16 OCTOBER THURSDAY SERIES 3 Helsinki Music Centre at 19

Total Page:16

File Type:pdf, Size:1020Kb

16 OCTOBER THURSDAY SERIES 3 Helsinki Music Centre at 19 16 OCTOBER THURSDAY SERIES 3 Helsinki Music Centre at 19 Hannu Lintu, conductor Laura Hynninen, harp Richard Strauss: Don Juan, Op. 20 17 min Alberto Ginastera: Harp Concerto, Op. 25 23 min I Allegro giusto II Molto moderato III Liberamente capriccioso – Vivace INTERVAL 20 min Jean Sibelius: Lemminkäinen Suite, 45 min Four Legends for Orchestra, Op. 22 I Lemminkäinen and the Maidens of the Island II The Swan of Tuonela Sanna Niemikunnas, English horn III Lemminkäinen in Tuonela IV Lemminkäinen’s Return Interval at about 19.55. The concert ends at about 21.10. 1 RICHARD STRAUSS selves to development; they have both romantic and classical traits. The young (1864–1949) DON JUAN Strauss further had a gift for moulding the character of his themes. The orches- The story of Don Juan is an ancient tration abounds in magnificent details, Spanish legend. The first known literary and the scoring is virtuosic. Strauss has version is El burlador de Sevilla y convida- a fine feel for the inherent nature of do de piedra (The Trickster of Seville and his instruments and instrumental sec- the Stone Guest), published by a play- tions, combining them to produce vo- wright called Tirso de Molina in around luptuously resonant textures. In form, 1630. Since then, the theme has been a Don Juan is a loosely-constructed sonata popular one both in literature and oth- with an exposition followed by two dif- er arts – with Mozart (Don Giovanni), ferent developments with extra inserts, Molière, Byron, Pushkin and Dumas the and a strongly varied recapitulation. The Elder, for example. Strauss did not, how- leading character is first portrayed with ever, base his tone poem on any of their a mercurial, sizzling theme. About half variants, taking instead an unfinished way through, he begins to be shown in play in verse by Nikolaus Lenau (1802– a different light with a new horn theme 1850). that is bursting with heroism and dis- Lenau’s Don Juan differs to some ex- sipation, and excitingly ironic slant. The tent from the mainstream variants; love scenes emerge almost unnoticed the dinner scene with the stone guest, from the thematic material, and tucked for example, and the Don’s death are in towards the end is a carnival scene. handled in a completely different way. Lenau’s play has virtually nothing like Lenau sought to fill in the psychologi- this, and in this sense Strauss took liber- cal background and mind-set of the no- ties with his model. torious womaniser, delving deeper than had previously been the custom in lit- erature. Strauss’s Don Juan is a brilliant, multi-coloured and nothing short of ra- ALBERTO GINASTERA diant portrait of the title character. The (1916–1983): hero’s short, sharp demise in the final HARP CONCERTO bars easily goes in one ear and out the other, so that all remains is an image of Alberto Ginastera, who was born in seduction and love-making on an indus- Buenos Aires and spent most of his trial scale and unbridled debauchery. working life there, is undoubtedly the As a musical portrait, Don Juan is second-best-known Argentinean com- nothing short of dazzling, especially poser. His father was Catalan and his considering the composer’s age when mother Italian, but he looked upon him- he painted it. The themes are both self as Argentinean from a very ear- handsome, hedonistic subjects as such ly age. He lived and worked in Buenos and objects that readily lend them- Aires from 1947, having graduated 2 from the Conservatory there in 1938, pedals. Naturally the performing tech- held many teaching posts, and in 1961 nique differs greatly from that of a con- founded the Torcuato di Tella, an insti- cert harp. Ginastera does not seek to in- tution that became the leading Latin corporate special folk-harp techniques American training centre for compos- in his concert-harp repertoire, but many ers. The political unrest in the country details of his concerto indicate his fa- of his birth forced him to move to the miliarity with them. It is as if he were United States in 1968 and two years lat- borrowing them “in spirit” but not in er to Europe, and he spent the last years concrete terms. The three movements of his life in Geneva. of the Harpo Concerto are performed The Latin side of Ginastera is manifest without a break, but they clearly differ above all in striking rhythms and his ex- in character. Framing a meditative slow tensive use of percussion instruments, movement are two quick, and in plac- but the softer side of South American es very dramatic movements marked folklore also struck up an echo in him. by dance rhythms. The solo harp dom- Some parts of his slow movements are inates the soundscape completely