N E T T E L S W E

nHIGHLIGHTS o r d i c R F and Kortekangas Focus on o r Jüri Reinvere’sJüri opera Peer Gynt H E G M R A M N Schnelzer S U M S I Ö F K R E F & G A L c i n n H E G A 1/2015 R A M N NEWS

New Swedish anthology Kyllönen at 60 This August Gehrmans will issue a new piano The Bergslagens Kammarsymfoniker have chosen Timo- anthology with 67 Swedish piano pieces from Juhani Kyllönen as their -in-Residence for this the 18th century through modern times. It will year. This will mean performances of orchestral and cham- include classics by Roman, Peterson-Berger, ber works by him and a new orchestral commission. The Stenhammar and Larsson, but also pieces by year will culminate in a gala concert at the Cassels Concert contemporary such as Victoria Hall in Grängesberg, on 18 June. Borisova-Ollas, Daniel Börtz, Albert Kyllönen’s 60th birthday year will also be celebrated Schnelzer and Staffan Storm. The editors with a concert of his works at the Sibelius Museum in have also chosen to highlight a few of their Turku in November. own favourite pieces by neglected female com- posers such as Valborg Aulin, Elfrida Andrée Hakola & Puumala as Artistic Directors and Laura Netzel. The anthology is being Kimmo Hakola has been appointed the new Artistic prepared in collaboration with the Malmö Director of the Lux musicae festival and is planning Academy of Music, and is compiled by Profes- the programme for this year already. As its new Artistic sor Hans Pålsson, one of Sweden’s foremost Director the Kaustinen Chamber Music Festival has concert pianists, and Tina Sjögren, the editor ndreas Pålsson chosen Veli-Matti Puumala. The Uusinta Ensemble A Editor Hans Pålsson of the acclaimed anthology Svenska Romanser. performed music by Puumala at the festival’s focus con- Photo cert in January 2015. Music by Rautavaara on stage and at festivals Dafgård and Aho On 25 April, the Badisches Staatstheater Karlsruhe is to compose for premiere Davide Bombana’s choreography Der Prozess, to the music of ’s orchestral Angel of Anders Paulsson Dusk, Angel of Light and Angels and Visitations. Angel Both Jörgen Dafgård of Light has also been chosen as the music for the full-length and Kalevi Aho are com­ ballet choreographed by Hans Henning Paar. The premiere posing soprano saxo­ at the Münster Theatre will be on 23 January 2016. Rauta­ phone concertos for vaara will also be represented at the Presteigne Festival in Anders Paulsson. Daf- the UK this year. The Festival Orchestra, conducted by gårds idea for his work uuli George Vass, will perform his Suite for String Orchestra and i T Rainbow Valley was born kk ei Canto III on 28–30 August, and the Choir of Royal Hollo­ H from a vision of an all- encompassing love when way will sing Vespers from his Vigilia on 29 August. Photo: he was gazing out over a verdant valley between Aho’s Sieidi tours the world mountains in Italy. The Kalevi Aho’s percussion concerto Sieidi is blazing a trail across the world with Colin concerto is commissio­ Currie as the soloist. It has already been performed more than 20 times since its premiere ned jointly by the Jön­ in London in April 2012, in countries as far apart as the United States, Sweden, New Zea- köp­ing and Västerås Photo: Kristian Pohl land, Australia, the Netherlands and Spain. It is scheduled for the Vienna Konzerthaus Sinfoniettas to be premiered in May 2016. The Chamber on 17 June, when Martin Grubinger will be its soloist for the first time with the Vienna Orchestra of Lapland will commission the Aho concerto, Orchestra. The conductor will once again beOsmo Vänskä. and the premiere is scheduled for November 2015.

Staern’s busy spring nHIGHLIGHTS o r d i c 1/2015 Benjamin Staern is presently busy working on a Trumpet NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Concertino for Filip Draglund and the Helsingborg Sym- Sound samples , video clips phony Orchestra, to be premiered on 26 April. and other material are available at The striking concert overture Jubilate will be heard at the Finnish Oulu Music Festival in March, and April will www.gehrmans.se/highlights see the US premiere of the piece by the APU Symphony www.fennicagehrman.fi/highlights conducted by Christopher Russell in Azusa, California. Cover photos: Peer Gynt opera (Erik Berg), Following the successes in Gävle and Helsingborg Staern’s Olli Kortekangas (Saara Vuorjoki/Music Finland), Polar Vortex – Symphony No.1 will receive yet another Albert Schnelzer (Hans Lindén) performance in April by the Norrköping SO under Michael Editors: Henna Salmela and Kristina Fryklöf Francis. The Stockholm Chamber Brass will include Translations: Susan Sinisalo and Robert Carroll

aglund Staern’s brass quintet Two Souls, One Thought, as well as his

Design: Göran Lind H for solo trumpet and brass quintet on their ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) dam Confrontation Printed in Sweden by TMG Sthlm, Bromma 2015 A tour to Rostock, Germany and Roeselare, Belgium in May. Photo:

