in memoriam & AllanPettersson NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDICHIGHLIGHTS 4/2016 NEWS

Rautavaara’s Gift of Magi Klami additions to the catalogue Martinsson and Schnelzer on stage Fennica Gehrman has awarded Einojuhani Rautavaara’s chamber Th e Gift agreed with the Uuno Rolf Martinsson has Klami Society to publish of the Magi (Tietäjien lahja) is staged at the Si- been awarded the Bäcker Mats Photo: belius Academy. Th e performances in November several works by Uuno Christ Johnson Prize and December are coupled with Humperdinck’s Klami (1900-61). Th ese for his Or- opera Hansel and Gretel. Markus Lehtinen and include orchestral works chestral Songs on Poems Andres Kaljuste will conduct the students of the – Opernredoute, Aurore by Emily Dickinson Academy. Rautavaara composed this Christmas boréale and the Piano (2009) . According fable in 1994 and it is based on the short story by “Une nuit à to the Royal Academy O. Henry. It has earlier been performed on TV Montmartre”, among oth- of Music, “with his masterly musical language he in and on stage at the Canberra Music ers – and . creates a mutual expression of great sonorous lu- Festival, Australia in 2010. Klami is known as a brilliant orchestral compos- minosity”. Th e work was commissioned by the er who fused Finnish with French Malmö and has been per- infl uences. His Suite and Sea Pictures Pettersson’s symphony formed numerous times, with great success, by are examples of classics that remain in the soprano Lisa Larsson. She has also recorded the to be ballet core repertoire. Th e large-scale Psalmus for cho- songs with the Royal Stockholm Philharmonic Th e Oldenburgisches Staatstheater is stag- rus and orchestra is on the programme of the for an upcoming CD on the label BIS. Further ing a full-length ballet to ’s Finnish RSO on 13 January. Th e conductor is performances are scheduled for January (Norr- Symphony No. 6 with choreography by An- Hannu Lintu, and the soloists are Helena Jun- landsoperan SO) and May (Oulu SO). toine Jully. Th e production is called Men and tunen and Tommi Hakala. On 11 November Albert Schnelzer received Women and is based on quotations by Oscar the Swedish Music Publishers Award for his Wilde, William Shakespeare and Rainer German premieres But Your Angel’s on Holiday , Maria Rilke, referring to the relationship Andrew Manze will conduct the NDR “a work whose rhythmical motor contrasts with between women and men, and the incompre- Radiophilharmonie in Hannover on 23-24 sections where the music seems to fl oat quite hensibility and impossibility of love. Th ere March in the German premiere of Tobi- freely.” Th e concerto was commissioned by the will be a total of fi ve performances between as Broström’s On Urban Ground – his Norrköping Symphony Orchestra, and was March and May; the premiere will take place comment on Beethoven’s Pastoral Symphony. premiered in November 2015 with Staff an on 12 March. Benjamin Staern’s prize-winning clarinet Mårtensson as clarinet soloist. concerto Worried Souls will have its Ger- A God Disguised at Folkoperan man premiere on 3 May. Th e soloist Karin GGunnarunnar HelgessonHelgesson aandnd AlbertAlbert SSchnelzerchnelzer Folkoperan in Stockholm is staging Lars-Erik Dornbusch will give fi ve performances to-

Larsson’s and Hjalmar Gullberg’s classic A gether with the Philharmonisches Orchester Törnblom Karin Photo: God Disguised (Förklädd gud) in a new version Vorpommern in Stralsund, Greifswald and directed by Malin Stenberg. Larsson’s music is Rügen. interspersed with Romani accordion music by Lelo Nika in arrangement for accordion and orchestra by Jonas Forssell. In this story about human dignity Folkoperan wants us to see the

person behind the outward appearance. Folk- Kenney Alexander Photo: operan will put on 26 performances; the pre- miere will take place on 25 February.

