’s spiritual kinship The Monday group with the nineteenth-century Romantic poet During the Second World War he studied at the Carl Jonas Love Almqvist gave birth to the hy- Royal College of Music in Stockholm. Th is was perromantic cantata Th e Poet´s Night, which is a where he met Karl-Birger Blomdahl, who was of seminal work in the Swedish musical literature vital importance for him as a friend and colleague. of the 1950s. In the orchestral song …stund, när Lidholm studied polyphony and composition ditt inre from 1998, he and the poet Eric Johan individually with , who also Stagnelius seek answers to the most important Ulf Grahn Photo questions in the expanse of space. instilled in him a sense of artistic ethics. From the Lidholm had a unique, sensual feeling for the circle of students around Rosenberg a gathering human voice. He interacted for sixty years with was formed, the so-called Monday Group, which the legendary choir conductor Eric Ericson. Th ey in many ways came to contribute to the modern- met as young men in Stockholm in 1943, when isation of Swedish musical life for the following the Chamber Choir was founded. In 1947 the half-century. 26-year-old Lidholm confronted the Chamber Th anks in part to the Monday Group the Choir with the greatest challenge a Swedish choir György Ligeti doors to Europe were fl ung open, National Ro- had hitherto encountered: his fi rst choral work and Lidholm manticism was on the wane and young Swedes Laudi . Latin texts from the Bible were formu- ventured out into the world to meet the new lated in a musical language that brought together currents of the time. Lidholm was, together with Palestrina and Stravinsky of the Symphony of the conductor , the fi rst Psalms. In the series of Lidholm’s large-scale cho- Swedish composer in Darmstadt; he travelled ral works – from Laudi to Canto LXXXI, …a Arne Hyckenberg Photo: to Italy with Blomdahl and studied the twelve- riveder le stele , Libera me and Greek Grave Re- tone technique with Matyas Seiber in London. lief – seminal ideas are articulated that hark back Elements from decades of stylistic development to earlier ages of our cultural heritage. – from Hindemith to Ligeti and Lutoslawski – permeated and coloured Lidholm’s music. Orchestral classics Herbert Ingvar Lidholm played the viola in the Royal Blomstedt In the same way, Ingvar Lidholm’s orchestral and Lidholm Opera Orchestra and in Lilla Kammarorkestern, works form the backbone of Swedish music, an innovative ensemble of the 1940s. He was in from the 23-year-old’s highly acclaimed debut Nothing in Ingvar Lidholm´s music is industrial, Örebro as principal conductor of the town’s or- work Toccata e Canto (1945) to the master- nothing lent itself to be mass-produced in series. chestra 1947-56; after that he became head of pieces Ritornell, Motus-Colores, Poesis, Greetings Everything is handmade, everything is new. chamber music at the Swedish Radio. In 1965 from an Old World, Kontakion and the ballet he succeeded Karl-Birger Blomdahl as Professor Rites, which renewed the music’s structural tech- Göran Bergendal of Composition at the Royal College of Music nique, timbre, form and capacity of expression. and developed, together with musicologist Bo He was especially pleased with Herbert Blom- * Herbert Blomstedt premiered Lidholm’s modernistic Wallner, the composition seminar, that attract- stedt’s interpretations of his orchestral works. * classic Poesis with the Royal Stockholm Philharmonic ed guest teachers such as Ligeti and Lutoslawski. in 1964. During the past fi ve years he has conduct- And fi nally: Ingvar Lidholm stood for an artis- ed it again with great success with orchestras such as Among Lidholm’s students you will fi nd Folke tic ethics that emphasised the process, the unique Rabe, Sven-David Sandström, Daniel Börtz, San Fransisco SO, Royal Concertgebouw Orchestra, in each composition, and the exclusivity of music. Tonhalle Orchester Zürich, NDR Elbphilharmonie Miklos Maros and Anders Eliasson. In 1975 Exclusivity here means quality and the unsuita- Orchester, Bayerischer Rundfunk SO, Bamberg SO, he returned to the Swedish Radio, this time as bility to be used for anything other than pleas- MDR Leipzig SO, Staatskapelle Dresden, Oslo PO planning director. ure, enhanced insight and spiritual edifi cation. and Swedish RSO.

