Romantic – anall-round Armas Järnefelt Samuelsson Marie Focus on NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDIC HIGHLIGHTS 4/2018 NEWS

Joonas Kokkonen centenary 2021 Mats Larsson Gothe awarded Th e major Christ Johnson Prize has been awarded to Th e year 2021 will mark the centenary of the Mats Larsson Gothe for his …de Blanche et Marie…– Jesper Lindgren Photo: birth of Joonas Kokkonen. More and more Symphony No. 3. Th e jury’s motivation is as follows: music by him has been fi nding its way back into ”With a personal musical language, an unerring feeling concert programmes in the past few years, and for form, brilliant orchestration and an impressive craft his opera Viimeiset kiusaukset (Th e Last Temp- of composition, Larsson Gothe passes on with a sure tations) is still one of the Finnish operas hand the great symphonic tradition of our time.” Th e most often performed. Fennica Gehrman has symphony is based on motifs from his acclaimed published a new version of the impressive Requi- opera Blanche and Marie and was premiered by em he composed in 1981 in memory of his wife. the Royal Stockholm Philharmonic during their Th e arrangement by Jouko Linjama is for organ, Composer Weekend Festival 2016. mixed choir and soloists. Th e Cello Concerto has also found an established place in the rep- ertoire; it was heard most recently in the Finals Söderqvist at the Nobel Prize of the International Paulo Cello Competition in Concert October 2018. Ann-Sofi Söder- Photo: Maarit Kytöharju Photo: qvist’s Movements Photo: Pelle Piano Pelle Photo: opens this year’s Vuorjoki/Music Saara Photo: Nobel Prize Con- cert in Stockholm on 9 December. Th is is music about movements Whittall and Heininen in our time: ref- ugees on the run commissions Matthew Whittall has been commissioned to and people’s vul- Ann-Sofi Söderqvist nerability. Kari- write the obligatory piece for the Banff Inter- na Cannelakis conducts the Royal Stockholm national String Quartet Competition in August Philharmonic. Söderqvist has also attracted 2019. Another work to be premiered next year is Tommie Haglund festival attention during Gehrmans’ 125th anniversary the commission from Musica Nova for A three-day Tommie Haglund festival took for her choral work What Is Life? , which was the Crash Ensemble. It will be on the festival’s place on 19-21 October in Halmstad. Fifteen part of the project #swedishchoralmusic, and as programme on 2 February, in Helsinki. of his chamber and orchestral works were per- composer of Gehrmans’ jubilee work, City Life Paavo Heininen is composing a piece for vi- formed by top musicians from the USA, Eng- for orchestra, a companion piece to Lars-Erik olin and orchestra as a commission from the St. land, and Sweden, e.g. Jakob Kullberg Larsson’s Pastoral Suite (premiered by O/Mod- Michel Strings. Th ere will be two performances: as soloist in the cello concerto Flaminis Aura ernt Soloists and New Generation on 11 No- on 23 May in Mikkeli and 24 May in Helsinki. and Ilya Kaler as soloist in the concerto vember). Th e soloist will be Kaija Saarikettu. Hymnen an die Nacht. Th e Helsingborg Sym- phony Orchestra performed under the direction of Joachim Gustafsson. (See: Reviews) Kalevi Aho at 70 Kalevi Aho will be 70 on 9 March 2019. Th ere will be no

Photo: Romain Etienne Photo: fewer than 12 premieres during 2019, starting with the Con- HIGHLIGHTS certo for Two Bassoons composed on the initiative of Bram NORDIC 4/2018 van Sambeek, himself a bassoonist. Th is will be at a concert NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN by the Warsaw Philharmonic Orchestra on 18 January, and Sound samples , video clips will be followed the next day by Kirje tuolle puolen (A and other material are available at Letter to the Netherworld) for string orchestra commis- www.gehrmans.se/highlights sioned by the Ostrobothnian Chamber Orchestra. On 11 May, the Triple Concerto for Violin, Cello and Piano will receive its world premiere by the Cover photo: Marie Samuelsson (Josef Doukkali) Antwerp Symphony Orchestra and the Storioni Editors: Henna Salmela and Kristina Fryklöf Trio, and the previous day the Lapland Chamber Translations: Susan Sinisalo and Robert Carroll Orchestra and Ismo Eskelinen will perform his new Design: Tenhelp Oy/Tenho Järvinen Guitar Concerto. Th e Lahti Symphony will also celebrate ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) Aho by premiering his 17th Symphony on 4 April – a joint Printed in Sweden by TMG Sthlm, Bromma 2018 commission by the Lahti and Gothenburg orchestras.

