– festival Schnelzer Albert – in the fields of epic Veljo Tormis N E T T E L S W E

nHIGHLIGHTS o r d i c R F o r H E G M R A M N S U M S I Ö F K R E F & G A L c i n n H E G A 1/2017 R A M N Whittall commissions NEWS Matthew Whittall has been commissioned to compose a work for the National Valfridsson – works on the way Competition in Tampere in September. Lasting ten min- Jonas Valfridsson is writing a Bassoon utes, it will be scored for flute, aara Vuorjoki

for soloist Sebastian Stevenson S Concertino viola and harp. The Piano Con- and Musica Vitae for spring 2018. It will certo commissioned from him be followed by a multi-movement orch­ by PianoEspoo is to be pre- estral work with choir, inspired by the miered in November this year.

paintings of the Swedish fairy-tale artist The soloist will be Risto-Matti Photo: Music / John Bauer who perished tragically with Marin, an active ambassador of Whittall’s music. On 6 March his whole family in an autumn storm on he gave the US premiere of Whittall’s piano suite Leaves of Grass Lake Vättern in 1918. The work is a joint in New York. commission and will have its premiere in Alba Records is releasing a disc of works by Whittall that will Bauer´s hometown of Jönköping in con- include Northlands, The Return of Light and ad puram annihilatio- junction with the centenary memorial of nem meam – large-scale pieces for orchestra and chorus. Photo: Viktor Gårdsäter the accident. September premieres Harri Vuori at 60 September 2017 will be a busy month with several orchestral pre- Composer Harri Vuori is the leading character mieres. The Guards’ Band and percussionist Antti Ohenoja have in the documentary Jälkeläiset (Descendants), a commissioned a Marimba from Timo-Juhani Kyllönen to film about the Tuusulanjärvi lakeside community be premiered on the 5th in . Juhani Nuorvala’s new work where Finland’s leading artists gathered and commissioned by the Ostrobothnian Chamber Orchestra will see the made their home at the beginning of the 20th light of day on the 16th in Kokkola, conducted by . century. Vuori has also composed music for the film, to be premiered at the Värinää Festival in Aho’s Chamber Concerto for Harp and Strings, a commission Järvenpää in April at which Vuori is the focus by the Gent Festival of Flanders, will be premiered in Belgium on the composer. A work by him was premiered on 18th by the Ensemble Resonanz and Anneleen Lenaerts, harp. Kim- 7 March (See: Premieres) and a concert of mo Hakola’s new Sinfonia Concertante for Violin, Viola and Chamber music by him and Lotta Wennäkoski was Orchestra is on the programme of the Tapiola Sinfonietta in Espoo on ytöharju

scheduled for 12 March. K the 22nd. The soloists will beAntti Tikkanen and Minna Pensola. Harri Vuori turned 60 in January. One of his most recent works is the Guitar Concerto Martinsson performances Cthulhu’s Dreams, given its first performance by the Lappeenranta City Orchestra with Jyrki Rolf Martinsson will conclude his three-year-residency with the Myllärinen as the soloist last November. Helsingborg Orchestra on 18 May, with the world pre-

Photo: Music Finland/Maarit miere of the new concert-opener piece Shimmering Islands, jointly commissioned by the Helsingborg, the Malmö and the Kristiansand Symphony Orchestras. Martinsson´s Double Bass Concerto will be Allan Pettersson Project updates heard in Australia with the Queensland SO/Alondra de la Parra in BIS Records and the Norrköping Symphony Orchestra will include Violin Concerto April, and with the Hong Kong Sinfonietta/Alexander Liebreich No. 2 in the Allan Pettersson Project with Ulf Wallin as the soloist. The concert in November, with Edicson Ruiz as soloist. November will also will take place in September and the recording in January 2018. Moreover, BIS has see Lisa Larsson as soloist in the Australian premiere of Ich denke decided to extend the project to comprise Pettersson’s chamber music, with new Dein… together with the Melbourne SO/Stanislav Kochanovsky. recordings of Concerto for Violin and , 24 Barefoot Songs, Six Songs Conducted by Rumon Gamba the Banatul Symphony will perform etc. The recording of the Symphony No. 12 – The Dead of the Square, for choir and the concert-opener piece Open Mind during the George Enescu Fes- orchestra, has been postponed until the spring of 2019. tival in Timisoara and Bucharest in September.

Tubin’s The Goblin nHIGHLIGHTS o r d i c 1/2017 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Eduard Tubin´s ballet Kratt (The Goblin) has been staged recurrently at the Sound samples , video clips since 2015, and there will be more performances and other material are available at during the seasons 2016/17 and 2017/18, including www.gehrmans.se/highlights guest performances at the Helicon Opera in Moscow, the Marinsky Theatre in St Petersburg and the www.fennicagehrman.fi/highlights Alexander Theatre in Helsinki. Kratt was the very first Cover photos: From Eduard Tubin’s ballet Kratt, Estonian ballet and it was premiered during the WWII Denis Klimuk as The Master (Harri Rospu), Veljo Tormis (Scanpix/Postimees, Peter Langovits), at the Theatre in . Kratt is a mythical Albert Schnelzer (Hans Lindén) character from Estonian folklore, whose sole purpose Editors: Henna Salmela and Kristina Fryklöf is to serve his greedy master, the Farmer, in obtaining

Translations: Susan Sinisalo and Robert Carroll u riches. Eduard Tubin has in the ballet successfully p os

Design: Göran Lind R combined folk music elements with contemporary

ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) arri Printed in by TMG Sthlm, Bromma 2017 sound and symphonic language. H Eneko Amoros as Kratt Photo:

