NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDICHIGHLIGHTS Rolf Martinsson Hakola& Kimmo Focus on 2/2018 NEWS

Rautavaara’s Albert Schnelzer All-Night Vigil Albert Schnelzer News Th e Helsinki Cham- A lot is going on for Albert Schnelzer right

ber Choir will be sing- now. BIS Records has just released the portrait Lundqvist Mats Photo: ing Einojuhani Rau- CD Tales from Suburbia , 13 July will see the tavaara’s All-Night Vigil premiere of his opera Norrmalmstorgsdramat several times this sum- (Th e Stockholm Syndrome) at Vattnäs Konsertla- mer: at the Musiq’3 festival in Brussels on 29– da, and during the 2018/2019 season he will be 30 June, the Organ and Aria festival in Finland composer-in-residence with the Västerås Sinfo- on 5 July, the Uspenski Cathedral, Helsinki on nietta. Commissioned by the Swedish RSO, his 16 August and Järvenpää Church on 21 August. Piano Concerto No. 1 composed for American Th e soloists are Niall Chorell, tenor and Tuuk- pianist Conrad Tao, will have its premiere on 14 ka Haapaniemi, bass. Th e choir is also making a March 2019. On 11 April Ilya Gringolts will be new recording of the work. Rautavaara’s popular soloist with the Uppsala Chamber Orchestra in concert version of the Orthodox Vigil has found the fi rst performance of Schnelzer´s Violin Con- its way into the repertoire of professional choirs certo No. 2 – Nocturnal Songs. Th e concerto is the world over. jointly commissioned by the Swedish Chamber Orchestra and Jönköping Sinfonietta. Tommie Haglund Festivals Two big festivals will be devoted to Tommie Haglund’s music during the 2018/2019 sea- Eero Sipilä centenary son. Haglund´s home town, Halmstad, is A hundred years have this year passed since the organizing a festival on 18-21 October with Edvall Elinor Photo: birth of Eero Sipilä (1918-1972), and music the Helsingborg Symphony Orchestra, vio- by him can be heard at a concert of his works linist Ilya Kaler, cellist Jacob Kullberg et al. in Helsinki on 28 October. Sipilä was an active Th e conductor and artistic leader is Joachim composer, teacher, organist and choir leader Gustafsson. Haglund will also be festival whose core output consisted of choral, organ composer with the Royal Stockholm Phil- and chamber music. Works by him are available harmonic at the Stockholm Concert Hall at the Fennica Gehr man web shop. Composer Weekend on 28-31 March 2019. Aho concerto boom continues Soloists include soprano Miah Persson, Gabriella Gullin Kalevi Aho keeps violinist Ilya Gringolts and cellist Narek Gabriella Gullin is in the limelight as one of the getting orders for Hakhnazaryan. During the two festivals we composers being presented by the Mikaeli Cham- can listen to the violin concerto Hymns to the concertos. He has

ber Choir and Anders Eby in the fi lm project Romain Etienne Photo: fi n i s h e d a Triple Night, the cello concerto Flaminis Aura, the #swedishchoralmusic with her piece Ty s t ä r d e t Concerto for Vio- string orchestral piece Serenata per Diotima, rum to a text by Pär Lagerkvist. She has had lin, Cello and Pia- and La Rosa Profunda for soprano and or- several choral works published by Gehrmans as no to be premiered chestra. Moreover, Tommie Haglund´s Sym- well as her Elegic Rhapsody for oboe and string or- by the Storioni phony No. 1 will have its premiere during the chestra. Two chamber pieces are now being added Trio and the An- festival in Stockholm, which will be rounded to the catalogue, Les Ombres dans l´eau for viola twerp SO in May off with a chamber music concert. and piano and Sonata for Flute and Piano. 2019, and is at present compos- Hilma af Klint – chamber opera ing a Concerto for

NORDIC HIGHLIGHTS 2/2018 Benjamin Staern is writing a chamber opera for Guitar and Cham- NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN two singers, piano trio and electronics about the ber Orchestra also Kalevi Aho Sound samples , video clips artist Hilma af Klint (1862-1944), a pioneer in for a premiere and other material are available at abstract painting who did not became known un- in May 2019 by Ismo Eskelinen and the Lap- www.gehrmans.se/highlights til long after her death, after an exhibition in Los land Chamber Orchestra. Also planned for Angeles in 1986. Th e opera will have its premiere next year is a Concerto for Bass Clarinet for at Moderna Museet in Stockholm in the spring of Mikko Raasakka. One for two bassoons and Cover photos: Rolf Martinsson (Louise Martinsson), 2019, but already now, in July, a short trailer can Kimmo Hakola (Kaapo Hakola) orchestra has further been commissioned on Editors: Henna Salmela and Kristina Fryklöf be heard during the Halmstad Opera and Vocal the initiative of bassoonist Bram van Sambeek. Translations: Susan Sinisalo and Robert Carroll Festival, as well as at the Guggenheim Museum in Aho’s Sieidi, for percussion, has become one Design: Tenhelp Oy/Tenho Järvinen New York in connection with the Hilma af Klint of the most performed Finnish concertos. It has ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) Printed in Sweden by TMG Sthlm, Bromma 2018 Exhibition in October. Th e project was initiated already been played nearly 50 times across the by the singers Mette and Fredrik af Klint, and the world, with soloists Colin Currie, Martin Gru- libretto is being written in English by Mira Bartov. binger and Alexej Gerassimez.