HIGHLIGHTS 4/2018 Cecilia Damström Cecilia Damström (b. PREMIERES 1988) has been awarded Photo: Marthe Veian MarthePhoto: the Rosenberg-Gehrmans January–March 2019 Scholarship 2018 for a KALEVI AHO Concerto for Two Bassoons young composer. Gehr- and Orchestra Warsaw PO/ Niklas Willén, sol. Bram van mans is also starting a col- Sambeek, Leszek Wachnik laboration with her. De- 18.1. Warsaw, Poland spite her young age, Cecilia Kirje tuolle puolen (Letter to the Netherworld) Damström already has a Ostrobothnian CO/Juha Kangas long list of works, including 19.1. Kokkola, Finland orchestral, chamber and VELI-MATTI PUUMALA Hommages Fugitifs 2 (9 choral music, as well as two bagatelles for piano): No. 1 chamber operas. To start Emil Holmström FLASHFLASH FFLASHLASH 30.1. Kaustinen, Finland with, Gehrmans is publish- ing three short orchestral MATTHEW WHITTALL Cecilia Damström A new work for ensemble pieces: Lucrum, Tundo! Crash Ensemble Premiere of Nuorvala’s Flash Flash 2.2. Helsinki, Finland (Musica nova) Th e opera Flash Flash by Juhani Nuorvala is to be pre- and Infi rmus, as well as a trilogy of quintets inspired by the JÖRGEN DAFGÅRD miered on 9 February, at next year’s Musica nova Helsinki. lives of three women, Aino , Minna and Helene, and the Tableau vivant for violin and orchestra Malmö SO/Anja Bihlmaier, sol. Daniel Th ere will be two performances, after which it will enter string quartet Letters composed for the Brodsky Quartet. Lozakovitj, violin the repertoire of the Espoo Th eatre with four more. Th e At present Damström is working on a commission for the 6.2. Malmö, Sweden production will be directed by Erik Söderblom, with a Finnish National Opera, a children’s opera Planet of the An- JACOB MÜHLRAD cast that includes Tuuli Lindeberg, David Hackston, Concert opening piece imals, which will have its premiere in March 2019. Dam- Gävle SO/Daniel Bjarnason Martti Anttila and Sampo Haapaniemi. ström has studied composition at the Tampere University 6.2. Gävle, Sweden Flash Flash has also been called the Warhol Opera, be- of Applied Sciences with Hannu Pohjannoro, and has just JUHANI NUORVALA cause the English libretto by Juha Siltanen is an exhilarating completed her Master’s Degree under Luca Francesconi at Flash Flash (opera) NYKY Ensemble/Nils Schweckendiek, rewind of the life of Andy Warhol. Th e music is a fearless the Malmö Academy of Music. sol. Tuuli Lindeberg, David Hackston, combination of classical, minimalist and pop. Martti Anttila, Sampo Haapaniemi etc. 9.2. Helsinki, Finland (Musica nova) ALBERT SCHNELZER Jacob Mühlrad’s Time Emperor Akbar for chamber orchestra Choral premieres Västerås Sinfonietta/Anja Bihlmaier Jacob Mühlrad’s large-scale a cappella A number of exciting choral premieres 21.2. Västerås, Sweden work Time was premiered by the Swed- has taken place during the past months. Piano Concerto – This is Your Kingdom ish Radio Choir and Ragnar Bohlin in Karin Rehnqvist’s Songs from the North, Swedish Radio SO/Thomas Søndergaard, Photo: Elisabeth Ohlson Wallin Ohlson Elisabeth Photo: Stockholm on 17 November. In the work built on Inuit poems, was premiered by sol. Conrad Tao 14.3. Stockholm, Sweden Mühlrad has translated the word time the American chamber choir Sacred OLLI KORTEKANGAS into 27 diff erent languages and arranged & Profane in Berkeley. Kjell Perder’s When not if (Five Love Songs) them in order of timbre. Th e work also Befria de förtryckta! (Set the Oppressed Nicholas Söderlund, bass, Hans-Otto Ehrström, piano includes excerpts of the Psalm 19 in He- Free!) had its fi rst performance with 9.3. Naantali, Finland brew and in English. Time is an interna- the Danderyd Vocal Ensemble and was TOBIAS BROSTRÖM tional co-commission from the Swedish heard again at the Lund Sacred Con- Concerto for Two Trumpets and Orchestra Radio Choir, Cappella San Francisco, temporary Music Festival in October. Malmö SO/John Storgårds, sol. Håkan the Chamber Choir and WDR October also saw the premieres of An- Hardenberger, Jeroen Berwaerts 14.3. Malmö, Sweden Rundfunkchor Köln. Th e US premiere na-Karin Klockar’s Forever Hurts per- is scheduled for 23 February in Berkeley, formed by the Esoterics in Seattle, and TOMMIE HAGLUND Symphony No. 1 the Finnish premiere 10 March in Hel- Sven-David Sandström’s In paradisum Royal Stockholm Philharmonic/ Tobias Ringborg sinki and the German premiere 14 June by the Lund Vocal Ensemble, at the 28.3. Stockholm, Sweden in Cologne. Lund Choral Festival. (Stockholm Composer Weekend) KAI NIEMINEN Meri-LappiMeri-Lappi StringString QuarteQuartett FragmentalFragmental ReflRefl ectionsections String quartets by Kai Nieminen Osmo Palmu,Palmu, guitarguitar String Quartet No. 3, ‘Gestures of Winter’, by Kai Nie- 30.3. Oulu,Oulu, FinlandFinland minen has already had 15 performances. Composed in 2017 for the Meri-Lappi String Quartet, it extols the wonders of the arctic winter: the Northern Lights, darkness shrouded in mystery, and frosty shivers. Th e work is one of the items on a CD to be released by Mika Ahonen Photo: Pilfi nk Records on 5 March and including all three Nieminen string quartets. While on tour in autumn 2018, the Meri-Lappi Quartet performed also the string quartets by Juhani Nuorvala and Jaakko Kuusisto in addition to Ges- tures of Winter.

