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norHIGHLIGHTS 1/2016 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN

Einar Englund – classicist and classic

Marie Samuelsson and the aspect of love NEWS

Watch Jansen play Eliasson in RSPO Play! New symphony by Larsson Gothe It is now possible to view Janine Jansen´s per- Mats Larsson Gothe has recently completed his “ formance of Anders …de Blanche et Marie…” – Symphony No. 3, Eliasson´s violin concerto which is based on material from his opera by Einsame Fahrt in a video the same name. The symphony will be premiered recording from the Stock- by the Royal Philharmonic/Benjamin holm Concert Hall in Octo- Shwartz during the Composer Festival at the ber of last year. Jansen plays Stockholm Concert Hall in April. together with the Royal In connection with the festival, Stockholm Philharmonic db Productions will release a portrait

under Daniel Blendulf. Wedin v a CD including the Symphony No. 2, You will find the film on Ol rspoplay.se and it will be Autumn Diary and The Apotheosis , featuring available there until 27 May. Photo: Jan of the Dance the Västerås Sinfonietta under the direction of er Lindgren Fredrik Burstedt. p

Högberg writes Photo: Jes

for van Keulen Urtext of Sibelius Humoresques Fredrik Högberg will write a Fennica Gehrman has published an Urtext edition of Jean Sibelius’s Six multimedia concerto, including Humoresques for Violin and Orchestra opp. 87 & 89. Based on the composer’s film, for the Dutch violinist Isabel manuscripts, it has an extensive preface and commentary shedding light on van Keulen. The concerto, that the genesis of the work and correcting many misprints and misinterpretations will have a South African theme, in the previous editions. The Urtext edition also includes the early version is commissioned jointly by the of Humoresque No. 1, now published for the first time. The study score is Düssel­dorf SO, the Odense available for sale and the orchestral sets are for hire. A new piano reduction is SO, the Norrköping SO and scheduled for publication later in the spring. It is more pianistic than the cur- Lund j a l the Malmö SO; the premiere is rent one (Ekman, 1922), which was never fully acknowledged by Sibelius. iko N planned for the 2017-18 season. Photo: Bikernieki Forest Sandström’s Passion premieres Sinfonietta Riga, under the direction of On 18 March Sven-David Sandström´s St. John Passion will be pre- Normunds Sne, is taking Jonas Valfridsson´s miered at the Konzerthaus Berlin by Mogens Dahl´s Chamber Choir, chamber-orchestra piece Bikernieku Mezs on soloists and the string quartet Brooklyn Rider. The passion will also be tour of Latvia with four performances in May. the opening work for the Thüringer Bach Wochen on 19 March, after This moving piece by Valfridsson was which it will receive its Scandinavian premiere in Copenhagen and Lund. premiered last November and is written Stefan Parkman will lead the Choir of the West and Choral Union and in memory of the victims (mostly Jews) årdsäter the Pacific Lutheran University Symphony Orchestra in the American G of the mass killings in the forest of premiere of Sandström’s St. Matthew Passion in Tacoma, Washington on Bikernieki outside Riga during the German

22 and 23 March. Photo: Viktor occupation of 1941-45. ic d Beatbox Concerto norHIGHLIGHTS 1/2016 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN by Jennah Vainio Fennica Gehrman has signed a publishing oki Sound samples , video clips agreement for Jennah Vainio’s popular con- j and other material are available at certo Fujiko’s Fairy Tale for beatboxer and aara Vuor www.gehrmans.se/highlights string orchestra drawing on influences from S and/ www.fennicagehrman.fi/highlights such directions as Oriental music, hip hop, l Cover photo: From the opera Medea/Emma Vetter dance, video games and the world of Manga/ (Carl Thorborg), Marie Samuelsson (Josef Doukkali) Anime. The concerto has been performed 18

Editors: Henna Salmela and Kristina Fryklöf times in five years, mostly in the USA, where Photo: Music Fin Translations: Susan Sinisalo and Robert Carroll beatboxer Shodekeh added it to his repertoire and has performed it with the Baltimore Symphony Design: Göran Lind under Marin Alsop. Felix Zenger and RudiRok have been the soloists in . Versions for ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) Printed in by TMG Sthlm, Bromma 2016 symphony orchestra and sinfonietta are being planned.