H i ghl i ghts 1 / 2 0 1 5 Another Sandström Passion Sven-David Sandström has composed a St. John Passion to be premiered in Easter 2016 in . The texts P r e m ie r es to the libretto have been compiled by Jacob Holtze and contain, besides biblical excerpts, texts and quotations by Dante, Blake, Eliot, Joyce, Rilke, Grundtvig and Tranströmer, among others. The 100 minute Passion is a Spring 2015 commission from the Mogens Dahl Chamber Choir, and scored for two male vocal soloists, choir, tuba and KALEVI AHO Törö . Petri Kumela, guitar • 5.2. Espoo, Finland Wind Quintet No. 2 Philharmonisches Bläserquintett Berlin • 14.6. Berlin, Germany Haglund and Reinvere awarded MIKKO HEINIÖ Through Green Glass On 30 January Tommie Haglund received H. M. Patrik Kleemola, guitar • 23.3. London, UK the King’s medal, for his significant achievements in OLLI KORTEKANGAS The Return Swedish musical life, during a ceremony at the Royal Tapiola Chamber Choir/Hannu Norjanen • 29.3. , Finland Palace in Stockholm. Höstlig skärgård Jüri Reinvere received the cultural award of the YL Male Voice Choir/Pasi Hyökki • 11.4. Helsinki, Finland Republic of Estonia for his opera Peer Gynt , com- KIMMO HAKOLA Re:Joy for organ missioned by the Norwegian National Opera and Tuomas Pyrhönen • 12.5. Helsinki, Finland premiered in Oslo on 29 November. Designated ALBERT SCHNELZER Tales from Suburbia for outstanding creative achievements in the field of BBC SO/Kirill Karabits • 13.3. London, UK culture, the honour was awarded on 23 February at BENJAMIN STAERN Trumpet Concertino the University of Tartu. Helsingborg SO/Nazanin Aghakhani, sol. Filip Draglund • 26.4. Helsingborg, Sweden TOBIAS BROSTRÖM Theatron Anna Liisa on disc for two percussion soloists and orchestra Dresdner Philharmonie/Michael Sanderling, The opera Anna Liisa by Veli-Matti Puumala, per- sol. Johan Bridger, Patrick Raab • 16.5. Dresden, Germany formed by the Tapiola Sinfonietta and the Helsinki JONAS VALFRIDSSON The Temples of Kamakura Chamber Choir conducted by Jan Söderblom, is Norrköping SO/Michael Francis • 21.5. Norrköping, Sweden

Finland to be released as a premiere recording by Ondine in c usi

M March 2015. Singing the part of Anna Liisa will be i/ k o j Helena Juntunen in a cast that will also include , Tanja Kauppinen and Ville Rusanen. N E W C D s aara Vuor S Based on the play of the same name by Minna Canth, Anna Liisa, premiered in 2008, is a powerful Photo: Kalevi Aho drama about infanticide and its consequences both Works for Solo Piano (19 Preludes, Three Small New agreement Piano Pieces, Two Easy Piano Pieces for Children, for the individual and the community. Sonatina, Solo II, with Matthew Whittall Sonata for Piano) Sonja Fräki, piano Fennica Gehrman has signed a publishing agreement BIS-SACD-2106 with Matthew Whittall for the following orchestral works: The return of light, The Architecture of Happi- ness, Dulcissima, clara, sonans, The heaven that dwells so deep, Solen and Northlands. The agreement also includes selected chamber, instrumental and choral Veljo Tormis Laulusild works. Whittall (b. 1975) studied in his native Canada (Bridge of Song) and the United States before settling in Finland in Vox Aurea/Sanna Salminen 2001. Music by him has been performed by, among Alba NCD 50 “Aalloilla” others, the Toronto Symphony Orchestra, and in Finland by the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra and the Veli-Matti Puumala Anna Liisa Helsinki Chamber Choir. In 2013 Matthew Whit- Tapiola Sinfonietta, Helsinki Chamber Choir/ tall was awarded the Teosto Prize for his Dulcissima, Nils Schweckendiek, Jan Söderblom, sol. Helena Juntunen, Jorma Hynninen, Tanja Kauppinen and Ville Rusanen. clara, sonans. Ondine ODE 1254-2D