HIGHLIGHTS 4/2018 Armas Järnefelt – an all-round Romantic Next year will mark Armas Järnefelt’s 150th anniversary of birth. Järnefelt was defi nitely one of the most exciting and most original Finnish composers of the Romantic era. Not until the present cen- tury has the richness of his music been truly appreciated.

rmas Järnefelt (1869–1958) was was he who composed the earliest born into a patriotic, arts-loving Finnish fi lm score, for Laulu tuli- family. His close connection with punaisesta kukasta (Th e Song of was refl ected in his the Crimson Flower, dir. Mauritz Aown compositions in National-Romantic vein. Stiller) premiered in 1919. Järnefelt studied with Martin Wegelius at the Järnefelt composed his six-move- Helsinki Music Institute in the late 1880s, and ment Serenade in 1893 while composition in and Paris in the early years studying in Paris as a pupil of Jules of the following decade, combining national ele- Massenet. It was fi rst performed in ments with his Late-Romantic idiom. Th e music Helsinki in the spring of that year. of Richard Wagner, in particular, became a ma- Some claim they can detect French jor model for him. infl uences, and the second and third movements in temporary Helsinki concert audiences and the In 1893, Järnefelt married Maikki Pakari- particular call Gabriel Fauré to mind. Th e special critics had not a good word to say for it. Th is nen, a soprano, and through her opera career he feature of this Serenade is its many eloquent solos. must have been a great blow for Järnefelt, as he soon got a chance to conduct opera in . It is a surprisingly mature piece and reckoned to be let the work be forgotten. Th is paved the way for the role of conductor that one of Järnefelt’s most interesting multi-movement Th e Suite in E fl at (1897) consists of fi ve would later dominate his career. His interest in works. orchestral character pieces representing a varie- Wagner was also visible here, and he would in ty of styles in Järnefelt’s customary manner. By time conduct almost all the Wagner operas. Infl uences of Central the time he wrote it, he had been working in Not until the present century has the richness Th e Symphonic Fantasy (1895) is a romantic Germany for some time, and this can be heard of Armas Järnefelt’s music been truly appreciat- synthesis, astoundingly expressive and origi- in the Suite. Th e Finnish national elements have ed. In this respect, he resembles Erkki Melartin, nal. Its National-Romantic ethos is especially mainly been replaced by, for example, hints of at one time familiar to concert audiences main- marked in the lyrical passages, but the full Ro- beautiful German folk Ländler, and the move- ly only for his solemn march for the play Th e mantic trends of Central Europe are also very ments vary in style from Wagnerian to Romantic Sleeping Beauty; for the name Järnefelt is most much in evidence. While studying in Berlin, Russian. often associated with his beautiful Berceuse Järnefelt had been introduced to the very latest Possibly the best-known orchestral work for violin and small orchestra, in its various ar- ideas on orchestration. Th e infl uence of Strauss by Järnefelt is the symphonic poem Korsholma rangements. Astonishingly little attention has and Wagner can be sensed in the textures, forms (1894), which, like the Symphonic Fantasy, has been paid to his other works. Th ere are, perhaps, and timbres. Th e aesthetic world of the Sym- National-Romantic passages and, among other two reasons for this, as he pointed out in a radio phonic Fantasy, modern for its times and avoid- things, allusions to Finnish folk tunes. Th e infl u- interview he made in old age: one was that, like ing clear formal schemes was too much for con- ence of Wagner is audible in the second half, and many of his Finnish composer contemporaries, the piece ends with an imposing quotation from he was overshadowed by the internationally fa- the hymn Ein feste Burg. mous Jean Sibelius, and the other was his focus Armas Järnefelt was defi nitely one of the most on conducting. exciting and most original Finnish composers of the Romantic era, and his fi rst-class works de- Stylistic diversity serve a more frequent hearing. Th e orchestral works of Armas Järnefelt are both original and bold. Th e instrumental parts are of- Pasi Lyytikäinen ten demanding, especially in the quick passages, and he often arrived at some interesting formal solutions. Th e most distinctive feature of his mu- Footnote sic is, however, its stylistic diversity, including the In honour of the jubilee year, Fennica Gehrman is publishing previously unpublished works by infl uence of Sibelius and Finnish folk music, and Järnefelt. One of these is Miranda, the incidental of German, French, Russian and other Roman- music to the fairytale play by Topelius (1901). The ticism. He wrote relatively few works, but they Lahti Conservatory and Lahti Youth Theatre will be cover genres ranging from solo songs to stage performing it on 1–2 February. music and from cantatas to utility music, and it

HIGHLIGHTS 4/2018 Love and musical fl ying in Marie Samuelsson’s music Th e Love Trilogy – three commissioned works composed in 2014-2016 – will soon be available on a CD-portrait which aims at answering the ques- tion of how contemporary music can be a language of the emotions and ex- press romanticism in a modern way. “From a conversation with Samuelsson I understand how important modern music can be, and how it can, in its own special way, tackle essential feelings and diffi cult subjects. Above all, I understand that it is still needed”, says the author Elin Hermansson.

