REPERTOIRE TIPS Works for smaller-sized orchestra

ENSEMBLE STRING ORCHESTRA KIMMO HAKOLA ANDERS ELIASSON ROLF MARTINSSON Chamber Concerto (2001) Dur: 32’ Sinfonia per archi (2001) Kalliope (2003) Dur 27’ for 11 players: 1110-0100-01-pf-str Dur: 35’ In the nine-movement work Mar- (11111 or str.orch) tinsson lets the Muses of Greek my- The sorrowfully singing Sinfonia In this work each member of the thology come forth, each in a move- per archi consists of a long contin- ensemble is a soloist telling his ment of her own. The movements are uous movement that ranges from own story. The moods vary from the divided into three groups of three so the most delicate tenderness and opening Furioso to Amoroso – a love that the tempi and the Muses’ dif- achingly beautiful melodic lines, to story – to Forza. Con fuoco, which ferent characters are contrasted and dramatic outbursts. A twenty-min- proceeds with resolute energy. The fi- varied as much as possible through- ute-long opening Adagio turns into a nale, Misterioso, is music about grief out the work. The characters fluctu- restless, slightly jerky and onrushing but more a hymn of praise to the con- ate between the harsh and the more Allegro that leads to a Lento, in which the character of the beginning re- tinuity of life and eternity. The concerto was commissioned by Present Music romantic, between tranquillity and rhythmic tension. for a premiere in Milwaukee and recorded by Innova Records. turns. The work ends on a bright, pure, open chord that imparts a feeling of release and hope. JUHANI NUORVALA OLLI KORTEKANGAS EINAR ENGLUND Sinfonietta (1997/98) Triptych for Seven / Triptyykki Serenata (1983) Dur: 20’ Dur: 19’ seitsemälle (2008) Dur: 12’ str (min. 44321) cl-hn-tbn-pf-hp-2vc This is a string-orchestra version of This four-movement Serenade Nuorvala’s Second String Quartet. Triptych was part of a commission begins with a romantically-tinged The opening Andante movement at project in which ten composers and Allegretto outburst. It also has some times creates a romantically soar- artists were invited to present their darker shades, as in the mournful ing world of sound. The dreamlike interpretations of the Finnish nation- Andante movement evocative of Tranquillo leads to a dancing closing al epic, The Kalevala. The three move- Shostakovich. A solo violin gets to movement bursting with life and ments (Uhma, Harha and Tahto) play the dancing main theme in the drive. A Tapiola Sinfonietta commis- possibly refer to events in the story third, Minuet, movement, and the sion premiered in 1998. – the heroes’ mutual blustering, the finale (Allegro con brio) is boisterous drifting on the waves, and the forging of the Sampo – but also to emotional and action-packed. states, desires, charms: erotic longing and fantasy. VELI-MATTI PUUMALA HALVOR HAUG Memorial Fragment (2008) MAGNUS LINDBERG Dur: 13’ Furuenes Sang / Zona (1983) Dur: 17’ violin obligato and strings (54432) for cello and ensemble: afl-bcl-perc- Song of the Pines (1987) This work quotes a piece by Pehr hp-pf-vln-db This deeply expressive work reflects Henrik Nordgren that engages in dia- Zona represents early Lindberg. The the desperation Haug experienced logue with Puumala’s own idiom. The name comes from Andrei Tarkovsky’s when the pine forest outside his stu- violin obligato at times acquires sa- film Stalker, in which the main char- dio was cut down. And one cannot cral tones, as in Nordgren’s Portraits acter leads his clients to a site known help but be affected by the music that of Country Fiddlers. At the premiere as The Zone. The music begins as a conveys both sorrow and indignation. the orchestra was scattered around high shimmer from which the cello ”Mankind lacks respect for and knowl- Kaustinen Church and the leader gradually emerges as soloist. The edge about the forest’s existential im- moved from one section to another. cello part is extremely virtuosic, cov- portance for life on earth”, says Haug. ering a wide spectrum of timbres and testing the very limits of expression. ”It is the pine trees ‘on their last legs’ that make up the idea behind the