HIGHLIGHTS 2/2018 Agreement with Tuomas Turriago PREMIERES Fennica Gehrman has signed a publishing agreement with Tuomas Turriago that includes Per Aspera for May–August 2018 Photo: Nea Ilmevalta Photo: chamber ensemble and the Concerto for Chamber PAAVO HEININEN Ensemble premiered in Tampere early in 2018 Sonata for Violin and Piano Op. 134/2 and 3 (See: Reviews). Th e agreement also covers some in- Ilosoitto for solo violin strumental works. Turriago has an ambitious project Kaija Saarikettu, violin, Juhani Lagerspetz, piano 4.5. Helsinki, Finland aiming to compose a sonata for every instrument. Sonata for Piccolo and Th e most recent ones are for alto saxophone, to be Piano Op. 116 Hanna Kinnunen, piccolo, Emil Holmström, piano premiered at the Gap international saxophone festi- Sonata for Contrabassoon and Piano Op. 138 val in July and for fl ute, to be heard for the fi rst time Arvid Larsson, contrabassoon, Jouko Laivuori, piano in Helsinki in November. Read more about Turriago Sonata for Bassoon and Piano Op. 122 and his music on the Fennica Gehrman website. Jaakko Luoma, bassoon, Ilmo Ranta, piano Tuomas Turriago Sonata for English Horn and Piano Op. 137 Paula Malmivaara, English horn, Jansen plays Lotta Wennäkoski’s Flounce: Jouko Laivuori, piano Janine 5.5. Helsinki, Finland Eliasson Jansen 15 performances FREDRIK HÖGBERG Janine Jansen will Lotta Wennäkoski’s Flounce was a BBC com- Baboon Concerto

Photo: Harald Hoff mann Hoff Harald Photo: Gothenburg SO/Tung-Chieh Chuang, once again perform mission for the last night of the Proms in September sol. Sebastian Stevensson, bassoon Anders Eliasson’s 2017. It has since been heard in Helsinki, Tampere 9.5. Gothenburg, Sweden violin concerto and Gothenburg, and is down for no fewer than 12 KARIN REHNQVIST Songs from the North Einsame Fahrt from more performances. In the autumn season, Hannu Sacred and Profane Chamber Chorus/Rebecca Petra 2010. Th ere will be Lintu will conduct it with the Finnish RSO at the Naomi Seeman two performances Turku Festival and give it its US premiere with the 11.5. Berkeley, USA with the Gothen- St. Louis Symphony Orchestra. Flounce is also fi xed MIKKO HEINIÖ Symphony No. 3 (Sinfonia burg Symphony on for the opening concert of the Royal Scottish Na- Concertante for Percussion and Orchestra) 29 and 30 November and another two with the Ton- tional Orchestra’s season, with Th omas Søndergård Turku PO/Anja Bihlmaier halle-Orchester Zürich on 15 and 16 December, all conducting, and for concerts by the Swedish Radio 18.5. Turku, Finland under the baton of Daniel Blendulf. Symphony and the Lahti Symphony Orchestra. Th e SVENDAVID SANDSTRÖM Helsinki Philharmonic under Susanna Mälkki will Sångens hus/The House of Song for choir and orchestra Minifi ddlers be taking it to the Vienna Konzerthaus, the Amster- Falun Conservatory of Music/Dalasinfoniettan/ Géza dam Concertgebouw and elsewhere during its Euro- Paul Mägi go to China Szilvay 2.6. Falun, Sweden Photo: Jari Eskola Photo: pean tour in April 2019. Th e Central Con- KALEVI AHO Berliner Bagatelle servatory of Music Philharmonisches Bläserquintett Berlin in Beijing has signed Steampunk Blizzard Solo X for horn an agreement with Annu Salminen Gehrmans is pub- 29.6. Musica Kalevi Aho Festival, Forssa, Finland Minifi ddlers on the lishing Daniel Piano Sonata No. 2 launching of the Co- Sonja Fräki Nelson’s 7-minute Nelson Ella Photo: 1.8. Mänttä Music Festival, Finland lourstrings teaching hit piece Steam- Solo XIII for trombone method in China. punk Blizzard. It Rocco Rescigno August 2018 Risuonanze Festival, Italy Minifi ddlers is a was written on distance education commission from ALEXANDER ZEMLINSKY/ ARR: ROLF MARTINSSON solution in violin Orchestre Nation- Sechs Walzergesänge studies developed al d´ile de France MythenEnsembleOrchestral/Graziella Contratto, sol. Lisa Larsson, soprano by Caprice Oy. Th e and the conductor 30.6. Festival Musiksommer am Zürichsee, Switzerland partnership became Enrique Mazzola, ESA PIETILÄ operative at the end who premiered it The Wind Wants 5parts Wind Quintet of April and included workshops given by Géza Szil- in Philharmonie 7.7. Helsinki Chamber Music Festival, Finland vay in Beijing and Huangqiao. More information is de Paris last year. ALBERT SCHNELZER available at www.minifi ddlers.org. Th e work has Daniel Nelson Norrmalmstorgsdramat – att dö på sin post (The Stockholm Syndrome) subsequently been Opera performed by the Vattnäs Chamber Orchestra/Fredrik Burstedt, Focus on Harri Viitanen sol. Anna Larsson, alto, Göran Eliasson, baritone, Music by Harri Viitanen can be heard at a concert Swedish RSO, and the Gävle Symphony will play it Anders Larsson, baritone, Tobias Westman, tenor, in September. Santtu-Matias Rouvali has conducted Agnes Auer, soprano on 26 August in the Helsinki Organ Summer series. 13.7. Vattnäs, Sweden Th e programme will include Die Amsel in a version the piece with the Tampere Philharmonic and will per- TUOMAS TURRIAGO for solo fl ute played byJenny Metsälä, Paratiisilinnun form it with the Gothenburg Symphony in October, Sonata for alto Saxophone and and with the Oslo Philharmonic in December. In Feb- Piano rukous for harp, Images d’oiseau for organ, and the Ca- Joonatan Rautiola, saxophone, Cyrille Lehn, piano thedral Fantasy and Ecumenical Bells for organ, positive ruary/March 2019 Rouvali and the Gothenburg Sym- 20.7. Université de Saxophone 2018, Gap, France organ and instrument ensemble premiered on 6 De- phony will take the work on their tour to Germany and cember 2017 as part of the Finland 100 celebrations. Austria.