tions and express romanticism in a modern way. been extended to such solidarity as can arise Th is is quite in line with Samuelsson’s composi- between people. Th e text to the music which is tional work in general, which often investigates recited collectively by the orchestra was worked bodily and sensual presence in music. Th e solo out from George Katciafi ca’s article Th e Eros Ef- parts are not seldom worked out in collaboration fect (1989), and opens with the words, ”Humans with the musicians who are going to perform the have an internal need of freedom.” It describes music. Th ere are no mathematical formulas here, how mankind, by combining rationality and emo- Photo: Josef Doukkali Photo: but instead she takes advantage of the physical tional intuition, can come together and create 018 has been an eventful year for Marie capacities available. Perhaps this less individ- freedom movements. Th e work was premiered Samuelsson. It began with the Ger- ualistic way of creating music contributes to a by the Nordic Chamber Orchestra and the con- man premiere of her orchestral work somewhat more organic and vivid result. ductor Sarah Ioannides, who later took it along Air Drum III with the MDR Sinfonie- Th e fi rst part of eTh Love Trilogy, Aphrodite to the Tacoma Symphony Orchestra in the USA, 2orchester, for which the three large ventilating – Fragments of Sappho, for mezzo-soprano and where, according to the composer, it led to some shafts, two metres high, were transported all the orchestra, was written on commission from the heated discussions. In this way the work can also way from Stockholm to Leipzig for the concert. Swedish Radio Symphony Orchestra and the be seen as a political statement, and it appears at a After that she was off to the USA and the Amer- Gothenburg Symphony Orchestra, and treats time when there is a greater than ever polarisation ican premiere of The Eros Eff ect and Solidarity. of erotic love. In 2014 a previously unknown between various groups of people. Th is year’s work is now completed, with prepa- papyrus fragment – ”Th e Kypris Poem” – was In Airborne Lines and Rumbles Samuelsson rations for the new CD production that has been discovered in London. It was written by the fi rst wanted mainly to investigate how a composer recorded during the past year. Th e third CD-por- known female poet, Sappho, who lived on the is- could write music on a piece of paper that would trait with Marie Samuelsson’s music includes land of Lesbos. Th e fragment can be heard here make you fl y. Is this possible? Diff erent musical Th e Love Trilogy and a work standing on its in its fi rst ever setting to music together with levels that move away from and back to one an- own, Airborne Lines and Rumbles. Th e Love Tril- four other fragments. In the orchestral sonorities other are now and then interrupted by power- ogy is the result of three commissioned works we hear the ocean waves, whose long lines con- ful, unstoppable rumblings. Th e contrast with composed in 2014-2016. Th ese have so far only trast with the seductive vocal parts’ extensions the lighter lines reinforces the feeling of taking been performed separately, but are also intended of the tones, melismas that were worked out to- a running leap. Th e concept of freedom is also to be played as a suite, since all the movements gether with mezzo-soprano Katija Dragojevic. relevant in Airborne Lines and Rumbles, as it is are tied together both thematically and musical- Th e Malmö Symphony Orchestra commis- about lifting one’s eyes to dare – something that ly. According to Samuelsson, this music is more sioned the second part of Th e Love Trilogy, A can be heard in all the works on this record. audacious than her earlier compositions, and of New Child of Eternity, To my two sons, which de- Now new challenges are awaiting Marie Sam- course she is hoping in the future to be able to picts fi lial aff ection. A verse from Göran Sonne- uelsson. At present she is writing a double con- hear all three works performed in the same con- vi’s Th e Impossible (Det omöjliga) (1975), which certo for the slightly unusual instrument combi- cert. Airborne Lines and Rumbles is an exciting had long hung on Samuelsson’s wall, inspired the nation of violin, guitar and orchestra, which is work from 2009 in which the composer says she work –”Every child carries / in its body’s swirl- scheduled to be premiered by the Gävle Sym- started to use material that she later continued ing core / a new child / of eternity”. Th e solo phony Orchestra in the autumn of 2019. to work with in the trilogy. In this way the whole part is composed to resemble a small child who record forms an interesting unity. cannot sit still, and Samuelsson thinks there is Elin Hermansson an interesting driving force that makes children Marie Samuelsson: Music in the name of love want to move around quickly in the early years, The Love Trilogy When the individual works were to be composed to be able later to grow up into adulthood. Th e Swedish Radio SO/ orchestral texture answers, supports and calms Daniel Blendulf/ it was both private and societal events that led Malmö SO, Nordic Marie Samuelsson’s thoughts to love. When the whirling solo part, which does not always live Chamber Orchestra/ in lightness but also goes through diffi culties. Sarah Ioannides, sol. our age is described in the media, scope is given Katija Dragojevic, mainly to hate, wars and what is frightful, but yet mezzo-soprano and it is love that carries humanity forward in our Freedom and solidarity Andreas Sundén, clarinet development. It was also a question of how con- In Th e Eros Eff ect and Solidarity for chamber Daphne 1062 (to be temporary music can be a language of the emo- orchestra, the third part of the trilogy, love has released in early 2019)