Centenary of Finland’s

NORDIC HIGHLIGHTS 4/2016 independence 2017 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Th e year 2017 marks the centenary of Finland’s Sound samples , video clips independence. Th ere are commissioned works and other material are available at in the pipeline, and top names in Finnish clas- www.gehrmans.se/highlights sical and contemporary music will be featured at Swedish piano music in New York numerous concerts. Th e project of the Sibelius Pianist Per Tengstrand will present Swedish Fund of the Society of Finnish en- Cover photos: Adrienn Miksch and Tommi Hakala in Rautavaara’s opera The Mine (Péter Rákossy), piano music from three centuries at a concert abled the commissioning of new works for the Einojuhani Rautavaara (Heikki Tuuli), held at the Morgan Library in New York on 16 occasion from 15 composers, including Tapio Christian Lindberg (Mats Bäcker) March. Th e programme will include among oth- Tuomela, Juhani Nuorvala, Pasi Lyytikäinen, Editors: Henna Salmela and Kristina Fryklöf Translations: Jaakko Mäntyjärvi and Robert Carroll ers Franz Berwald Fantasy on Two Swedish Folk Kai Nieminen and Kirmo Lintinen. Th e pre- Design: Tenhelp Oy/Tenho Järvinen , Wilhelm Stenhammar’s Fantasy in B mieres will take place in 2017. For further in- ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) minor, and the US premiere of Albert Schnel- formation on events in the centenary year, visit Printed in by TMG Sthlm, Bromma 2016 zer’s Dance with the Devil. http://suomifi nland100.fi .

HIGHLIGHTS 4/2016 PREMIERES Photo: Ghadi Boustani Photo: November 2016 - March 2017

Photo: Maarit Kytöharju/Music Finland Maarit Kytöharju/Music Photo: JACOB MÜHLRAD On the Verge of Eternity Royal College of Music SO/Ingrid Roose 17.11. Stockholm, Sweden Skall inte fi nnas mer (Shall Be No More) Petri Singers, string ensemble/ Alexander Einarsson, 20.11. Malmö, Sweden Aho’s music out in the world LOTTA WENNÄKOSKI ’s latest opera Frida and Diego is to be performed by Sedecim the Pokrovsky Moscow Chamber Opera in Russia. Four perfor- SO/ mances are planned for next year and ten more for 2018. Th e op- 18.11. Lahti, Finland era is about the tempestuous relationship between Frida Kahlo KALEVI AHO and Diego Rivera and was premiered in in 2014. Violin Concerto No. 2 Aho’s orchestral work Geija is on the programme of the Kymi Sinfonietta/Eugene Tzigane, Minnesota Orchestra for January 2017. It will be performed sol. Elina Vähälä, 30.11. Kotka, Finland under Osmo Vänskä three times on tour in Florida and twice Accordion Concerto Ostrobothnian CO/Juha Kangas, in Minneapolis. Th e Wind Quintet of the Philharmonic sol. Saila Korhonen will perform Aho’s Wind Quintet No. 2 on their tour of the USA. 17.2. Kokkola, Finland (Kokkola Winter Accordeon) Th ey will give recitals in Boston, Cleveland, Indianapolis, Buff alo BENJAMIN STAERN and Stanford from 3 February. Aho’s Accordion Concerto will be Snödrottningen/ premiered at the Kokkola Winter Accordion Festival in Finland The Snow Queen – family opera Malmö Opera/Stefan Solyom on 17 February. Kortekangas on CD 17.12. Malmö, Sweden BIS Records is to release a CD containing Frida and Diego the orchestral work Migrations by Olli MIRJAM TALLY at the Sibelius Kortekangas. Th is work for mezzo-soprano, Lightfi elds Academy in 2014. Nordic CO/Emil Eliasson, 20.1. Sundsvall, Sweden male and orchestra was commissioned Photo: Erkka Malkavaara Photo: by the Minnesota Orchestra and Osmo Vän- JÖRGEN DAFGÅRD skä and was premiered in Minneapolis in Concerto for Soprano Saxophone Jönköpings Sinfonietta/Johannes Gustavsson, February. Th e CD will contain the entire pro- sol. Anders Paulsson, 29.1. Jönköping, Sweden gramme of the concert where the work was premiered: Sibelius’s Kullervo and Finlandia MIKKO HEINIÖ Kun pojat… (When the Boys…) in addition to the Kortekangas work. Ville Urponen, organ, 29.1. , Finland In November, Alba Records released the CD Crossings by organist Kari Vuola and viol MATS LARSSON GOTHE Körkarlen/The Phantom Carriage player Varpu Haavisto, also including music Gothenburg SO/Karen Kamensek by Kortekangas, e.g. Crossing the Five Rivers 2.2. Gothenburg, Sweden (Gothenburg Film Festival) for organ and viol, written to a commission JENNAH VAINIO from the Parainen Organ Festival in 2008. At Midnight, for female choir Kaari-Ensemble/Saara Aittakumpu 2.2. Berlin, (Prix des Nations) Larsson Gothe & The Phantom Carriage Digital sheet music available at ScorX OLLI KORTEKANGAS Mats Larsson Gothe has Piano Trio Following in the footsteps of Gehrmans Petteri Iivonen, violin, Samuli Peltonen, cello, Juho composed new music to Musikförlag, Fennica Gehrman has made Pohjonen, piano, 3.2. Helsinki, Finland Victor Sjöström’ s silent choral works available on the digital sheet fi lm classic Th e Phantom TIINA MYLLÄRINEN music platform ScorX. Th e selection in- Carriage (Körkarlen) from Railo, for mixed choir cludes works by , Erik Berg- Helsinki Chamber Choir/Nils Schweckendiek 1921. Th is comprises 103 man, Nils-Eric Fougstedt, and new titles 7.2. Helsinki, Finland (Musica nova) minutes of orchestral mu- by Veljo Tormis and Urmas Sisask will be sic. Th e premiere will be TOBIAS BROSTRÖM added followed by the entire Fazer Edition Suite for Strings during the Gothenburg of Early Music series edited by Paul Hillier. Musica Vitae/Meta4, 3.3. Växjö, Sweden Film Festival on 2 Febru- Gehrmans Musikförlag has to date made ary. Th e Gothenburg Sym- SVEN-DAVID SANDSTRÖM some 1300 titles, choral and chamber music, Five Pieces for Piano and Orchestra phony Orchestra will play digitally available. ScorX provides sheet music Gothenburg SO/Mario Venzago, live to the fi lm under the sol. Peter Friis Johansson, 22.3. Gothenburg, Sweden for viewing and printing. Its ground-breaking direction of Karen Ka- system for digital distribution is augmented mensek. by the PLAY technology, allowing music to Clarinet Concerto Lappeenranta CO/ Eero Lehtimäki, be rehearsed with recorded tracks (See: www. sol. Olli Leppäniemi, 23.3. Lappeenranta, Finland scorx.org).

