NEWSLETTER FROM GEHRMANS FROM MUSIKFÖRLAG GEHRMAN &FENNICA NEWSLETTER

NORDICHIGHLIGHTS Sven-David Sandström Olli Kortekangas’ Pictures ofLife Focus Linjama onJyrki 3/2019

NEWS

New Rangström anthology Mikko Heiniö commissions “Ture Rangström Collected Songs” The University of Turku has commissionedMikko Heiniö to compose a work is the most comprehensive and criti- for its centenary celebrations in 2020. Titled Syvyyden yllä tuuli (Wind above the cal edition of Rangström’s vocal works Depths), it will be premiered in February 2020 and at the degree ceremony in thus far. The editorAnders Anner- May. The cantata is scored for , mixed choir and and will be holm has selected 49 songs – complete performed by the Turku Philharmonic Orchestra and the Turku University Choir. cycles, as well as separate songs, among Heiniö has also written a work for The Polytech Choir, to be performed as part of which some have not been previously the choir’s 120th anniversary in spring 2020. Titled Täällä, kaikkialla (Here, Every­- published. The preface is in English where), it is based on poems by Juha Vakkuri (1946-2019), author and founder of and many of the texts also have Ger- the Villa Karo, the Finnish-African Cultural Centre in Benin, West Africa. man translations. Ture Rangström The Finnish Music Publishers Association chose Mikko Heiniö as Classical Composer of the Year. (1884-1947) was one of ’s most prominent composers of ‘Lieder’ PHOTO: MIKKO KAUPPINEN MIKKO PHOTO: and composed some 250 songs. Heininen Sonatas on disc Concert Overture by Kaija Saarikettu and Juhani Lagerspetz have recorded the Violin Sonatas Sibelius rediscovered by Paavo Heininen on the Alba label. Released in May, the disc contains Fennica Gehrman has signed a the three Boston Sonatas, Op. 134 published by Fennica Gehrman in spring publishing agreement for a Concert 2019. The sonatas were composed as a commission from Boston that ex- Overture by Sibelius. Based on panded into a set of three works in which the ideas in one work are devel- material found while study- oped and build up to a climax in the others. ing the manuscript of the op- era , it Bäck and Johanson centenaries was discovered by the conductor This autumn we are celebrating the for their works for choir which are Tuomas Hannikainen, follow- centenaries of two distinctive pro- today considered classics in Swedish ing references made by Sibelius files of Swedish music,Sven-Erik choral repertoire. Among their most himself. A significant work that, Bäck (1919-1994) and Sven-Eric well-known works are Bäck’s Motets according to Hannikainen, stands Johanson (1919-1997). They were for the Church Year , and Johan- up well on its own, it lasts 11–12 central figures of the radical Monday son’s Fancies , 9 pieces for mixed minutes and was conducted by Group founded in the 40s, together choir and to texts from various Sibelius at concerts of his works in Turku. The score is scheduled for with Karl-Birger Blomdahl, Ingvar Shakespeare plays. Bäck and Johanson Anders Annerholm & Ture Rangström Jr. Lidholm, Eric Ericson et al. Bäck are being celebrated with anniversary publication in autumn 2019. and Johanson were both very prolific, concerts during this autumn by the with works ranging from to or- Eric Ericson Chamber Choir, the Whittall & The Carice Singers chestral and chamber music, but per- Gothenburg Chamber Choir, the Eso- The Carice Singers have appointedMatthew haps they are best known and loved terics in Seattle etc. Whittall Associate Composer. “I’m thrilled to be- gin this relationship with The Carice Singers,” he says. “Their fresh, pure, youthful sound is hugely inspiring for a composer, and their varied and sensitive programming takes listeners on journeys that forge poetic links across nations and centuries. To get to write a large-scale piece for such a front- rank ensemble is a dream come true!” The Carice Singers are a British vocal ensemble of young PHOTO: HANS OLA ERICSON OLA HANS PHOTO: JERNBERG INGMAR PHOTO: PHOTO: MAARIT KYTÖHARJU MAARIT PHOTO: Sven-Erik Bäck Sven-Eric Johanson professional singers conducted by George Parris.