HIGHLIGHTS 4/2018 REPERTOIRE TIPS Music for Christmas REVIEWS

KALEVI AHO (arr. 1998) the music has an almost pastoral character, while the Wise Hosianna (Vogler) Dur: 3’ Men are depicted with a more oriental tone language and Rousing fun and energy 3333/3431/str, organ other rhythms. The program opened with the U.S. premiere of “Flounce,” by Lotta Vom Himmel Hoch/From JAN SANDSTRÖM Wennäkoski …This is a rowdy and loud, of course, work, tempered only Heav’n on High /Enkeli Taivaan Lo, How a Rose E’er Blooming by a melancholic passage on Cally Banham’s oboe. The rest was whim- (Praetorius) Dur: 7’ (1987/2007) Dur: 4’30’’ sically scored (a slide whistle?), and rousing fun. St Louis Post 29.9. 3333/4331/2perc/str, organ string orchestra Lotta Wennäkoski: Flounce Fine arrangements for symphony orchestra made by Ka- Jan Sandström’s magical choral classic levi Aho for a Christmas release by the Lahti Symphony here in a version for strings. The or- US premiere: St. Louis SO/Hannu Lintu, 28.9. 2018 St. Louis, USA Orchestra in 1998. Known for his skills as an arranger, Aho chestra is divided into a smaller group (string quartet) that Rounding out the fi rst half was Wennäkoski’s Hele, an eccentric and en- has a consummate gift for handling an orchestra and cre- plays Preatorius’ hymn in slow motion (preferably in baroque ating a rich, full sound. From Heav’n on High begins with style without vibrato), and a larger string-orchestra group ergetic respite from the broodiness of the fi rst two works. Wennäkoski a three-minute introduction in which the winds have a that plays Sandström’s harmonizing music in ordinario. utilized the slide whistle amid frantic and agile ensemble writing to chance to shine and in dialogue with the organ. sometimes atmospheric, sometimes cartoonish, but always surprising SVEN-DAVID SANDSTRÖM JOONAS KOKKONEN eff ect. New Classic LA/15.11. Christmas Oratorio (2004) Joululauluja lapsille/Christmas Dur: 35’, Text: Christmas Gospel (St. Luke) Lotta Wennäkoski: Hele Songs for Children (1956-66) (Swe), S, Bar, mixed chorus, orchestra: World premiere: Dur: 7’, Arranger: Jouko Linjama (2003) 2222-2222-12-0-str Philharmonic/ Text: J. Suomalainen, E. Ahokai nen, O. In his oratorio Sandström wanted to Susanna Mälkki, Paloheimo, J. Haavio (Fin), voice and create a magical and mystical atmos- 13.11.2018 phere. The work is divided into ten short movements and orchestra: 1111/2000/str Los Angeles, USA These four songs were originally published in a version for in some places it is breathtakingly beautiful. But round the voice and piano. To words by four Finnish poets, they are: 1. romantically exquisite melodic solo and duet sections the Jouluna (At Christmas), 2. Aattoiltana (On Christmas Eve), choir contrasts now and then with rapid rhythmical fi gures, 3. Metsän joulu (The Forest’s Christmas) and 4. Legenda and the orchestra’s brass and percussion conjure up the oc- (Legend). The mood varies from devout and hymn-like in casionally violent nature of the Nativity story. Christmas Eve to the lively melody of Legend accompanied by pungent fi gures in seconds. DAVID SAULESCO Christmas Oratorio (2013) ILKKA KUUSISTO Dur: 55’, Text: Saulesco/Christmas Gospel (arr. 1967-83) (Matthew and Luke) (Swe), 24 Suomalaista joululaulua/24 Mz, T, Bar, mixed chorus, narrator, fl , cl, 2 tpt, 2 perc, organ, str Finnish Christmas Carols David Saulesco depicts the Christmas narrative with warmth Text: Fin/Swe, some songs also in English, and humour, and in a postmodern tone language. The music Lotta Wennäkoski voice and orchestra: 2fl /hp/str (33221) varies between harsh expressionistic sonorities and Nordic Maarit Kytöharju Photo: Kuusisto’s delightful arrangements for small orchestra are romantic melancholy. It is easily accessible but still chal- lasting favourites. Among them are some of the best-loved Between jazz, classical and impro lenging and harmonically exciting. Pietilä’s work operates freely Finnish Christmas carols, such as the fi ve Sibelius songs op. Esa Pietilä 1. Most of them are scored for strings only, but some also in- FREDRIK SIXTEN somewhere between jazz, con- clude a harp or two fl utes. The arrangements have also been temporary classical and free im- recorded, and soloist on the disc is Soile Isokoski. A Swedish Christmas Dur: 50’ provisation… In Three Strides of