H ighlights 1 / 2 0 1 6 Tampere Biennale P r emie r es The programme for the Tampere Biennale offers Finnish orchestral classics and highlights. Ville Matvejeff will conduct the Tampere Philharmonic in a concert on 15 April: Usko Meriläinen’s Visions and Whispers Spring 2016 (soloist Mikael Helasvuo) and the premiere of Lotta Wennäkoski’s Amor Omnia Suite . This latter VELI-MATTI PUUMALA Pulses, for vibraphone and marimba work is based on her silent-film score (an Yle commission) and was recorded last year. Paavo Heininen’s Christian Dierstein, 9.2. Freiburg, Germany mammoth organ concerto Aiolos is on the programme for the concert by the Guards Band, with Petri PAAVO HEININEN Komulainen as the conductor and Jan Lehtola as the soloist. Lasting over an hour, the concerto was first Rauhan fanfaari heard in in spring 2014. Guards Band/Pasi-Heikki Mikkola, 9.2. Helsinki, Finland MIKKO HEINIÖ Concerto for Organ and Orchestra Turku PO/Leif Segerstam, sol. Jan Lehtola Record spring for 11.2. Turku (Katedraali Soi), Finland Lidholm at 95 Rautavaara concertos SVEN-DAVID SANDSTRÖM th Seven Pieces for Violin and Orchestra Ingvar Lidholm celebrated his 95 birthday Concertos by Einojuhani Rautavaara will receive O/Modernt CO, Swedish Wind Ensemble/Kasper de Roo, on 24 February. He has just compiled a new, a record number of performances during the spring sol. Hugo Ticcati, 20.2. Stockholm, Sweden season. The Harp Concerto is to get six in Austria in The Giver of Stars revised version of Nausikaa Alone, a scene for NOTUS Choir/Dominick di Orio, 26.2. Chicago, USA April, the first being at the Vienna Musikverein on 4 soprano, chorus and orchestra from 1963, to The Passion of St John texts by Nobel Prize Laureate Eyvind Johnson, April, when the Niederösterreichisches Tonkünstler- Mogens Dahl Chamber Choir, sol. Lars Møller, baritone, orchester begins its tour of Austria. The soloist will Daniel Carlsson, counter tenor, Jens Bjørn-Larsen, tuba to be published this spring. This January saw 18.3. Berlin, Germany performances of Lidholm´s modernistic classic be Xavier de Maistre and the conductor Kristiina Three Poems Poesis , with the NDR Sinfonieorchester in Poska. Five solo concertos by Rautavaara were heard Ensemble Konkret, sol. Marie Alexis, soprano Hamburg, the Royal Concertgebouw Orches- at a Helsinki charity concert at the end of January. 8.4. Stockholm, Sweden Concerto for Flute and Orchestra No. 2 tra in Amsterdam and Brussels, and with the Norrbotten CO /Eva Ollikainen, sol. Tobias Carron Tonhalle-Orchester in Zürich, all conducted 14.4. Luleå, Sweden by Herbert Blomstedt, who in May will lead Kari Tikka JOHAN ULLÉN the Sinfonieorchester des Bayerischer Rund- The Deadly Sins for piano and string orchestra anniversary Musica Vitae/Magnus Fryklund, sol. Johan Ullén, piano funks in another two performances of the work 26.2. Växjö, Sweden in Munich. Conducted by Patrik Ringborg, concert Composer-conductor MARIE SAMUELSSON Poesis will also be played by the Staatsorchester Förnimmelser (Perceptions) – Septet Kassel on 25 March. Kari Tikka will be 70 Ellen Ivansson, clarinet, Daniel Handsworth, bassoon, on 13 April, when a con- Dennis Vasiliev, horn, Anders Inge, violin, Ylvali Zilliacus, viola, Anja Inge, cello, Walter McTigert, double bass cert of his works will be 2.3. Stockholm (Hesselby Chamber Music Festival), Sweden held in his honour at Aphrodite – Fragments by Sappho Temppeliaukio Church Swedish Radio SO/Daniel Blendulf, sol. Katija Dragojevic, mezzo-soprano in Helsinki. Among the 11.3. Stockholm, Sweden items on the programme

Photo: Britt Vuorio KALEVI AHO will be his Armolaulu Kaksi kansankoraalia uruille (Grace Song) and music from the opera Luther. Joni Vikki, Irina Vavilova, organ, 6.3. Helsinki, Finland The soloists will be Jenni Lättilä, soprano, Esa Concerto for Tenor Saxophone and Orchestra Ruuttunen, baritone and Henri Hersta, organ and Pori Sinfonietta/Jan Söderblom, Lappeenranta City piano. Performances of Tikka’s well-received opera Orchestra/Tibor Bogányi, sol. Esa Pietilä 10.3. Pori/17.3. Lappeenranta, Finland Luther have been planned for 2017, the 500th anni- Herbert Blomstedt and Ingvar Lidholm Concerto for Timpani and Orchestra versary of the Reformation. Turku PO/Erkki Lasonpalo, sol. Ari-Pekka Mäenpää 22.4. Turku, Finland BENJAMIN STAERN Waterfall (Imaginative music based on an etching by M. C. Escher)