HIGHLIGHTS 4/2016 Einojuhani Rautavaara in memoriam In his eulogy for Einojuhani Rautavaara, Kalevi Aho described the indelible impression Rau- tavaara made as a composition teacher, as a colleague and as a fount of wisdom. Aho met the maestro for the last time a year ago. Rautavaara was physically fragile, but his mind was as sharp as ever, and his eyes retained the familiar keenly exploring and at times mischievous gaze. At that fi nal meeting he remarked that he had already discovered in the sounds of his inner world all the musical material that he wanted to use and that he had completed his musical universe.

he music of Einojuhani Rautavaara has He himself drifted into diffi cult personal confl icts in properties thanks to which he will remain his life, enduring them for a long time before fi nally fol- a classic in Finnish music. As a composition lowing his own advice, making the crucial decision and teacher earlier in his career, he seemed to be a clean break with the past, leaving everything behind Texactly the right kind of teacher for most of his students, and beginning a life with his new wife, Sini. Th en he giving space for their own personalities to develop and was fi nally free to live his life without lies and roles, to encouraging them to fi nd their own unique path. be honest with himself and to write music that also was Perhaps the most important things I gained from more honest. him as a composition student and later as a colleague Very often a person dies when it is their time to die, were two general points that I have sought to keep as a when they have given of themselves everything they can guideline in my life. Shortly after completing my studies, and have no more to give. Th is happened with Einoju- I wrote a letter to Einojuhani where I discussed, among hani too. When we met for the last time last December, other things, what would happen if I should experience he admitted to me that he had completed his musical a crisis of composition and no longer knew what kind of universe, the domain of music and motifs that he had music to write. He responded that if you are afraid of a put into his works. crisis, it means that you are not fully committed to what He had fi nished his work and would have been well you are writing. Th at is a crisis you must meet boldly. A justifi ed to observe in his fi nal moments, quoting from crisis forces you to rethink all things, and in the best case the St John Passion of J.S. Bach: “Es ist vollbracht” – “It is it can revitalise and cleanse your mind. fulfi lled.” I have done everything I can, and I can do no Th e other thing I learned from him was a saying he more. I can only hope that all of us can say the same at had learned from his aunt, who was his foster mother: the end of our lives. “Det är bäst som sker.” Th is Swedish proverb translates Einojuhani’s death leaves us with a profound long- approximately as “Whatever happens is for the best”. ing. But he will survive in our memories; I am sure that Sometimes bad and tragic things happen in life, but we everyone who ever met him will cherish those encoun- should be able to learn from all of them. If you can do ters. And of course he will live on for future generations that, you will have grown as a human being. In other in his music, in the wonderful musical universe that he words, we should try to turn losses, diffi culties and even created. tragedies into mental victories. We can only be grateful that he lived and feel privi- Einojuhani’s teaching was also teaching about how to leged for having known him. grow up into a human being. Kalevi Aho Photo: Maarit Kytöharju Photo: Footnotes: Kalevi Aho lists four reasons why • His output is huge and includes Two opera premieres in 2016: he believes Rautavaara’s works works in all genres and for many dif- • The Mine (Kaivos) was in the reper- will remain in the core repertoire: ferent kinds of ensembles. His exten- toire of the Hungarian State Opera sive output of choral and vocal music in in October-November. • His works are always highly origi- is particularly noteworthy. This was the fi rst stage performance nal, never sounding like typical con- of the work originally composed in temporary music. • Included is a handful of major hits: 1957-58 (See: reviews). for birds and • They are not technically over-de- orchestra, the Seventh Symphony • The Gift of the Magi (Tietäjien lah- manding and can be performed (Angel of Light) , several choral ja) received its European stage within the confi nes of a normal re- works, some piano cycles and so premiere at the Sibelius Academy in hearsal schedule. on, and these serve as gateways to a November (See: news). wider exploration of his music.

