The Harold E. Johnson Jean Sibelius Collection at Butler University
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SUOMI – FINLAND 100 A CENTURY OF FINNISH CLASSICS SUOMI – FINLAND 100 A CENTURY OF FINNISH CLASSICS CD 1 74:47 FINNISH ORCHESTRAL WORKS I Jean Sibelius (1865–1957) 1 Andante festivo (1922, orch. Jean Sibelius, 1938) 3:44 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Robert Kajanus (1856–1933) 2 Overtura sinfonica (1926) 9:10 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Leevi Madetoja (1887–1947) 3 Sunday Morning (Sunnuntaiaamu) from Rural Pictures (Maalaiskuvia), Op. 77 (1936) [From music to the filmBattle for the House of Heikkilä] 4:20 Tampere Philharmonic Orchestra & John Storgårds, conductor Ernest Pingoud (1887–1942) 4 Chantecler (1919) 7:33 Finnish Radio Symphony Orchestra & Sakari Oramo, conductor Väinö Raitio (1891–1945) 5 Fantasia poetica, Op. 25 (1923) 10:00 Finnish Radio Symphony Orchestra & Jukka-Pekka Saraste, conductor 2 Uuno Klami (1900–1961) 6 Karelian Rhapsody (Karjalainen rapsodia), Op. 15 (1927) 14:24 Finnish Radio Symphony Orchestra & Sakari Oramo, conductor Erkki Melartin (1875–1937) Music from the Ballet The Blue Pearl (Sininen helmi), Op. 160 (1928–30) 7 II. Entrée avec pantomime 4:00 8 VIII. Scène (Tempête) 2:32 9 XIV. Pas de deux 3:07 Finnish Radio Symphony Orchestra & Hannu Lintu, conductor Aarre Merikanto (1893–1958) 10 Intrada (1936) 5:40 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Uuno Klami (1900–1961) 11 The Forging of the Sampo (Sammon taonta) from the Kalevala Suite (1943) 7:24 Helsinki Philharmonic Orchestra & John Storgårds, conductor Einar Englund (1916–1999) 12 The Reindeer Ride (Poroajot) (1952) Music from the filmThe White Reindeer (Valkoinen Peura) (1952) 1:24 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor 3 CD 2 66:42 FINNISH ORCHESTRAL WORKS II Heikki Aaltoila (1905–1992) 1 Wedding Waltz of Akseli and Elina (Akselin ja Elinan häävalssi) (1968) 3:53 Music from the filmUnder the North Star (Täällä Pohjantähden alla) Tampere Philharmonic Orchestra & John Storgårds, conductor Aulis Sallinen (b. -
The Chamber Music Society of Lincoln Center
Concerts from the Library of Congress 2013-2014 THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER Thursday, April 10, 2014 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Presented in association with: The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund. Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Thursday, April 10, 2014 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER • Gilles Vonsattel, piano Nicolas Dautricourt, violin Nicolas Altstaedt, cello Amphion String Quartet Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Tara Helen O'Connor, flute Romie de Guise-Langlois, clarinet Jörg Widmann, clarinet Ian David Rosenbaum, percussion 1 Program PIERRE JALBERT (B. -
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. -
2006 Spring Bridge
fter finishing high school in Embarrass, Minnesota, Pastor Melvin Johnson enrolled Aat Suomi College and achieved an Associate of Arts degree. “I owe Finlandia, then Suomi College, a significant measure of gratitude for jump-starting a mediocre high school academic interest into a serious pursuit of quality education,” Pastor Johnson notes. “All credits earned from Suomi College transferred when I enrolled at the University of Minnesota Duluth,” where the Pastor graduated with honors and received a Bachelor of Arts degree in English literature. Pastor Johnson’s post-graduate studies began with enrollment at Northwestern Lutheran Theological Seminary in Minneapolis, Minnesota. Upon graduation with Master of Divinity honors, his first parish was a three-point parish in northeastern Help Continue Minnesota. “A course in Finnish grammar at Suomi the dream of excellence proved to be very beneficial because pastoral Finnish ministry was essential in each congregation,” the Pastor affirms. Following calls to Gethsemane “As a pastor I