H i ghl i ghts 1 / 2 0 1 7 A new opera by Kortekangas P r e m ie r es Olli Kortekangas’s opera Veljeni vartija (My Brother’s Keeper) is to be Spring 2017 premiered at the Tampere Hall on 16 February, 2018. The librettist is Tuomas Parkkinen. This large-scale commission by the Tampere Op- TOBIAS BROSTRÖM era commemorates the battles of the in Tampere in Suite for Strings Musica Vitae/Meta4 1918. It describes the events from the perspectives of two siblings that 3.3. Växjö, Sweden drift to opposite sides. The opera is an epic, symphonic drama about Distant Horizons for brass ensemble crushed dreams, difficult choices and great emotions, and the focus is GSO Brass. 26.3. Gothenburg, Sweden on personal histories. The Tampere Philharmonic will be conducted by HARRI VUORI Santtu-Matias Rouvali, and the soloists will include Tuuli Takala, Ville Muina päivinä elit Rusanen and Tuomas Katajala. Satu Kaarisola-Kulo, soprano, Jukka Kasper, horn, Paavo Maijala piano 7.3. Järvenpää, Finland (Värinää Festival) PAAVO HEININEN Pohjannoro wins prize in Dutilleux Competition Oboe Sonata Hannu Pohjannoro’s for ensemble scored success at the 8th In- Anni Haapaniemi, oboe, Emil Holmström piano images, hommages 18.3. Helsinki, Finland ytöharju

K ternational Henri Dutilleux Composition Competition in Saint-Pierre-des-Corps, Clarinet Concerto France. Pohjannoro shared the second prize with Matteo Franceschini; no first Lappeenranta CO/Eero Lehtimäki, sol. Olli Leppäniemi or third prize was awarded. The other three finalists wereAugusta Read Thom- 23.3. Lappeenranta, Finland as, Mark Simpson and Pierre Jalbert. This time 438 works were entered by 353 SVEN-DAVID SANDSTRÖM in 50 countries. All five works chosen for the finals were heard at a Five Pieces for Piano and Orchestra concert on January 22. Gothenburg SO/Mario Venzago, sol.

Photo: Music Finland/Maarit Peter Friis Johansson. 22.3. Gothenburg, Sweden ROLF MARTINSSON Clavis paradisi Luther & Aino on stage Dalby Chamber Choir/Anita Andersson Kari Tikka’s Luther is a timely opera this year, the 25.3. Dalby, Sweden Shimmering Islands 500th anniversary of the Reformation. The next per- Helsingborg SO/Stefan Solyom formance of the opera is scheduled on June 1, at the 18.5. Helsingborg, Sweden Organ and Aria Festival in Espoo. There will be three performances in all. Singing the leading roles will be ALBERT SCHNELZER Bulletproof Elja Puukko, Emriikka Salonen and Aki Alamik- Royal PO/Evan Rogister kotervo, and conducting the Helsinki Sinfonietta will 6.4. Stockholm, Sweden (Stockholm Composer oukkali

D Weekend Festival) be Erkki Lasonpalo. f ose The Finnish National Opera is to hostErkki Melar- J OLLI KORTEKANGAS On Compassion tin’s opera Aino on 26 May in a concert performance Photo: Candomino Choir/Esko Kallio in Helsinki starring Helena Juntunen in the leading Samuelsson news role. Completed in 1912, Aino is a landmark work in 9.4. Helsinki, Finland In November Marie Samuelsson was awarded the early Finnish opera. Based on the national epic, The JACOB MÜHLRAD , it is in flowing Late-Romantic style and uses Ingvar Lidholm Prize by the Royal Swedish Acad- Dreams Wagnerian Leitmotif technique. emy of Music. According to the jury “her works exhibit Lund Vocal Ensemble. 6.5. Lund, Sweden a continually captivating imagination of sound, consid- Tsurah Hannah Holgersson, soprano & clarinet quintet erable thematic breadth and a deep empathy with the 13.5. Stockholm, Sweden New home page human condition”. At present Samuelsson is working Fennica Gehrman’s new home page has been on her new piece, Five Seasons, for the string orches- BENJAMIN STAERN launched at www.fennicagehrman.fi. It provides more Salomo’s Song tra Musica Vitae. It is written with the earth’s climate Hannah Holgersson, soprano & clarinet quintet information about composers with links to work lists changes in mind, and will be integrated with three of 13.5. Stockholm, Sweden and publications. Under the details for each composer Vivaldi´s Four Seasons. The premiere will be at the there is now also a link to the web shop and a list of Båstad Chamber Music Festival in late June, and it OLLE LINDBERG Festmusik – Cantata to texts by Martin Luther hire works linked to the Zinfonia database, a portal will also be performed during the Baltic Sea Festival Boo Chamber Choir/Helena Engart including the world’s largest hire catalogues. in Stockholm in August. 21.5. Stockholm, Sweden

Mühlrad’s grants and commissions On Holocaust Memorial Day (27 January), Jacob Mühlrad received the Michael Bindelfeld Foundation´s grant for a choral work, which has the working title Elegy, about his maternal grandfather’s experiences in Auschwitz and Bergen-Belsen. “Jacob interweaves, with the power of music, a survivor´s tale and the following generations´ inherited wounds in a piece that conveys the memory of the Holocaust into our time.” The work will be premiered by the Swedish Radio Choir on 14 October. Jacob Mühlrad has also been awarded a grant from the Anders Wall Foundation to compose a solo piece for cellist Johannes ery m