HIG HLIG HTS 4/2017 Seven questions for Paavo Heininen

Paavo Heininen, who will be Yo u r fl ute concerto Autrefois is very diff er- ent from your other works. How did it come 80 on 13 January 2018, here about? answers questions about his Th ere have been times in my career when I’ve

composing process, work as a Finland Vuorjoki/Music Saara Photo: worked with musical material that is not my symphonist and teacher of the own. Th is was the case when I was asked to re- new composer generation. construct certain items in our national musical heritage that had got destroyed, such as works by . In the case of Leevi Ma- our work as a symphonist has been detoja and Selim Palmgren it was a question of an important part of your life as a works that never existed, but should have. Th e composer. Could you say a bit about modesty of Finnish chamber music in Madetoja’s this? time would not have invited or summoned him YTh e symphonies have of course been an impor- to activate his obvious and immense aptitude for tant domain in my career; I might even say the writing for string quartet. And Palmgren never main one. But not in terms of quantity. For me, exists even before the initial moment. Th ere are found the leisure to fashion larger entities out of the symphony has not been a sort of personal options and ideas you then become aware of. his infi nite treasure of short piano inspirations. credo; it is not a signal like a priest’s dog collar or Th e idea for Autrefois arose during discussions a patriotic coat-of-arms in the way it may some- Are there any methods in the composition with Timo Hongisto and Mikael Helasvuo. One times have been for some . But it is process that repeat themselves? evening, after a concert, it occurred to them that something that interests me. Composing for the My composition process is pretty constant. Mi- the Finnish repertoire lacked a fl ute concerto from stage has vitally infl uenced the way I think about chael Tippett aptly said that you have to begin the fi rst half of the 20th century. Autrefois was the symphony. Th e traditional generic view of the composing from two directions, the whole and born of the essence of Madetoja, but his world symphony as something sprouting from a single the details. Th is creates a sort of operating space, has been allowed to expand a bit over the stylistic seed – as represented by my fi rst four symphonies multidimensional variable, or vector, as some horizon of his day. It is, however, somehow clear – has been replaced by, should I say, a Mahlerian would say, in which new ideas, and the order that the concerto is not just mine. It’s a hybrid in approach: I have every conceivable idea and all the in which you do things no longer matters. You which Madetoja serves as an approximate model. resources of an orchestra at my disposal. always know the place for and function of new My ‘symphonies’, in the sense of a credo or a ideas. You then begin writing the score when you You’ve been working tremendously hard in re- foray into new territory, have actually been my have a clear plan. So the order in which you com- cent years. Can you tell us more about these Adagio and DIA, that is to say orchestral works pose it is often not chronological. new pieces? that were generically classifi ed as ‘concerto for I have, among other things, written duos for orchestra’. Th e opera Silkkirumpu (Th e Damask You’ve had a long career as Professor of Com- every orchestral instrument and piano. Th is Drum), subtitled ‘Concerto for singers, players, position at the Sibelius Academy. Is it possible seemed a natural way to do things, having many words and images’ in fact has the same func- to teach composition? works of a similar kind on the go at the same tion, on an even greater scale and with weightier Yes, to a person who’s immersed up to their neck, time or in quick succession. I then began do- meaning. Th e most important work in my cat- nostrils and ears in the material, experiences and ing string quartets and composed six one after alogue in recent decades would in this sense be problems of composition. You do need existen- the other. I’ve also written a lot of piano pieces, the oratorio Te D e u m C re a t u ra e , the fi rst half of tial commitment. Th ere’s no point teaching com- many of which have not been premiered yet. which was performed fi ve years ago . position to someone who hasn’t got it. You can It has from