want to emphasize that all Lutheran in Virginia, Minnesota, and Concordia possessions, whatever the estate value, Lutheran Church in Duluth, Pastor Johnson was are God’s gift of grace for personal well called back to Virginia as Senior Pastor where he being and service to others. Finlandia held the position for fourteen years. donors are encouraged to include in their legacy planning a gift to Finlandia Approached by the Lutheran Church in America and its endowment to further the in 1983, Pastor Johnson accepted a call to serve as mission and ministry of a dream Associate Director for Major Cash Gifts. Five years initiated over 100 years ago by later, with the formation of the Evangelical motivated immigrants. -
Focus on Marie Samuelsson Armas Järnefelt
HIGHLIGHTS NORDIC 4/2018 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Focus on Marie Samuelsson Armas Järnefelt – an all-round Romantic NEWS Joonas Kokkonen centenary 2021 Mats Larsson Gothe awarded Th e major Christ Johnson Prize has been awarded to Th e year 2021 will mark the centenary of the Mats Larsson Gothe for his …de Blanche et Marie…– Jesper Lindgren Photo: birth of Joonas Kokkonen. More and more Symphony No. 3. Th e jury’s motivation is as follows: music by him has been fi nding its way back into ”With a personal musical language, an unerring feeling concert programmes in the past few years, and for form, brilliant orchestration and an impressive craft his opera Viimeiset kiusaukset (Th e Last Temp- of composition, Larsson Gothe passes on with a sure tations) is still one of the Finnish operas hand the great symphonic tradition of our time.” Th e most often performed. Fennica Gehrman has symphony is based on motifs from his acclaimed published a new version of the impressive Requi- opera Blanche and Marie and was premiered by em he composed in 1981 in memory of his wife. the Royal Stockholm Philharmonic during their Th e arrangement by Jouko Linjama is for organ, Composer Weekend Festival 2016. mixed choir and soloists. Th e Cello Concerto has also found an established place in the rep- ertoire; it was heard most recently in the Finals Söderqvist at the Nobel Prize of the International Paulo Cello Competition in Concert October 2018. Ann-Sofi Söder- Photo: Maarit Kytöharju Photo: qvist’s Movements Photo: Pelle Piano Pelle Photo: opens this year’s Finland Vuorjoki/Music Saara Photo: Nobel Prize Con- cert in Stockholm on 9 December. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
1973-Iceland.Pdf
-----=ca=rn=-.....z:-c, wrn=-:- --. n ===N::ll:-cI - .. • ~ en Place I Monday, June 18 I Tuesday, June 19 I Wednesday, Ju'!e 20 I I Thursday, June 21 I Friday, June 22 I Saturday, June 23 1 Sunday, June 24 10.00--12.00 10.00-12.00 10.00-12.00 Hotel General Assembly General Assembly General Assembly Loftleidir (if necessary) 14.00- 16.00 14.00-16.00 General Assembly General Assembly 12.00 Lvric Arts Trio Charpentier: --- The Symphony --- Nordic 17.00 17.00 22.00 House Norwegian Wood- Harpans Kraft Nonvegian jazz Wind Quintet from Sweden Bibalo, Berge, Salmenhaara, W elin, Mortensen, Nordheim - - -·- [_____ - 20.30 20.00 17.00 14.00 14.00 14.00 Miklatun Reception Tenidis, Kopelent TapeMusic Tape Music Tape Music Tape Music T6masson, Hall- Gilboa, Schurink grlmsson, Leifs Lambrecht, 20.00 20.00 17.00 Benhamou, Kim, Lyric Arts Trio German Trio Gaudeamus Tokunaga, Ishii, Doh!, Quartet Thommesen Zender, de Leeuw I Zimmermann, Raxach I Karkoschka, I Lutoslawski Haubenstock- Ramati, Hoffmann I I ---- --- -- - ' Exhibition of scores sent in by sections daily, at Miklatun --- - ISCM --- --- -- Hask6\abi6 21.00 Iceland Symphony Orchestra ThorarinssQn, Mallnes, Stevens, Endres, Gentilucci, Lachenmann, Krauze - - - - - -- -- -- ~ -- - State 17.00 Radio Icelandic Music on Tape - - - --- - --- -- Arnes Recital: Aitken/ Haraldsson I The President of the ISCM The President of the Icelandic Section In whatever way the 1973 Music Day may enter the history of It is a great pleasure for the Icelandic Section of the ISCM the ISCM, surely it will be remembered as the most Northern to receive the delegates of the sister organisations to the General point ever reached by the Society. -