Commissions for Wennäkoski oki j Gageego!, 20.3. Gothenburg, Sweden and Whittall Pont de la mer; Morceau de concert pour

aaraVuor cor solo et orchestre

Lotta Wennäkoski is composing a new S Guitar Malmö SO/Marc Soustrot, sol. Einar Öhman, horn and/ Concerto as a joint commission from the Kymi l 30.4. Malmö, Sweden Sinfonietta and the Tapiola Sinfonietta. The MATS LARSSON GOTHE soloist will be Petri Kumela and the premiere “…de Blanche et Marie…” Symphony No. 3 Royal Stockholm PO/Benjamin Shwartz will be in Kotka during the 2017 spring season. Photo: Music Fin 7.4. Stockholm (Composer Weekend Festival), Sweden The Sibelius Academy has commissioned a LOTTA WENNÄKOSKI work for symphony orchestra from Wennäkoski, Amor Omnia Suite to be premiered in November 2016. Tampere PO/Ville Matvejeff PianoEspoo has commissioned a Piano 15.4. Tampere (Tampere Biennale), Finland Concerto from Matthew Whittall. The soloist TAPIO TUOMELA Auld Rhymes with the Finnish Radio Symphony Orchestra Kaari Ensemble/Saara Aittakumpu u at the premiere during the 2017 festival will j 13.5. Helsinki, Finland har ö be Risto-Matti Marin, who is happy to col- t KIMMO HAKOLA laborate with Whittall and has recorded his Ky Partia maestoso Susanna Kivistö, organ, 6.3. Helsinki, Finland big piano suite Leaves of Grass . Sibeliussånger (Sibelius Songs)

Photo: Maarit Eija Räsänen, soprano, Annikka Konttori-Gustafsson, piano 19.5. Helsinki, Finland

H ighlights 31 / 2 0 1 56 irén Einar Englund S nie y

– classicist and classic Photo: Ma Erland Johansson’s painting of Englund (1991)

Born 100 years ago, Einar Englund composed music of biting irony ence of war, they provided a means of express- ing his optimistic faith in the dynamics that and great drama, but also of fleeting beauty and subtle romanticism, dominated the world and human life. The same underlying philosophy is reflected in the light, and always brilliantly scored. bright (1985) in which a harpsi- chord adds a completely new timbre to the or- chestral palette. His failing health in the 1990s Einar Englund (1916–1999) is a Finnish clas- The 1960s were a “quiet” decade, during which ultimately prevented Englund from composing sic. After the Second World War, he set himself he composed only some little pieces such as light any new works. By the time he died, he had nev- apart from the National-Romantic trends then songs, the reason for this being ascribed to his dis- ertheless won a growing international reputa- dominant in Finland with an idiom reflecting the appointment in the trend in new music. Englund tion, thanks principally to the many recordings influence of Shostakovich, Bartók and Stravinsky. the critic had made it clear that he abhorred the of his works. He had developed a keen interest in contemporary radical avant-garde, but his silence was also a con- Variety of expression and clarity of message music while still a student at the Helsinki Conser- sequence of the lengthy crisis that followed his first are salient features of Englund’s music. It is vatory, but his teachers favoured a command of the wife’s death. music of biting irony and great drama just as traditional compositional crafts rather than experi- much as of fleeting beauty and subtle romanti- ment. The Piano Quintet he composed as his degree New angles on Neoclassicism cism, and always brilliantly scored. He constantly discovered new and sometimes surprising angles assignment bears witness to this. The “silent” period ended above all with the third on Neoclassicism. For him, the basic Classical symphony, Barbarossa (1969–1971). The next values were not, however, just museum exhibits Musical echoes of the war symphony, the Nostalgic (1976), is one of in a showcase but creative tools – the hallmarks The Continuation War of 1941–1944 between the Englund works most frequently performed. of a classic composer. Finland and the Soviet Union, during which he Its elegiac tone is claimed to have been due to his was called to active service, had a decisive influence sense of being alone with his ideals at a time when on Englund the man and his music. After the war, Modernism based on 12-tone technique reigned C h r isti a n H o lm q v ist when the time came to process his experiences in supreme. He did, however, experiment with do- music, he felt more in tune with Neoclassical irony, decaphony in such works as the Passacaglia, the sarcasm and satire than with safe, familiar Nation- Hymnus sepulcralis for mixed choir, and the Fifth Footnotes al-Romanticism. His new approach had come to Symphony, Fennica (1978). But his basic ap- stay – as had the marches and musical explosions proach continued to be Classical, not experimen- * Works by Einar Englund will be heard at numer- ous concerts in this centenary year. In Kokkola on that, he always insisted, were echoes of the war. tal. His music, and especially his solo and cham- 11 June, the Ostrobothnian Chamber Orchestra His first two symphonies, the War Symphony ber works, had pronounced tonal and melodic will perform his 4th Symphony, and also on the of 1946 and the Blackbird of 1947, placed Englund features, examples being the two piano sonatinas, programme will be his Concerto for 12 Cellos. The in the forefront of Finnish music. He also began to the Piano Sonata and the “happy” Violin Sonata. Saimaa Sinfonietta paid tribute to him in February, gain a reputation as an outspoken critic and as a In the 1980s his idiom took a deeply expressive and the centenary will be evident at several concerts brilliant improviser on the piano. In the 1950s he turn in the Concerto for 12 Cellos known as an in the Korsholm Music Festival in summer. wrote the scores for a number of films, radio and “apotheosis of the dance” and in the Cello Sonata * New, re-copied orchestral parts of Englund’s theatre plays. He also composed concert music, inspired by the sound of church bells. fourth symphony, the Nostalgic, have been pub- such as the Introduzione e Toccata for piano, the The text of the Sixth Symphony (1984, for lished, and an orchestral score is now available for popular first Piano Concerto , in which he was mixed choir and orchestra) consists of aphorisms purchase. often the soloist, and a Cello Concerto. by Heraclitus. For a man with first-hand experi-