Rostamo. Future commissions include a large-scale choral work, jointly commissioned by the Swedish o g Radio Choir, the WDR Rundfunk Chor Köln and the Capella San Francisco, and a Violin Concerto for soloist Christian Svarfvar, due to be premiered by the Royal Stockholm Philharmonic in 2020. enrik Mont H Jacob Mühlrad receives the Michael Bindefeld grant from H. M. Queen Silvia Photo:

H i ghl i ghts 1 / 2 0 1 7

Veljo Tormis – in the fields of epic Veljo Tormis, ’s best-known his archaic songs from the Baltic region. His choral output is a tribute to the forgotten peoples, vanishing choral composer, died in on traditions and cultural minorities whose living condi- 21 January at the age of 86. His ex- tions have, over the ages, virtually been destroyed. Tormis composed numerous songs describing tensive, highly-varied choral output everyday life and customs in ancient times: harvest drawing on folk songs is a tribute to and the daily round, games, weddings, lullabies and incantations. The individual songs are fairly short, its forgotten peoples, vanishing traditions v but together they often constitute broader cycles, o g an and cultural minorities. such as the Nature Pictures (Looduspildid). His L music does not just preserve memories, melodies and traditions that would otherwise be in danger Tormis was born at Kuusalu in Estonia on of falling into oblivion; it brings them back to life. Photo: Peter 7 August, 1930. His father was a church organist Who today would be familiar with the primeval a women’s lament as they stand on the shore, yearn- and choir leader, and his mother a keen singer in a runic songs (Estonian alliterative folk songs) had ing for their husbands sent off to war. choir. While still a child, Veljo developed an inter- Tormis not helped to revive them? est in the organ. This he studied along with choral Forgotten Peoples (Unustatud rahvad), com- Tidings of Tormis’s creations conducting in Tallinn, and later composition at the posed between 1970 and 1989 for unaccompanied Tormis also composed an opera, Swan Flight (Lui- Moscow Conservatory. In addition to composing, mixed choir, is the biggest of the choral cycles. The gelend, 1966), chamber music, solo works, and he was a professor at both the Estonian Academy six sizeable movements encompass folklore of the film and orchestral music, such as the popular of Music and Theatre and the University of Tartu. Baltic-Finnic peoples. Tormis just happened to Overture No. 2 for orchestra often conducted A study trip to Hungary in the 1960s, and meet some of the few remaining Livonians, and by Eri Klas and others outside Estonia. In 2009, especially the choral music of Kodály, were great their songs and language inspired him to write this Tormis arranged some of his choral works in a sources of inspiration for Tormis and guided him cycle. He carefully adapted the original texts with suite for string orchestra, Reminiscentia, lasting in the direction of folklore. Other Estonian com- the help of linguists. Among the movements most nearly an hour. He had already stopped composing posers before him had already collected folk songs often performed is Ingrian Evenings, based on folk by then but was still working, among other things – Eduard Tubin and Cyrillus Kreek, for example tunes collected south of St. Petersburg. Tormis transcribing works for different types of choir. – but Tormis took his interest further, both tem- also wanted to show that despite their differences, The published choral songs by Tormis have porally and geographically. His style of composi- traditions may resemble one another in their rela- found a place in the repertoire of choirs both pro- tion was finally moulded by the realisation that tionship to nature, their customs and beliefs. fessional and amateur and have spread far and for him, folk songs were not just melodic motifs wide. Many of his songs exist in performing trans- to be developed. Rather, he felt their spirit should The singing revolution lations into English approved by him. The Esto- integrate with the music and modern concert form. In the 1980s, particularly, folk music was a means for nian Philharmonic Choir, the RAM male choir Tormis maintained that he was a composer Estonians to express their growing nationalist feel- and choral conductor Tõnu Kaljuste have been not of folk music but of classical choral music that ings. Tormis was a conspicuous figure in the “singing particularly active ambassadors for his music with sought to preserve the authenticity of its source revolution” that preceded Estonia’s independence, their performances and recordings. material. The Estonian Calendar Songs (Eesti kalen- when the programmes for the massive singing events “I have always had some specific reason for com- drilaulud) completed in 1967 pointed to this new held in his country included popularised folk songs. posing: to say something, to stress some idea, even style. The most popular of the 29 songs is possibly Many of his works were political statements aiming a political one,” Tormis once said. He never called the St. John’s Day Songs (Jaanilaulud), likened to the expressly to raise national awareness. Vision of Esto- attention to himself, letting the music speak for it- jubilant cry of revellers in the nightless Midsum- nia (Nägemus Eestist, 1989/91) for male choir, self. As a person he was reserved, wise and warm- mer night; the theme is such that, once heard, it can to words by Juhan Liiv, was a symbolic statement hearted. Tiia Järg wrote in a review of his choral disc never be forgotten. Despite the seeming simplicity, on Estonia’s gaining of independence from the So- Epic Fields: “The unity with nature, feeling the link the choral writing is extremely resourceful and in- viet Union in 1991. Before that, Tormis had done a between generations, mental balance and inner dig- ventive. The ear is often caught first by the expres- vast job familiarising Estonians with their common nity – this is the tidings of Veljo Tormis’s creations sive melody, but Tormis’s skill at creating vocal heritage by giving talks and directing singing given through the prism of his music. Tormis binds with the accompanying voices and at using subtle events all over the country. his listener to contemplate on the profound essence alterations to the rhythms is the thing for which he In composing a vocal work, Tormis began with of life, responsibility towards the past and the future. is best known and the reason why choirs have fallen the words. The texts gave birth to melodies, and Through his creation the voice of our ancestors ad- in love with his music again and again. with them often the evocative, repetitive rhythms dresses us. Only if the ethical norms of life are held he used to create effective tensions. Now and then sacred can human beings survive as species. And Forgotten peoples his mission he might be spotted playing the drums. Curse Upon therefore Tormis is walking in the fields of epic.” Choral conductor and musicologist Mimi S. Daitz Iron (Raua needmine, 1972) based on The Ka- divides the works for choir by Tormis into three cat- levala represents the more primitive side of his mu- H enna S al m ela egories: ones based on texts by 20th century poets sic; the hair-raising narrative, swelling to compelling such as Viivi Luik and Jaan Kaplinski, ones with tra- proportions, is seasoned with whispers, whistles, ditional words and melodies set within a larger com- drumming and ostinatos. An Aboriginal Song Footnote positional framework, and ones which are more or (Pärismaalase lauluke, 1981) is a short, popular, “Reflections withT ormis’ Music” was a concert organized on 26 January at the less folk song arrangements, i.e. those composed for ritualistic piece for male choir and shaman’s drum. Estonia Concert Hall in Tallinn to pay tribute to the composer. There was also a school children. Tormis is best known specifically for Singing aboard Ship (Laevas lauldakse, 1983) is memorial concert on 12 March coordinated by the Estonian Composers’ Union.