Oratorio (2009) Stenström Patrik Photo: NILS LINDBERG Text: Ylva Eggehorn/from the Christmas Light for piano, Risto-Matti Marin A Christmas Cantata (2002) Gospel (Swe) S, descant choir, mixed radiated a confi dent concentra- choir, wind quintet, strings tion in a wicked boogie-woogie Dur: 50’ , Text: Bible’s Christmas This work is permeated by elements of Swedish folk music in which the melody line in the Gospel (Eng) S, Bar, mixed chorus, big and contains both light and darkness. The newly written band: 1000-1440-11-0-pf-4saxdrums-db texts are meant to show that the innocent child was sur- right hand gradually escalated Lindberg’s cantata is based on tradition- rounded by darkness, poverty, alienation and death. But the into a feral romp. al English Christmas carols joined together by newly written oratorio is also full of joy and songs of praise. Sixten lets a Hufvudstadsbladet 29.10. music to texts taken from the Bible. It comprises a delightful soprano take the role of the evangelist and instead of more Esa Pietilä: Chamber music mix of Christmas melodies, Swedish folk music, classical and soloists he lets two choruses play diff erent roles. jazz. Kamus Quartet, Risto-Matti Marin, piano, Veli Kujala, accordion, Janne Tuomi and Harri Lehtinen, ANDERS SOLDH (ARR.) percussion, Esa Pietilä, saxophone, 26.10. Helsinki, Finland (Pietilä focus concert) ARMAS MAASALO O helga natt/O Holy Night Jouluoratorio/Christmas (Adolphe Adam) Dur: 4’ Anneleen Oratorio (1945) Dur: 45’ Fine opening for the Text: H. Jalkanen, I. Salomies, Bible Santa Lucia (trad.) Dur: 3’ Lenaerts (Fin), S, T, Bar, mixed chorus, orchestra: När det lider mot jul season 2200-2230-11-org.hpd-str (Ruben Liljefors) Dur: 3’, Aho’s Harp Concerto Mearra was The tradition of performing the Christmas Oratorio has, ever 2222-2200-01-0-str a fi ne opening for the autumn since its premiere, fallen to St John’s Church, Helsinki, where Three popular Christmas songs in arrangements for cham- season of the St. Michel Strings. Maasalo was the organist. He was one of the great names in ber orchestra by Anders Soldh. Suitable for both amateur As their soloist they had Anneleen Finnish church music – composer, choir leader and Professor. and professional orchestras. Included in the series “Popular Lenaerts, a world-class harpist The vocal solos in the Oratorio are sublimely beautiful. The Arrangements for Orchestra”. music strongly refl ects the Finnish hymn tradition and the and principal in the Vienna choral fugues are honed to perfection. JEAN SIBELIUS Philharmonic, who fi lled Viisi Joululaulua/Five Christmas the church with the HILDING ROSENBERG tones both daintily Den Heliga natten/The Holy Songs Op 1 (1895-1913) Dur: 15’ Arranger: Harri Wessman (1994) elfi n-like and solidly Dur: 32’ Night (1936) mixed choir, fl -str (reduced version: grand piano-like she Text: Hjalmar Gullberg/Christmas Gospel 4 voices, fl -str4) (Fin) conjured forth from (Luke) (Swe), S, A, T, B, narrator, mixed Wessman made his highly workable transcriptions as a Borggreve Marco Photo: chorus, orchestra: 1120-2200-11-0-cel- her instrument. commission from the Espoo Music Institute. They aff ord Länsi-Savo 18.9. str (reduced version: organ and strings) small ensembles an opportunity to perform these popular This is a colourful drama in which the orchestral texture Sibelius songs. In addition to the version for choir and or- Kalevi Aho: Mearra conjures up images of shepherds out in their fi elds, the chestra there is one for four voices, fl ute and string quartet. light radiating from heaven, Mary swaddling her child, Finnish premiere: Mikkeli Around the middle, Wessman has inserted a piece of his City Orchestra/Erkki Lason- Herod raging, etc. Rosenberg’s harshness gives way here own, a Meditation for strings in the style of Sibelius. to a more lyrical tone. For Joseph, Mary and the shepherds palo, sol. Anneleen Lenaerts, harp, 16.9.2018 Mikkeli, Finland

HIGHLIGHTS 4/2018 Amusing, Photo: Lars Kroon Photo:

Photo: Jussi Vierimaa Jussi Photo: imaginative, expressive Above all, the Piano Quintet sound- ed surprisingly modern, considering that it has clocked up 25 years… as a bit of amusing and imaginative music theatre such as is fashionable these days... Syyskesän laulu (Late Summer Song) was the most reward- ing piece with its eloquent, exalted expression…the high point of the concert. Hufvudstadsbladet 9.10. Mikko Heiniö: Chamber music Tommi Hakala, baritone, Kristian Attila, Pasi Helin, Jonas Valfridsson thanking piano, Patrik Kleemola, guitar etc., 7.10.2018 for the applauds Helsinki, Finland Awesome John Bauer Suite A large-scale mythological work oozing auras from that period’s late-Romanticism and Ravel’s Impressionism, with a wordless chorus and a celesta sounding like a music box…music which Valfridsson in a very deliberate, elegant and skilfully or- Intriguing new disc chestrated way plays with in 4-colour sound… The music is more transparent in a Finnish composer Lars Karlsson has been called a “modern romanticist… this in- continental manner and coloured by modern playing techniques. Dagens Nyheter 5.11. triguing new disk is welcome. It off ers two of his major later works opening with Seven Songs to texts by Swedish Nobel Prize laureate Pär Lagerkvist… The cycle This is insanely entertaining music. The whole work is full of well-developed ideas is dedicated to Gabriel Suovanen, who sings them with great sensitivity. We also and displays an impressive breadth of expression. It is at the same time easily ac- have an extraordinary Clarinet Concerto written for Christoff er Sundqvist. In three cessible and intricate. Jönköpingsposten 4.11. movements, it is a brilliant display piece for the soloist... www.classicalcdreview.com Jonas Valfridsson: John Bauer Suite 1918 Lars Karlsson: 7 Songs to Texts by Pär Lagerkvist, Clarinet Concerto World premiere: Jönköpings Sinfonietta, Jönköping Chamber Choir, SVF Choir/Christian von Gehren, 4.11.2018 CD: Lapland CO/John Storgårds, sol. Gabriel Suovanen, baritone, Christoff er Sundqvist, clarinet (BIS-2286) Jönköping, Sweden