H ighlights 1 / 2 0 1 6 Marie Samuelsson and the aspect of love When Marie Samuelsson enters her 60s, it marks the start of a new expressive area in her composing: music overtly exploring love in all its forms. i l oukka D

f Photo: Jose

Physicality, Intellect, Rhythm, Force of Personal- of instrumental resource (despite the relative mod- so it is no surprise that A New Child of Infinity ity – these are the defining aspects, the watch- est forces employed: a clutch of soloists, chamber is dedicated to the composer’s two sons. Whether words, of Marie Samuelsson’s music. Physicality is chorus and chamber ensemble) and expressive this was a factor governing the choice of a smaller felt throughout her music through its powerful depth. It marks both the high point of a period of orchestra than Aphrodite with no clarinets – aside sonor­ities, virile impressionistic timbres heard most mostly chamber composition but also the start of from the bass instrument – or tuba and only pairs spectacularly in the terrifyingly (and terrifically) a new expressive area: music overtly exploring love of horns and percussionists, is unclear. On the elemental Air-Drum III for orchestra (1999), with in all its forms. page the score seems unusually sparse in texture, its huge metal drum constructed from a metal air the orchestra used with delicacy around the whirl- duct which sets the entire atmosphere vibrating. In- A Love Trilogy ing clarinet soloist who plays almost incessantly. deed, the composer remarked to the present writer: Jorun’s scale is also carried over in Samuelsson’s That this concertino is slighter in build and duration, “the physicality in my music is very much attached to latest major project, one which may have particular however, does not mean it is lesser in quality or im- timbre and/or sound” and timbre is something she resonance for the newly betrothed composer – well, portance to the trilogy as a whole. It was premiered works on as a primary aspect of every composition. in 2015 – as she turned 60 (in February this year), in Malmö last November by Johnny Teyssier with Intellect, ever-present in her oeuvre, is best exem- a Love Trilogy (2015-16). If love in all its forms lies the Malmö Symphony Orchestra conducted by plified where it demands something of the listener at the heart of Jorun and, indeed, the micro-opera Marc Soustrot. as well, whether in her electro-acoustic output, the Why Would I Not Believe in Love? that followed in grippingly atmospheric I vargens öga (In the Eye of 2014, it is even more so in Love Trilogy. The open- The Eros Effect the Wolf, 1997), or I Am – Are You? (2001), where ing work is Aphrodite – Fragments by Sappho, a The final panel in the trilogy is still a work in an onstage horn duets with an offstage sampled radiant 21-minute cantata for mezzo soprano and progress at the time of writing, so has not been re- voice, or her acclaimed violin concerto Bastet the Sun orchestra, although in form it can also be viewed leased yet. It bears the intriguing title of The Eros Goddess (2004, named from the Egyptian god- as a continuous song cycle, setting five brief stan- Effect and Solidarity, a reference to the work of the dess who every night killed the snake-demon Apep zas by the Greek Poetess. One of these was discov- South Korean-resident North American writer to allow the sun to rise next day), one of Samuels- ered only as recently as 2014 and is set by her – as and social activist George Nicholas Katsiaficas. son’s most substantial utterances. Her brilliant use the centrepiece – in Jesper Svenbro’s translation Marie Samuelsson interprets the “Eros Effect” as of rhythm as a binding structural agent in her music (Kyprispoem). Its expressive theme, like that of Sap- “the notion that the private love spills over into sol- can be heard in the impressive string orchestral Ro- pho’s familiar verses, is erotic love, of the possessive idarity, moved out in charity and become a social tations (1997/2003), a brilliantly conceived textural desire for a woman that in turn possesses the lover. movement.” Added to her expressed opinion that fantasia on intertwining tempi and in the chamber In musical terms it builds on the lithe vocal lines “Hatred and violence are taking too much space in ensemble piece Flow (2000), where the listener’s ear and instrumental depth of Jorun – orm i öga, the the media and in social media today, while love is is taunted and caressed simultaneously. The imme- composition which now seems an enabler for the difficult to approach, on a philosophical level” and diacy of expression of her music, instantly recogniz- Love Trilogy. Several extraordinary passages see it is clear that The Eros Effect and Solidarity is set able as hers, is testament to the force of her musical some of Sappho’s words declaimed in whispers by to be the climax and summation of the Trilogy. This personality, as in the mesmerizing Airborne Lines members of the orchestra! The cantata will receive assertion will only be verified, however, at the pre- and Rumbles (2009) or Singla (2007) , arguably its world premiere in Stockholm on 11 March by miere in October 2016, to be given by the work’s her finest orchestral work to date. Katija Dragojevic and the Swedish Radio Sym- dedicatees, the Nordic Chamber Orchestra directed All these elements unite in her largest work phony Orchestra conducted by Daniel Blendulf. by Sarah Ioannides. to date, the two-act chamber opera, Jorun – orm The central span of the trilogy is A New Child Physicality, Intellect, Rhythm, Force of Per- i öga (Jorun Snake Eye; 2012-13). Lasting around of Infinity, a smaller-scale clarinet concertino, sonality – these have been the defining aspects, fifty-four minutes, this is a deeply affecting and at- roughly half the length of Aphrodite and inspired the watchwords, of Marie Samuelsson’s music mospheric tale of hope, naivety, betrayal, loss and by a poem of the Swedish poet Göran Sonnevi, hitherto. Love now needs to be added to the list. (at length) a hard-won understanding of existence. the recipient of the Nordic Council’s 2006 Litera- Jorun is also the composer’s richest score in terms ture Prize. Here, the focus is on the love of a child, G u y r I C K a r d s