H i ghl i ghts 1 / 2 0 1 7 On 6 April the Composer Weekend Festival of the Stockholm Concert Hall will get started and this year´s composer profile is Albert Schnelzer. In all, fifteen of his works – orchestral as well as chamber music – are to be performed. indén L ans H

Seven questions Photo: to festival composer Schnelzer

1 How does it feel to get a whole festival de- self who is mortal and vulnerable, but also my fam- meant a great deal to me. Both were also commis- voted to your music? What expectations do you ily and those closest to me. The urge to protect the sioned and premiered by the Gothenburg Sym- have? ones we love, fearing that something might happen phony Orchestra, who will record them and a few Of course, it feels fantastic to show off what I have to them, is perhaps one of the strongest feelings we of my other works in May of this year for a coming been working on over so many years, and it’s espe- all share. Composing this work turned out to be portrait CD on the BIS label. cially gratifying that this festival will take place in a kind of therapy for me: to conjure up the dark- my own hometown. It is my fond hope to be able to ness that is out there, but to not let it get the upper put on display another side of contemporary music hand. To describe in tones the conflicting emo- 6 You have indeed had some big successes with and to surprise the new listeners in a positive way. tions encompassed by our time: beauty, fear, anger, your chamber music as well, and the festival will The CEO of the Stockholm Concert Hall, Stefan aggression, and also a weak ray of hope. be rounded off with ”Chamber Music and Hard Forsberg, said in an interview recently that he once Rock”. What can we anticipate here? got the following comment after a concert: “You I am really looking forward to the chamber music always surprise us, we came for the Beethoven and 4 The Gävle Symphony Orchestra will appear concert! Starting off with my piano work Dance left with the Albert Schnelzer”. Then you naturally in a guest performance at the second concert, with the Devil felt absolutely self-evident. I have feel enormously proud! playing your popular opening-piece, A Freak in described the work as a cross between Burbank, and the Oboe Concerto – The Enchanter and Iron Maiden and the phenomenal Henrik with Francois Leleux as soloist. Can you tell us Måwe will be performing. After this piece 2 The orchestral works presented at the fes- something about your collaboration with Fran- comes a motley assortment of works that have fol- tival were composed during a period spanning cois? lowed me throughout the years. I wrote the earliest over 10 years. If you look back on that period, We met for the first time in the USA in the sum- work, Solitude for solo violin, while still a student can you find any distinct features in your music, mer of 2006 at a festival where my Bassoon Con- at the College of Music. Also on the programme and how has it developed? certo had its premiere. Francois took a fancy to are my Requiem for soprano and piano with the I think I can see a great deal in the earlier works this piece and asked me immediately to compose Swedish star soprano Susanna Andersson, the that has later become distinguishing marks. I have an oboe concerto for him. He has performed The trio Wolfgang Is Dancing! where Mozart meets a predilection for cantabile and sometimes even Enchanter on a number of occasions, the latest in klezmer(!), my piano trio Predatory Dances, as well lyrical melodies. For me, the melody is often the January 2017 with the Royal Liverpool Philhar- as the piano quintet Aqua Songs, which was writ- bearer of the dramaturgy in a work. Together with monic and conductor Jaime Martin. This com- ten for the celebration of H. M. King Carl XVI other basic components such as pulse and harmo- ing summer these two, together with the Gävle Gustaf´s 70th birthday in 2016. ny, melodies create direction and the flow which in Symphony Orchestra, will record the concerto on its turn gives the music its dramatic form. What I CD. Salman Rushdie’s novel ‘The Enchantress of have continued to work with has no doubt been Florence’ served as inspiration for the work. The 7 And what about hard rock? the multi-level and polyphonic features. I have de- so-called magic realism that Rushdie uses in his The festival will be concluded with my piano work veloped the where different chords and novels is very well suited as a point of departure Dance with the Devil being performed by a rock tonalities can sometimes lie simultaneously on dif- for musical form. group; this is something that I have dreamed about ferent levels and strata. A feeling of movement and for a long time. When the opportunity presented flow has also become ever more important during itself I did not hesitate for a moment, but con- these years. 5 On the third festival day the Royal Philhar- tacted some of Sweden´s best musicians, who have monic will play Concerto for Orchestra – Brain what it takes to really get this work together! These Damage followed by the Cello Concerto – guys, quite simply, know their hard rock! Hopeful- 3 Let’s take a peek at the festival’s programme. Crazy Diamond with Jakob Koranyi as soloist. ly we will all experience how it might have sounded The Royal Philharmonic under Evan Rogister Both titles allude to songs by the group Pink if Franz Liszt had got the opportunity to share the will premiere your new orchestral work, Bullet- Floyd. Do you consider them sister works? stage with Iron Maiden. proof. Can you say a few words about this piece? Yes, absolutely. They have many common denomi- Who would not want to be safe from bullets? The nators. Both works involved a recollection of my K r istina F r y klö f older I get, the more I realise that it is not only my- own early teens, a time when Pink Floyd’s music