Season 2012-2013
27 Season 2012-2013 Sunday, October 28, at 3:00 The Philadelphia Orchestra 28th Season of Chamber Music Concerts—Perelman Theater Mozart Duo No. 1 in G major, K. 423, for violin and viola I. Allegro II. Adagio III. Rondo: Allegro William Polk Violin Marvin Moon Viola Dvorˇák String Quintet in E-flat major, Op. 97 I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Kimberly Fisher Violin William Polk Violin Marvin Moon Viola Choong-Jin Chang Viola John Koen Cello Intermission Brahms Piano Quartet No. 1 in G minor, Op. 25 I. Allegro II. Intermezzo: Allegro ma non troppo III. Andante con moto IV. Rondo alla zingarese: Presto Cynthia Raim Piano (Guest) Paul Arnold Violin Kerri Ryan Viola Yumi Kendall Cello This program runs approximately 2 hours. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Discover the World of Linn Records
CKD 220 ALSO AVAILABLE FROM LINN RECORDS BY SCOTTISH CHAMBER ORCHESTRA FELIX MENDELSSOHN WOLFGANG AMADEUS JOHANNES BRAHMS Violin Concerto MOZART Violin Concerto Symphony No.3 ‘Scottish’ Requiem Hungarian Dances Hebrides Overture Adagio & Fugue – CKD 224 (SACD) – – CKD 216 (SACD) – – CKD 211 (SACD) – @ www.linnrecords.com discover the world of linn records Linn Records, Glasgow Road, Waterfoot, Glasgow G76 0EQ, UK t: +44 (0)141 303 5027/29 f: +44 (0)141 303 5007 e: [email protected] a soaring but seemingly unattainable joy, this mitigated little against the overall Jean Sibelius impression of a relentless underlying force”. [The Guardian, London]. He continues his relationship with the Orchestra, returning regularly over forthcoming seasons. Pelleas and Melisande Swensen is a regular guest conductor with many of the world’s major 1. At the Castle Gate 2. Melisande orchestras, and appearances in recent seasons have included the London 3. At the Seashore 4. A Spring in the Park Philharmonic, BBC Symphony, Hallé, Bournemouth Symphony, City of Birmingham 5. The Three Blind Sisters 6. Pastorale Symphony, Orchestre National du Capitole de Toulouse, Mozarteum, Staatsorchester 7. Melisande at the Spinning-Wheel Stuttgart, Real Orquestra Sinfonica de Sevilla, and, in North America, the Los Angeles 8. Entr’acte 9. The Death of Melisande Philharmonic, Saint Paul Chamber, Saint Louis, Dallas, Indianapolis and Toronto Symphony Orchestras. Kuolema Before deciding to dedicate himself solely to his conducting career, Joseph 10. Valse Triste Swensen enjoyed a highly-successful career as a professional violinist, appearing as a soloist with the world’s major orchestras. Nowadays his occasional appearances as a Belshazzar’s Feast violin soloist are a natural extension of his work as a conductor, playing and directing 11. -
Gräsbeck 2017.5236 Words
Which of Sibelius’s 379 miniatures are remarkable? Folke Gräsbeck "Auch kleine Dinge können uns entzücken…" (Paul Heyse) Reckoning that Sibelius’s compositions amount to circa 600 separate pieces (youth works included, fragments omitted), we have to consider that roughly more than half of them are miniatures. I have calculated that nearly 380 original, separate pieces last less than 4 minutes. If we reject only Sibelius’s miniatures, we omit practically half his production. ‘I am a man of the orchestra᾿, Sibelius proclaimed. Needless to say, his successful orchestral works, generally regarded as national monuments in Finland, are impressive frescos; nonetheless, these large-scale pieces are full of carefully elaborated details. What about the painstakingly worked-out details in his small works? Do they lack credibility because they are included in miniatures? Sibelius ‘forged᾿ the motifs and melodies in the small pieces no less carefully, sometimes referring to his miniatures as his ‘suffering pieces᾿ or 'pain pieces'[1]. Probably he would not have referred to