H ighlights 1 / 2 0 1 6 r E P E r to i r e tips R E V IEWS 21st century works for mixed choir LINDA ALEXANDERSSON tional fugue. The third may also be taken as a set of varia- Three Songs from the Dominican tions on a chorale, using various types of canon, also at textual level. The result is relaxed, communicative music. Breviary (2013) Dur: 7’ org for SATB divisi b hor

OLLI KORTEKANGAS T

Text: Marian texts from the Breviary of the Dominican Order (Lat) l ar This work is a homage to the composer Arvo Pärt, whose The Return (2014) Dur: 15’ C basic triadic technique has inspired it. The work consists of three for SATB divisi movements: Memento, Maria mater gratiae and Gloria tibi, Text: Wendell Berry (Eng) Photo: where melodic lines weave themselves together into a unity. The Return is based on the poem The Mad Farmer, Flying the Flag Emma Vetter and Karl-Magnus Fredriksson The work was premiered by the Chamber Choir at the Malmö of Rough Branch, Secedes from the Union by the well-known US Academy of Music. writer and environmental activist Wendell Berry. The poem is a Medea – Magnificent and Monstrous powerful statement against the faceless audacity of the market What is most fascinating with Daniel Börtz´s “Medea” TINA ANDERSSON economy and in favour of sustainable development. The Return is how he lets the pain spot of perfidy, hate and death be washed over by beauty and brotherly affec- Dur: 6’ is skilfully-written, colourful music, its expressive scale ranging Love´s Philosophy (2013) tion… The music depicts characters and situations, it for SSATTBB from virtuosic brilliance to lyrical, meditative moods. The Tapiola Text: Percy Bysshe Shelly (Eng) Chamber Choir commissioned the work for its 30th anniversary simmers and boils, it anticipates and is anxious… It “Nothing in the world is single; all things by a law divine in concert in 2015. ranges from intensive suggestion and restless weep- one spirit meet and mingle. Why not I with thine?” Nature and ing or filmy strings, over vibrating emotions, marked romanticism combine here in the best possible way. Tina JACOB MÜHLRAD rhythmical percussion accents and violent outbursts, Andersson plays with the acoustics by placing the choir in spe- Nigun (2014) Dur: 11’30’’ to endless tranquillity in chaos… cific positions to bring out echo effects. Love’s Philosophy is for double choir divisi a cappella Emma Vetter´s dramatic soprano is colourful and ex- dedicated to the Vocal Art Ensemble of Sweden and Jan Yngwe. Text: Fragment from Jewish church services (Heb) ­pansive; her Medea raises levels of emotion to the Jacob Mühlrad´s idea with this piece was to do an abstraction ex­tremes and stretches the limits… Confronted with SVEN HAGVIL of a Jewish service. The lyrics are fragments of different ser- infan­ti­cide her madness is perforated by flashes of Orpheus with His Lute (2013) Dur: 5’30’’ vices. The word nigun means melody. Within Kabbalah (a part of lucidity and motherly love… Alone in the final scene Emma for SSAATTBB Jewish mysticism) the wordless melody is often referred to, as it is Vetter’s Medea is human, magnificent and monstrous. Text: William Shakespeare (Eng) thought to communicate more than a melody with words. Nigun Svenska Dagbladet 24.1. This work was commissioned by the Kammerchor Hannover and was premiered by the Swedish Radio Choir in 2014. Already at the world premiere Medea stands out as its conductor Stephan Doormann for their project “Shakespeare a modern classic, deeply affecting without being the 21”. The music reflects the undulating tones from Orpheus´ lyre EINOJUHANI RAUTAVAARA least sentimental. that make even the waves of the sea lie down to rest. Four Romances from the opera Rasputin Opus 66 Febr-March 2016 (2003/2012) Dur: 8’ for SAATBB KIMMO HAKOLA The utmost operatic art… Masterly! Text: Einojuhani Rautavaara/ Dagens Nyheter 25.1. De kaspiska tigrarnas gud (The God transl. Jaakko Mäntyjärvi (Fin/Eng) of the Caspian Tigers) (2013) Dur: 55’ Rautavaara’s opera Rasputin featured a group of singing gypsies. This is his sixth opera, and it is without doubt his best. Seven labyrinths for soprano, baritone and Instead of borrowing original Roma music, Rautavaara wrote Swedish Radio Kulturnytt 24.1. mixed choir his own and later thought it was a pity to leave the melancholy, Daniel Börtz: Medea Text: Stella Parland (Swe) moonlit songs to languish within the confines of the opera. World premiere: The Royal Swedish Opera/Patrik Ringborg, soloists This piece is a fantastic journey. Parland’s text is brimming with He therefore arranged a set of “unabashedly sentimental and Emma Vetter, Karl-Magnus Fredriksson et al., director Stefan Larsson, lively, colourful, allegorical imagery and Hakola writes that the thoroughly melodic” pieces, first for male choir, and in 2012 for 23.1.2016 Stockholm, Sweden markings in the choral score – light breeze, fresh breeze, ice, mixed choir. The song Troika trotting is dedicated to his wife Sini, beasts and paradise – illustrate the mood evoked by the text. as the lyrics were inspired by the green of her eyes. Hakola’s music is a mixture of vibrant and richly-nuanced sound- Bridge in London scape enhancing Parland’s magical sense of mystery. KARIN REHNQVIST Emerging out of a rumbling darkness, expertly controlled Tenebrae (2012) MIKKO HEINIÖ by Rouvali, the concerto Dur: 7’ for SATB divisi swoops and soars between Ilta (Evening) (2013-14) Dur: 55’ Text: Paul Celan (Ger)