time immemorial been the cus- only say: get yourself some records and listen. What would be your advice to a young Paavo tom to denounce over-ambitious concertos as Th ere are lots of aspects of composition that you Heininen today? ‘symphonies’. In this sense, my long 4th piano can and need to be able to verbalise. Th ey’re the My advice to a young person is usually embodied concerto is clearly in the manner of a symphony. ones that require conscious action. Th e purpose in the old saying that nothing in human life should But all the more so is the organ concerto Aiolos of composition teaching is, to my mind, to train be alien to a composer, who should be interested – a nine-movement, 90-minute off shoot of the youngsters to converse with themselves about in absolutely everything. But if I were conversing Bruckner-Mahler tradition. their work in a way and in terms that are right with my former self – as Borges conversed with and do not permit quasi-refl ection. Ones that Borges on a bench by the Charles River – then I How do you set about composing a new work? create not snares but enlightenment. might perhaps quote Buckminster Fuller. I would Th e fi rst moments are of primary importance in I’ve enjoyed teaching composition. What tell him to respect his future self, the extent and seeking ideas for a composition. Th e very fi rst could be more fun than debating the thoughts importance of his future, by addressing himself to moment is the most important, even daunting, surrounding it – and with talented youngsters? its making – study –, by ensuring that it is thor- and it’s good to get past it without realising. Th e Of course it means I have to probe more and a ough and comprehensive and by looking beyond vital vision of the work’s identity is also born tad deeper when I’m discussing with students. his youthful impatience and ongoing pressures. at this stage, and that includes both the mate- In a way, I’ve attended composition lessons for rial character and the structure. But something longer than many others! Pasi Lyytikäinen

HIG HLIG HTS 4/2017 Sacred works for chorus/soloists REPERTOIRE TIPS and orchestra/ensemble REVIEWS

OLLI KORTEKANGAS SVENDAVID SANDSTRÖM Håkan Hardenberger and De virtute in virtutem – Songs (2011) Dur: 60’ Pernilla August of a Pilgrim (2011) Dur: 25’ 2 sopranos, baritone, bass,

soprano, contralto, tenor, bass mixed chorus and orchestra: Ralph Bretzer Photo: and 12 period instruments 3333-4222-22-0-org-str Text: Lat Text: Requiem Mass (Lat) This work is a sort of journey through When Sandström wrote his Latin time, new music that pays homage to the masters of eras Requiem he wanted to impart hope through what is beautiful past in the manner of Gregorian chant. Its main source is the in the music. And Sandström is a master when it comes to cre- Finnish Hymn Book of 1701 with its lofty melodies. It begins ating beauty with the human voice, as in the soprano soloists’ and ends in unison and in between expands into rich textures. exquisite duets, e.g., in the Lux aeterna movement. Contrast- The work ends in meditative mood with rippling strings and ing with this are the dark male voices, the deep gongs in the a sense of time-space created by antique cymbals (crotales). percussion and a powerful and frightening Dies irae. But it is beauty that predominates. NILS LINDBERG A Christmas Cantata (2002) FREDRIK SIXTEN Dur: 50’ Requiem (2007) Dur: 55’ soprano, bass, mixed chorus and soprano, baritone, mixed chorus and orchestra; 2hn-timp-str (64442) big band: 1000-1440-11-0-pf-4sax- Text: Requiem Mass (Lat), Bengt Pohja- drums-db nen (Sw), transl. John Hearne (Eng) The Princess’ Tale Text: Bible’s Christmas Gospel (Eng) Sixten´s Requiem contains both cha- A Christmas Cantata is based on traditional English Christmas The Princess’ Tale to a text by Mi Tyler, is a companion work that os and anger, but also fervent melodies, evoking a glimmer of carols joined together by newly written music to texts taken takes up where Stravinsky left off … Staern’s craft of composition light and creating a feeling of atonement and consolation. The from the Bible´s Christmas Gospel. It comprises a delightful is more skilful: his tone language has become more compact, his work is in some places achingly beautiful; romantic passages mix of Christmas melodies, Swedish folk music, classical are succeeded by more modern sonorities and structures. It is lyricism is