Forthcoming Heiniö premieres Mikko Heiniö’s new work Ilta (Evening), 11 dance songs for choir, clarinet and cello will be premiered in Turku on 9 September 2015. For this joint production commissioned by the ERI Dance Theatre and the Key Ensemble chamber choir, Heiniö has compiled a series of poems in different languages showing evening in various lights: in the glowing colours of love and sunset or in dark shades of death and moonlight. The choreography and stage direction are by Tiina Lindfors and the Key Ensemble will be conducted by Teemu Honkanen. Guitarist Patrik Kleemola has commissioned Heiniö to compose a solo work called Through Green Glass to be premiered at the Queen Elizabeth Hall in London on 23 March. Heiniö has also been commissioned to write an Organ Concerto for the Cathedral Festival in Turku in 2016. The soloist will bePétur Sakari. Photo: Jussi Vierimaa

H i ghl i ghts 1 / 2 0 1 5 Seeking the connection between feeling, words and music erg b

olm “I write the sort of music I’d like to hear. Isn’t that what every H composer, if he’s honest, tries to do?” says Olli Kortekangas. ennart L anomat/ S Kortekangas has also written widely for solo create a personal musical world for the different urun voice. Foreign languages also interest him. “The characters, a personal idiolect. This may, for example,

Photo: T language does affect the music,” he says emphati- be a leitmotif, but more often an instru­mentation cally. This is borne out in Vier Bilder aus dem Buch or harmony, or a phrasal construction. And the Thus Olli Kortekangas once crystal- der Wandlungen (Four Images from The Book of ensembles: they are the salt of the opera! There are lised his fundamental principle as a composer. Changes, 2001), using texts from the ancient Chi- far too few of these in contemporary opera.” Honesty has paid off, because many others also nese Book of Changes in two languages. Another want to listen to his music. His choral works work, Pietà (2010) for soprano, da gamba The drama of concertos and the have found performers the world over, and his and harpsichord, in turn represents the superim- bread-and-butter of chamber music operas have spoken straight to the hearts of position of many time planes: early period instru- Finnish audiences. At 60 Kortekangas is one of ments, a contemporary idiom and poems by Anna Side by side with his vocal works, Kortekangas has Finland’s leading contemporary composers. Akhmatova. composed a fair amount of instrumental music. Olli Kortekangas first made a name for himself While he was composer-in-residence of the Oulu in the late 1970s, when he co-founded the Korvat Personal stories against Symphony Orchestra in 1997–2007, he began to concentrate more on orchestral music. He has felt auki (Ears Open) group that shook Finnish musi- a historical background cal life with its avant-garde. He nevertheless soon a special pull towards concertos (Charms for piano distanced himself from the strictures of modernism Opera, a synthesis of diverse modes of expression, is trio and orchestra, 1998, an Organ Concerto, 2009 and his expression began to expand. In the 1990s a genre for which Kortekangas feels a natural affin- and a Piano Concerto, 2011), in which the things it grew richer, more dramaturgically dynamic and ity. He has so far composed seven operas, covering a that meant most to him are drama, communica- emotionally powerful. The change in his musical variety of milieus and epochs and differing in their tion and narrative. His most recent concerto, writ- thinking has, however, always been a gradual, evolu- treatment. Yet they all, he says, have one communal ten for clarinet, was premiered in 2014. tionary process, not a sharp new stylistic departure. theme: “The central idea in my operas