hard-edged passages in which äcker 11 Dance Songs for mixed choir, Tenebrae was commissioned by the Norwegian Ultima Festival b

clarinet and cello a five-note motto is never ats for the Latvian Radio Choir. It was included in the Concrescence m Text: Lorca, Whitman, Baudelaire, Kivi, Boye et al. Project, which was initiated by Lasse Thoresen to investigate un- far away and a swooning but (original languages) tempered scales and song techniques found in folk music from never quite resolved theme for Photo: A skilfully constructed suite of 11 songs divided into five thematic diverse parts of the world, with Western choirs. The means of full orchestra. At times, even Hardenberger seemed entities connected by intermezzos on the clarinet and cello. The expression include quarter tones and quasi-imitative passages to be playing on the very edge of the attainable. music is demanding without seeming difficult, at the same time alternating with homophone sections accompanying Paul Celan’s The Guardian 29.1. leaving room for the simple and beautiful. The heart of this cycle, sensitive text. Rolf Martinsson: Bridge – Trumpet Concerto No. 1 Kaukainen viita, is a moving lullaby sung a cappella. Ilta was pre- Philharmonia Orchestra/Santtu-Matias Rouvali, miered together with the ERI Dance Theatre and a choreography SVEN-DAVID SANDSTRÖM sol. Håkan Hardenberger, 28.1.2016 London, UK by Tiina Lindfors, making it an all-round experience. The Half-Finished Heaven (2013) Dur: 5’ Five aspects of love LARS KARLSSON for SMzATBarB The five movements depict various aspects of love Tre motetter (Three ) (1999) Text: Tomas Tranströmer/transl. Robin Fullton (Eng) which Martinsson has captured in intense romantic Dur: 18’ “The eager light streams out, even the ghosts take a draught.” expressivity. He utilises the large string orchestra for SSAATTBB and soprano Tranströmer´s existential and hopeful poem is painted in Sand- to the full extent and Lisa Larsson sang exquisitely Text: from the Psalms (Swe) ström’s setting by soft and bright strokes. The Half-Finished with charisma and expression. The three motets together constitute a little choral symphony, Heaven was commissioned and premiered by the Sofia Vocal Norrköpings Tidningar 5.2. but they can also stand alone. Karlsson has drawn on several Ensemble, and has now been recorded on the CD One Early Spring Rolf Martinsson: Garden of Devotion classical genres, from medieval parallel organum to a conven- Evening (CR017). Norrköping SO/Michael Francis, soloist Lisa Larsson, soprano, 4.2.2016 Norrköping, Sweden

