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Einojuhani Rautavaara(1928–2016)

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Einojuhani Rautavaara(1928–2016) 1 EINOJUHANI RAUTAVAARA (1928–2016) 90th Anniversary Edition CD 1 Concerto for Harp and Orchestra (2000) 1. I Pesante........................................................................................................................................ 9:59 2. II Adagietto ....................................................................................................................................5:17 3. III Solenne ..................................................................................................................................... 7:54 Marielle Nordmann, harp Symphony No. 8 ’The Journey’ (1999) 4. I Adagio assai ..............................................................................................................................11:30 5. II Feroce ........................................................................................................................................3:04 6. III Tranquillo ................................................................................................................................ 6:00 7. IV Con grandezza ...................................................................................................................... 8:35 Helsinki Philharmonic Orchestra, Leif Segerstam (Previously released as ODE 978-2 in 2001) 2 CD 2 – Rautavaara Sampler 1. Isle of Bliss (Lintukoto) (1995) ............................................................................................11:30 Helsinki Philharmonic Orchestra, Leif Segerstam 2. Missa a cappella (2010–11): I. Kyrie ..................................................................................... 2:39 Latvian Radio Choir, Sigvards Klava 3. Garden of Spaces (1971/2003) ...........................................................................................13:42 Helsinki Philharmonic Orchestra, Leif Segerstam 4. Cello Concerto No. 1 (1968): III. Vivace ............................................................................5:03 Marko Ylönen, Cello; Helsinki Philharmonic Orchestra, Max Pommer 5. A Finnish Myth (1977) for string orchestra ...................................................................... 6:33 Ostrobothnian Chamber Orchestra, Juha Kangas 6. Song of My Heart (Sydämeni laulu) (1996/2000), transcription for cello and piano .........................................................................................3:20 Tanja Tetzlaff, cello; Gunilla Süssmann, piano 7. Notturno e danza (1993): II. Danza .................................................................................. 2:03 Pekka Kuusisto, violin; Paavali Jumppanen, piano 8. Halavan himmeän alla (In the Shade of the Willow) (1998): I. Ikävyys (Melancholy) ........................................................................................................4:27 Finnish Radio Chamber Choir, Timo Nuoranne 9. Symphony No. 3 (1961): I. Langsam, breit, ruhig ...........................................................12:18 Leipzig Radio Symphony Orchestra, Max Pommer 10. Adagio Celeste (2000) for string orchestra ....................................................................7:31 National Orchestra of Belgium, Mikko Franck 3 hen Einojuhani Rautavaara started his career as a composer in the late W1940s, Europe was in ruins. The composer himself had become orphaned at the tender age of 15. He soon realized that music would enable him to bring forth a world governed by its own laws and through his art to create timeless works catching ‘a glimpse of eternity’. Over the following decades, Rautavaara followed his individual path. He experimented with various musical styles and techniques varying from Serialism to Neo-Romanticism and wrote masterpieces in numerous genres: symphonies, concertos, operas and vocal music. Many of his works are recognized as classics of the 20th and 21st centuries. Rautavaara first gained international recognition in 1954, when he was still a student, winning an international composition competition with A Requiem in Our Time. With a scholarship granted by Jean Sibelius himself, Rautavaara was given the opportunity to study in the United States. This became a turning point in his life. What is remarkable is how strong and original his composers voice was even in his very earliest works, such as the piano suite Pelimannit (Fiddlers), written before he had undertaken any formal studies in composition. Over the following years, his colourful and emotionally-charged idiom evolved even further. After a period exploring Serialism, he turned towards a more spiritual and Romantic approach, beginning with the Neo-Impressionist orchestral work Anadyomene written in the late 1960s. This Neo-Romantic style is what is principally