HIGHLIGHTS 2/2018 Seven questions for Rolf Martinsson

Photo: Louise Martinsson Louise Photo: I meet with Rolf Martinsson in connection with the Stockholm premiere of his song cycle Ich denke Dein… with the soprano Lisa Larsson, the Royal Stock- holm Philharmonic and Gustavo Gimeno. Th ree years have elapsed since the premiere in Tonhalle Zürich, and Larsson has performed the songs more than 20 times in Switzerland, the Netherlands, Italy, Spain, Finland, Iceland, Swe- den and Australia.

Larsson sings a number of your song cy- After the concert, photos were taken of myself cles, including Garden of Devotion and and the musicians, one by one, with iPhones. 3Orchestral Songs on Poems by Emily Dick- inson . Altogether, she has given around Your latest orchestral work is the concert 100 performances of your works. Will your opener Shimmering Islands, which was unique collaboration be documented? 6recently premiered by the Kristiansand Everything that I have composed for Larsson will Symphony Orchestra. Here you enter into a be documented on CD by BIS and Challenge new style. How is that? Records, together with the Royal Stockholm I go my own way as a composer and immerse Philharmonic/Andrew Manze, the Malmö myself creatively in modern as well as traditional You are often present at the perfor- Symphony Orchestra (MSO)/Paul Mägi and styles, as in my latest vocal works. Now it was time mances of your works – with Ich denke the Netherlands Chamber Orchestra/Gordan to seek new sonorities in Shimmering Islands. 1Dein… most recently in Melbourne Nikolic. It’s a dream coming true. and Mallorca, and you have told of the always What are you working on at the mo- very positive response on the part of audienc- One of your most frequently performed ment? es, irrespective of where it is performed. Has works is the trumpet concerto Bridge 7 A semistaged work for Lisa Larsson with there been any especially memorable concert 4 from 1998, which Håkan Hard- MSO as main commissioner and Norrlands- occasion? enberger has performed about 60 times the operan as co-commissioner. Th e ”libretto” by Th e Dutch premiere in the Concertgebouw, world over. A tour is coming up in September Swedish director Elisabet Ljungar – derived sold-out concerts and standing ovations, a mem- with the renowned Gewandhausorchester from William Blake’s ”Songs of Innocence and ory for life. Or the Italians’ resounding shouts Leipzig and Andris Nelsons. Will you be in of Experience” – is covering dramatic phases in of bravo in Milan, the premiere with the Ton- the audience? the life of a woman, her ”survival” thereof and halle-Orchester Zürich or the Finnish premiere Absolutely! And this will also be a lifelong mem- how she towards the end of her life fi nally man- with John Storgårds and the Helsinki Philhar- ory. Two brilliant musicians who bring some- ages to make peace with life and herself…a beau- monic Orchestra. Th e work is dedicated to Lars- thing fresh to every new interpretation. Th e tiful and emotionally dramatic libretto which son, who has given brilliant interpretations at all collaboration with Hardenberger began in 1999 I’m very inspired to paint in music. these concerts. What more thanks could one and has been of vital importance for my career. Th e Tonhalle Orchester Zürich has invit- wish for than to get over 20 top performances?! And now the Norwegian trumpet player Ole ed Larsson for a collaboration in connection Th e Finnish reviews delighted me: ”…that some- Edvard Antonsen also has Bridge in his reper- with the orchestra’s 150th anniversary this au- one dares to write so unashamedly enjoyable, sinful- toire. A newly found friend and a wonderful mu- tumn. She has created Traumreise based on ly sexy music as the Swedish composer Rolf Mar- sician with fantastic lyrical qualities. He has per- songs of Franz Berwald (who died in 1868) tinsson and luckily he does not only dare to but he formed Bridge in Berlin, Aalborg and Katowice. and which forms a musical journey through also can do it… Sweden-France-Germany. Larsson asked me Another work that has travelled around to orchestrate the songs. Th e Tonhalle Orches- What do you think there is in your mu- the world is the Double Bass Concerto with ter Zürich will perform the world premiere in sic that appeals to audiences? 5Edicson Ruiz with performances in Eu- November and the Helsingborg Symphony Or- 2Shimmering timbres and tonal passag- rope, Asia, Australia and South America, just chestra the Swedish premiere. es. But a soloist is required who can make the lately by the Hong Kong Sinfonietta. You went Larsson has also asked med to orchestrate music come alive! Larsson with her personal along on the European tour with the Youth Or- some songs by Alexander Zemlinsky, which charm on stage and musical communication chestra of Caracas. Could you tell us about that? she will record on CD this summer. conveys the text in a way that deeply moves It was a moving experience with those fan- Starting in 2019 I will compose a full-length the listener and apparently also the critics. tastic youngsters who make music with such opera, Amy, commissioned by the Royal Swed- “When the shockingly good soprano Lisa Larsson strong conviction. Th e concerto had its French ish Opera in Stockholm. I am also hoping performed Martinsson´s brand new song cycle Ich premiere at Cité de la musique in Paris and its to get a commission for a Symphony No. 1. denke Dein… the listener felt as if he was being Hungarian in the beautiful Grand Hall of the led into an enchanted garden, where an angel had Liszt Academy in Budapest. I met José Antonio Kristina Fryklöf fallen from heaven…” Abreau, founder of El Sistema in Venezuela.