HIGHLIGHTS 4/2016 Christian Lindberg and the Allan Petterson Project In 2011 BIS and the Norrköping Symphony Orchestra initiated the Allan Pettersson Project, the purpose of which is to record and issue all of Pettersson’s on CD. Th e recordings have been combined with live performances of one or two symphonies each year, concerts which have enticed Pettersson enthusiasts from all over the world to come to Norrköping. Th e promoter of the project is conductor and trombonist Christian Lindberg, who here tells his views about Pettersson’s music.

You have made it your mission to promote the with my preparations of Nos. 5 and 12. Perhaps Pettersson’s complete symphonies. And then music by Allan Pettersson (1911-1980) to the these two will become new favourites. you will tour Europe with the Seventh Sym- world at large. Why? phony as the featured work on the programme. Because in my opinion he is one of Scandinavia’s What has it been like to do in-depth studies Is it decided which cities will be included in the foremost symphonists. Not even in Sweden do of Pettersson’s orchestral works? Have you dis- tour? we get the opportunity to experience his fantas- covered new aspects of his music that you wer- It is still too early for me to disclose, but I can tic music to the extent that it deserves. All of his en’t aware of earlier? in any case say that Vienna is defi nite, and we 17 symphonies are masterpieces on the same lev- A great many things!!!! Above all, he is perhaps promise that the fantastic and knowledgeable el as those by Beethoven and Mahler. the most skilful in all of history when it comes to audience there will get an experience they will orchestration. No one knows my instrument, the never forget! You often compare Pettersson with Mahler. , as well as he does; his trombone parts What do they have in common? are all masterpieces. Furthermore, his scores are You have conducted Pettersson’s music with Pettersson and Mahler are actually quite diff erent, full of fantastic compositional details. Motifs are many around the world. How is it but they had similar fates. In 1911, when Mahler used in ingenious ways. Deciphering a Petters- received? died, he was known mostly as a conductor, and son score is similar to getting immersed in and In nearly all the places where I have conducted people called his music over-orchestrated ‘Kapell- trying to understand a game of chess between Pettersson, including the Scandinavian and Bal- meistermusik’. In the same way, one speaks even Kasparov and Spassky, and when you fi nally tic Countries, Germany, the UK, Belgium, Ro- today of Pettersson’s symphonies as being diffi cult discover how everything fi ts together you are mania, Taiwan (the list is long), his music has and heavy works. Mahler needed an ambassador completely overwhelmed. At the same time, it is been received in a tremendously positive way like Bernstein to help the public to understand the music’s humanity and fervour that grips you with rave reviews and standing ovations. Mahler, and in the end he succeeded. To my most. Almost every time I hear one of his sym- mind, Pettersson should be played just as often in phonies I am moved to tears. What would your main message be to orches- Scandinavia as Sibelius and Nielsen. tras and conductors who are thinking about And how have the musicians in the Norrköping taking up Allan Pettersson’s music in the rep- You just got back from a Nordic/Baltic tour Symphony Orchestra felt about rehearsing ertoire? with the Arctic Philharmonic performing Sym- one or two Pettersson symphonies per year? To the conductor: Learn the symphonies from phony No. 7 . What is it that has made this Many have loved the project, but there was also memory! Th e themes, the melodies, the motifs, symphony so well-loved? some opposition in the beginning, above all the structure must be in your body to be able to It is the fact that people have had the opportuni- when we recorded the diffi cult Symphony No. 9. convey the intricate details to your audience. To ty to hear the symphony a number of times, and But later when we received the Grammy Award orchestras: Just go for it! But see to it that the the music has also been used in TV-fi lms and as for that very recording, those negative feelings musicians get their parts in good time before the ballet music. But as I said before, all his sympho- just disappeared. Now the whole orchestra is fi rst rehearsal and give the conductor ample time nies have equally good qualities. on board and the Norrköping audiences rally in to rehearse. support and almost always give us standing ova- Which other symphonies would you like to tions. It is an absolutely fantastic orchestra that Finally, why should people listen to Petters- single out as worthy of note? And have you gives its utmost at concerts as well as in record- son’s music? found a new favourite? ings. I am really happy about that! Because Pettersson, like August Strindberg or What is remarkable is that every time I study the Ingmar Bergman tells the story of life in a truth- score of a Pettersson symphony I become entirely Now you are almost at the fi nishing line with ful way. enchanted. But nonetheless I would probably pick the project. Only Symphony No. 5 and the No. 15 as my special favourite, closely fol- mighty Symphony No. 12 – “Th e Dead in the Kristina Fryklöf lowed by Nos. 13 , 14, 8, 7, 6 and 4. I should, Market Place” for choir and orchestra – are however, point out that I am still not quite ready left. BIS is issuing a box in 2018 comprising Christian Lindberg, photo: Mats Bäcker • Allan Petterson, photo: Gunnar Källström