NORDIC HIGHLIGHTS 3/2019 Cecilia Damström premieres NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Cecilia Damström is looking ahead at a busy season. Sound samples , video clips 17 October will see the world premiere of her fairy and other material are available at tale opera, Vickan & Väinö, at the Alexandre theatre www.gehrmans.se/highlights in . In November the female voice choir www.fennicagehrman.fi/highlights Lyran will premiere Requiem for Our Earth, a 30-min- ute work about global warming. The orchestral work Cover photo: Mats Bäcker Tundo! (Knock!) , dedicated to all refugees in the Editors: Henna Salmela and Kristina Fryklöf world, will receive its Finnish premiere on 5 Decem- Translations: Susan Sinisalo and Robert Carroll ber by the Kuopio Symphony Orchestra conducted Design: Göran Lind by Jaakko Kuusisto, and Christian Reif will conduct the US premiere of the same work with the Colorado ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) Printed in Sweden by TMG Sthlm, Bromma 2019 Springs Philharmonic on 22 February. PHOTO: VEIAN MARTE PHOTO:

HIGHLIGHTS 3/2019 Erkki-Sven Tüür at 60 PREMIERES Erkki-Sven Tüür will be 60 on 16 October. His composing career started in the late October-December 2019 1980s and the early works still popular today include Zeitraum, the Architectonics series and Action-Passion-Illusion for strings. In his own words, his pieces TINA ANDERSSON Plant a Tree are abstract dramas in sound, with an extremely dynamic chain of events. Since 1992, The Vocal Ensemble VoNo/Lone Larsen. Tüür has been a freelance composer who has received commissions from renowned 5.10. Gothenburg, Sweden performers worldwide. He has been especially prolific in writing orchestral works and KALEVI AHO

PHOTO: TAAVI KULL TAAVI PHOTO: concertos, but his catalogue also includes chamber music, choral works and an opera. Solo XIV for Simon Reitmaier. 12.11. Innsbruck, Austria Marie Samuelsson’s Double Concerto Mysterium (Quintet for strings and left hand piano) Tateno Quartet, Izumi Tateno, piano. 12.11. Tokyo, Japan Marie Samuelsson has composed a double concerto for violin, guitar and orchestra KAI NIEMINEN titled Brandnäva. The title refers to a plant (Geranium lanuginosum) with blue or In Broken Reflections – Through Times, purple flowers whose seeds grow only if they are heated to 50°C or more, as for Scapes and Mirrors example after a forest fire. Like the phoenix, the flower rises from the ashes. The Zagros Ensemble, Tommi Hyytinen, horn concerto was commissioned on the initiative of conductor Christian Karlsen and 14.10. Helsinki, guitarist Jacob Kellermann, who will premiere it together with violinist Catharina CECILIA DAMSTRÖM Vickan & Väinö (Children’s opera) Chen and the Gävle Symphony Orchestra on 8 November. DOUKKALI JOSEF PHOTO: Opera Box, Hedvig Paulig, , Ville Salonen, , Markus Nieminen, baritone, Janne Valkeajoki, accordion Concert in memory of Järnefelt Music by Aho and 17.10. Helsinki, Finland Requiem for our Earth The Royal Swedish Orchestra will give a concert dedicated Nordgren in the Far East Lyran Female Voice Choir/Jutta Seppinen to the composer and conductor Armas Järnefelt at the Roy- Chamber music by Kalevi Aho is to be per- 7.11. Espoo, Finland al Swedish Opera on 29 November. Järnefelt’s talent and gift formed at the Seoul International Music Festival ALBERT SCHNELZER for composing both orchestral and choral works made him in Korea on 4 November 2019. This will be fol- Apollonian Dances (version for percussion a popular conductor throughout Europe. Born in Finland, and string orchestra) lowed a week later by the premiere of Mysterium O/Modernt CO/Hugo Ticciati, sol. Evelyn Glennie he worked at the Royal Swedish Opera between 1907 and in Tokyo on 12 November. The pianist in this 18.10. London, UK 1932, the last five years as Chief Conductor. The concert quintet for the left hand and string quartet will be Burn My Letters – Remembering Clara programme includes his Berceuse, Suite for Small Orchestra Izumi Tateno, who has also performed the con- Gävle SO/Jaime Martin. 29.11. Gävle, Sweden and Miranda, conducted by Emil Eliasson. certo for the left hand by Pehr Henrik Nordgren CARL UNANDER SCHARIN (1944-2008) in Japan several times this year. 2019 The Cloud of Unknowing for mixed choir and organ marks the 75th anniversary of Nordgren’s birth. Erik Westberg Vocal Ensemble, Markus Wargh, organ Carl-Bertil 26.10. Luleå, Sweden Agnestig 1924-2019 OLLE LINDBERG Pedagogue, composer A Requiem for the Living for soprano, baritone, mixed choir, brass quintet and piano and choir leader Carl- Adolf Fredrik Chamber Choir/Christoffer Holgersson, Bertil Agnestig has sol. Agnes Englund Lindberg, soprano, Staffan Liljas, passed away at the age baritone. 2.11. , Sweden of 95. We remember SVEN-DAVID SANDSTRÖM him as an innovative Seventeenth Century Nun’s Prayer Mogens Dahl Chamber Choir/Mogens Dahl pioneer in Swedish music SYMPHONY LAHTI FINLAND, MUSIC PHOTOS: 3.11. Copenhagen, Denmark pedagogy. He had his Pehr Henrik Nordgren Kalevi Aho BENJAMIN STAERN breakthrough with the Scherzo assurdo piano school “Vi spe- New catalogue Magnus Holmander, clarinet, David Huang, piano lar piano” (We Play the Gehrmans Musikförlag has acquired the Edi- 5.11. Salzburg, Austria Piano), which was first tion Reimers catalogue. The Reimers publish- MARIE SAMUELSSON published in 1958 and has ing house was founded by Lennart Reimers in Brandnäva – Concerto for violin, guitar and orchestra sold more than 700,000 1975 and the catalogue contains works by some Gävle SO/Christian Karlsen, sol. Catharina Chen, violin, copies. After his success of the foremost Swedish composers, including Jacob Kellerman, guitar. 8.11 Gävle, Sweden with the piano book he wrote a number of tutorials for various Karin Rehnqvist, Henrik Strindberg, Anders MATTHEW WHITTALL instruments, but also for choral . In 2005 he received Eliasson, Mats Larsson Gothe, Arne Mell- String Quartet the Swedish Music Publishers’ Lifetime Achievement Award. näs, Folke Rabe, Jan W. Morthenson, et al. Meta4. 15.11. Espoo, Finland Night, sleep, death and the stars Jussi Särkkä, , Kaisa Kortelainen, harp, Sivan Magen, harp, Jouko Laivuori, piano Rising Star Magnus Holmander 24.11. Helsinki, Finland OLLI KORTEKANGAS plays Martinsson and Staern Luotujen virsi (Missa brevis) for children’s choir and instruments. Various choirs from Helsinki/Anna Nora Clarinettist Magnus Holmander is one of the European 16.11. Helsinki, Finland Concert Hall Organisation ECHO’s Rising Stars for the Sonata da chiesa for organ and chamber orchestra 2019/2020 season. On his tour to 12 of Europe’s major concert Andante CO/Ari Hirvonen, Kari Vuola, organ halls he is bringing Rolf Martinsson’s Suite Fantastique , 8.12. Uusikaupunki, Finland a version for clarinet and piano of Martinsson’s JYRKI LINJAMA Concert Fantastique. He will also premiere Benjamin Staern’s Himmeä, kirkas, himmeä... Aarne Pelkonen, baritone, Juho Alakärppä, piano brand new Scherzo assurdo at Mozarteum in Salzburg on 22.11. Helsinki, Finland 5 November. Accompanying Holmander on his tour is pianist JONAS VALFRIDSSON David Huang. Five Aspects of Broken Promises for seven instruments