HIGHLIGHTS 2/2018 An interview with Hakola Kimmo Hakola views the world through the eyes of an endlessly curious child. He speaks here of how he shook off his symphony phobia, of the me- tabolism of musical life, of his plans for compositions, and of the advice he Photo: Kaapo Hakola Photo: would give his young self.

he Finnish RSO is to premiere curious child. I examine and study things, phe- your fi rst symphony in December nomena, and allow these adventures plenty of 2018. How would you describe its time. Sometimes I call an expert in the fi eld I’m composition process? studying to ask why a problem that’s been puz- TTh e symphony has been a diffi cult genre for me. I zling me hasn’t been solved in the way I thought. put off composing my fi rst symphony and calling Th ese discussions have been the salt of my life. a work a symphony until very recently. I’ve got a few works I thought I would call a symphony, but Which of your works would you particularly I wanted to wait for my aesthetics of the genre to single out? Warm relations with the people dear to me also mature. Th is phobia may well have been overdone, My opuses number about 100 at the moment. Th e give me strength. I try to look at myself from time but the door is now open and symphonic thinking public and music gatekeepers have chosen some as to time, and to learn from my mistakes. And I’m will in future occupy a central role in my work. their favourites and these are played a lot. It’s of- a listener: many of my friends appreciate the fact ten the way that new gems are discovered hidden that I will if necessary give them my full attention. Writing concertos has been like a red line run- among a composer’s works only after his or her I don’t really comment or advise; it means focus- ning through your career. death. Th at’s just the metabolism of musical life. I ing as equals on the things that really matter. I have written my concertos for musicians whose don’t want to guide this process. All my works are art has deeply spoken to me. It’s been a case of dear to me. It’s most important for the composer What is your relationship to chamber music? mutual enthusiasm, I think. I wrote my Clarinet and the publisher to put the composer’s works in Chamber music is an important genre for me. I’ve Concerto, for example, for Kari Kriikku, my some sort of order while he’s still alive, so that fu- fi rst tested many new musical, technical and sty- Violin Concerto for violinist-conductor John ture generations can fi nd all the necessary informa- listic ideas in chamber music. My four string quar- Storgårds, and my recent Double Concerto for Vio- tion about them – and for the material of works to tets are, you could say, aesthetic manifestos. My lin and Viola for Minna Pensola and Antti Tikka- be fi nalised. On the other hand, I don’t know of a teacher, Einojuhani Rautavaara, used to claim nen. Th e soloist, his or her charisma and mastery, single composer who’s had such good fortune. that string quartets are a composer’s philosophy. is always the source of inspiration for my concer- I notice that in the Piano Quintet I’m working on tos. Th is explains their diff erent modes of expres- Looking back over your career as a composer, right now, the blending and separating of piano sion. I can also relate to the way my soloists make what advice would you give your young self? and strings simply conjures up orchestral ideas. music; I get a strong sense of our being kindred Th ere are certainly things I could have done dif- spirits that has then brought us closer together. ferently. I’m a perfectionist, and I went through What are your plans for the future? Will we be a period of very severe self-criticism when I was hearing any of your works when you celebrate Your works often have some surprising ele- young; looking back, those years were very ex- your 60th birthday later this year? ments. It might be a Mongolian folk melody, or hausting, but important to later stages in life. I In the past few years I’ve devoted a rather large pro- Klezmer fi reworks – but always cleverly inte- knew so early in life that I wanted to be a com- portion of my time to committee and other admin- grated with the work as a whole. Do you delib- poser that I never seriously considered doing any- istrative work – I’ve become a sort of professional erately aim at surprise and excitement? thing else. Th is explains why I’ve withstood many sitter-on-boards. It’s been an important phase in When I was younger, surprise was maybe a sort diffi cult things in the job. my life, and I’ve been able to put into practice and of additional dramaturgical dimension for raising It’s no good trying to be a composer for ex- develop fi elds of expertise in a way I would never the music as an experience to a new unpredicta- tra-musical reasons. You can model yourself have had a chance to do if I’d just been an artist. ble level. All in all, I’ve tried to create music the on trends and your teacher’s music when you’re As a composer, I’ll be concentrating on sympho- behaviour of which is not obvious from the fi rst training, but if you don’t later discover a genuine nies – now that I’ve made a start on this genre and moment. Th ings like controlling the perception language of your own, your artistic work may feel I’m suffi ciently mature to be a symphonist. of time and guiding the listener’s observations. cease to have any sense and future. And I’ve long been planning to do an opera mak- Some might say there are game-theory structures I’ve been lucky in that my music was under- ing greater use of my visual and textual knowhow in my composing. Perhaps, but I’m also interested stood and my career supported early on. I also got as an all-round work of art. in perceptual psychology. I nevertheless want to a publisher when I was only just staring out: that, Scheduled to be premiered towards the end of stress that music is freedom: the perceptions and too, meant a lot for my professional autonomy. the year are both the symphony and another or- experiences of every listener are “right”. chestral work, and I’ve got a focus concert coming What sorts of things do you value in life? up at which I’ll be playing the piano part in the Where do you fi nd the ideas and inspiration for Physical and mental wellbeing are of the utmost premiere of my Piano Quintet and conducting a your music? importance to me if I am to survive in everyday new piece for ensemble. I draw inspiration from everything imaginable. I life, manage my time and the sometimes hectic view the world through the eyes of an endlessly pace of life, and I actively work to achieve them. Henna Salmela