HIGHLIGHTS 4/2016 for several soloists REPERTOIRE TIPS or concertante groups REVIEWS

KALEVI AHO OLLI KORTEKANGAS Release Concerto for English Horn and Harp Charms (1998/2010) Dur: 18’ “Release” for string orchestra was composed over a peri- (2014) Dur: 31’ Concerto for piano trio and orchestra: od of twenty years, and demonstrates that music can be 1111-2110-02-1-str 2222-2211.baritono-02-str both dramatically contemplative and restfully intense. In This concerto is the fi rst of its kind in the Charms combines soaring melodies with world, and it was enthusiastically received virtuoso piano passages. Vivacious in the preceding piece “In memoriam” soprano soloist Han- at its premiere by DeFilharmonie in Antwerp character, it opens with a fast movement nah Holgersson gave singularly beautiful proof of Malm- in October 2016. The work opens mysteriously, like a very quiet wind. followed by an extensive adagio; the concluding movement is a löf-Forssling’s ability to entice wordless expressiveness out Solo instruments emerge, the musical landscape coalesces, and the dialogue of fast and slow that eventually peters out into silence. of the human voice. Kortekangas rewrote and expanded the fi nal section in 2010. actual concertante music begins. The third movement, Allegro, con- Dagens Nyheter 5.9. tains the most demanding virtuoso parts, particularly for the cor anglais. TOMMI KÄRKKÄINEN Carin Malmlöf-Forssling: Release , In memoriam Primo formamentum (2007) Musica Vitae/Malin Broman, sol. Hannah Holgersson, soprano, 3.9.2016 TOBIAS BROSTRÖM Dur: 26’ for and orchestra: Stockholm (Baltic Sea Festival), Sweden Samsara (2011) Dur: 20’ 2222-2000-01-str Concerto for Violin, Marimba and Orchestra: When planning this work, the 2222-4230-12-str assigned each of its four movements a visual “Samsara” is an Indian word meaning symbol (triangle, circle, square and saw- Lisa Larsson continual fl ow, which alludes to the cycle tooth line), which then started shaping of the music. The solo quartet of birth, life, death and reincarnation. The engages in an intense dialogue with the orchestra, particularly in the eff ervescent rhythmical fl ow is something that permeates this shim- second movement. Rhythmic, passionate passages alternate with mering, colourful concerto, which is based on South Indian rhythm calmer, sonorous moments. Merlijn Doomernik Photo: patterns. Another prominent feature throughout is the use of drones. ROLF MARTINSSON Theatron (2014/15) Dur: 22’ Dawning Landscapes (1984) Dur: 11’ Two percussion soloists and orchestra: 3233-4331-12-str Concertino for , Oboe and String or 2222-4231-12-pf-str Orchestra (also in a version for ) The marimba and the vibraphone are central in this work. The fi rst in Memoriam movement opens explosively and lets the solo parts play phrases that Martinsson gives a concentrated picture of overlap like a string of pearls. The chorale-like, slow middle move- the dawning landscape. The music vacil- ment focuses on the lyrical timbres, while in the last movement, lates between agitated and calmer sections, but peace is never really which starts out with an improvisatory call-and-response section, attained. The fl ute and the oboe sing beautifully but anxiously over the tempo accelerates and the intensity gradually increases right up the very expressive string orchestra. Present here the whole time is to the end. a gnawing anxiety, a feeling that changes into sorrow at the fi nal ebbing-away. Concerto for Violin, Piano and HANNU POHJANNORO Orchestra (2006) Dur: 25’ time through light / valoa vasten 3333-4000-02-str aika (2011) Dur: 20’ A richly fl owing concerto with a strong Concerto for horn quartet and orchestra: rhythmic drive. The two outer movements 3333-0331-13-str are very lively and in dancing rhythms in 6/8 This work has a chamber-music feel – and 3/4 time, respectively, with syncopated fi gurations in the solo there are very few actual solos, as the mu- parts. In the hymn-like middle movement the music stops