Ensemble String Orchestra
Total Page：16
File Type：pdf, Size：1020Kb
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.