more polished and the energy, the heavy accents, more and jazz. The work has been performed with great success music with depth and it is utterly moving. The text is a synthe- exact… The narrative has a good fl ow, while the language is coarse throughout Europe and in the USA. sis of the Requiem Mass and newly written poetry. and down-to-earth, and the end is relatively happy… this is a work that defi nitely deserves a life after its premiere. Skånska Dagbladet 24.9. JYRKI LINJAMA ROBERT SUND Suomalainen Stabat Mater/ Mass (2007) Dur: 36’ Benjamin Staern: The Princess’ Tale Finnish Stabat Mater (2012) soprano, baritone mixed chorus and World premiere: Håkan Hardenberger, trumpet, Baiba Skride, violin, Johnny Teyssier, Dur: 25’ orchestra: 2222-2210-12-0-str clarinet, Sebastian Stevensson, bassoon, Colin Currie, percussion, Olle Elfström, trombone, soprano, alto, kantele and string Text: from The Mass (Latin) Janne Johansson, double bass, Pernilla August and Rebecka Hemse, actors, 23.9.2017 orchestra (or string quartet) In Robert Sund’s Mass diff erent Malmö Chamber Music Festival, Sweden Text: trad. liturgical, musical styles meet; modern harmo- transl. August Ahlqvist (Fin) nies, lovely musical melodies and Latin American infl uences. Linjama’s music leaves room for extremes, both sensitive and The music is at times quite entertaining, as in the Credo with rough. It uses the kantele as a symbol of timelessness and its samba rhythms, but there is also here an underlying gravity A guitar universe in fi fteen minutes allows the pain of the text to come close. The music is often that at times takes over, as in the concluding Agnus Dei. Petri Kumela the soloist strums, twangs and scrapes the strings while divided between the soloists in the manner of hoquetus, members of the orchestra rub their hands together, for example, and bringing the diff erent timbres into an intimate dialogue. twang rulers. The work is not, however, lacking in lyrical melody. The Vanitas (2013) Dur: 30’ Gud’s väg (God’s Way) various textures and instrumental parts neatly overlap, the communal mixed choir and orchestra: 2222/4210/11/ (1964/arr. 2003-05) Dur: 7’ beat being a fundamental element that guarantees both swing and fun str. Text: Bible (Fin) for voice and string orchestra for the players. It is fresh, easy-going and at the same time slightly mel- A commission from the Finnish Broadcasting Company (Yle), Text: Bo Setterlind (Swe) ancholy, a little universe in fi fteen minutes. Hufvudstadsbladet 14.11. Vanitas is powerful music, a reminder from the Preacher that 1. Guds väg, 2. Barnet, 3. Pingst, all is vanity and that all must perish. A brief introduction 4. Dröm i katedralen Lotta Wennäkoski: Susurrus (Guitar Concerto) leads to a jubilant exaltation of youth that gives way to the Rautavaara arranged his song cycle for orchestra between World premiere: Kymi Sinfonietta/Rumon Gamba, Tapiola Sinfonietta/Taavi Oramo, sol. Petri elegiac nature of old age and death. The orchestral part is rich 2003 and 2005. The four songs represent an unconventional Kumela, 11.10.&10.11.2017 Kotka/Espoo, Finland in harmonies and timbres, whereas the choral writing tends approach to the Christian way of thinking. The fi rst, God’s Way, towards pragmatism and simplicity. is delicate and dreamy, while the second and fourth are faster and more defi ant. Fresh, zippy Hakola ROLF MARTINSSON KARI TIKKA The work is characterised by zippy twists…The solo parts are freneti- St. Luke Passion (2012) Dur: 90’ cally virtuosic almost throughout… Dramaturgically, many of the ideas mezzo-soprano, baritone, reciter, Viisi laulua Raamatun sanoi- mixed chorus and small ensemble: hin/Five Songs to Texts from worked well, especially the strong melodic motif at the end of the fi rst fl ute, oboe, cello, organ, double bass the Bible (1976/arr. 2003) movement, the bizarre waltz in the second movement and the deter- ad lib, drum ad lib mined ending to the whole work. The frail sounds gilding the beautiful Text: Gospel of St. Luke, Dur: 20’ voice and chamber/string orchestra third movement were produced by ordinary drinking glasses. Göran Greider (Sw/Ger) Hufvudstadsbladet 24.9. Martinsson’s Passion is based on the stylistic idiom of the Ba- Text: Bible (Fin) roque, but makes excursions into other styles via Romanticism Tikka is known particularly for his spiritual songs, such as Hakola: Double Concerto to a more modern tone language with, e.g., spoken choruses. these, which also exist in a version for voice and piano. The much loved Grace Song (Armolaulu) – originally from his World premiere: Tapiola Sinfonietta/John Storgårds, sol. Minna Pensola, violin, Antti Tikkanen, The text is taken from the Gospel of St. Luke with commenting viola, 22.9.2017 Espoo, Finland song texts by Göran Greider, who unites the religious mysti- opera Luther – has been widely performed in diff erent ver- cism with concrete everyday language. The present meets the sions. The songs are: 1. Armolaulu (1111/1000/10/hp/str). 