H i ghl i ghts 31 / 2 0 1 37 Repertoire tips Chamber operas R EVIEWS

Kalevi Aho In the skilful music classical is mixed with contemporary sound Klami’s mighty vision Frida y Diego - Fresco operistico (2013) phenomena such as popular music and jazz. Psalmus is one of the great works in Finnish music, Dur: 148’ and unfolded in all its might at the Helsinki Music Libretto: Maritza Núñez (Spa) TIMO-JUHANI KYLLÖNEN Centre. The listener could not but be convinced by 9 sol, 1121-1111-02-​hp.theremin-str-mixed choir Tango solo (2010) Dur: 54’ the composer’s originality and his vision of primitiv- The opera picks out dramatic twists in the lives of Frida Kahlo and Libretto: Maritza Núñez (Spa) ism. The passionate grasp of Hannu Lintu made the 1 sol, fl/acc/pf/string quartet Diego Rivera, and of Lev Trotsky, exiled in Mexico. Frida’s alter ego experience exciting, even slightly deranged. Klami is also present. Aho’s music shines and glows in sumptuous Latino Tango Solo is a monologue opera, a song to love colours. The 29-piece orchestra includes such instruments as a Mexi- and dreams. The events are set in night-time Buenos Aires. Nicole truly did not skimp on powerful tones in his handling can folk harp and a theremin. The mood varies from dreamy to wildly (soprano) awaits the arrival of a comet and hovers on the borders of the orchestra. carnivalistic, and there is also some sharp political parody. of madness, death and life. The opera is simultaneously dreamy, Helsingin Sanomat 15.1. sensual, passionate and realistic. Kyllönen’s music carries tango and Uuno Klami: Psalmus SVEN-ERIK BÄCK milonga references, and the accordion gives the opera a feeling of Argentina. Finnish RSO/Hannu Lintu, Helsinki Music Centre Choir, sol. Tommi Tranfjädrarna/The Twilight Crane/ Hakala, Helena Juntunen, 13.1.2017 Helsinki, Finland Die Kranichfedern (1957) Dur: 55’ Libretto: Bertil Malmberg after a play by Junji JYRKI LINJAMA Kinoshita (Sw/Eng/Ger) Die Geburt des Täufers (2010) Dur: 85’ 4 sol, 1001-1000-11-0-cel-str (00321)- mixed choir Libretto: Jyrki Linjama, Matti Kontio, Jussi Martin Grubinger Opera in five tableaux based on a Japanese tale about the conse- Tapola (Ger) quences of greed. The farmer Yohio saves the life of a crane, who in 4 sol, 0000-1000-01-str gratitude returns to him in the form of a woman, Tsu. From crane This church opera is about the birth of John the Baptist and places feathers she weaves the most beautiful textiles, but her husband texts from the Bible, the Gospel according to Luke and The Song of must never see her weaving. The suggestive plot is told by very Songs in touch with the present day. Linjama works with musical- ann

simple means: the song melody lies very close to the spoken word, historical layers and uses them to construct an impressive, moving mm and the transparent orchestral texture has a Japanese touch. drama. The well-crafted music truly speaks to the listener, rises in