in like semi-improvised lullabies or folk the middle movement, particularly. The songs expressing a dreamy longing transition from the ethereal sounds of for far-away lands. The Harp Concerto the end of the slow movement to the (1965) is an excellent example of this. jubilant finale is brilliant to say the least. The harp differs so greatly from other At the very end, the final furore is not instruments in terms of technique, ex- a sound one might generally expect to pression, and so to say its approach to hear in a harp concerto. music that it has traditionally posed a major challenge for composers. This also applies to many of the ‘great mas- ters’! And since composers do not know JEAN SIBELIUS how to write for the harp, players find (1865–1957): themselves constantly having to edit their music, sometimes with a heavy LEMMINKÄINEN SUITE, hand. The truly idiomatic harp pieces FOUR LEGENDS FOR are often ones composed by harp play- ORCHESTRA ers. The Impressionists loved the sound of the harp, which explains why most Despite his relatively late start to a com- decent harp music is by French compos- posing career, Jean Sibelius quickly es- ers. Ginastera’s Harp Concerto stands in tablished a position unique in Finnish a league all of its own, being a techni- music. He had few competitors, and cally faultless and charming addition to following the premiere of Kullervo in the repertoire for that instrument. 1892, all eyes became focused on him Latin America is also the home of as Finland’s musical hope. a parallel tradition that has grown up In 1891, the Finnish Literature Society around the smaller folk harp without announced a competition designed to 3 produce the first Finnish opera. Sibelius, HANNU LINTU who was at that time in thrall to Wagner, Hannu Lintu took over as Chief naturally jumped at the opportunity Conductor of the Finnish Radio and began work on a full-length opera Symphony Orchestra in August 2013. inspired by his German idol in symbol- Formerly Artistic Director of the ist-nationalist spirit. To get himself in Tampere Philharmonic Orchestra and the mood, he set off for Bayreuth and Chief Conductor of the Helsingborg Munich, where it gradually dawned on Symphony Orchestra, he has also been him that he was not an opera composer Principal Guest Conductor of the RTÉ but a symphonist. National Symphony Orchestra in Dublin. The opera was abandoned. Sibelius He works regularly with the Avanti! was nevertheless able to use some of the Chamber Orchestra and was Artistic sketches in a suite for orchestra about Director of its Summer Sounds festival Lemminkäinen, one of the characters in in 2005. the Finnish national epic, The Kalevala. In addition to conducting the lead- The soundscape he had envisaged for ing Finnish orchestras, Maestro Lintu the opera in the spirit of Lohengrin in has made guest appearances with time became the figurehead of Finnish the Radio Orchestras in Berlin, Paris, symbolism and a world-wide hit when Frankfurt, Stuttgart, Amsterdam and it ended up as the slow movement if Madrid, with a number of orchestras in the Lemminkäinen Suite: The Swan North and South America (such as the of Tuonela. The suite could in fact be Toronto, Houston, Baltimore, Cincinnati, called a symphony, the first movement Pittsburgh and St. Louis Symphony being a character portrait of the wanton Orchestras, and the Los Angeles Lemminkäinen with his thirst for adven- Philharmonic at the Hollywood Bowl), ture making merry with the maidens on in Asia (Seoul, Tokyo, Kuala Lumpur and the island. After the sublimely beautiful Hong Kong) and Australia (the Sydney cor anglais solo in The Swan of Tuonela, and Melbourne Symphony Orchestras Lemminkäinen in Tuonela is a little cliché- and others). During the 2012/2013 sea- like, calling to mind the action and hor- son he made his debut with such or- ror scenes of the symphonic poems by chestras as the London Philharmonic, Liszt. Despite making an impact evoc- the Minnesota Orchestra and the ative of Tchaikovsky, the imagery and BBC Scottish Symphony, and this sea- strategy are not particularly original. By son he takes up re-invitations to con- contrast, Lemminkäinen’s Return, grow- duct the Stockholm and Gothenburg ing out of a little motif into foaming Symphonies, the Deutsches Symphonie- rapids and a surging river is a fine early Orchester Berlin (DSO), the Toronto example of Sibelius’s symphonic art and Symphony and other orchestras. looks ahead to the mighty ending of Hannu Lintu studied the piano and the fifth symphony. cello first at the Turku Conservatory in his native Finland and later the Jouni Kaipainen (abridged) Sibelius Academy, where he also at- Translation Susan Sinisalo 4 tended the conducting class taught Festival and the Schleswig-Holstein by Jorma Panula, Atso Almila, Eri Klas Music Festival.