HIGHLIGHTS 2/2018 REPERTOIRE TIPS Nordic works for guitar REVIEWS

DANIEL BÖRTZ HERMAN RECHBERGER A Portrait (1993) Golpe de Corazón / Dur: 14´ Heartbeat Concerto (1992)

for guitar and chamber ensemble: Dur: 17’ Solyom Stefan Photo: fl -cl-perc-pf-string trio 1111-0000-02-str A subtle and original concerto, Rechberger has a reputation for written in one movement that is being a pioneer in Finnish gui- divided into a number of contrasting episodes: Energico, tar music – the guitar is his own instrument and he has Romanza, Furioso, Tumultoso, Romanza and Misterioso. composed several works for it. His ‘Heartbeat Concerto’ Börtz lets the lyrical moods dominate, but there are some includes minimalistic features. It is softly Neoromantic, violent attacks here, especially from the percussion (xy- making use of diff erent stylistic influences, with long, lophone, marimba and tom-toms) and the piano, which melodic lines that are rewarding for the soloist. contrast with what is beautiful and melodious in the guitar part. BENJAMIN STAERN KIMMO HAKOLA Air-Spiral-Light (2014-16) Guitar Concerto (2008) Dur: 25’ for solo guitar, seven instrumen- Dur: 35’ talists and electronics 2222-2220-12-hp-str Staern brings out the whole This sister work to Hakola’s pop- potential of the guitar and Benjamin Staern ular Clarinet Concerto draws on displays everything from high-energy outbursts to sen- the Sephardic Jewish tradition. sitive, searching fl ageolets. In addition, the soloist plays Phenomenal Staern Woven into the second movement is the enchanting with shot glasses on the strings. The work starts out with melody of the ancient Adio Querida. The third has a cin- the sounds from musical glasses which together with The programme opened with the epoch-making work Jubilate… This stirred ematographic feel. Babbling voices comment on what the guitar create an almost unearthly atmosphere. There the audience´s senses to alertness and brought out the power and expres- has been heard and spur the soloist on to more and more are also some lively sections here that really swing, with siveness in the orchestra… Staern´s phenomenal ability to orchestrate was experiments. From time to time the air is fi lled with jubi- vibraphone, African djembe drums and a bullroarer. The manifest in this exemplary performance of the work, in which Oramo´s en- lant Balkan-tinged sounds adapted to diff erent fl amenco work won the Music Publishers´ Prize 2017. moods. thusiastic conducting entered into every detail with such natural technical Arpalinea (2007) Dur: 15´ self-assurance that it felt as if it were a piece from the standard repertoire… ERLAND VON KOCH for solo guitar El Mundo 6.5. Concerto for Guitar (1982) The starting point for Arpalinea was J. S. Bach´s Chaconne in D minor, but a sojourn in Italy provided further inspira- Benjamin Staern: Jubilate Dur 22´ tion for the music. The piece opens with arpeggios, and Spanish premiere: Royal Stockholm PO/Sakari Oramo, 3.5.2018 Madrid, Spain 1111-0000-str gradually takes on a more rhythmic character with Span- A three-movement guitar con- ish infl uences and taps on the guitar body. The second certo in Swedish folk tone. The movement is freer in pulse and more intimate, with fl a- Pettersson in a new light second movement is based on geolets. The concluding fi nale is full of energy, the tones When they [Norrköping SO/Christian Lindberg] have now come to the Fifth the well-known Swedish ”Emigrant Song”, the melody gush forth in a torrential fl ow, and the work is rounded off of which appears in various shapes, keys and variations (1962) and the Seventh (1967), we can only wonder how they managed with slapped strings and super-rapid tremolos that rise to get this incomparable music to expand purely spacially, without losing throughout the movement. The concerto is concluded in a higher and higher. dancing style with a theme inspired by the polska. any of its intensity. Moreover, I am more and more taken by how they bring HARRI VUORI about a new kind of fi ltered light in Pettersson´s music that links him sound- TOMMI KÄRKKÄINEN Cthulhu’s Dreams (2016) wise to a Nordic tradition – and it really sings. Dagens Nyheter 23.3. Tener Tempestas (2008) Dur: 23’ Dur: 16’ Allan Pettersson: Symphonies Nos 5 & 7 Concerto for Guitar and Orchestra: CD: Norrköping SO/Christian Lindberg (BIS-SACD-2240) for silent guitar, eff ects and 1111-2000-03-hp-str orchestra: 2222-2000-01-str Music that captures the mood of Together with the orchestra, H.P. Lovecraft’s Cthulhu mythol- the digitally amplifi ed and ogy. A certain sense of mystery and rich, brilliant colours Moments of great beauty coloured guitar in this concerto produces some exciting are typical of Vuori. The guitar leads, initiates and acti- combinations and worlds of timbre. The concerto was a vates the orchestra, but in between there are also some Kortekangas’s music serves the drama well and includes moments of commission from Janne Malinen and is probably the fi rst sharp contrasts. The second movement aff ords, as if in a great beauty… The chorus had a major role which it performed im- to be written for this instrument without a sound box. The fractured mirror, a refl ection of Debussy’s Clair de lune. pressively, especially in the church scene as they sang a cappella about sound can, alternatively, be channelled to loudspeakers. the sorrows of war. Santtu-Matias Rouvali conducted the Tampere LOTTA WENNÄKOSKI KIRMO LINTINEN Philharmonic Orchestra and ensured that Kortekangas’s score was per- Susurrus (2016) Dur: 15’ formed with the passion and precision it deserved. Opera Magazine June 2018 Guitar Concerto (2011) for guitar and orchestra: Dur: 25’ 2222-2200-perc-str Olli Kortekangas: Veljeni vartija (My Brother’s Keeper) Opera 1111-1000-0-str Wennäkoski’s recent concerto World premiere: Tampere Opera, Tampere PO/Santtu-Matias Rouvali, sol. Tuuli Takala, Ville Lintinen’s concerto bubbles on is a fund of action and playful Rusanen, Tuomas Katajala etc., 16.2. 2018 Tampere, Finland with an unresisting power. The moments. The soloist strums, elegant whirls of a waltz lead twangs and scrapes the strings while members of the to a dreamy middle movement that, according to the orchestra get their share of the fun. The work is not, composer, includes perhaps some of the most beautiful however, lacking in lyrical melody. Described as fresh, music he has ever composed. The fi nale takes its quasi easy-going and at the same time slightly melancholy, it folk material to the brink. A piano reduction prepared by