H ighlights 1 / 2 0 1 6 Masterly Pettersson recording The Norrköping Symphony Orchestra articulate the music’s ‘soaring melodies and grippingly searing polyphony… Lindberg seems to feel more keenly the work’s intense range of mood – the ferocity and depth of its emotion, the consolation that this engenders – and communicates this to his orchestra in a masterly fashion. Gramophone January 2016 Allan Pettersson: Symphony No.13 CD: Norrköping SO/Christian Lindberg (BIS-2190) a l Overwhelming Theatron e

Hakola’s crowd raiser lm a It was music that could be felt throughout one’s Kari Kriikku gave a unique performance…The music S enna whole body. In the tranquil middle movement the incorporates many different styles from Jewish music H soloists were initially surrounded by soft waves in to gypsy music and blues. The audience was given Mikko and Riitta Heiniö at Turku Cathedral Photo: the strings and winds. In the solo parts it rippled evidence that contemporary music is not difficult to gently until Bridger and Raab restored order in the appreciate...a delightful concert. Sacral beauty in Heiniö concerto finale and drove the music up to the boiling point Chosun-ilbo 16.11. The catchy starting point for the Heiniö concerto is in a furious display of virtuosity. The third movement had wild rhythms, which led the Summer Hymn [Suvivirsi]…it makes pleasingly Helsingborgs Dagblad 9.11. to the Finale, the definite highlight, where Klezmer colourful use of the theme material, drawing on the Tobias Broström: Theatron vast range of timbres and volumes of both orchestra music takes over. The main melody here, in the Helsingborg SO/Stefan Solyom, sol. Johan Bridger, Patrick Raab, and organ. The concerto could be described as sunny harmonic or so-called gypsy minor, sounds infinitely 5.11.2015 Helsingborg, Swedenf and tranquil, beautiful in a sacral way. Rondo 3/2016 beautiful. And the audience appreciated this work, which was also a crowd raiser: rarely can we see such The Turku Philharmonic and Jan Lehtola placed Mikko overwhelming enthusiasm. Heiniö’s brand-new organ concerto on a pedestal. The Stavanger Aftenblad 30.1. dialogue between orchestra and organ was enjoyable Kimmo Hakola: Clarinet Concerto in the Turku Cathedral acoustics… The music is bright, Seoul PO/Osmo Vänskä, 13.11.2015 Seoul, South Korea undulating, even thundering. Turun Sanomat 13.2. Stavanger SO/Christian Vasquez, 28.1.2016 Stavanger, Norway, Mikko Heiniö: Concerto for Organ and Orchestra sol. Kari Kriikku World premiere: Turku PO/Leif Segerstam, sol. Jan Lehtola, 11.2.2016 Turku, Finland A microtonal escapade Versatile Kleemola

Lily-Marlene Puusepp The CD is a hefty survey of electro-acoustic music. Mikko Heiniö’s Through Green Glass is nothing short Expressive harp Electronics expand an instrument or turn it into a of a masterpiece. Kleemola’s versatility does justice super-instrument, unleashing caustic humour from The basic tone of Einojuhani Rautavaara’s Harp to its wide palette of musical devices and influences. the music, as in the poppy microtonal Boost by Concerto is romantic but the mode of expression However, instead of adopting different styles as such, Juhani Nuorvala. is surprisingly vigorous. The soloist has a chance to Heiniö manages to capture the nature or “spirit” of Rondo 2/2016 demonstrate the harp’s enormous expressive range, them; as if his works were elaborations of the very from ethereal arpeggios to fierce glissando effects. Juhani Nuorvala: Boost bedrock of our musical understanding. FMQ 11/2015 Hufvudstadsbladet 1.2. CD: Defunensemble/Markus Hohti, cello, Emil Holmström, Mikko Heiniö: Through Green Glass keyboard (SRCD-1014 8 “Define Function”) Einojuhani Rautavaara: Harp Concerto CD: Patrik Kleemola, guitar (Pilfink JJVCVD-150) Project orchestra/Sakari Oramo, sol. Lily-Marlene Puusepp, 30.1.2016 Helsinki, Finland (charity concert) The Accordion King CD of Aho piano works Fredrik Högberg has written a concertizing accordion part that Piano music has been a side-line interest for Aho, demands a phenomenal technique and a clear musical form, which for a violinist should not come as a surprise. But and with soloist passages that Jörgen Sundeqvist executed one should be wary of dismissing the pieces on this CD masterfully…The music caresses itself onwards in wonderful as occasional music, or as the insignificant juvenilia of lines, and in the next moment it bombards us with full-bodied a composer who was to become a famous symphonist; rhythms, and overpowering and surprising sonorities. Aho’s capabilities (which were apparent very early on sson Västerbottenskuriren 6.2. l ar in his career) are no less evident in his piano music. K Fredrik Högberg: The Accordion King Klassik.com 31.1. Norrlandsoperan SO/Elim Chan, soloist Jörgen Sundeqvist, Kalevi Aho: Works for Solo Piano 5.2.2016 Umeå, Sweden