work.” EINOJUHANI RAUTAVAARA TIINA MYLLÄRINEN JOONAS KOKKONEN Cantos I-IV (1960-92) Canto I (1960) 6’ Dur: 8’ Music for String Orchestra Squarcio (2011) Canto II (1960) 8’ fl -ob-cl-trp-trb-pf-vln1-vln2-vla-vlc-cb (1957) Dur: 28’ Canto III ‘A Portrait of the Artist Squarcio has the explosive energy typ- Kokkonen’s early work reveals his at a Certain Moment’ (1972) 9’ ical of Myllärinen’s music and grows skill at writing for strings and marked in overlapping crescendos. It may be his breakthrough as a major orches- Canto IV (1992) 17’ divided into two parts, the expansive tral composer. The two fast, rhyth- The title is from Ezra Pound’s poem first leading to a denser, more layered mical movements form contrasts to second. The music is marked off by cycle for which Rautavaara wanted the slow ones. The Adagio religioso is to create a musical parallel reflecting strong, polyrhythmic eruptions and peaceful and beautiful, and the score ever-denser crescendos that carry the its multi-layered nature, varied references and allusions. But these are es- at this point has great intensity. The sentially personal statements, described as one-movement symphonies in piece to its close. There is, however, structure is tied firmly together in a symphonic arch. one more surprise in store just before the final build-up. conception, growing and branching organically like trees.

TIMO-JUHANI KYLLÖNEN KARIN REHNQVIST AULIS SALLINEN Awakening (1991) Dur: 17’ Aspects of Peltoniemi Hintrik’s Bloodhoof (2019) Dur: 42’ Kyllönen developed this work from Funeral March (1969) Monodrama for mezzo-soprano and 8 his one-movement string quartet instruments: fl-ob-cl-perc-pf-vl-vla-vcl commissioned for the Kuhmo Cham- Dur: 13’ The point of departure for the work is ber Music Festival. The title refers to This is the orchestra version of Sal- Ger∂ur Kristný’s poetic tale Bloodhoof the awakening of nature in spring linen’s popular third string quartet. about power, threats and assault. and birdsong at dawn. Melody plays The intriguing title refers to a belov- Rehnqvist’s sound world moves from an important role in supporting the ed Finnish fiddler tune. It is heard at inarticulate bestial sounds and gur- idea of a continuous stream or flow, the beginning of the work and later gling to loud songlike cries and subtle while harmony and polyphony are in a variety of settings through var- ornaments. She uses the instruments used colouristically and as elements promoting formal unity. iation techniques giving the work in order to bring out the dramatic ele- the character of a modern chaconne. Sallinen spices it with his own wit and ment. From thin, bubbling metal plates imitating water surfaces, to gongs that skilful handling of violinistic timbral gestures. sound like clattering hooves.

6 HIGHLIGHTS 4/2020 CHAMBER / SINFONIETTA ORCHESTRA MARIE SAMUELSSON TOBIAS BROSTRÖM ALBERT SCHNELZER Rotations (1997/2003) Beatnik (2015) Dur: 4’ A Freak in Burbank (2008) Dur: 14’ version for small orchestra: Dur: 10’ 2222-2100-01-pf(opt)-str 2222-2200-11-str The sound idea of Rotations was born This is a piece with an urban attitude, when Samuelsson was composing Albert Schnelzer conjures up a magi- bursting with energy and vivacity. It is cal world where whirling woodwinds in her country house. The rain was fast, and rhythmic, continually alter- pouring down onto her tin roof, so and energetic, pressing strings suc- nating between 5/8, 3/4 and 7/8 time. ceed one another. A witty, lavishly heavily that it flowed into her music. Originally written as a virtuosic encore She could not concentrate on any- orchestrated and highly imaginative piece (”Sputnik”) for trumpeter Håkan piece inspired by a biography about thing else but that dripping sound Hardenberger, Broström was later which is presented in the work right film director Tim Burton, that has asked to prepare a version solely for orchestra (”Beatnik”), which now exists been performed some 70 times by orchestras around the world. from the start: pizzicato-dripping in versions for large and small orchestra. strings in the high registers that play percussive counter-rhythms.