2. past in both text and music. Now also available in a German Rakkaus on! (str), 3. Johanneksen kirje (str), 4. Autuaita ovat Achingly beautiful CD portrait translation. (1111/1000/hp/str), 5. Laulun aika on tullut (hp/pf/str). In his magnus opus Flaminis Aura the soloist circles around in both an OTTO OLSSON ERKKISVEN TÜÜR inner and outer universe… and sings a duet with planet earth… The Requiem (1901-03) Dur: 58’ Inquiétude du fi ni (1992) Dur: 20’ string quartet Il regno degli spiriti seems to be travelling through the soprano, alto, tenor, bass, mixed choir and chamber orchestra: same space, while the string trio Sollievo (dopo la tempesta) is more mixed chorus and orchestra: 1011/0000/str. Text: Tõnu Õnnepalu (Fr) reminiscent of a state of grief in the process of healing… Serenata per 3222-4230-10-1-str Diotima lets the violin stand out in bold relief against a background of Text: Requiem Mass (Lat) Diff erent textures alternate in a fas- Otto Olsson was only 23 when he cinating way in this intensive work. romantic fervour and closes the circle on this achingly beautiful portrait fi nished his magnifi cent Requiem. But the work fell into obliv- In the 1990s, Tüür sought to build bridges between record. OPUS # 77 Sept 2017 ion. The score was found only some years after the composer’s and minimalism, and his music refl ects his skill at combining divergent elements in a single compact entity. The sombre, Tommie Haglund: Flaminis Aura, Il regno degli spiriti, Sollievo (dopo death and it was a great sensation at its premiere in Stockholm la tempesta), Serenata per Diotima in 1976. Here we fi nd the forceful and dramatic, the meditative apocalyptic text – not sacral in a traditional sense – commu- and mystical, as well as strong, beautiful melodies. nicates the disquiet of the end but is at the same time a song CD: Gothenburg SO/David Afkham, sol. Ernst Simon Glaser, cello, Malmö SO/Joachim Gustafsson, of praise to beauty. Trio ZPR (BIS-2025 ‘Flaminis Aura’)

HIG HLIG HTS 4/2017 Orchestra relaxed and enjoyed Heart-warming music The shifting rhythms The music was reduced in places to a fragile delightfully carry the

chamber music texture supported by the strings orchestra along. This Anders Alm Photo: over which a melancholy bassoon sucked the lis-

work does not take Lievonen Ere Photo: tener into static, beautiful moments. …The music itself too seriously, of Nieminen has a narrative, human-friendly ap- and the Chamber proach that always has some kind of warmheart- Orchestra played it edly mischievous potential. with relaxed enjoy- elementori.blogspot.fi Oct 2017 ment… Nuorvala Kai Nieminen: Guitar Concerto ‘If on a Winter’s handles his mate- Night a Traveller...’ rial with real skill… Jyväskylä Sinfonia/Ville Matvejeff , sol. John Mills, 4.10.2017 archaic tones, an Jyväskylä, Finland exquisitely toe-curl- ing sound, unbelievably beautiful fl ageolet notes Great concerto for soprano sax and gamelan allusions. I heard tango in the Blues and heavy rock in the closing Mash-up. Aho’s expression is becoming increasingly open, clear Keskipohjanmaa 20.9. and concise… There are more soft, mysterious shades Juhani Nuorvala: Variationes ex ‘Bene quondam’ than for a long time, and Paulsson succeeds in charg- World premiere: Ostrobothnian ChO/Sakari Oramo, 16.9.2017 Kokkola, ing them with all the necessary intensity. Finland Dazzling and exquisite Yle.fi 6.10. Dazzling visions and sound revelations, with a touch Kalevi Aho: Concerto for Soprano Saxophone and of an exquisitely beautiful, but harsh, Nordic midwin- Orchestra ter feeling… Something that stood out with especial- CD: Lapland ChO/John Storgårds, sol. Anders Paulsson (BIS SACD 2216) ly memorable beauty in the music and the perfor- mance was the angels’ singing – the women’s choirs. Opulent spectacle in the Luther Piteå-Tidningen 15.10.