Anders Eby and Mikaeli Imaginative feast for the ears Dafgård’s gripping Eclipse Chamber Choir The pulsating and feverish parts are recurring fea- Camerata Nordica engages in intricate interplay tures in Schnelzer’s music, as are also the contrasts with a dynamic and powerful performance… between the lyrically beautiful and the raw riff s. But Photo: Janna Vettergren Janna Photo: Hugo Ticciati, brilliant on the violin, is adroit in even though he ventures out on the dark side of the all sections… The movements are full of feeling, moon Schnelzer manages to mould his various im- and one is carried away and gripped by the work’s pressions into an imaginative feast for the ears. dramatic fl uctuations. The concluding movement Opus #84 September 2018 opens up toward brightness and liberation. Albert Schnelzer: Cello Concerto – Crazy Diamond, Barometern 30.10. Tales from Suburbia, Brain Damage Jörgen Dafgård: Eclipse – Concerto for Violin CD: Gothenburg SO/Benjamin Shwartz, sol. Claes Gunnarsson, cello and Orchestra (BIS-2313) World premiere: Camerata Nordica, sol. and leader Hugo Ticciati, Music with deep impact 27.10.2018 Oskarshamn, Sweden Fervently fl owing choral music Three things can be taken from this festival; the The Mikaeli Chamber Choir displayed a successful uniqueness and value of the music, the consistent combination of well-tried Ericson repertoire and re- excellence of the players and their devotion to this Fun and swinging Steampunk cently discovered gems from the recesses of Gehr- repertoire and fi nally the impact it has on both the Blizzard mans Musikförlag…. It was nice to hear the sound of players and most importantly the audiences… If mu- A short whirling piece the chorus take on body and colour in Gösta Nystro- sic needs to be able to communicate to be eff ective in which the music Nelson Ella Foto: em’s exciting suite “Golfi ner” , and fi nd vigorous then this certainly does. Seen and Heard International 29.10. takes unexpected harshness in Sven-Erik Bäck’s sacred work “Utrannsa- Tommie Haglund: Flaminis Aura, Hymns to the directions… Rhyth- ka mig” .… Jazz vocalist Lena Swanberg contributes Night, Serenata per Diotima, La Rosa Profunda, To mical with powerful to the contrasting eff ect in Ann-Sofi Söderqvist’s the Sunset Breeze, Arcana Lacrimae etc. brass and heavy tubas, forceful “What is Life?”, and among the serene mo- Helsingborg SO/Joachim Gustafsson, sol. Ilya Kaler, Jacob Kullberg, John playful jazzy sections, ments of the evening were Jerker Leijon’s steadfast Mills, Stephen Fitzpatrick, Brett Deubner, Niklas Sivelöv, Ann-Kristin sometimes lilting and “Hjalmar Gullberg Suite”. SVD 27.10 Larsson etc., 19-21.10.2018 Halmstad, Sweden a little romantic… Fun Choral music by Valborg Aulin, Knut Håkansson, and exciting music, en- Gösta Nystroem, Sven-Erik Bäck, Ann-Sofi Söder- Virtuoso concert with ergetically performed. qvist, Mattias Sköld, Gabriella Gullin, Jerker Leijon all the trimmings Arbetarbladet 15.9. etc.

Gävle SO/Jaime Martin, Mikaeli Chamber Choir/Anders Eby, Carlos Murakami, piano, sol. Lena “Bridge“ is rewarding for all in- Martinsson Louise Photo: volved and at the same time it 14.9.2018 Gävle, Sweden Daniel Nelson Swanberg, 26.10.2018 Stockholm, Sweden (Gehrmans Anniversary is surprising, overpowering and Concert + Eric Ericson 100th birthday) This is a fun and swinging piece based on an ostina- convincing – in short: It encom- to-like motif in which the tuba has a prominent role A Nordgren gem passes everything that music together with bright strings, whistlings and trom- Rock Score is, with its spookily fl eeting allusions to needs. Leipzig Volkszeitung 28.9. bone-glissandi. It is not hard to imagine smoke well- folk fi ddle music, one of the gems in Nordgren’s out- Rolf Martinsson: Bridge ing up from chimneys and cog-wheels spinning in put for string orchestra. Hufvudstadsbladet 10.10. – Trumpet Concerto No. 1 time with the music. Göteborgsposten 15.10. Gewandhausorchester/Andris Nelsons, Pehr Henrik Nordgren: Rock Score, Violin Concerto sol. Håkan Hardenberger 27.9.2018 Daniel Nelson: Steampunk Blizzard No. 4, Horn Concerto Leipzig, Germany Gothenburg SO/Santtu-Matias Rouvali, 10.10.2018 Gothenburg, Sweden CD: Ostrobothnian CO/Juha Kangas (Alba Records 425)

HIGHLIGHTS 4/2018 NEW PUBLICATIONS NEW CDs

TOBIAS BROSTRÖM SCORES Dream Variations Sven-David Sandström TOBIAS BROSTRÖM Tobias Broström SVEN-DAVID SANDSTRÖM DANIEL BÖRTZ Mirage Seven Pieces for Violin and Orchestra Seven Pieces for Dialogo 4 – Ricordo GE 12732 (score) GE 12733 (solo violin) Violin and Orchestra for string orchestra Mirage Håkan Hardenberger, trumpet, GE 13477 for string orchestra GE 12734 (study score) Colin Currie, percussion SCORE CCR-0002 ‘The Scene of the Crime’ SCORE Albert Schnelzer JÖRGEN DAFGÅRD Jörgen Dafgård ALBERT SCHNELZER Abrasax – Concerto for Soprano Emperor Akbar ARMAS JÄRNEFELT for chamber orchestra Emperor Akbar Aamulla varhain Saxophone and Orchestra Abrasax for chamber orchestra GE 13075 (score) GE 13076 (solo saxophone)) Concerto for Soprano Saxophonexophone and Orchestra GE 13407 (score) GE 13409 (study score) GE 13077 (study score) SCORE SCORE Tanssilaulu & other works