them in this way if he had not valued them highly. The designation ‘salon piece’ is clumsy as applied to Sibelius’s miniatures. Very few of them were purposely composed as standard salon music – they are all too refined and abstract, and lack the lax and redundant reiterations so typical of such pieces. Perhaps the Valse lyrique, Op. 96a, approaches a real salon piece, but the material soars far above standard salon vocabulary, the lyrical sections, for example, revealing remarkable intimacy and character. Nowadays, it is common to employ the designation ‘Salon music’ in a pejorative sense. -
The Vikings and Beyond
The Vikings and Beyond Program Sancta Anna Moder Christ Swedish, c. 1200 Drømte mig en drøm I nat Danish, c. 1300, arr. Bertelsen & Hamburger Nobilis humilis Orkney Islands, 12th c. Introitus - Gaudeamus Omnes in Domino Mass for St. Olav, 13th c. Lux illuxit laetabunda Mass for St. Olav, 13th c. Predicasti Dei care Mass for St. Olav, 13th c. Ljoset yver landet dagna Predicasti arr. Norsk Koralbok, 19th c. Gläns över sjö och strand Alice Tegnér Heyr, himna smiður Þorkell Sigurbjörnsson Bereden väg för Herran Swedish melody Kesäilta Finnish melody, arr. Selim Palmgren Laululle Yrjö Kilpinen Xavier Conzet, Baritone; Monte Mason, Piano Sydämeni laulu Jean Sibelius Veret tuli mun silmihini Finnish melody, arr. Pekka Kostiainen ~ PAUSE ~ Vægtersang (The Watchman’s Song) Edvard Grieg Ave Maris Stella Edvard Grieg De norske fjelder (The Norwegian Mountains) Edvard Grieg Monte Mason, Piano 1 Wi tro allesammen paa en Gud Mogens Pedersøn Ad te levavi Mogens Pedersøn Store bror aa lille bror Trad. Norwegian, arr. Ludvig Lindeman Liti Kjersti aa Elvekongjen Trad. Norwegian, arr. Ludvig Lindeman Rikeball aa Gudbjörg Trad. Norwegian, arr. Ludvig Lindeman Uti vår hage Hugo Alfvén I Seraillets Have Wilhelm Stenhammar Rolandskvadet Faroese melody, arr. Trio Medieval Pulchra es, amica mea (Northern Lights) Ola Gjeilo Jólakötturinn Ingibjörg Þorbergs, arr. Skarphéðinn Þór Hjartarson 2 NOTES and Translations The historical Viking era might be thought of as having both begun and ended in England: It began in 793 with the sacking of the monastery at Lindisfarne on the northeastern coast of England, and ended with the defeat of Harald Hardrada of Norway, the half-brother of Olav II (St. -
Valse Triste, Op. 44, No. 1
Much of the Sibelius Violin Concerto’s beauty comes from its eccentricity — while it has elements of a traditional Romantic concerto, Sibelius constantly asks the musicians to play in quirky, counterintuitive ways, and often pits the soloist and orchestra against each other. BOB ANEMONE, NCS VIOLIN Valse triste, Op. 44, No. 1 JEAN SIBELIUS BORN December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland PREMIERE Composed 1903; first performance December 2, 1903, in Helsinki, conducted by the composer OVERVIEW Though Sibelius is universally recognized as the Finnish master of the symphony, tone poem, and concerto, he also produced a large amount of music in the more intimate forms, including the scores for 11 plays — the music to accompany a 1926 production of Shakespeare’s The Tempest was his last orchestral work. Early in 1903, Sibelius composed the music to underscore six scenes of a play by his brother-in-law, Arvid Järnefelt, titled Kuolema (“Death”). Among the music was a piece accompanying the scene in which Paavali, the central character, is seen at the bedside of his dying mother. She tells him that she has dreamed of attending a ball. Paavali falls asleep, and Death enters to claim his victim. The mother mistakes Death for her deceased husband and dances away with him. Paavali awakes to find her dead. Sibelius gave little importance to this slight work, telling a biographer that “with all retouching [it] was finished in a week.” Two years later he arranged the music for solo piano and for chamber orchestra as Valse triste (“Sad Waltz”), and sold it outright to his publisher, Fazer & Westerlund, for a tiny fee.