is a little universe in fi fteen minutes. Nuutinen Petri Photo: the composer is also available. DAG WIRÉN KAI NIEMINEN Little Serenade (1964) “If on a Winter’s Night a Dur: 10´ Traveller” (2009) Dur: 25’ for solo guitar Concerto for Guitar and Chamber This is a Swedish guitar classic Orchestra: 1211-1100-01-str and a repertoire work that Wirén The title refers to the book by wrote for his daughter. It con- Italo Calvino that inspired the sists of six short movements and begins and ends with concerto’s mysterious atmosphere. The fi rst movement is a Marcia reminiscent of Wirén´s popular Serenade for a homage to Villa-Lobos, as refl ected in the cadenza. The Strings. Other movements include a Prelude, an energetic second shows Nieminen’s love of folk music and the third Solo, a virtuoso and lively Intermezzo and a meditative is a kind of lullaby. The music also has a nostalgic feel and Duo Lente. assumes a refl ective and lyrical nature.

HIGHLIGHTS 2/2018 Seriously enjoyable music Riveting choral music Dag Wirén’s music is an experience to be recommend- This is one of the most riveting choral discs I’ve ever ed to anyone… his 1937 Serenade for Strings is seri- come across! Based mainly on folk music and other ously enjoyable music – unpretentious, immaculate- traditional sources but dressed in modern outfi t and ly scored and not a note too long… What a superb with sometimes disrespectful accessories, the music

beginning this piece [Symphony No. 3] has, its wind Vuorjoki Music Finland/Saara Photo: is challenging, entertaining, often great fun and all writing lifted from late Sibelius, though the brassy, the time inspirational. percussive writing is highly individual… Where has MusicWeb International April 2018 this music been hiding? Rumon Gamba secures en- Choral works by Erland von Koch, Bengt Ollén, Jan thusiastic, colourful playing from the Iceland Sym- Sandström, Sven-David Sandström, etc. phony Orchestra… Wirén’s 1953 Divertimento has a CD: 441 Hz Chamber Choir/Anna Wilczewska (DUX 1405 ‘Song of the weight and seriousness which belies its title, whereas North’) a youthful Sinfonietta is frothy fun from start to fi nish. Theartsdesk.com 31.3. Paavo Heininen Mikko Heiniö An eminently recommendable disc. Gramophone March 2018 Focus on Heininen Dag Wirén: Symphony No. 3, Sinfonietta, Serenade Heininen writes inventively for both violin and pi- for Strings, Divertimento ano, but his piano writing is especially refi ned, full PO/Seilo Ristimäki Turku Photo: CD: Iceland SO/Rumon Gamba (Chandos CHSA5194) of glittering fi gures and fi ne sounds. Hufvudstadsbladet 6.5. Marie Samuelsson Carefully weighed-up musical art lent impetus by modernism and brimming with detail, and re- Photo: Josef Doukkali Photo: quiring full immersion. If the listener is prepared to work, i.e. to be present and curious, the reward is incomparable musical fl ashes of insight. Helsingin Sanomat 6.5. Paavo Heininen: 80th birthday concert (See: Premieres) Kaija Saarikettu, violin, Juhani Lagerspetz, piano, 4.5.2018 Helsinki, Finland

A sunny concerto by Turriago Turriago’s sunny concerto awakens programmatic A feast of percussion thoughts, which is not surprising in the case of his His Symphony No. 3 is a milestone in the career of music…Basically minimalistic, his music nevertheless Heiniö, now celebrating his 70th birthday, and a fi ne turns briskly in new directions and is easily accessible, summation of his artistic ambitions. Once again he melodic, rhythmically clear, and well-controlled. Once tests generic limits: the symphony is also a concerto Hypnotic Aphrodite he has had his say, Turriago closes the score at pre- with percussions, piano, celesta and harp playing the It is an orchestrally striking work. Mezzo-soprano Kati- cisely the right moment. Aamulehti 27.2. leading role… The young German conductor Anja ja Dragojevic sings a calm and balanced invocation of Tuomas Turriago: Concerto for Chamber Ensemble Bihlmaier extracts from the orchestra a rich sound the goddess of love: ”Aphrodite, be now my sister in and intoxicating percussion rhythms. …A percussion battle”. But under the surface the music is bubbling World premiere: TampereRaw/Tuomas Turriago, 25.2.2018 Tampere, cadenza led the last movement, Run, to a familiar, with gnawing restlessness and carnal passion… for Finland characteristic Heiniö canter, the inventiveness of its the most part it is hypnotic. orchestration persisting right up to the brilliant fi nal Göteborgsposten 6.5. thumps. Marie Samuelsson: Aphrodite – Fragments by Turun Sanomat 20.5. Sappho – Love Trilogy No. 1 Mikko Heiniö: Symphony No. 3 (Sinfonia Concer- Gothenburg SO/Mei-Ann Chen, sol. Katija Dragojevic, mezzo-soprano, tante for Percussion and Orchestra)