Photo: Maarit Kytöharju Photo: Sven-David Sandström: Under en kvinnas hjärta year (Under a Woman’s Heart) The Opernbühne Württembergisches Allgäu cele- World premiere: Piteå Chamber Opera, Norrbotten NEO/David Björkman, brates with the premiere of a Luther opera… Vocal- sol. Tove Dahlberg, Ulrika Tenstam, Stephanie Lippert, Hege Gustava ly outstanding... Minor and major keys conjure up Tjønn, 14.10.2017 Norrviken, Sweden supernatural soundscapes that echo riotously round the nave. Schwäbische Zeitung 1.10. Heavenly Pettersson Kari Tikka: Luther, opera in two acts Lindberg’s careful and gradual release of the work’s Opernbühne Württembergisches Allgäu/Friedrich-Wilhelm Möller, sol. tension, marked by some of Pettersson’s most con- Reuben Willcox, Sonja Bühling, Burkhard Solle, etc. solingly beautiful lyricism, was ultimately a (albeit extremely strained) prelude to the long-awaited ap- Mühlrad’s Kaddish Hugely enchanting Whittall pearance of the song in pure form. When the song Prayers and testimonies alternate in the work. A sug- …Performed by the redoubtable pianist Angela fi nally arrived, free of confl ict, the eff ect could only be gestive opening chorus with humming, dull tones Hewitt, the piece was irresistible despite its ab- described as heavenly. leads to Elie Wiesel’s words: ”For the living and the stract harmonic vocabulary and the absence of Res Musica 26.9. dead we must bear witness”… The section from Ber- tunes or any conventional species of melody. In- : Violin Concerto No. 2 gen-Belsen creates an agitated climax… An extended deed, it shimmered, sparkled, and even glittered Norrköping SO/Christian Lindberg, sol. Ulf Wallin, 21.9.2017 Norrköping, coda follows with minimalist repetitions of the word now and then. …It was impossible not to be im- Sweden ”witness”… A long, devout silence ensued after the pressed with the clarity Hewitt brought to the fi nal tones; then came a torrent of hearty applause demanding score... The “sound eff ects” – waves, Eliasson – Symphony No. 3 bird cries, and so on – were never overstated but from the audience. The sonorities are forced woven into the fabric of the score. Svenska Dagbladet 15.10. upwards into the airy registers, classicalvoiceamerica.org 11.10. Jacob Mühlrad: Kaddish ever higher, at the same time that the lyrical reveries get World premiere: Swedish Radio Choir/Peter Dijkstra, sol. Eva Dahlgren, Bassac Adam Photo: A distinctive voice that is strongly present at 14.10.2017 Stockholm, Sweden the motifs to shine from every moment. The overall impression is ex- within… With the soprano tremely evocative and – which is interesting – sax the sound-picture becomes picturesque in the most engaging way. ethereal but also sharper… Hufvudstadsbladet 12.11. Both the soloist and the Photo: Karl Thorson Karl Photo: Matthew Whittall: Nameless Seas (Piano orchestra play with Concerto) striking precision and World premiere: NAC Orchestra/Hannu Lintu, sol. Angela Hewitt, presence, and we are 5.10. 