short and sical material is passed from each of the four solo horns to another. the mood becomes tranquil and meditative. The atmosphere from the The idea for this instrumentation came from Schumann’s Konzert- middle movement returns in the peaceful epilogue at the end of the stück. The title refl ects the original ideas: in order to appreciate the concerto. subtleties of natural light, you have to stop and look. The same is true of sounds and listening. Concerto per violin, ed orchestra da camera (2009) Dur: 25’ 2ob-2hn-strings HERMAN RECHBERGER Also in this concerto one can fi nd a rhythmic drive and a forceful pulse Alovlar (2001) Dur: 20’ in the outer movements, but the character is darker and heavier. The Concerto for clarinet, string quartet, third movement stamps along, as it were, in 4/4 time with accentu- frame-drum and string orchestra ated quarter notes in the strings. The restless chromaticism is to be An exotic concerto involving styles drawn found with the soloists; they rush on with contrapuntal energy and from classical Azerbaijani music and a con- bandy about the motifs among themselves. There is only time for rest certante group of clarinet, string quartet Harmonious and alluring in the more melodic and infi nitely beautiful second movement. and frame-drum. The soloist is like a hypnotising snake-charmer while the vivid string fi gures characterise the movement of fl ames. MIKKO HEINIÖ Martinsson Late Romantic melodies, harmonious and alluring... Moon Concerto (2007-08) Dur: 38’ SVENDAVID SANDSTRÖM bold, almost musical-like twists reminiscent of Bern- for mezzo-soprano, piano and orchestra: Six Pieces for Piano Trio and 3333-4331-13-hp-cel-str stein... The music appealed to the audience who ex- This is Heiniö’s eighth in a series of his ex- Orchestra (2010) Dur: 20’ pressed their appreciation with thunderous applause 3333-4331-13-hp-str citing hybrids. It is also is Sandström wants to entertain with his mu- for the orchestra and the fabulous soprano Lisa Lars- an example of his skilful composition tech- sic by means of contrast eff ects. The basic son. Stuttgarter Zeitung 26.9. nique packed with allusions. The operatic quality has left its mark on character can be said to be very romantic, the overall form, and “there is magic at the beginning of the fi nale even though the romantic sweetness is split up by powerfully pump- Rolf Martinsson: Garden of Devotion when Dowland’s Galliard is heard fi rst on the piano, as the vocal mel- ing percussion and aggressive passages. The focus is on the three so- Stuttgart CO/Matthias Foremny, sol. Lisa Larsson, soprano, 24.9.2016 ody gradually weaves round its ”. loists and Sandström allows them to appear one by one, all together Stuttgart, Germany PEKKA JALKANEN and with and without the orchestra. The Serf of Viro / Viron orja (1980) LILLEBROR SÖDERLUNDH Dur: 6’30 Allegro Concertante (1935/40) Sustained energy for two violins and strings: 44321 for two violins and strings The dramatic arc of this second concerto is lucid... The third In 1981, this work won 1st prize in a com- Dur: 6’ A double concerto in two movements concerto is even more gripping, its music chillingly illus- petition seeking works using in inspired by J.S. Bach. The short opening trating the twists of an ancient Japanese horror story. new ways. Jalkanen’s music has a mystical Intrada has an almost solemn character attractiveness, setting an old folk tune that runs like a hypnotic scarlet Yle.fi 4.11. and was added to the work as a contrasting thread through the texture, which grows from a minimalist lightness movement to the rhythmical, dancing second movement’s Allegro. Pehr Henrik Nordgren: Piano Concerto No. 2, towards dramatic moments executed using fi eld technique. Here the violinists move forward in exuberant polyphony from the Concerto for Piano (left hand) and Chamber Orchestra very fi rst bar, and baroque meets Swedish fi ddler music. CD: Ostrobothnian CO/Juha Kangas, sol. Henri Sigfridsson (Alba ABCD 399)