4.5.2018 Gothenburg, Sweden Wallin Ohlson Elisabeth Photo: World premiere: Turku PO/Anja Bihlmaier, 18.5. Turku, Finland

Grubinger delights in Aho Acclaim for Karlsson’s BIS release Lars Karlsson’s fi rm, aesthetic grasp on his new disc is concerto Aho’s work is a sort of world music in which the soloist easy to admire… Hufvudstadsbladet 31.1. roams between the instruments…It comes alive in the quality of the performance, distinctive impulsiveness Karlsson is a natural and rhythms, but also selected moments of calm. composer of vocal Dresdner neueste Nachrichten 29.4. music with a knack for writing easily fl owing Jacob Mühlrad Kalevi Aho: Sieidi (Concerto for Percussion and melodies. Suovanen’s Orchestra) sumptuous baritone Mühlrad’s Kata Dresdner Philharmonie/ Michael Sanderling, sol. Martin Grubinger, is simply perfect for Composer stripling Jacob Mühlrad advanced toward 15.4.2018 the declamatory ex- further clarity with ”Kata for Two Cellos and Percus- pression in the Seven sion”… It starts out with seasick and distorted strings Captivating Puumala Songs…a fi ne work, a and gongs. Then dreamcatcher-like music seeks the Puumala’s Angular Objects in Liquid Time was truly fi ne performance. Melodiousness is also a salient fea- inner balance of martial art and goes to attack with angular, edgy, rough and complex, but also captivat- ture of the Clarinet Concerto. riffi ng cello tones… the sonorities are exquisite. ingly intensive. Rondo 5-2018 www.yle.fi 20.2. Dagens Nyheter 17.4. Veli-Matti Puumala: Angular Objects in Liquid Time Lars Karlsson: Seven Songs, Clarinet Concerto Jacob Mühlrad: Kata World premiere: Defunensemble, 12.4.2018 Tampere, Finland CD: Lapland CO/John Storgårds, sol. Christoff er Sundqvist, clarinet, World premiere: Astrid Lindell, cello, Marie Macleod, cello, Mika Gabriel Suovanen, baritone (BIS-2286) Takehara, percussion, 16.4.2018 Stockholm, Sweden