Recommended publications
  • Mozartin Figaron Häät – Maailman Paras Oopperako?
    Marjut Haussila MOZARTIN FIGARON HÄÄT: MAAILMAN PARAS OOPPERAKO? Savonlinnan kirjastossa to 16.7.2015 Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Riitta-Liisa Lempinen-Vesa kommentoi oopperajuhlia Itä-Savossa 3.7.2015: Sama kunnianhimo ja laadun ajatus saattaa levitä myös ympäröivään toimintaan. Luovuuden ilmapiiri ja korkean tason sisäinen vaatimus leviävät arkielämäänkin kuin huomaamatta. Niistä saa eväitä, joilla kaupunki voi pärjätä ympäri vuoden, lamankin keskellä. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Matti Salminen Musorgski-projektista Savonlinna Opera Festival 2015 -julkaisussa: Tämä on valtava draama, se pitää uskaltaa tehdä kunnolla eikä säämiskähansikkain. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Laadun kriteerejä, jotka liittyvät eri tavoin teokseen: •kokemus ja viisaus •tuore näkökulma ja osaaminen -> erilaisuus -> kriittisyys, luova ote ja tiimityö Luovuus -> luova teko, tuotos tai teos -> uusi idea, esine tai palvelu tai toimintatapa •design •immateriaalinen luovuus •rikkoa, hämmentää, sekoittaa, ‘jazzin’n’jammin’ Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Aivotutkija Riitta Hari kirjassa Kaikki evoluutiosta (2009): •homo sapiens syntyi 100 000- 200 000 vuotta sitten •aivojen koko jo pitkään vastaava kuin nykyihmisillä lajin levitessä Afrikasta 60 000 vuotta sitten •kognitiivinen kapasiteetti alkoi kehittyä nopeasti noin 10 000 vuotta sitten •maanviljelys alkoi tuolloin ja esineet ja materiaalit tärkeämmiksi Hari kysyy, oliko syynä geenimutaatio
    [Show full text]
  • Correspondences – Jean Sibelius in a Forest of Image and Myth // Anna-Maria Von Bonsdorff --- FNG Research Issue No
    Issue No. 6/20161/2017 CorrespondencesNordic Art History in – the Making: Carl Gustaf JeanEstlander Sibelius and in Tidskrift a Forest för of Bildande Image and Konst Myth och Konstindustri 1875–1876 Anna-Maria von Bonsdorff SusannaPhD, Chief Pettersson Curator, //Finnish PhD, NationalDirector, Gallery,Ateneum Ateneum Art Museum, Art Museum Finnish National Gallery First published in RenjaHanna-Leena Suominen-Kokkonen Paloposki (ed.), (ed.), Sibelius The Challenges and the World of Biographical of Art. Ateneum ResearchPublications in ArtVol. History 70. Helsinki: Today Finnish. Taidehistoriallisia National Gallery tutkimuksia / Ateneum (Studies Art inMuseum, Art History) 2014, 46. Helsinki:81–127. Taidehistorian seura (The Society for Art History in Finland), 64–73, 2013 __________ … “så länge vi på vår sida göra allt hvad i vår magt står – den mår vara hur ringa Thankssom to his helst friends – för in att the skapa arts the ett idea konstorgan, of a young värdigt Jean Sibeliusvårt lands who och was vår the tids composer- fordringar. genius Stockholmof his age developed i December rapidly. 