associated with Rautavaara today, but it should be noted that even as early as in his Third Symphony (1959–1960), he gave a Romantic, almost tonal disguise to what is structurally a 12-tone piece. The 1970s saw Rautavaara completing the first instalments in what would become a loosely defined series of angel-themed works, but it was not until the release of his Seventh Symphony, Angel of Light (1994–1995), by Ondine in 1996 that his music finally entered the international spotlight in a big way. The recording of this 4 enigmatic work was a huge critical and commercial success, earning a Grammy nomination and winning at the Cannes Classical Awards. Angel of Light was played on classical radio all around the world, particularly in the USA. In subsequent years, Ondine released recording of Rautavaara’s Violin Concerto and Vigilia, reinforcing his status as a voice for our time. Towards the turn of the millennium, Rautavaara was ranked as the most popular living composer in a number of listener polls. The reputation he had acquired prompted the Philadelphia Orchestra to commission a symphony from him for the centenary of the orchestra. Eighth Symphony, The Journey, was premiered under Wolfgang Sawallisch on April 27, 2000, marking the culmination of the composer’s path as a symphonist in a fine example of his later lush Romantic orchestral style. A string of new commissions was put on hiatus when the composer was hospitalized with a serious illness in 2004, but even in his weakened state following a lengthy recovery he was able to regain his creative powers in his Second Cello Concerto, Towards the Horizon. A recording of his work was released to much critical acclaim in 2012, earning him a Gramophone Award and a Grammy nomination, to name but a few merits. Just before his death, the composer was delighted to learn that his first opera, Kaivos (The Mine), a masterpiece from his Serialist period in the 1950s/1960s of which Grammy-nominated recording was released in 2009, was to be staged live for the first time in Budapest, 50 years after its creation. Each year, new listeners around the world discover the art of Einojuhani Rautavaara. With this release celebrating his 90th anniversary, we wish to continue bringing the timeless art and original voice of this extraordinary composer to an increasingly wider public. It is our firm conviction that his music will stand the test of time. Ondine 5 nde der vierziger Jahre, als Einojuhani Rautavaaras kompositorische Karriere Ebegann, lag Europa in Trümmern. Der Komponist selbst hatte im zarten Alter von fünfzehn Jahren seine Eltern verloren. Schnell bemerkte er, dass ihn die Musik in die Lage versetzte, eine Welt für sich zu schaffen, in denen seine eigenen Gesetze galten, und dass durch seine Kunst zeitlose Werke entstehen könnten, die einen kurzen »Blick auf die Ewigkeit« gewährten. Während der nächsten Jahrzehnte ging Rautavaara seinen persönlichen Weg. Er experimentierte mit verschiedenen musikalischen Stilen und Techniken vom Serialismus bis zur Neoromantik und verfasste Meisterwerke auf den Gebieten der Symphonik, des Konzertes, der Oper und der Vokalmusik. Viele seiner Werke gelten als Klassiker des 20. und 21. Jahrhunderts. Seine erste internationale Anerkennung fand Rautavaara schon während seiner Studienzeit, als er im Jahre 1954 mit A Requiem in Our Time einen internationalen Kompositionswettbewerb gewann. Dank eines von Jean Sibelius selbst verliehenen Stipendiums konnte er danach in den Vereinigten Staaten studieren. Das war ein Wendepunkt in seinem Leben. Es ist bemerkenswert, wie kraftvoll und originell seine kompositorische Stimme bereits in seinen frühesten Werken zu Tage trat – beispielsweise in der Klaviersuite Pelimannit (»Spielleute«), die er schon vor seinem allerersten Kompositionsunterricht geschrieben hatte. Im Laufe der nächsten Jahre entwickelte sich sein farbenprächtiges, hoch emotionales Idiom weiter. Nach einer Phase, in der er den Serialismus untersucht hatte, wandte er sich einer eher spirituellen, romantischeren Diktion zu. Den Anfang bildete in den späten Sechzigern die neo-impressionistische Anadyomene für Orchester. Diesen neo-romantischen Stil verbindet man heute vor allen Dingen mit dem Namen Rautavaara; man sollte indes bemerken, dass er schon seine dritte, strukturell dodekaphonische Symphonie (1959–1960) in ein beinahe tonales Gewand gekleidet hat. In den siebziger Jahren Schloss Rautavaara die ersten Werke einer Serie ab, die sich in lockerer Folge mit dem Thema »Engel« auseinandersetzen sollten, doch erst im Jahre 1996, als Ondine seine siebte Symphonie »Engel des Lichts« veröffentlichte, rückte seine Musik schließlich ins internationale Rampenlicht. Der Aufnahme dieses rätselhaften Werkes war sowohl bei den Kritikern als auch kommerziell ein riesiger Erfolg beschieden: Sie wurde für einen Grammy
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