is to view per- Over the past few years, Kortekangas has sonal stories against a historical background.” developed a special affection for chamber music. “I try to define man’s place Marian rakkaus (Maria’s Love, 1999), examining “If opera is music’s cream cake, chamber music is 20th-century history overshadowed by war and its bread-and-butter. It is a licence and an obliga- in the universe” dictatorship, was part of the operatic trilogy Aika tion to engage in musical craftsmanship plain and Vocal, and especially choral music occupies a focal ja uni (The Age of Dreams) by three composers simple. To me, communication, the inner dialogue position in Kortekangas’s output. He pays great commissioned by the Savonlinna Opera Festival. of the music, is extremely important in chamber attention to his texts; life philosophies and world- Messenius and Lucia (2005) describes the music.” Examples of this ongoing chamber music views are among the things that interest him. To life of Johannes Messenius, a true-life Swedish phase include Aveux for oboe and string quartet give an example: his symphonic cantata Seven historian of the late 16th and early 17th century, (2010), a Cello Sonata (2012) and Chops and Swells Songs for Planet Earth (commissioned by the Cho- but with the addition of a modern dimension and for clarinet and string quartet (2014). Works for ral Arts Society of Washington and the Tampere debating the essence of historiography. The most period instruments are another interesting depar- Philharmonic Orchestra, 2011) addresses the rela- highly-acclaimed of Kortekangas’s operas to date ture. The first fruit of this isCrossing the Five Rivers tionship between man and nature. has been Isän tyttö (Daddy’s Girl, 2006) which has (2008) for viola da gamba and organ. An impor- “My vocal texts are fundamentally about under- been staged both in Savonlinna and at the Finn- tant category since the early-2000s has also been standing human existence. What is man’s place in ish National Opera. Yhden yön juttu (One Night organ music – the weightiest example of this being the universe? In my mind I’m a seeker and a scep- Stand, 2010), spotlighting young people in a mod- the Organ Sonata No. 2, Stargazer, of 2005. tic, but I’m also open to alternative explanations. ern urban setting, is once again more experimental K i m m o K o r h o nen I can handle doubt; the world can be explained in and his most modern in terms of treatment, and many ways.” like some of his choral works, it was composed This is a shortened article published in Fennica Gehrman’s One major category for Kortekangas is music along workshop lines. booklet of Olli Kortekangas for children’s choir. His works in this genre have Composing operas is, for Kortekangas, a major often been coloured by a workshop-style mode forum for collaborating with other artists. “I try of composition collaborating closely with young to get together with the librettist as early as pos- Kortekangas premieres in Helsinki singers, most notably with the world-renowned sible, and the story begins to take shape as we talk Jannen salaisuus (Janne’s Secret), children’s opera, libretto by Minna Lindgren Finnish National Opera, 27.3.2015 Tapiola Choir. Then there are the ambitious it over.” The composer of an opera is, according to The Return, for chamber choir to texts by Wendell Berry Verbum (1987), Shadows (2002) and the Mediter- Kortekangas, really a dramaturge. It is his job not Tapiola Chamber Choir/Hannu Norjanen, 29.3. 2015 ranean Sea cycle (2003) demanding much of only to mastermind the work as a whole but also Höstlig skärgård, for male choir to texts by Tomas Tranströmer their performers. to see that the characters have individual traits. “I YL Male Voice Choir/Pasi Hyökki, 11.4. 2015