places to lofty heights and culminates in The Magnificat. ara Fro DANIEL BÖRTZ b Svall /Surge (2003) Dur: 100’ VELI-MATTI PUUMALA Libretto: Claes Fellbom (Sw) Anna Liisa (2006) Dur: 145’ Photo: Bar 8 sol, 2221-2210-11-pf-str-mixed chorus á 8 20 sol, 2121-2220-02-pf-str An absolute success for Kalevi Aho Surge is a two-act tragedy based on real Libretto: Puumala, Tiina Käkelä-Puumala (Fin) events, two widely publicized honor killings that took place in A powerful, timeless work with a message Aho is a clever orchestrator who knows how to se- Sweden in the beginning of the 2000s. The vocal parts ranges from and hailed by the critics as a great new Finnish opera. The libretto duce his audience, and nothing is lost of the electric the most beautiful lyrical song to purely spoken words. The music is based on the classic play of the same name by Minna Canth and atmosphere when, after the opening solo, the huge is rich in nuances and underlines and deepens, in abrupt changes, addresses the themes of the status of a young woman with a se- orchestra comes rolling in with mighty harmony. The moods and emotions. A small chorus comments on the course of cret, and liberation in a rural community. Folkloristic music plays primitivism and musicianly joy go down so well with events, and the baritone saxophone plays an important role as the an important part in it and there are often some beautiful ballad- the audience. mouthpiece of brutality. like episodes. Hufvudstadsbladet 19.11. KIMMO HAKOLA SVEN-DAVID SANDSTRÖM Kalevi Aho: Sieidi – Concerto for Percussion Marsin mestarilaulajat/Die Meister­ Föreställningen/The Performance and Orchestra singer vom Mars (2000) Dur: 70’ Finnish RSO/Gustavo Gimeno, sol. Martin Grubinger, 16.11.2016 Libretto: Matti Hagelberg, Karla Loppi (Fin/Ger) (2013) Dur: 60’ Libretto: Katarina Frostenson (Sw) Helsinki, Finland 4 sol, fl-cl-vl-vc or chamber orchestra & CD 3 sol, cl-perc-pf-string quartet This is a “comics opera”. Hakola has translated Hagelberg’s cartoons Three women find themselves at the mental hospital La Salpêtriére into a humoristic work which is absurd, surrealistic and one of the One of the most imaginative in in the late 19th century, waiting for their turn to expose their most delightful contemporary operas. The music wildly blends ingre- composers states of mind before the world-renowned Dr. Charcot and an audi- dients in a post-modern spirit and presents some astonishing combi- ence of celebrities. One can sense the women´s apprehension and Aho has created a vivid 15-minute orchestral piece nations, such as minimalism and Baroque. Piia and Anu Komsi in the anxiety in the music´s rapid fluctuations between the deeply painful with constantly evolving colors and intricate, surpris- leading roles made the premiere in 2000 an absolute riot. and the joyful lovely melodies. An ingenious feature are the deep ing rhythms – both being Aho trademarks… Aho FREDRIK HÖGBERG/ Balinese gongs that accentuate the darkness in the story. remains, at 67, one of the most imaginative and NICOLAI DUNGER accomplished composers of our time. Stilla min eld/Appease My Fire (2016) TAPIO TUOMELA Star Tribune 15.1. Dur: 120’ Äidit ja tyttäret/Mothers and Daughters Kalevi Aho: Gejia Libretto: Kerstin Gezelius/Alexander Onofri (Sw/ (1999) Dur: 100’ Minnesota Orchestra/Osmo Vänskä, 13.1.2017 Minneapolis, USA English translation is under way) Libretto: Paavo Haavikko (Fin) 5 sol, fl-cl-pf- perc-string trio 10 sol, 2221-2111-20-pf-str Dramatic intensity The focus in this opera inspired by The Kalevala is on strong, arche- The plot is set in a luxurios flat in central London. Hans K. Rausing, Above all the listener is impressed heir to the TetraPak conglomerate, locks himself in with his dead wife typical women and the Don Juan-like character of Lemminkäinen. The Eva for two months. The two had vowed eternal love to one another, writing for the orchestra is colourful, and the vocally-rewarding music by the sheer expressiveness of not even death could separate them. A poignant and deeply tragic allows room for both bel canto and more speech-like techniques. The the solo part… There are story about love and drug abuse, based on true events. The music is women’s singing tradition rooted in folk music also has a place in the great, expansive melodies kept close to the feelings described in the text. It is very direct and work, in the form of a trio of women who comment on the events. … The music is emotionally melodious with a dark, melancholy tone. CARL UNANDER SCHARIN charged and sombre OLLI KORTEKANGAS throughout. Hummelhonung/Sweetness (2001) Hufvudstadsbladet 3.12. Yhden yön juttu/One Night Stand Dur: 135´ (2011) Dur: 120’ Libretto: Magnus Carlbring after a novel by Kalevi Aho: Violin Libretto: Michael Baran (Fin) Torgny Lindgren (Sw) Concerto No. 2 18 sol, 1121-2110-02-hp-​pf(+synth)-el.guit-str- 7 sol, 1111-1110-01-0-synth-str (11111) World premiere: Kymi mixed choir A burlesque thriller in two acts about brotherhood, madness, hate Sinfonietta/Eugene This modern opera is a detective and love story hybrid. The main and death. Two elderly terminally ill brothers in a remote country Tzigane, sol. role is sung by either a soprano or, in the alternate cast, a tenor district hate each other with a passion. The only thing keeping them Elina Vähälä, – hence the love is between either two women or a man and a alive is the will to survive the other. The music is very well balanced, 1.12.2016 Kotka, woman. There was a new approach to processing the opera in suggestive and minimalist. Finland real-time interactiveness in workshops at the Sibelius Academy.

Elina Vähälä iihelä R aura L

H i ghl i ghts 1 / 2 0 1 7 Photo: No one ever sounded like this before Most impressive was, however, the mastery of Lotta Cheerful Moomin Opera Wennäkoski’s Sedecim… Never before have I heard A performance that throbs with life and cheer… such sensual, tonally nuanced and unconstrainedly The story sucks the audience along. Kuusisto fuses sentimental music by her. She orchestrates like an together stylistic influences to produce not a glori- accomplished ous mishmash but a functional, living organism. master, and despite If the Moomins could further sing in their own

language, the opera might well have an apprecia- i sporadic glimpses m

tive audience in Sweden. Hufvudstadsbladet 1.2. anie of such figures as p aa Saariaho, Dutilleux Ilkka Kuusisto: Moomin Opera (Muumiooppera) H Concordia Orchestra/Tuomas Rousi, dir. Ville Saikkonen, sol. Outi and Messiaen, no Rättö, Ronnie Karlsson etc., 28.1.2017 Helsinki, Finland Finnish composer has ever sounded Photo: T aneli like this before. Brilliant Börtz Hufvudstadsbladet 21.11. Börtz´s way leads from moderate modernism to a world of tightly woven harmonies where consonances are Lotta Wennäkoski: not forbidden… Lyricism and expressionism get on well together… Börtz and Sonnevi do not compromise. Sedecim The phrase “in moderation” is not in their vocabulary. The thematic repertoire of the poetical message touches