HALVOR HAUG MIRJAM TALLY ALBERT SCHNELZER Insignia (1993) Dur: 15’ Lament (2013) Dur: 10’ Emperor Akbar (2010/2018) 2222-2200-10-0-str 2222-1111-12-0-str Dur: 12’ Haug composed Insignia after his first Lament was composed as a com- string or chamber orchestra: 2222- visit to Lofoten, a group of islands off panion piece to Beethoven’s Ninth 2200-10-str the northern coast of Norway, where Symphony. Tally uses a lyrical cello recitative from the IV movement and As always Schnelzer gives the lis- the magnificent scenery inspired him repeats it in her work to such an ex- tener an imaginative experience. tremendously. The work has the sub- tent that it almost becomes a kind of The work has been inspired by the title “Symphonic Vision for Chamber mantra. It is mixed with typical Tally complex character of Akbar the Great Orchestra” and the somewhat harsh elements as clusters, airy whispering and starts brutally with the Emperor tonal language and the drama in the sounds and overtone glissandi. An chopping the head off a young rebel, music produces images of the rugged landscape. unobtrusive but exquisite salute to Beethoven. after which rhythmical and violent passages alternate with more contemplative and serene scenes. Originally OLLI KOSKELIN composed for the Brodsky Quartet, Schnelzer later orchestrated the work in EDUARD TUBIN versions for string and chamber orchestra. ...Like a Planet Silently Breath- Symphony No. 7 (1958) ing (1992-93) Dur: 14’ 2221-2000-01-str Dur: 24’ JEAN SIBELIUS 2222-2200-10-0-str A rich, transparent texture, hypnotic The Countess’s Portrait / string effects and rhythmically static Tubin’s Seventh Symphony, is dif- Grevinnans konterfej (1906) music that from time to time soars to ferent in character from his other cosmic heights. As fellow-composer symphonies, not only because Dur: 4’ of the smaller orchestra but the recitation (opt) and string orchestra Juhani Nuorvala puts it: “A fragile, chorale-like string texture, wistful solo tone language is also more acerbic Composed on the initiative of a La- songs, gushing arpeggios mounting to and agitating. The tension is kept dies’ Association for a soirée in Vaasa, ecstasy, and the slow pacing of the vibraphone are distinctive features of this throughout the symphony, from the Finland, this exquisite and beautiful piece.” searching and energetic first movement, the middle movement’s lovely but piece is a melodrama that can be bittersweet melodies, to the march-like finale that builds up a sense of ter- performed with or without recita- ror, emphasized in its forceful closing bars. tion. The text, based on a literary MATS LARSSON GOTHE work by Anna Maria Lenngren, adds to the tranquil, delicate mood created by the strings. The Autumn Diary (2013-14) JENNAH VAINIO Dur: 21’ Winterborn (2008) Dur: 12’ 2222-2200-01-str 1111-1000-str DAG WIRÉN In Larsson Gothe’s musical diary As is often the case in Vainio’s mu- some days are serene and harmoni- sic, this wild piece carries hints of Serenade for Strings (1937) ous, while others are dramatic and Dur: 16’ metal music, a serene and earnest chaotic. There are sleepless nights ambiance, and rhythmic oriental where the tempo slows down, and In Wirén’s popular string serenade harmonies. A commission from the the music becomes contemplative. A the lively music moves forward with Zagros Ensemble and Petri Komu- beautiful Lamento towards the end a light step and in excellent spirits. lainen, Winterborn travels through of the work, lends peace of mind, if only for a short while. The work ends The colors, detail and depth fabri- cold, winter landscapes from dawn with “extremely expressive” and agitated high strings pitted against dark cated from the string orchestra are to moonlit darkness. bassoons and a dry, rumbling timpani. vibrant and fresh. The effervescent and jolly main theme of the fourth movement, ‘Marcia’, was used as JONAS VALFRIDSSON INGVAR LIDHOLM the theme melody of the BBC arts The Only Thing that You Keep programme Monitor in the 60s after which its popularity spread. The Sere- Toccata e canto (1944) Changing is Your Name (2009) nade is still one of the most frequently performed Swedish orchestral pieces Dur: 13’ internationally. 