H i ghl i ghts 1 / 2 0 1 5 “ is supposed to have said that he wanted his to contain the whole world. I am satisfied with the multifaceted suburb, says Albert Schnelzer.” In March his ‘Tales from Suburbia’ will have its world premiere at the Barbican Centre in London, and ‘A Freak in Burbank’, (another suburban!), continues to score success around the world. indén L ans H Albert Schnelzer’s suburban inspiration Photo:

Albert Schnelzer has lived in the sub- that it appeals to a very broad spectrum of listen- groups and the tension between solo and tutti that urb his whole life and admits that he has a kind of ers, from experienced concertgoers in their 80s to proved to be the most interesting. In an orchestra love-hate relation to it. 15-year-old gothic-attired punk rockers. Fasci- there is an intrinsic tension as you have to both “But there is no denying that it is a fascinating nating! The piece has got a very positive response shoulder an individual responsibility and at the and inspiring milieu in many respects. There are especially abroad, at the Proms of course in 2010, same time be part of a larger group. A bit like life often sharp contrasts where the rural meets the but also at for example the concert with the Cham- in general. But what happens to those who can´t urban, nature meets concrete, stillness meets the ber Orchestra of Europe in France last year, where manage this? Like Syd Barret. My work was both a pulse of the city. There is also a melting pot of the reception was tremendous!” song of praise for those who shoulder the respon- peoples from all over the world.” 2014 also saw the premieres of two new works. sibility and a dirge for those who will never be able Written in 2012, Tales from Suburbia will be The first was Animal Songs, five songs to poems to accomplish it.” given its first performance by the BBC Symphony by Margaret Atwood, composed for soprano Brain Damage was commissioned jointly by the under Kirill Karabits on 13 March, and the Susanna Andersson and the Helsingborg Sym- Gothenburg Symphony, that premiered the work Swedish premiere will follow a couple weeks later phony Orchestra. Here we encounter a pig, a bull, under Alain Altinoglu, and the Royal Stockholm with the Swedish Radio Symphony Orchestra and a rat, a hen’s head (!) and a worm that all sing their Philharmonic, that will perform it this coming Daniel Harding, who has also decided to take the songs and tell about their lives and their not-very- September with Santtu-Matias Rouvali con- work on tour to the Dresdner Festspiele in May. flattering opinion of us humans. ducting. “It will be exciting to finally get to hear the piece. “The texts were allowed to guide the music Moreover, this year we can enjoy the premieres I set my standards high when I wrote it, musically, quite a lot”, says Schnelzer. The injured bull in the of another two works; an Oboe Concertino for the but also when it comes to instrumentation, timbre Bull Song was given a lament, the cheeky and gro- inaugural season of the new concert hall Malmö and treatment of the orchestra. It will be especially tesque Pig Song was a balmy waltz, while the music Live, and the recently finished clarinet concerto, interesting to hear the opening section live, since I to the cruel Song of the Hen´s Head is in contrast to But Your Angel´s on Holiday, for Staffan Mårtensson make use of some playing techniques that I have the text with its bright and idyllic character. and the Norrköping Symphony Orchestra – to be not tried before, and also an orchestration that premiered in November. really creates atmosphere. This will be a challenge A song of praise and a dirge “It is a concerto in three movements that starts for the orchestra as well as for the conductor, but I Then last autumn came Brain Damage – Concerto out with ominous chords and a threatening atmo- am confident that both the BBCSO and the SRSO for Orchestra , a sequel to the cello concerto sphere. The middle movement is a Lamento that are going to bring it off splendidly!” Crazy Diamond from 2011. In both these works is vaguely based on a Swedish folk melody and Albert Schnelzer has tried to depict how the myth the third movement is quick, energetic and in Eventful 2014 of Syd Barrett, the founder of Pink Floyd, influ- some sections extremely virtuosic,” relates Albert Also 2014 was an eventful and successful year for enced him as a young composer. Schnelzer. Albert Schnelzer. Not least with the concert open- “Brain Damage can be seen as a wandering So there are a great many new things to look er A Freak in Burbank, which during last year was through various strong emotional states: anger, forward to in 2015, and then, of course, there will given no less than 14 performances, and was taken frustration, despair and sorrow; but there is also a be a few more performances of his hit work, A into the repertoire of nine new orchestras in eight gleam of hope”, says Schnelzer. Freak in Burbank, this year as well. different countries throughout the world, from the Why then has he chosen the classical form of K r istina F r y klö f USA to Australia. And it has been like this for the the concerto for orchestra to depict this? past few years. “It is a tradition-bound form in which the dif- “What really cheers me up is that so many con- ferent instrument groups get to perform as solo- ductors and orchestras, wholly independent of one ists, and often with a virtuosic orchestral texture. another, are taking up the piece. I have also noticed For me it was the dialogue between the different

H i ghl i ghts 31 / 2 0 1 35 r E P E r to i r e tips R EVIEWS

21 st century works for solo piano Tommie Haglund Veli-Matti Puumala Arcana – Lachrimae (1998) Dur: 12’ Hommages fugitifs (2001) Dur: 13’ Inspired by the mystic Swedenborg These 9 preludes for piano were com- and the composer Dowland, Haglund missioned by the for has written a work in which expressive the Helsinki International Maj Lind Pia- outbursts are mixed with enigmatic, no Competition 2002. Portraits to which meditative sections, characterised by a great tranquil- characteristics of different persons provided substance, lity and an underlying spirituality. Pianist Hans Pålsson they can be played in any order or in different combina- describes the piece as “10 minutes of wonder, where tions with the exception of Anna, which is intended to be something inexplicable is hinted at, smarts, and then played first. k disappears. Music that bears a riddle without intending oomerni

to solve it.” Albert Schnelzer D n (2000) Dur: 8’ j

Dance with the Devil erli Kimmo Hakola Albert Schnelzer himself has described Lisa Larsson M