World premiere: ytöharju K upon the antipodes of the soul. That is why “Voices in the Darkness” is convincing – so complex in respect to Sibelius Academy SO/ its worldview, so personally charged. So brilliantly wrought. Opus 6.2. Atso Almila, 18.11.2016 Daniel Börtz: Voices in the Darkness Lahti, Finland

Photo: Maarit CD: Eric Ericson Chamber Choir/Fredrik Malmberg, Fredrik Zetterström, baritone, Thomas Schuback, piano (Footprint Records, FRCD 090)

Rautavaara rarity on stage Marvellous saxophone concerto The Gift of the Magi, both its music and its libretto, What a marvellous experience! The first movement starts out force- is a little operatic gem. Rautavaara’s expansive idiom fully and playfully billowing with a melodious theme that lends a more emotional character. Anders Paulsson gets the soprano sax has a melodic flow but also a suitable degree of an de Bassac f te S bleak melancholy. Rondo 1-2017 to sound like a lovely, soft whispering in the lower register, and it is m

Einojuhani Rautavaara: The Gift of the Magi astonishing how beautiful a soprano sax can sound. da A (Tietäjien lahja) Jönköpings Nyheter 30.1. World stage premiere: Sibelius Academy Orchestra/Markus Jörgen Dafgård: Concerto for Soprano Saxophone and Orchestra Photo: Lehtinen, dir. Vilppu Kiljunen, sol. Silja Aalto, Tiitus Ylipää etc., World premiere: Jönköping Sinfonietta/Johannes Gustavsson, soloist Anders Paulsson, Anders Paulsson 26.11.2016 Helsinki, Finland 29.1.2017 Jönköping, Sweden

The Phantom Carriage ter of course... Jonas Forssell has done a brilliant To “The Phantom Carriage” Larsson job in his arrangement, so that Lars-Erik Larsson´s Gothe has written 106 minutes of Swedish suite is seamlessly woven together with orchestral music. This is an amazing Lelo Nika´s Romani super-swing. Marie Rosenmir feat considering that the music flows dance-conducted the Folkoperan´s orchestra. My so naturally from the first picture God, this is great! The whole production is done frame to the last, at the same time as with such flair that it almost brings one to tears. it pulls out all the stops in the most Expressen 17.2. jolting effects. That the audience in the Gothenburg A performance full of dignity and respect. I was Concert Hall, noticeably moved, gave the composer a deeply moved. All persons become individuals, Photo: Markus Gårder standing ovation, seemed more justified than usual. with their own very human stories. Dagens Nyheter 4.2. Makes visible the invisible Svenska Dagbladet 17.2. Mats Larsson Gothe: Körkarlen/The Phantom Carriage It might seem a difficult project to combine “A Lars-Erik Larsson: Förklädd gud/A God Disguised World premiere: Gothenburg SO/Karen Kamensek, 2.2.2017 Gothen- God Disguised” with the life narratives of Romani Folkoperan/Marie Rosenmir, sol. Shadi Ali, Sanna Gibbs, Astrid burg, Sweden (Gothenburg Film Festival) beggars. But Folkoperan succeeds in this as a mat- Assefa, Lelo Nikas, accordion etc, 15.2.2017 Stockholm, Sweden

Fresh energy This work for organ had the snappy beat and fresh Congenial Snow Queen energy of a folk song from beginning to end… [The Staern´s music is congenial… Tones and rhythms run up listener] eagerly awaited the eventual theme, and it against one another in playful initiatives, held together in was indeed devastatingly fine. Turun Sanomat 31.1. a level-headed temperament by conductor Stefan Solyom. Mikko Heiniö: Kun pojat… (When the Boys) Here there are features of Nordic nature poetry, World premiere: Ville Urponen, organ, 29.1.2017 , Finland baroque and renaissance opera, musical and electronic dream music. The varying timbres meet the distinct drama- Thrilling shivers turgy of the libretto and Elisabeth Linton´s beautiful stag- ing. This is a musical fairy play with high dramatic intensity Crossing the Five Rivers is a beautiful tribute from and judicious aesthetic choices. Svenska Dagbladet 21.12. Kortekangas to Messiaen… The organ and gamba share a delicacy of sound and poignantly communi- Staern´s music is powerful but light, rich in sonorities cate in this work… and suggestive without being overburdened, and his Nuorvala’s Solo per viola da gamba triggers an orchestra has its own strong drive at the same time as it exciting excursion in which the chords, intervals and serves the singers. Staern is a skilful musical dramatist different-sized tones produced by the pure tuning already here in his first opera. Sydsvenskan 18.12. caused thrilling shivers… The magnificent recording The Snow Queen is absolutely brilliant… Expressen 19.12. astounds even hifi freaks. Rondo 1-2017, Helsingin Sanomat 1.2. Benjamin Staern: The Snow Queen rnesson Olli Kortekangas: Crossing the Five Rivers for viol World premiere: Malmö Opera/Stefan Solyom, sol. Susanna Stern, A and organ, Offertorium for viol Frida Johansson, Wiktor Sundqvist, Maria Streijfert, Bengt Krantz etc, Juhani Nuorvala: Solo per viola da gamba 17.12.2016 Malmö, Sweden Susanna Stern

CD: Varpu Haavisto, viol, Kari Vuola, organ (Alba ABCD 401 “Crossings”) Photo: Malin