2017 Ottawa, Canada. Finnish premiere: Finnish RSO/Olari reminded of the Elts, sol. Risto-Matti Marin, 10.11.2017 Helsinki, Finland personal tone in Eliasson’s music. Whittall writes hugely enchanting music… The Göteborgsposten 9.11. most impressive work of all is The return of light, Anders Eliasson: in which he handles the choir and orchestra with Symphony No. 3 sovereign skill. Northlands, for horn and strings, (version with is the disc’s most readily accessible music and soprano could, in its direct beauty, well serve as a fi rst en- saxophone) counter with contemporary music. World premiere: Yle.fi 30.10. Gothenburg SO/ Matthew Whittall: Northlands, ad puram anni- Johannes Gustavsson, hilationem meam, The return of light sol. Anders Paulsson, CD: Finnish RSO, Helsinki Chamber Choir, Tapiola Sinfonietta/Nils sopr.sax., 8.11.2017 Schweckendiek, sol. Tommi Hyytinen, horn (Alba ABCD 416) Gothenburg, Sweden Anders Paulsson

HIG HLIG HTS 4/2017 NEW PUBLICATIONS NEW CDs

COLLECTIONS VOCAL & CHORAL KALEVI AHO Där livet klingar ut Concerto for Soprano Ulrika Emanuelsson Saxophone Finnish Favorites for the Clarinet 1900-60 / ULRIKA EMANUELSSON Dag Hammarskjöld

SATB div Suomalainen klarinettikokoelma Där livet klingar ut (There where life resounds) gran cassa, marimba and Chamber Orchestra, Ed. Mikko Raasakka for clarinet and piano for choir SATB, gran cassa and marimba Quintet for Oboe, A new, handsome album of Finnish Text: Dag Hammarskjöld (Sw, phonetics Clarinet, Bassoon, clarinet pieces including new arrangements. for non-Swedish performers) Horn and Piano, FG 979-0-55011-362-6 GE 13237 Solo I for violin Lapland ChO/John Storgårds, Piano Pieces by Uuno Klami / BO HANSSON Where everything is music sol. Anders Paulsson, Uuno Klamin pianoteoksia Where everything is music Jaakko Kuusisto etc. Ed. Esa Ylönen for choir SSATBB and cello For choir SSATBB and cello BIS SACD 2216 This collection includes previously Text: Rumi/Transl. Coleman Barks (Eng) unpublished piano pieces by Klami as well GE 13239 Freezing Were the Restless as information and photos about his life Waters Ostrobothnian ChO/Juha Kangas and works. The music has been typeset Alba ABCD 414 using the new Dorico program. Neljä laulua Uuno Kailaan runoihin FG 979-0-55011-367-1 (Four Songs on Uuno Kailas’ poems) for voice and piano ANDERS ELIASSON HARRI SUILAMO First publication. Text in Finnish. Versione, Disegno per Bellowspeak / Palkeen kieli FG 979-0-55011-364-0 pianoforte, Disegno No. 2, A new suite for solo accordion designed Disegno No. 3 (Carosello), JACOB MÜHLRAD Suolo, Disegno per for children and young musicians. Kaddish FG 979-0-55011-317-6 clavicembalo for choir SSAATTBB and alto solo Andreas Skouras, piano and Lyrics based on quotes by Elie Wiesel, harpsichord Michael Bliman and the Judaic Kaddish Prayer NEOS 10831 ’Complete Works for (English and Hebrew) GE 13199 Rising Seas Piano and Harpsichord’ CHAMBER & Anders Paulsson ANDERS PAULSSON INSTRUMENTAL ERIK FORDELL Rising Seas SATB percussion and bass ad lib TOBIAS BROSTRÖM for choir SATB, percussion and double bass I folkton, Folkvisa från Distant Horizons (ad lib). Text: Gerry Grey (Eng) Österbotten (Folk Song Tobias Broström for brass ensemble This work is part of the project CORAL GUARDIANS in cooper-r from Ostrobothnia) etc. GE 13125 (score), GE 13126 (parts) ation with the Philippine Reef & Rainforest Conservation. Ostrobothninian ChO/Juha GE 13238 Kangas DISTANT HORIZONS Alba ABCD 404 PAAVO KORPIJAAKKO for brass ensemble SVENDAVID SANDSTRÖM Four Mythic Animals / SCORE Drei Rilke