Theme, 11 Studies and a Grand – quite aptly – this piece as a cross be- Photo: Cadenza (1998) Dur: 30’ tween Franz Liszt and Iron Maiden. And Unashamedly enjoyable This work was born of the material for one can indeed clearly hear the influ- Hakola’s monumental piano concerto, ences from hard rock, even though this piece also includes Rolf Martinsson’s brand-new song suite Ich denke for which he had made a compre- a very beautiful and still middle section. But to sum up, Dein... offered unusually expressive and full music, hensive study of the types of expression used in piano this is a very rhythmical, danceable and virtuosic work that post-Straussian expression has seldom been this literature. The result is an exciting musical library from really utilises the entire gamut of the piano and its sound strong… Nonetheless, it was musical sensations à la the depths of which Hakola conjures forth a dazzling possibilities. Broadway which the Malmö professor holds dearest display of keyboard fireworks. Resting on tradition, it to his heart... One can only be amazed at how opens up new dimensions and is a demonstration of his Martin Skafte Martinsson had both the guts and the skill to write like this. inexhaustible fund of musical magic. (2012/2013) Dur: 35’ Twelve Preludes Hufvudstadsbladet 29.1. In his piano suite Martin Skafte mirrors Paavo Heininen himself in French music in a profoundly That someone dares to write so unashamedly enjoy- able, sinfully sexy music… the listener felt as if he was Mazurki Op. 79 A (2001) Dur: 40’ original manner, inspired in various ways being led into an enchanted garden, where an angel Mazurkas are basically intimately poetic, by Debussy´s Préludes: premier livre. He had fallen from heaven. Larsson’s soprano radiated says Paavo Heininen. The moods of these further develops Debussy´s ideas but with his own fantasy and floated, and was sublime in the pianissimos. 10 mazurkas vary greatly as they test and modern musical creativity in focus. The suite is intended Helsingin Sanomat 30.1. how far they can go both rhythmically to be performed in its entirety. and harmonically within the genre. The titles and expression Rolf Martinsson: Ich denke Dein... Finnish premiere: Helsinki PO/John Storgårds, sol. Lisa Larsson, marks reflect the broad scope of the set: mesto, brillante, Staffan Storm soprano, 28.1.2015 Helsinki, Finland lugubre, animato orgoglioso, gentle, straight, etc. Lied vom Meer (2009) Dur: 15’ This four-movement work is based on Jyrki Linjama Rilke’s poem Lied vom Meer, and the Simply beautiful Sonata da chiesa (2010) Dur: 14’ work’s form and melodic patterns follow Amazing and astonishing are the words that first This four-movement Sonata followed those of the poem. Storm describes this spring to mind in the piano music of Kalevi Aho… in the wake of Linjama’s church opera as a musical reading of the text. The music has an impres- The Sonatina is wonderfully rhythmic and powerful, Die Geburt des Täufers and reflects it in sionistic tinge, especially in the exquisite final movement simply fascinating...The music is full of colours and many ways. Medieval motifs combine …im Mondschein… where Storm lets the melodies and rich in character and grand emotions. with diverse handling of the piano that reaches out in differ- harmonies flow; but he ends in the sea, black as night, in Hufvudstadsbladet 10.12. ent directions: from meditative Psalm format to solemn bell the lowest register of the piano, rumbling softly. Kalevi Aho: Works for Solo Piano sounds and from virtuosic density to internalised polyphony. CD: Sonja Fräki, piano (BIS-SACD-2106) Commissioned by the Carinthischer Sommer and pre- Victoria Yagling miered by Juho Pohjonen in Ossiach on 13 July 2010. Five Miniatures for Piano (2002) Theatrical, provocative, brilliant Dur: 10’ The show turned out to be professionally impeccable, Rolf Martinsson A suite of five short piano pieces of a artistically convincing and eventually became per- Aquarius/Taurus (2006/2011) Dur: 7’/7’ lyrical nature dedicated to Yagling’s son haps the most spectacular autumn event in Finnish Aquarius and Taurus are the two latest Victor Chestopal. The early movements, theatre…The contrasting emotions, tragicomic pieces (nos. 9 and 10) in Martinsson´s in particular, are airy and dreamily beautiful. The music of situations, the scale of the characters in winning Zodiac series, where he lets the astro- Yagling nevertheless always has a modicum of fresh energy, Mexican hues have turned out to be a strong frame- logical signs influence the character pungency and temperament, as represented in this set of work for a complete, sophisticated and modern of each piano piece. Aquarius is independent, imagina- miniatures above all by the last movement, Allegro con brio. opera…Kalevi Aho’s music is a holistic, rich musical tive and inventive, while Taurus is a little slow, calm, canvas…he masters both caustic irony, even the confident and down-to-earth. Martinsson says that the grotesque, and genuine lyricism. pieces in the series should be considered noted-down Сцена (The Stage) No. 6, December 2014 improvisations that embrace what is lively and sponta- neous rather than what is structured and worked out. Kalevi Aho: Frida y Diego, opera in four acts World premiere: Sibelius Academy SO/Markus Lehtinen, dir. Vilppu Kiljunen, sol. Erica Back, Matias Haakana, Aule Urb, Sampo Haapa- niemi, Saara Kiiveri etc., 17.10.2014 Helsinki, Finland