HIGHLIGHTS 4/2016 The Mine at the Hungarian State Opera

Exciting Samuelsson Marie Samuelsson is an exciting composer who really dares to go all the way in her works with a very per- Photo: Péter Rákossy Péter Photo: sonal tone language… The musicians’ whisperings Doukkali Photo:Josef and hissings, with texts such as “People have an inner need of freedom”, alternate with instrumental sec- tions in a dense musical texture. Länstidningen Östersund 9.10. Marie Samuelsson: The Eros Eff ect and Solidarity, Love Trilogy – No. 3 World premiere: Nordic CO/Sarah Ionnides, 7.10.2016 Sundsvall, Sweden

Signifi cant premiere The work is dominated by impressive melodies... the end result is nothing short of excellent. The same applies to the chorus, which employs the broadest range of eff ects, beginning with spell- Fruitful contrasts A Freak in LA like whispered utterances... The performance was Aho conjures up an impressive, symphonically colour- Dausgaard proved so good that it was impossible to escape from its ed texture where sumptuous tutti passages and more an involved and an- grasp. Magyar Nemzet 24.10. introvert sections alternate in a tension-building and imated presence in dramaturgically signifi cant way. Hufvudstadsbladet 12.10. Schnelzer’s 10-minute Rautavaara demonstrates his considerable skills in “A Freak in Burbank… this music. There is a hint of Webernian Expression- Kalevi Aho: Concerto for Bassoon and Orchestra A suitably unsettling ism and the late Romanticism of Mahler or Schön- CD: Lahti SO/Dima Slobodeniouk, sol. Bram van Sambeek (BIS SACD score for Halloween berg, but above all we can detect the musical ideas 2206) eve, “A Freak” brim- that Rautavaara went on to develop in his later out- med with sinister, put. Hufvudstadsbladet 23.10. Most beautiful he ever wrote hyperactive energy. Englund’s concerto is one of the major violin concer- Dausgaard kept a The Mine was given a fi ne premiere in Budapest. tos of the past century – and not just from Finland… fi rm but fl exible grip This is one of the most signifi cant works in the his- The chordal passage after the fi rst movement is per- on the work’s abrupt tory of Finnish opera... The stage production fi nally haps the most beautiful thing he ever wrote… Klami’s fi gures for strings and revealed what an exceptionally powerful libretto lyrical solo lune and luminous orchestral colours re- woodwinds, allowing Rautavaara wrote for this opera. He explores the tain the interest throughout. FMQ, autumn 2016 the orchestra to seamlessly navigate its arresting, dis- themes of freedom and responsibility from multi- ruptive metrical shifts. Los Angeles Times 1.11. ple angles and keeps to his themes until the end. Einar Englund and Uuno Klami: Violin Concertos Helsingin Sanomat 22.10. CD: Oulu SO/Johannes Gustavsson, sol. Benjamin Schmid Albert Schnelzer: A Freak in Burbank ( ODE 1278-2) Los Angeles CO/ Dausgaard 30.10.2016, Los Angeles, USA Einojuhani Rautavaara: The Mine (Kaivos) World stage premiere: Hungarian State Opera/Tibor Bogabyi, sol. Tommi Hakala, Adrienn Miksch, Béla Laborfalvi Soós, Péter Fried etc., 21.10.2016 Budapest, Hungary Photo: Mattias Ahlm Mattias Photo:

Bergman’s male choir works In all the works we fi nd the humorist, lyricist, mystic Finland Vuorjoki/Music Saara Photos: and magician in full command of his text-sensitive tone painting… The aesthetic pluralism represented here is remarkable; Bergman pushes the envelope of musical expression. FMQ, autumn 2016 : Works for male choir Kai Matthew Nieminen Whittall CD: Bergmania Ensemble, Sibelius Academy Vocal Ensemble/Matti Hyökki (Alba ABCD 392) Lyrical moods The disc is musically varied and fascinating... Kai Wonderfully seductive Nieminen’s three pieces treat the listener to lyrical The soloists gave this sonorous, attractive, but never moods where the melodic sensitivity of the solo in- eff ect-seeking work a wonderfully seductive perfor- strument is excellently showcased. At the focus of the mance together with the Swedish Radio Symphony disc is Matthew Whittall’s Points of Attraction... This Orchestra… The fl ying fi rst movement (in the score combination of American minimalism, Kind of Blue marked “volante”) lands in a beautifully nuanced and riff s and Scandinavian sensitivity certainly appeals to hymn-like calm, before the tempo is driven up with me. Yle.fi 7.10. exquisitely playful dribbling. Dagens Nyheter 19.11. Kai Nieminen: Elegy, Hymnos II, Ancient Songs... Tobias Broström: Theatron Matthew Whittall: Points of Attraction Swedish Radio SO/Alondra de la Parra, sol. Patrick Raab & Johan Bridger, CD: Tommi Hyytinen, horn (Pilfi nk JJVCD-162) “Tired Light” percussion, 18.11.2016 Stockholm, Sweden