Mats Larsson Gothe Brass Septet Imperial ANN-SOFI SÖDERQVIST ——Ȭ˜ęȱ㍎›šŸ’œ MATS LARSSON GOTHE Movements Pilfi nk JJVCD-196 (‘Barcarola’) Symphony No. 2 Symphony No. 2 for orchestra “...sunt lacrimae rerum...” Movements GE 13144 (score) GE 13146 (study score) for orchestra GE 13200 (score) GE 13202 (study score) PEHR HENRIK NORDGREN for orchestra Concerto No. 4 for Violin and Strings, SCORE SCORE Rock Score, Concerto for Horn and Strings Ostrobothnian CO/Juha Kangas, sol. Jari Valo, violin, Jukka Harju, horn Alba Records ABCD 425 VOCAL EINOJUHANI RAUTAVAARA Harp Concerto, Symphony No. 9 etc. MIKKO HEINIÖ DANIEL MÖLLER Helsinki PO/Leif Segerstam, Amen Lux aeterna sol. Marielle Nordman for male choir and tubular bell for mixed choir SAB Lux æterna Ondine ODE 1236-2D (90th Anniversary Edition) Text: the word Amen Text from Requiem Mass (Lat) FG 9790-55011-299-5 GE 13392 För kör SAB a cappella Daniel Möller JEAN SIBELIUS Five Christmas Songs LARS KARLSSON KJELL PERDER MATTHEW WHITTALL Kaksi joululaulua Befria de förtryckta!/ Christmas Hath a Darkness, (Two Christmas Carols) Set the Oppressed Free! Befria de förtryckta! Huron Carol (arr.) for SSAA choir for mixed choir SATB Audite Chamber Choir/Jani Sivén Text: Paula Hiekkala (Fin) Text: Jes. 58:6-11 (Swe/Eng) Alba Records NCD 56 (’This Advent Moon’) FG 9790-55011-458-6 GE 13341 Blandad kör a cappella

ANNA-KARIN KLOCKAR KARIN REHNQVIST Forever Hurts Songs from the North CHAMBER & INSTRUMENTAL Anna-Karin Klockar Songs from the North for double choir SSAATTBB THE INTERNATIONAL WINNER OF POLYPHONOS COMPETITION 2018 for 1–3 soloists and mixed choirr for soloists and mixed choir Works by Uuno Klami Text: Karin Boye, SSAATTBB FOREVER Arranged for Organ Paul Laurence Dunbar (Eng) HURTS Text: Inuit poems (Swe/Eng) GE 13480 GE 13351 Arr. Esa Ylönen Text by Karin Boye and Paul Laurence Dunbar FG 9790-55011-448-7 for mixed choir SSAATTBB OLLI KORTEKANGAS SVEN-DAVID SANDSTRÖM Life Mustaa, mustaa Life ESA PIETILÄ Brisk for SATB choir for male choir TTBarBarBB for male choir Sven-David Sandström FG 9790-55011-421-0 for violoncello and marimba Text: Emily Dickinson (Eng) FG 9790-55011-457-9 Onni hymyilee GE 13469 Three Strides of Light for SATB choir, soprano and piano In paradisum In paradisum FG 9790-55011-422-7 for piano for mixed choir SATB FG 9790-55011-456-2 Sanasotaa Text from Requiem Mass (Lat) Mixed choir a cappella for SSAATTB choir and piano GE 12929 Text: Tuomas Parkkinen (Fin) Som eldfl ugan tänds och slocknarr ALBERT SCHNELZER Three songs from the opera Three songs for voice and piano Apollonian Dances Veljeni vartija (My Brother’s Keeper). Text: Tomas Tranströmer (Swe) ŸŽ—ȬŠŸ’ȱŠ—œ›ã– version for string quartet Albert Schnelzer FG 9790-55011-423-4 GE 12854 and percussion ˜–ȱŽ•ĚžŠ—ȱ GE 13048 (score and parts) Apollonian Dances §—œȱ˜Œ‘ȱœ•˜Œ”—Š› for string quartet and percussion för sång och piano GE 13049 (study score) TIMO-JUHANI KYLLÖNEN MATTHEW WHITTALL text: Tomas Tranströmer

SCORE The Touch of Christmas/Joulun kosketus Christmas Hath a Darkness Benjamin Staern for soprano solo, mixed choir (SAT or SAB), – Four Carols for Advent BENJAMIN STAERN piano and glockenspiel for mixed choir Två själar, en tanke Two Souls, One Mind Two Souls, One Mind Text: Timo-Juhani Kyllönen (Eng/Fin) Text: Christina Rossetti (Eng) for brass quintet for brass quintet FG 9790-55011-460-9 (English), Nils Lindberg FG 9790-55011-455-5 GE 13349 (score) GE 13350 (parts) SCORE 55011-459-3 (Finnish) Elf shot Elverskud Erlkönig TUOMAS TURRIAGO NILS LINDBERG Sonata for Flute and Piano for big band, mixed chorus and three soloists Elf Shot FG 9790-55011-462-3 for SSB soli, mixed choir and big band Klaverutdrag/Vocal score Text: A traditional Danish ballad (Eng) GE 13489 (vocal score)

JACOB MÜHLRAD For further information about our works or representatives worldwide check our web sites or contact us at: Time for mixed choir SSAATTBB Text: Excerpt from Psalm 19 of the Book of Psalms (Eng/Hebrew), Gehrmans Musikförlag AB Fennica Gehrman Oy Ab the word time in 27 languages Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland GE 13475 Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 • Fax +358 10 3871 221 www.gehrmans.se • [email protected] www.fennicagehrman.fi • [email protected] Hire: [email protected] Hire: [email protected] Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi Sales: [email protected] Sales: [email protected] (dealers)