1874. Redaktionen”The figure that. (‘… was as createdlong as wewas do emphatically everything we anguished, can reflective– however and profound. little that On maythe beother – to hand,create pictures an art bodyof Sibelius that is showworth us the a fashionable, claims of our 1 recklesscountries and modern and ofinternational our time. From bohemian, the Editorial whose staff, personality Stockholm, inspired December artists to1874.’) create cartoons and caricatures. Among his many portraitists were the young Akseli Gallen-Kallela1 and the more experienced Albert Edelfelt. They tended to emphasise Sibelius’s high forehead, assertiveThese words hair were and addressedpiercing eyes, to the as readersif calling of attention the first issue to ofhow the this brand charismatic new art journal person created compositionsTidskrift för bildande in his headkonst andoch thenkonstindustri wrote them (Journal down, of Finein their Arts entirety, and Arts andas the Crafts) score.
    [Show full text]
  • Sibelius Society
    UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A
    [Show full text]
  • 2005 Summer Bridge
    he Sibelius Academy, located in Helsinki, Finland, was founded in T1882. The Academy is named for the internationally renowned and loved Finnish composer Jean Sibelius. As a state music academy, the Sibelius Academy enjoys university status and is an integral part of the system of higher education in Finland. It is the only university of music in Finland, and the largest in Scandinavia. World-class student musicians from the prestigious music academy are invited annually by Finlandia University to present a series of outstanding public performances. This year, three consecutive evening concerts will be presented at the historic Calumet Theatre; an additional festival concert will be presented at the Holy Cross Lutheran Church in Wheaton, IL. summer 2005 This year’s award-winning performers are solo pianist Marko Mustonen, piano-cello duo Anna Kuvaja and Alexander Gebert, and chamber music quartet Soli Amici (Annu Salminen, Performance Dates horn; Paula Kitinoja, oboe; Timo Jäntti, Calumet Theatre Holy Cross Lutheran Church bassoon; and Kaisa Koivula, clarinet; with piano Calumet, MI Wheaton, IL accompanist Jussi Rinta). on August 3 rd, 4 th, and 5 th on August 1st SEVENTH ANNUAL SIBELIUS ACADEMY MUSIC FESTIVAL TICKET ORDER FORM Name: ________________________________________________ CALUMET THEATRE 340 Sixth Stree t • P.O. Box 167 • Calumet, MI 49913 Address: ________________________________________________ Box Office: (906) 337-2610 • Fax: (906) 337-4073 Address: ________________________ Phone: ________________ E-mail: [email protected] http://www.calu mettheatre.com CALUMET THEATRE ONLY Date Artist Tickets Price Qty Best Available Seat On Total Aug. 3, 2005: Soli Amici: chamber music quartet Adult $15 ______ K Main Floor K Balcony $ ______ Jussi Rintä, piano (accompaniment) Student/Senior $10 ______ K Main Floor K Balcony $ ______ Aug.