CD: Sonja Fräki (BIS-2106) Photo: Birger

Lush, haunting cantata by Kortekangas The concert begins with the world premiere of a lush, haunting cantata by contemporary Finnish composer Olli Kortekangas. “Migrations” commemorates the Finnish migration to North America, with painterly words by Northern Minnesota poet Sheila Packa, whose grandparents are Finnish. Minnpost 5.2. A very intriguing piece. TwinCities.com 4.2. Packa described her work as uplifting, and Kortekangas echoed that composition- ally...he showed a deft ability to make use of the chorus as a percussive instrument and also made excellent use of the instrumental soloists; the horn solos and duets were particularly excellent, with their rich, silvery tone. stephcranford.tumblr.com Olli Kortekangas: Migrations World premiere: Minnesota Orchestra, YL Male Voice Choir/Osmo Vänskä, sol. Lilli Paasikivi, 4.2. 2016 Minneapolis, USA

H ighlights 1 / 2 0 1 6 new p u blic ati o ns

CHORAL/V ocal ANNA CEDERBERG-ORRETEG RICHARD FALTIN JACOB MÜHLRAD Namnet Människa Solo Songs / Samlade solosånger An’im Semiraus for mixed choir and recitation / Kootut yksinlaulut for mixed choir a cappella Text: The UN Prayer (Sw) German born Richard Faltin (1835–1918) (reduced version SSAATB) GE 12884 was in his day a leading figure on the Adaption: Sofia Ågren Finnish musical scene. This edition Text: Old Jewish song MATTIAS EKSTRÖM KOIJ presents his complete song oeuvre (Hebrew) Ave Maria including six songs now published for GE 12856 for female choir a cappella the first time. Text: in Latin FG 55011-266-7 KARIN WESTBERG GE 12891 I folkviseton MARTIN LARSON for mixed choir CHRISTIAN ENGQUIST Upon the Body of Our Blessed and solo voice The Brightest Spring Lord, Naked and Bloody arr: Emil Westberg for mixed choir a cappella for mixed choir a cappella Text: Nils Ferlin (Sw) Text: Christian Engquist (Eng) Text: Richard Crashaw (Eng) GE 12883 GE 12874 GE 12882

INSTRUMENTAL/CHAMBER ORCHESTRAL TUTORS

TIMO-JUHANI KYLLÖNEN TOBIAS BROSTRÖM LOUHOS, JURIS, Two Romances Theatron LIU-TAWASTSTJERNA for cello and piano for two percussion soloists and orchestra Pianon avain 2 / Piano Key 2 FG 55011-276-6 GE 12661 (score) GE 12663 (study score) FG 55011-186-8 (revised edition) Hermes GE 12653 (score) GE 12655 (study score) Toccata for two accordions Version for extended orchestra FG 55011-275-9 (parts) EINAR ENGLUND ROLF MARTINSSON Symphony No. 4 Suite fantastique FG 55011-278-0 (score) music from Concert Fantastique for clarinet and piano TOMMIE HAGLUND GE 11977 Serenata per Diotima for string orchestra PER THUNARF GE 12686 (score) GE 12688 (study score) Parafras på Jämtländsk brudmarsch SVEN-DAVID SANDSTRÖM (Paraphrase on Bridal Concerto for Flute and Orchestra No. 2 March from Jämtland) GE 12673 (score) GE 12675 (study score) GÉZA SZILVAY for organ ALBERT SCHNELZER Supplementary Material GE 12844 Appendix to the Colourstrings Magical Allusions HARRI WESSMAN Violin ABC Book D for oboe and small orchestra FG 55011-234-6 Six Violin Pieces GE 12799 (score) GE 12801 (study score) for Alisa Ojanen / Kuusi viulukappaletta JEAN SIBELIUS Alisa Ojaselle Six Humoresques for Violin FG 55011-280-3 and Orchestra opp. 87 & 89 MATTHEW WHITTALL FG 55011-261-2 Score (Urtext edition) Leaves of Grass JONAS VALFRIDSSON 12 preludes for piano Temples of Kamakura FG 55011-279-7 for orchestra GE 12703 (score)

new C ds LARS KARLSSON LARS-ERIK LARSSON MARTIN WEGELIUS Jaguaren Symphony No. 2, Orchestral Sånger (Songs) Akademiska sångföreningen/Kari Turunen Variations op. 50, Hedvig Paulig, soprano, Tuomas Fuga-9406 (”I Dreamt”) Barococo Suite Lehtinen, baritone, Gustav Djupsjöbacka, Helsingborg SO/Andrew Manze piano, Spira Ensemble CPO 777 672-2 (Orchesterwerke Vol. II) Fuga-9410

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