1111-0000-00-str Dur: 12’ 2222-2200-11-0-str At the age of 23 Lidholm made his orchestral debut with the Nordic-ro- The work is based on a simple motif mantic Toccata e canto, a work that consisting of a descending minor has retained its place in the reper- third followed by a minor second, toire over the years. The ‘Toccata’ has and it recurs throughout the whole its share of objective modernism work in different variations. Val- whereas the ‘Canto’ is an intimate and fridsson mixes the simple motif with expressive, folk-tone coloured song. However, modernistic tendencies can be a more ambiguous and complex seen even here, in among other things the technique of letting the music pro- orchestral texture, effervescent instrumentation and compact sonorities. gress in steps towards a climax, supported by powerful ostinato basses, after Altogether it creates a mysterious and thrilling atmosphere. Winner of the which the music fades away. Uppsala Composition Competition 2010.

HIGHLIGHTS 4/2020 7 REPERTOIRE TIPS Works for smaller-sized orchestra

SOLOISTS AND ORCHESTRA KALEVI AHO MIKKO HEINIÖ SVEN-DAVID SANDSTRÖM Viola Concerto (2006) Syyskesän laulu (Late Summer Cello Concerto (1988) Dur: 22’ Song) (2008) Dur: 17’ Dur: 28’ 1111-1000-01 baritone (or bass or mezzo-soprano) 2222-2220-11-str Kalevi Aho’s Viola Concerto is part of and orchestra: 2222-2200-01-str Sandström has called his cello con- a set of three works he composed for Text: Lassi Nummi (Fin) certo “an autobiographical diary”. the Lapland Chamber Orchestra and A vocalist’s dream: lyrical expression The form is somewhat rhapsodic and John Storgårds. Violent and infinitely combined with beautiful, elastic consists of thirteen short sections, charged, it traces a concentrated, orchestration and Nummi’s tender “emotional pages of my life”, in one-movement arch softened by a texts. The sensitive, impressionistic which we find both sentimentality rocking, cradle-song-like Allegretto mood is airy and heedful through- and playfulness. He lets the romanti- before a solo cadenza. out. This is music with subtle gestures, and everything in the score is careful- cism burst into full blossom but com- ly thought-out and weighty. bines this with modernistic outbursts. The concerto concludes with a long drawn-out, varied allusion to the hymn ‘Nearer, My God, to Thee´. ERIK BERGMAN FREDRIK HÖGBERG Concerto for Cello and Orchestra (1998) Dur: 15’ Dancing with Silent Purpose BENJAMIN STAERN 0001-0000-str, bullroarer (2008) Dur: 11’ Surprise! (2015) Dur: 15’ This intensive Bergman concerto clarinet, string orchestra and backtrack Concertino for trumpet and small is a product of his late period. Its (optional projections) orchestra: 2222-2000-01-hp-strings breath-taking progress is interrupted This clarinet concerto was composed by a magical interlude for bullroarer in close collaboration with Martin Surprise! is a lyrical concertino in – possibly an instrument he picked Fröst and is an attempt to develop three movements with melody in up on his travels around the world in the classical concert format. The focus and a relatively transparent 1998. pre-recorded backtrack is integrated orchestration. It starts off with an into the orchestral web providing in- introduction and a virtuosic Fanta- tensive rhythms and suggestive atmospheres. And the music really swings! sia. In the second movement, Aria, the trumpet gets to sing beautifully, TOBIAS BROSTRÖM while the final movement is a clearly Cello Concerto No. 1 (2011) LARS KARLSSON humorous and playful Scherzo where the soloist gets a chance to show off. Dur: 21’ 