    [Show full text]
  • Jean Sibelius Jean Sibelius (1865–1957)
    SIBELIUS TAPIOLA | EN SAGA | 8 SONGS ANNE SOFIE VON OTTER Finnish Radio Symphony Orchestra HANNU1 LINTU JEAN SIBELIUS JEAN SIBELIUS (1865–1957) 1 Tapiola, Op. 112 (1926) 18:14 2 En Saga, Op. 9 (1892, rev. 1902) 18:40 (clarinet: Christoffer Sundqvist; viola: Ilari Angervo) Eight Songs Orchestrated by Aulis Sallinen (b. 1935) 3 De bägge rosorna (The Two Roses), Op. 88 No. 2 5:40 4 Sippan (The Anemone), Op. 88 No. 4 1:31 5 Dold förening (Hidden Connection), Op. 86 No. 3 1:05 6 Under strandens granar (Under the Fir Trees on the Shore), Op. 13 No. 1 1:07 7 Kyssens hopp (The Kiss’s Hope), Op. 13 No. 2 1:11 8 Hennes budskap (Her Message), Op. 90 No. 2 2:35 9 Men min fågel märks dock icke (But my Bird is Nowhere to be Seen), Op. 36 No. 2 2:14 10 Jägargossen (The Young Huntsman), Op. 13 No. 7 2:41 Orchestrations commissioned by the Finnish Radio Symphony Orchestra and Hannu Lintu. Premiered by Anne Sofie von Otter on 6th December 2015 Anne Sofie von Otter, mezzo-soprano Finnish Radio Symphony Orchestra Hannu Lintu, conductor 3 Jean Sibelius (1865–1957) is appreciated first and foremost as a composer of symphonies, but he was equally ambitious and productive in writing tone poems. In fact, his single-movement Seventh Symphony Op. 105 (1924) and the tone poem Tapiola Op. 112 (1926) demonstrate just how close these two genres came to merging in his output. Tone poems linked Sibelius to the radical Romantic composers of the 19th century: programme music allowed composers to expand their musical idiom and to break out of the bounds of formal structures.
    [Show full text]
  • LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
    LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
    [Show full text]
  • Download Program Notes
    Symphony No. 2 in D major, Op. 43 Jean Sibelius hanks to benefactions arranged by Axel four tone poems based on characters from TCarpelan, a Finnish man-about-the-arts Dante’s Divine Comedy . But once Sibelius re - and the eventual dedicatee of this work, Jean turned to Finland that June, he began to rec - Sibelius and his family were able to undertake ognize that what was forming out of his a trip to Italy from February to April 1901. So sketches was instead a full-fledged sym - it was that much of the Second Symphony phony — one that would end up exhibiting was sketched in the Italian cities of Florence an extraordinary degree of unity among its and, especially, Rapallo, where Sibelius sections. With his goal now clarified, Sibelius rented a composing studio apart from the worked assiduously through the summer and home in which his family was lodging. fall and reached a provisional completion of Aspects of the piece had already begun to his symphony in November 1901. Then he form in his mind almost two years earlier, al - had second thoughts, revised the piece pro - though at that point Sibelius seems to have foundly, and definitively concluded the Sec - assumed that his sketches would end up in ond Symphony in January 1902. various separate compositions rather than in The work’s premiere, two months later, a single unified symphony. Even in Rapallo marked a signal success, as did three sold-out he was focused on writing a tone poem. He performances during the ensuing week. The reported that on February 11, 1901, he enter - conductor Robert Kajanus, who would be - tained a fantasy that the villa in which his come a distinguished interpreter of Sibelius’s studio was located was the fanciful palace of works, was in attendance, and he insisted Don Juan and that he himself was the that the Helsinki audiences had understood amorous, amoral protagonist of that legend.