HIGHLIGHTS 2/2018 NEW PUBLICATIONS NEW CDs

KALEVI AHO CHAMBER & CHORAL ORCHESTRAL Concerto for Timpani and INSTRUMENTAL DANIEL BÖRTZ GÖSTAG NYSTROEM Orchestra, Concerto No.1 for TreTr operakörer (Three Piano and Orchestra SinfoniaS Concertante Gösta Nystroem J. S. BACH/MATS BERGSTRÖM OOpera Choruses) forf cello and orchestra Turku PO/Erkki Lasonpalo, ARR forfo mixed choir Tre operakörer GEG 13395 (score), Eva Ollikainen, sol. Ari-Pekka Sei solo, Sonatas and Partitas 1.1 Backanternas kör from GE13396G (study score) Sinfonia concertante Mäenpää, timpani, Sonja Fräki, piano for violoncello and orchestra För mezzosopran BIS-SACD 2306 BWV 1001-1006 theth Bacchae och blandad kör a cappella transcribed for guitar Text:Te Euripides (Sw) ALLANA PETTERSSON SCORE GE 13291 2.2 Aphrodite from Medea SymphonicS Movement KALEVI AHO Text:Te Euripides (Sw) GEG 11980 (score), GE13399 Allan Pettersson Solo I (Tumultos), In Memoriam 3.3 Käre, det är dags att gå (study( score) Pehr Henrik Nordgren MATS LARSSON GOTHE SYMFONISK SATS In modo lidico inin from Magnus Gabriel Symphonic Movement PEHR HENRIK NORDGREN (1973) for string quartet Text:Te Iwar Bergkwist (Sw) MARIE SAMUELSSON Sonata for violin solo Op. 104 Mats Larsson Gothe GEG 13293 Aphrodite – Fragments GE 13258 (score and parts), Score GE 13259 (study score) by Sappho EINOJUHANI RAUTAVAARA Marie Samuelsson Variétude In modo lidico LARS KARLSSON (Love Trilogy No. 1) (Ein Heiliger Dankgesang) Renate Eggebrecht, violin LARS KARLSSON Som en våg for mezzo-soprano and Afrodite for string quartet Fragment av Sapfo Troubadisc TRO-Cd 01452 Sonata da camera for mixed choir orchestra Kärlekstrilogi – nr 1 för alt/mezzosopran och orkester for double bass and piano SCORE Text: Pär Lagerkvist (Swe) GE 12476 (score), FG 979-0-55011-417-3 GE 12685 (study score) HUGO ALFVÉN FG 979-0-55011-416-6 SCORE Symphony No. 1 Mina källor Koralmetamorfoser/ Deutsches Symphonie-Orchester Berlin/ for mixed choir JANJ SANDSTRÖM/ Chorale-metamorphoses Lukasz Borowicz Text: Karl-Erik Bergman ORCH:O JOHAN DENKE for fl ute, viola and harp Jan Sandström CPO 555 043-2 FG 979-0-55011-419-7 (score and parts) (Swe) Från evighet till evighet orkestrering: Johan Denke FG 979-0-55011-418-0 forf soloists, mixed choir and ERLAND VON KOCH KIRMO LINTINEN orchestrao GEG 12708 (score), GE 12710 (vocal Från evighet till evighet I-i-o-hi-ho ROLF MARTINSSON för solister, blandad kör och orkester Concerto for Guitar scores with organ) FG 979-0-55011-413-5 ClavisC paradisi BENGT OLLÉN (piano reduction with solo part) forf soloists and mixed PARTITUR Trilo, I denna ljuva sommartid choirc BENJAMIN STAERN HistorienH om en prinsessa/ JAN SANDSTRÖM OSKAR MERIKANTO/ Text:T from Analecta Biegga luohte hymnicah (Latin) TThe Princess’ Tale Benjamin Staern ED. JAN LEHTOLA GEG 13180 forf actors, clarinet, bassoon, Mi Tyler SVENDAVID SANDSTRÖM Collected works for organ cornet,c trombone, percussion, Four Songs of Love (URTEXT) violinv and double bass Historien om en prinsessa 441 Hz Chamber Choir/Anna Wilczewska JANJ SANDSTRÖM The Princess’ Tale This critical edition presents for DUX 1405 (“Song of the North”) Text:T Mi Tyler (Sw/Eng) en pendang till ”Historien om en soldat” the fi rst time Merikanto’s complete VuojnhaV biegga a companion piece to “The Soldier’s Tale” forf mixed choir GEG 13229 (score), GE 13231 works for organ: the earliest SCORE Text:T Johan Märak (study( score) ROLF MARTINSSON extensive concert pieces Open Mind, Orchestral Songs on written in Finland. (Sami)( GEG 13381 Poems by Emily Dickinson, FG 979-0-55011-409-8 A. S. in Memoriam, Concerto for Orchestra KAI NIEMINEN Royal Stockholm PO/ Hymnos II BOOKS & TUTORS Andrew Manze/Sakari Oramo, for solo horn sol. Lisa Larsson, soprano FG 979-0-55011-425-8 SAMI JUNTUNEN BIS-SACD-2133 (“Presentiment”) Arioso Gettin’ into Groove - Rytmi- for solo horn musiikin etydejä (Etudes for ALLAN PETTERSSON FG 979-0-55011-426-5 piano) Symphonies Nos 5 & 7 A delightful tutor and repertoire com- Elegy Norrköping SO/Christian Lindberg (for Philip Milton Roth) pendium, exploring the Afroamerican BIS-SACD-2240 for horn and harp popular music genre. This version of FG 979-0-55011-427-2 the book is in Finnish. FG 979-0-55011-396-1 ALBERT SCHNELZER Ancient Songs … Tales from Suburbia, Cello (Dreaming of Queen of Sheba) SMÅLÄNDSK SUITE GÉZA SZILVAY Concerto – Crazy Diamond, Melodier ur Matthias Silvius Svenonis notbok for horn and piano Colourstrings Violin ABC: Hand- Brain Damage – Concerto for FG 979-0-55011-428-9 Arr: Thomas Niklasson Orchestra 130 book for Teachers and Parents A new, completely revised English Gothenburg SO/Benjamin Shwartz BIS-SACD-2313 THOMAS NIKLASSON version off ering expert advice Småländsk suite and support to teaching with the for organ Colourstrings® method. BENJAMIN STAERN GE 13370 FG 979-0-55011-249-0 Opposing Dance Haga Duo (Sareidah Hildebrand, HANNU POHJANNORO ARJA SUORSARANNANMÄKI fl ute, Joakim Lundström, guitar) images, hommages Haga Musikproduktion Colour Keys – the Piano ABC: (”Colours of Sweden”) for quintet : fl , cl, vl, vcl, pf Opettajan opas B-kirjaan This work was awarded with (Teacher’s Guide for Book B the second prize at the in Finnish). DAG WIRÉN VIII International Henri Dutilleux FG 979-055011-414-2 Symphony No. 3, Serenade Composition Contest in 2017. för Strings, Divertimento, FG 979-0-55011-415-9 (score for one Sinfonietta, musician) Iceland SO/Rumon Gamba Chandos CHSA5194 JEAN SIBELIUS/ ARR. ESA YLÖNEN Andante festivo For further information about our works or representatives worldwide check our web sites or contact us at: Arrangement for organ

FG 979-0-55011-420-3 Martin Skafte MARTIN SKAFTE Tolv preludier, bok 2 Gehrmans Musikförlag AB Fennica Gehrman Oy Ab Twelve Preludes, Book 2 Twelve Preludes, Book 2 Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland for piano inspired by Claude Debussy’s Préludes: deuxième livre GE 13246 Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 • Fax +358 10 3871 221 for piano www.gehrmans.se • [email protected] www.fennicagehrman.fi • info@fennicagehrman.fi Hire: [email protected] Hire: hire@fennicagehrman.fi Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi Sales: [email protected] Sales: kvtilaus@kirjavalitys.fi (dealers)