2222-2200-10-str Sju sånger till text av Pär The concerto opens suggestively Lagerkvist (Seven Songs to MATTHEW WHITTALL and slowly with repetitive chords in text by Pär Lagerkvist) Five Windows on Winter the orchestra, forming the harmonic (2010-11) Dur: 29’ (2018) Dur: 23’ basis that is expanded gradually. The baritone and chamber orchestra: Concerto for chromatic kantele and solo cello’s pentatonic motif develops 1111-1000-str (43321) string orchestra (min. 33221) from out of the orchestra’s carpet of Swedish Nobel Prize laureate Pär La- sound, a motif that recurs through- A piece inspired by Adam Gopnik’s gerkvist has been Karlsson’s favourite essay collection Winter: Five Win- out the entire work. Brisk sections author due to the singing quality with more temperament and rhythmic accents alternate with parts that dows on the Season. Whittall let of his poems and the profoundly sound images flow and gathered the are linked to the harmonies and motif of the beginning. The end is a slow spiritual subjects. The cycle has as its starting point the existential anxiety of diminuendo that fades away far off in the distance. resulting visions into a whole. This youth, while it ends with maturity encountering the longed-for light after is not so much a concerto as a suite, an eventful journey through life. Recorded by BIS. casting the kantele in many different lights as well as constantly varying its relationship to the orchestra that pro- DANIEL BÖRTZ vides the “scenery”. The last movement is a bittersweet elegy for the end Trumpet Concerto – Songs ROLF MARTINSSON of winter. It is also a quiet requiem in our current time, bearing witness to and Dances (1994-95) Violin Concerto No. 1 (2007) climate change. Dur: 27´ Dur: 28’ 2222-2000-11-0-str 2222-2200-01-str LOTTA WENNÄKOSKI Songs and Dances is the first in An incredibly persuasive piece with Börtz’s tetralogy of solo concertos in ecstatic lines, supported by a warm Susurrus (2016) Dur: 15’ which the word “songs” is included in and rich orchestration. It has a su- guitar and orchestra: 2222-2200-01-str the title. And it is obvious how Börtz perb sense of structure to send us This is a cheerful work, both frankly lets the trumpet sing with expressive on a journey which, particularly in lyrical and even humorous. At times melancholy and beauty, not least in the central section of the work, has a the soloist’s ‘instrument’ is a plastic the final movement’s opening ‘quasi cadenza’ on muted trumpet. But there strong meditative power, but which ruler with which it conjures up mag- are also sections dominated by primitivistic rhythms and dance. has such a vivid landscape of colour, ical effects. The violinists lower their particularly toward the madly accelerating ending, that always grips the instruments and pretend they are a listener and performer. strumming guitar band as they begin ANDERS ELIASSON the most beautiful episode. The com- munal beat guarantees both swing Concerto per corno ed archi – KAI NIEMINEN and fun for players and audience alike. Farfalle e ferro (1991) La Serenissima (2006) Dur: 21’ horn and string orchestra Dur: 20’ Concerto for viola, harp and 12 strings The subtitle of this horn concerto, (43221) Farfalle e ferro (Butterflies and Iron), describes the two opposing char- The influence of Monteverdi hov- acters of the music – the opening’s ers in the background – Nieminen powerful, hammering horn part that wants the old to be heard in his mu- rushes on with choppy chromatic sic alongside the new. The borders motifs, and the conclusion’s quick, light, softly swirling butterfly music. between the movements have been In-between is a beautiful and melancholy cantilena. faded out so that they glide into each other and transform. The melody is also submerged in the harmony. La Serenissima is steeped in the mystery of the waves that rock it, and bells are part of its soundscape.

8 HIGHLIGHTS 4/2020