Gesänge Drei Rilke Gesänge JOONAS KOKKONEN Neljä myyttistä eläintä for choir SMZATBarB. Text: Rainer Maria Rilke (Ger) for accordion solo Requiem (version for organ Mixed choir a cappella FG 979-0-55011-365-7 1. Herbsttag, 2. Schluss-stück, 3. Und du warst schön and voices), complete works GE 13236 for organ JACOB MÜHLRAD Klemetti Institute Chamber Silent Prayer SCORES Choir/Heikki Liimola, Jan for bassoon, violin, viola and cello Lehtola, organ KALEVI AHO Toccata Classics TOCC0434 GE 13164 (score), GE 13163 (parts) Sieidi - Concerto for solo percussion and orchestra FG 979-0-55011-315-2 (study score), SVENDAVID KAI NIEMINEN 55011-366-4 (solo part) Julvers (Notturno II) Jacob Mühlrad SANDSTRÖM Silent Prayer for bassoon, violin, DANIEL BERG Te Deum for violin and piano viola and violoncello FG 979-0-55011-346-6 Concertino for Marimba and Strings Erik Westberg Vocal Ensemble/ GE 13233 (score), GE 13234 (solo part), Erik Westberg, The Smile of the Flamboyant Wings GE 13235 (study score) Helena Holmlund, organ for piano solo SCORE Studio Acusticum Records FG 979-0-55011-345-9 ALLAN PETTERSSON/INSTR. ANTAL DORATI ‘Chorus Gloriosus’ Barfotasånger/Barfuss-Lieder nos. 4, 7 and 8 from 24 Barfotasånger, BENJANIM STAERN MATTHEW WHITTALL Waves new version with texts in Swedish and German for Northlands, ad puram for piano solo baritone and orchestra annihilationem meam, GE 13253 Text: Allan Pettersson, German transl. The return of light Sylvia Mård and Patrik Ringborg Daniel Berg ——Ȭ˜ęȱ㍎›šŸ’œ Concertino TUOMAS TURRIAGO Benjamin Staern GE 12948 (score) for Marimba and Strings | Score Finnish RSO, Tapiola Sonata for Horn and Piano Sinfonietta, Helsinki Chamber FG 979-0-55011-347-3 ANNSOFI SÖDERQVIST Choir/Nils Schweckendiek, Waves Quest Questest sol. Tommi Hyytinen, horn for wind orchestraestra LOTTA WENNÄKOSKI for solo piano for wind orchestra Alba ABCD 416 ’Northlands’

GE 13206 (score) GE 13208 (study score) SCORECOR E Foliage Aattoilta for cello and piano Helsinki Chamber Choir/Nils A commission by the Turku Cello LOTTA WENNÄKOSKI Schweckendiek Competition as the mandatory Flounce for orchestra BIS SACD 2323 ‘Riemuitkaamme work for its 2018 contest. A BBC commission for the 2017 Proms. - A Finnish Christmas’ FG 979-0-55011-363-3 FG 979-0-55011-371-8 (study score) MATTHEW WHITTALL MATTHEW WHITTALL The City in the Sea Nameless Seas – Piano Concerto for alto fl ute, viola and harp FG 979-0-55011-372-5 (study score) FG 979-0-55011-350-3 TRANSCRIPTIONS FOR WIND BANDNDD For further information about our works or representatives worldwide check our web sites or contact us at: Einar Englund: The Great Wall of China / Kiinan muuri tr. by Elias Seppälä FG 979-0-55011-340-4 Uuno Klami: Sea Pictures / Merisarja Gehrmans Musikförlag AB Fennica Gehrman Oy Ab tr. by Pasi-Heikki Mikkola Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland FG 979-0-55011-342-8 Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 • Fax +358 10 3871 221 Jean Sibelius: Overture in F Minor www.gehrmans.se • [email protected] www.fennicagehrman.fi • [email protected] tr. by Robert Ambrose Hire: [email protected] Hire: [email protected] FG 979-0-55011-369-5 Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi Sales: [email protected] Sales: [email protected] (dealers)