    [Show full text]
  • Jean Sibelius (1865-1957) Symphonic Poems and Cantatas Mp3, Flac, Wma
    Jean Sibelius (1865-1957) Symphonic Poems and Cantatas mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Symphonic Poems and Cantatas MP3 version RAR size: 1158 mb FLAC version RAR size: 1232 mb WMA version RAR size: 1143 mb Rating: 4.2 Votes: 668 Other Formats: MP4 AAC AHX MP3 MOD DXD DTS Tracklist 1 Cd 1: Kullervo - symphonic poem for soloists, chorus and orchestra Op.7 (Kalevala) [78:29] Cd2: Nightride and Sunrise Op. 55 [14:41]; Luonnotar Op. 70 [9:18]; Legends (Lemminkäinen Suite) Op. 22 2 (I.Lemminkäinen and the Maidens of the Island [17:08]; II.Swan of Tuonela [9:49]; III.Lemminkäinen in Tuonela [15:54]; IV.Lemminkäinen's Return [6:32]) (1895-6) [49:23] Cd 3: Jungfrun i tornet (The Maiden in the tower): one act in overture and eight scenes (1895-6) [36:39] Pelléas et Mélisande - incidental music Op. 46 (At the Castle Gate [2:47]; Mélisande [3:49]; At the Sea 3 [1:59]; By a spring in the park [2:12]; The three blind sisters [2:08]; Pastorale [1:52]; Mélisande at the spinning wheel [2:03]; Entr'acte [2:53]; The death of Mélisande [6:01]) [25:48] Cd 4: Snöfrid Op. 29 [11.23]; Oma Maa Op. 92 [11.55]; Väinön Virsi Op. 110 [8.42]; Sandels Op. 28 (1898 rev. 1915) [9.09]; Maan Virsi Op. 95 [7.41]; Laulu Lemminkäiselle Op. 31 No. 1 [3.31]; Finlandia Op. 26 4 [8.36] Read more: http://www.musicweb-international.com/classrev/2010/DEC10/Sibelius_Jarvi_6484032.htm#ixzz4wj6wRM3U Notes Sibelius Barcode and Other Identifiers Barcode: 50999 6484032 1 Related Music albums to Symphonic Poems and Cantatas by Jean Sibelius (1865-1957)
    [Show full text]
  • Einojuhani Rautavaara(1928–2016)
    1 EINOJUHANI RAUTAVAARA (1928–2016) 90th Anniversary Edition CD 1 Concerto for Harp and Orchestra (2000) 1. I Pesante........................................................................................................................................ 9:59 2. II Adagietto ....................................................................................................................................5:17 3. III Solenne ..................................................................................................................................... 7:54 Marielle Nordmann, harp Symphony No. 8 ’The Journey’ (1999) 4. I Adagio assai ..............................................................................................................................11:30 5. II Feroce ........................................................................................................................................3:04 6. III Tranquillo ................................................................................................................................ 6:00 7. IV Con grandezza ...................................................................................................................... 8:35 Helsinki Philharmonic Orchestra, Leif Segerstam (Previously released as ODE 978-2 in 2001) 2 CD 2 – Rautavaara Sampler 1. Isle of Bliss (Lintukoto) (1995) ............................................................................................11:30 Helsinki Philharmonic Orchestra, Leif Segerstam 2. Missa a cappella (2010–11): I.
    [Show full text]
  • Program Notes November 9, 2019 Wagnerian Music Dramas
    Program Notes November 9, 2019 Wagnerian music dramas. Sibelius soured on Wagner’s The Swan of Tuonela from Four Legends compositional methods soon thereafter, and The Swan from the Kalevala, Op. 22 of Tuonela was published with three other short symphonic poems as the suite Four Legends from JEAN SIBELIUS (1965 - 1957) the Kalevala, Op. 22. Each of the four works depicts an adventure from the life of the mythic Finnish hero As Jean Sibelius came to maturity as man and Lemminkäinen, the central figure of the Kalevala, musician, his country lived under the growing A the national epic of Finland. threat of absorption into the Russian Empire. Finland Sibelius inscribed the following words on the score: had been a Grand Duchy of Russia since 1809, but “Tuonela, the land of death, the hell of it enjoyed a great degree of autonomous freedom, Finnish mythology, is surrounded by a with its own parliament and court system. Starting large river of black waters and a rapid during the reign of Czar Alexander III and continuing current, in which The Swan of Tuonela with Nicolas II, Russia began to limit the rights of glides majestically, singing.“ Finns, curtailing the authority of parliament, mandating Sibelius scores the work for solo English horn, military service and eventually dissolving the oboe, bass clarinet, two bassoons, four horns, three Finnish army. trombones, timpani, bass drum, harp and muted Rather than taking up arms, the Finns fought back strings – an ensemble of dark orchestral colors suitable with their culture against the encroachment on their for depicting the desolation of Tuonela.