H i ghl i ghts 1 / 2 0 1 5 Action-packed Polar Vortex Staern lets the mercury fall to Arctic chill and the winds whip us in the face. The music is alive and puls­ ating… It is impossible not to be gripped, not to be swept along. The three percussionists work intensely, change places with one another and use a whole arsenal of percussion instruments, creating sound images and atmosphere. It is playful, fun, beautiful. Arbetarbladet 15.11. A work that is typically Staernian, brilliantly colourful and positively full of action. Gefle Dagblad 15.11. Benjamin Staern: Polar Vortex World premiere: Gävle SO/Leif Segerstam, 14.11.2014 Gävle, Sweden

Sonorous new songs for male choir Dialogue between light and shade The new item in the concert was the three-move- The main number was Kai Nieminen’s string quartet… ment choral work Isoisän runoja (Grandfather’s Nieminen himself spoke of the winter darkness and Poems), settings of poems by Lassi Nummi. the stars in the sky, the way time travels in darkness And amiably grandfatherly and gently humorous and light imperceptibly grows. Despite the proximity these sonorous songs are. of death, the quartet also opened the gates to heaven. Helsingin Sanomat 16.11. Pohjolan Sanomat 3.12. Mikko Heiniö: Isoisän lauluja Kai Nieminen: Towards the Light (from far beyond) World premiere: Laulu-Miehet/Matti Hyökki, World premiere: Länsi-Pohja String Quartet, 26.11.2014 Keminmaa,

15.11.2014 Helsinki, Finland Finland rild Juul Öystein Baadsvik A Photo: When the tuba becomes a mistress There is no doubt about it that the tuba can be a vivacious mistress. So intimately did Baadsvik´s arms embrace the silvery, shining instrument; so sensitively did his lips enclose that fantastic piece of brass to create delightful, delicate sonorities… Again and again the tuba sang with heart-rending beauty, having survived its struggle with the massive . Bellander ian Balea D v

ta orchestra… The audience´s enthusiasm knew no ten Oc S bounds when Baadsvik concluded with a charming Pasi Lyytikäinen hoto: Bror Karlsson hoto: Photo: p p

and exquisite dance with his playmate. Rheinische Post 16.1. Concert of works by Lyytikäinen Rosenberg and Lidholm in UK Fredrik Högberg: Rocky Island Boat Bat The music is rewarding to listen to and carefully Hilding Rosenberg’s Dance Suite from his ballet, German premiere: Niederrheinsche Sinfoniker/Mihkel Kütson, sol. crafted… Jiän iänj – The Sound of Ice was one of the Orpheus in Town, was the jaunty, jazzy opener, Øystein Baadsvik, tuba, 9.1.2015 Krefeld, Germany finest items in the concert. The timbres forged from with its seven dances making the penultimate slow the accordion are rich, the melodies beautiful and tango stand out for its sexier lilt… Andersson Humour and seriousness the full bellows are used expressively. created most impact with Lidholm’s Kontakion from Hufvudstadsbladet 25.1. 1978, based on the same Russian liturgical hymn in Högberg’s concerto Pasi Lyytikäinen: Songs, Minimalto, Jiän Iänj as Britten used in his Third Cello Suite. Out of long Accordion King is a multi-art-work; the images function Kiril Kozlovsky, piano, Eija Räsänen, soprano, Eero Saunamäki, alto sections of tense strings emerged a series of wind in a dynamic interplay with the music, and contribute recorder, Mika Väyrynen, accordion, 24.1.2015 Helsinki, Finland solos, dying away after the final offstage trumpet. commentary and complementary elements in Fredrik´s A work of apparent austerity carried humanity at inimitable and humoristic fashion. But the work its heart. also comprises seriousness, vertiginous beauty and The Guardian 21.1. sensual eroticism. Hilding Rosenberg: Dance Suite from Orpheus in Town Allehanda 23.1. Ingvar Lidholm: Kontakion Fredrik Högberg: Accordion King BBC National Orchestra of Wales/B Tommy Andersson, 20.1.2015 World premiere: Nordic CO/Niklas Willén, sol. Jörgen Sundeqvist, Cardiff, Wales accordion, 22.1.2015 Kramfors, Sweden