HIGHLIGHTS 4/2016 NEW PUBLICATIONS NEW CDs

KALEVI AHO VOCAL & CHORAL Concerto for Bassoon and Orchestra, Solo V for bassoon Lahti SO/Dima Slobodeniouk, sol. Bram van Sambeek BIS SACD 2206

EINAR ENGLUND UUNO KLAMI Violin Concertos Oulu SO/Johannes Gustavsson, sol. Benjamin Schmid Ondine ODE 1278-2

ARMAS JÄRNEFELT Armas Järnefelt edition. MIKKOMIKKO HEINIÖ HEINIÖÖ JACOBJACOB MÜMÜHLRADÜHLRAD PERPER GUGUNNARNNAR PPETERSSONETERSSON ALEXANDERALEXANDER JAN ÖÖBÖBERGERG All preserved recordings Isoisän runoja Skall inte fi nnas mer An Anonymous Nun’s Prayer In dulci jubilo 1904-1950 (Grandfather’s Poems) (Shall Be No More) for SATB choir divisi a cappella for SATB choir divisi, FUGA 9391 for male choir for SSAATTBB choir, 2 , Text: Anon. (Eng) soprano solo and organ Text: Lassi Nummi (Fin) violoncello and GE 13030 Text: Robert Lucas de Pearsall (Eng) FG 9790-55011-229-2 Text: The Book of Revelation 21:4 (Swe) GE12959 OLLI KORTEKANGAS GE 13046 Off ertorium, Crossing the Five Rivers JUHANI NUORVALA INSTRUMENTAL & CHAMBER Solo per viola da gamba Kari Vuola, organ, Varpu Haavisto, viola da gamba Alba ABCD 401 ”Crossings”

JYRKI LINJAMA Three Sketches / Kolme luonnosta ILMARI KROHN Nyt ylös sieluni, Pääsiäiskoitto JARMO PARVIAINEN Partita koraalista Halleluja nyt soikohon Tomi Satomaa, organ Alba ABCD 397 “Ramus Virens Olivarum” KALEVIKALEVI AHO JACOBJACOB MÜMÜHLRADÜHLRAD JEAN SIBELIUS SIBELIUS JEANJEAN SIBELIUS 19 preludes for piano / Pan Andantino & Menuetto Overture in F minor 19 preludia pianolle for solo cello for brass septet for brass septet PEHR HENRIK NORDGREN FG 9790-55011-298-8 GE 13045 FG 9790-55011-302-2 (score and parts) FG 9790-55011-303-9 (score and parts) Concerto No. 2 for Piano, Both these are Sibelius’s original versions available now for the fi rst time. Strings and Percussion, Concerto for Piano (left hand) and Chamber Orchestra Ostrobothnian CO/Juha Kangas, SCORES sol. Henri Sigfridsson Alba ABCD 399 ALBERT SCHNELZER But Your Angel’s on Holiday SVENDAVID SANDSTRÖM Clarinet Concerto Dansa GE 12676 (score), GE 12677 (solo part), GE 12678 (study score) Cecilia Zilliacus, violin, Lena Willemark, soprano Winner of the Swedish MPA Award 2016. BIS SACD 2159

MATTHEW WHITTALL Points of Attraction Jukka Harju, horn, Reeta Maalismaa, violin, Sonja Fräki, piano Pilfi nk JJVCD-165 ”Northern Attraction”

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Gehrmans Musikförlag AB Fennica Gehrman Oy Ab Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland Finnish Favourites for Piano 2 / Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 • Fax +358 10 3871 221 Suomalaista toiveohjelmistoa pianolle 2 www.gehrmans.se • [email protected] www.fennicagehrman.fi • [email protected] Second volume of the popular piano collection News: news.gehrmans.se Hire: [email protected] including Finnish piano classics. Hire: [email protected] Web shop: www.fennicagehrman.fi FG 9790-55011-289-6 Web shop: www.gehrmans.se Sales: [email protected] (dealers) Sales: [email protected]