    [Show full text]
  • Thursday Playlist
    February 14, 2019: (Full-page version) Close Window “Imagination creates reality.” —Richard Wagner Start Buy CD Stock Program Composer Title Performers Record Label Barcode Time online Number Sleepers, 00:01 Buy Now! Humperdinck Overture ~ Hansel and Gretel Symphony Nova Scotia/Tintner CBC 5167 059582516720 Awake! 00:10 Buy Now! Mozart Piano Concerto No. 25 in C, K. 503 Argerich/Orchestra Mozart/Abbado DG 479 1033 028947910336 00:41 Buy Now! Prokofiev Romeo and Juliet: Suite No. 3, Op. 101 Suisse Romande Orchestra/Jordan Erato 45817 022924581724 01:00 Buy Now! Sibelius Night Ride and Sunrise, Op. 55 Philharmonia Orchestra/Rattle EMI 47006 N/A London 01:16 Buy Now! Mendelssohn Octet in E flat, Op. 20 London Concertante 0722 5060055390124 Concertante 01:48 Buy Now! Vivaldi Concerto in A minor for 2 Violins, Op. 3 No. 8 I Musici Philips 412 128 02894121282 02:01 Buy Now! Delibes Les filles de Cadix Fleming/Philharmonia/Lang-Lessing Decca B0019033 0289478510703 02:05 Buy Now! Paine Larghetto and Humoreske, Op. 32 Silverstein/Eskin/Eskin Northeastern 219 n/a 02:23 Buy Now! Haydn, M. Symphony No. 23 in D Bournemouth Sinfonietta/Farberman MMG 10026 04716300262 Concerto No. 3 in F for Two Wind Ensembles and 02:41 Buy Now! Handel English Concert/Pinnock Archiv 415 129 028941512925 Strings 03:00 Buy Now! Beethoven Leonore Overture No. 1 Atlanta Symphony/Levi Telarc 80358 089408035821 03:10 Buy Now! Mozart Piano Quartet No. 2 in E flat, K. 493 Stern/Katims/Schneider/Istomin Sony 64516 074646451625 03:37 Buy Now! Rubbra String Quartet No.1 in F minor, Op.
    [Show full text]
  • Swan of Tuonela, Op. 22, No. 2 Jean Sibelius (1865–1957) Written: 1895 Movements: One Style: Romantic Duration: Ten Minutes
    Swan of Tuonela, Op. 22, No. 2 Jean Sibelius (1865–1957) Written: 1895 Movements: One Style: Romantic Duration: Ten minutes Art is an important means for shaping a people’s national identity. In the nineteenth century, music contributed significantly to the building of nations. For Finland, long under the dominion of either Sweden or Russia, the move began in 1835 when Elias Lönnrot—ironically himself a Swede—published the Finnish national epic, the Kalevala. It was the seed of national identity that eventually led to Finland’s independence from Russia in 1917. Jean Sibelius read the Kalevala as a child. He based his first significant instrumental work, the massive five-movement Kullervo on it. Next, he began an opera based on the Kalevala called The Building of the Boat. He decided that tone poems—instrumental music that tells a story—was much more to his liking, so he abandoned the project Work on the opera didn’t go to waste, however. He included ideas from it in a suite of four tone poems that he began writing in 1894. Once again, Kalevala served as the inspiration. The main character in all four pieces is one of the heroes in the Kalevala, Lemminkäinen. He is a Finnish Don Juan, who abandons his young wife and goes to the island of Saari, where he frolics with the young maidens. Next he goes to Tuonela where he attempts to shoot a swan to win the mistress of the Northland. Instead, he dies—only to be brought back to life by his mother. Describing the nationalist character of the suite, Sibelius said, “I think we Finns ought not to be ashamed to show more pride in ourselves.
    [Show full text]