Peer Gynt – an opera of undoubted significance Jüri Reinvere’s work has a maturity that gave an There are fragmentary references to Wagner and irre­fra­gable confidence to director Sigrid StrømR eibo. Grieg, but for the most part, Reinvere makes his A brilliant, largely Norwegian cast, created a perfor- own music, often meditative, sometimes witty, mance of strength and sophistication…Visually the always deftly orchestrated…This new Peer Gynt production matched the quality and exuberance of is sprawlingly ambitious and dark. Reinvere’s the music…This is a work of undoubted significance eclectic appropriation of musical styles is adroit, that deserves a place in Norway’s contemporary his use of the chorus haunting, his vocal writing cultural landscape. polished, his humour rare but effective. Opera Now, February 2015 Financial Times 2.12. Reinvere has masterly crafted a narrative opera with Jüri Reinvere: Peer Gynt, opera in 2 acts lush string sounds and cantabile winds, broad arches, World premiere: Norwegian National Opera/John Helmer Fiore, sol. Nils Harald Sødal, Marita Sølberg, Ingebjørg Kosmo etc.,

Berg magnificent climaxes which he gently modernises… k

ri 29.11.2014 Oslo, Norway E Frankfurter Allgemeine Zeitung 2.12. Photo:

H i ghl i ghts 1 / 2 0 1 5 new p u b licati o ns

S c o r ES FREDRIK HÖGBERG BENJAMIN STAERN SELIM PALMGREN Konzert für zwei Posaunen Polar Vortex – Symphony No. 1 Lullaby (Kehtolaulu) Op. 17 No. 9 version for two trombones and for orchestra for string orchestra chamber orchestra GE 12605 FG 55011-232-2 8 (score and parts: 33221) GE 12196 JONAS VALFRIDSSON Available again! This is Palmgren’s own SVEN-DAVID SANDSTRÖM A Fragmented Memory; arrangement of the popular cradle song Lyssnande/Listening My Overgrown Little from his 24 piano preludes. Its haunting, for chamber ensemble Tree House restful melody is given a richly harmonious GE12581 for orchestra treatment in this version which is equally GE 12320 at home in a wide variety of ROBERT SCHUMANN A Sudden Recollection: concert programmes. (ARR. ROLF MARTINSSON) Le jardin des plantes From “Five Pieces in Folk Style, op 102” for orchestra Piece 1, 2 and 5 in arrangement GE 12462 for solo clarinet and chamber orchestra GE 12618

C HAMBE R / i n ST R UME N TAL C H o r AL MIKKO HEINIÖ KARIN REHNQVIST Five Preludes for Guitar Salve Regina – Heavenly Queen FG 55011-227-8 for choir SATB and chamber ensemble Text: Marian Hymn (Lat) FREDRIK HÖGBERG GE 11934 (score) GE 12229 (particel) Arbetar-Malins Vals/Worker-Malin’s Waltz for accordion solo SVEN-DAVID SANDSTRÖM Waltz from Accordion King Dödsskepp i natten GE 12625 for tenor, mixed chorus and orchestra Trolltuba Text: Lars Ragnar Forssberg (Swe) version for tuba and piano GE 12569 (score) GE 11598 Flickan kom ifrån sin älsklings möte for tenor solo, male choir TBarB, BJÖRN J:SON LINDH Text: (Swe) (ARR. OSKAR JANNER) GE 12573 Lake District for organ KALEVI AHO Kolme laulua Mawlana Rumin runoihin GE 12599 (Three Songs to Texts by Mawlana Rumi) TOIVO KUULA for mixed choir Three Pieces for Violoncello Text in Finnish (Kolme sellokappaletta) FG 55011-231-5 1. Melodia lugubre op. 17b/8 2. Chanson sans paroles op. 22/1b NILS-ERIC FOUGSTEDT 3. Suru op. 22/2b (ARR. REIJO KEKKONEN) FG 55011-226-1 Romanssi (Romance) for mixed choir JYRKI LINJAMA Text in Finnish Veni redemptor gentium FG 55009-666-0 for organ FG 55011-230-8 SAMUEL LUNDBACK Orchestrated Larsson Songs Preludium in G major for organ Three Songs from Lars-Erik Larsson’s GE 12590 Nine Songs op. 35 ROLF MARTINSSON Text: Hjalmar Gullberg (ARR. JOHAN GUSTAFSSON) Intermezzo from St Luke Passion • Serenad for organ • Jag väntar månen GE 12369 • Kyssande vind HUBERT PARRY (ARR. OSKAR JANNER) Jerusalem New arrangements by Martin Willert for organ for soprano/baritone and orchestra GE 12598 Instrumentation: 2222-2210-timp-hp-strings Orchestral material available on hire as from March

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