H i ghl i ghts 1 / 2 0 1 7 new p u b li c ati o ns

INGVAR LIDHOLM sco res Nausikaa ensam/ tuto rs Nausicaa Seule MATS LARSSON GOTHE Scene for soprano, choir and orchestra EEVA SARMANTO-NEUVONEN/ The Autumn Diary New edition in French RITVA LEHTELÄ/ANJA SAARI for chamber orchestra Text: Eyvind Johnson (Sw)/ Suomalainen pianokoulu GE 12866 (score) Translation: Malou Höijer (Fr) – Finnish Piano School GE 12868 (study score) GE 12837 (score with French text) New editions of the popular piano tutor GE 12840 (study score with French text) in 4 volumes. Ur en anteckningsbok. Prelude – Alkusoitto, 979-0-55011-309-1 Magnificat Book 1, 979-0-55011-310-7 (From a Note Book. (orch. PINGOUD) Book 2, 979-0-55011-311-4 Magnificat) The Trees Op. 75 Finale, 979-0-55011-312-1 for alto solo and orchestra Ernest Pingoud’s orchestral arrange-­ Text: Håkan Sandell (Sw) ment of Sibelius’s popular piano TUULIA TUOVINEN GE 12869 (score) GE 12871 suite Cinq Morceaux pour piano, ColourClarinet (study score) also known also as “The Trees”. A delightful guide for clarinet beginners GE 12872 (vocal score) 979-0-55011-323-7 (score) based on the Colourstrings method. 979-0-55011-286-5

new C D s CHo r AL C HAMBE R & i n ST RUME N TAL LINDA ALEXANDERSSON TOIVO KUULA KALEVI AHO Inferno Works for Viola Piano Works for choir SSA This collection contains four original works Andreas Skouras, piano Text: Dante Allighieri/ for viola and piano by Kuula as well as those NEOS 10915 Allen Mandelbaum (Eng) violin pieces and arrangements that can be GE 12880 performed with a viola without a key change. DANIEL BÖRTZ The album includes a separate viola part. I mörkret av röster, DANIEL BERG 979-0-55011-301-5 Klangernas sånger I’m nobody Eric Ericson Chamber Choir/ for speech choir, percussion MAGNUS LINDBERG Fredrik Malmberg, Fredrik and balloons … de Tartuffe, je crois Zetterström, baritone, Text: Emily Dickinson (Eng) for piano and string quartet Thomas Schuback, piano GE 13088 979-0-55011-306-0 (new set of parts) Footprint FRCD 090 “Voices in the Darkness” Karawane for speech choir and percussion JACOB MÜHLRAD Notturno, Senza ris- Text: Hugo Ball (nonsense text) Avici poste, Fogliame, Trio GE 13089 for percussion and two double basses Norrbotten Neo GE 13055 BIS-2270 ANTON LEANDERSSON ANDRÉAS An echo of memories Missa compatiens for piano solo THOMAS JENNEFELT for SAB choir and organ GE 13054 Dixit Dominus, Or GE 13107 che´l ciel et la terra Vokalharmonin, Musica NILS LINDBERG ESA-PEKKA SALONEN Vitae/Fredrik Malmberg, Rosetti Suite Nachtlieder Mats Bergström, guitar for choir SATB a cappella for clarinet and ensemble: Naxos 8572536 Text: Christina Rosetti (Eng) fl/ten.sax/perc/vl/vla/vc/db (Swedish Choral Society, vol. 10) Remember arr. Gregory Barrett GE 10339 Score and parts 979-0-55011-305-3 ANNA-KARIN KLOCKAR, Fly Away Speeches GE 13073 JEAN SIBELIUS MARIA LÖFBERG Echo Five esquisses – Fünf Skizzen Sandskrift GE 13074 Urtext KARIN REHNQVIST for piano Tilt BENGT OLLÉN (arr) A revised publication based on Allmäna Sången/Maria I denna ljuva sommartid/ the complete critical edition. Goundorina Into the Summer We Go 979-0-55011-304-6 BIS-2224 ”Femina Moderna” for choir SATB a cappella OLLI KORTEKANGAS Text: Trad (Sw/Eng) Migrations GE 13056 Minnesota Orchestra, YL Trilo Male Voice Choir/Osmo Swedish folk song Vänskä, sol. Lilli Paasikivi for choir SATB a cappella BIS SACD-9048 Text:Trad (Sw) EDUARD TUBIN COMPLETE WORKS GE 13057 Barbara von Tisenhusen (1967-68) OSKAR LINDBERG Opera in three acts and nine scenes Stjärntändningen JEAN SIBELIUS Libretto by Jaan Kross after a short story by Aino EINOJUHANI Rakastava (The Lover) Kallas (Estonian/Swedish) RAUTAVAARA Urtext Volume XXIX (score) GE 12924 Credo for mixed choir (Fin) Volume XXX (vocal score) GE 12925 SVEN-DAVID A revised publication based on To sign up for a subscription of the ETCW SANDSTRÖM the complete critical edition. please visit: www.gehrmans.se/en/subscription Four Songs of Love 979-0-55011-307-7 FREDRIK SIXTEN Jubilate Deo etc Stockholm Musikgymnasium Chamber Choir/ Helene Stureborg For further information about our works or representatives worldwide check our web sites or contact us at: Footprint FRCD 088 “Awake O North Wind” Gehrmans Musikförlag AB Fennica Gehrman Oy Ab ALLAN PETTERSSON Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland Symphony No. 14 Tel. +358 10 3871 220 • Fax +358 10 3871 221 Norrköping SO/Christian Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Lindberg www.gehrmans.se • [email protected] www.fennicagehrman.fi BIS-2230 (including DVD “The News: news.gehrmans.se [email protected] Song of Life”, TV-documentary Hire: [email protected] Hire: [email protected] with English subtitles) Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi H i ghl i ghts 3 / 2 0 1 2 Sales: [email protected] Sales: [email protected] (dealers)