PHOTO: CHRISTOPHER HÄSTBACKA CHRISTOPHER PHOTO: Musicians from Dalasinfoniettan. 22.11. Borlänge, Sweden

HIGHLIGHTS 3/2019 Sven-David Sandström (1942-2019), one of Scandinavia’s most beloved composers, passed away on 10 June at the age of 76. He composed till his very last breath, and many pieces are yet to be premiered. LEFT: FROM PHOTOS BÄCKER MATS RYDBERG, MERKEL ENAR ERIXON, HANS

”There is a creativity within me that I can’t stop. It just gushes out of me”. That is how Sven-David Sandström described Sven-David Sandström his exceptional productivity in his very last public appearance – in the talk show ”Summer”, that post- humously reached hundreds of thousands of Swed- in memoriam ish radio listeners. Even in the last year of his life, Sven-David Sandström would instead diverge from Romantic piano music from the years around 1990. during the period of his grave illness when he was the modernistic mainstream of art music. An inner His explanation for this was that he had a recently often bedridden, music continued to flow from his resistance to setting music to texts vanished. To his acquired curiosity about the Late-Romantic heritage pen. He finished his most extensive opera,The Book, mind, a composer is able to hide his feelings without and a fascination for the proficiency of musicians. based on Niklas Rådström’s visionary and drama- a text, and he was referring to a hitherto suppressed At the same time he began to approach Baroque tised rendering of the Biblical books. At the same need for emotional expression. church music – motets, passions, etc. – in order time he put the final touches to his oratorioUppbrott With his interest in texts followed a focus on vocal to, as he said, join in a great tradition. He took up (Breaking Up) and still managed to compose some music. Especially for choir – which Sandström was Purcell’s Hear My Prayer, let it collapse and built music for a grandchild who played the . familiar with and knew from the inside in his capacity it up again from fragments – a choral work that as a member of the Hägersten Motet Choir. Around would come to be sung the world over. But it was Unrestrainable creativity 1980 a number of major choral works appeared. Sa- Bach who was his great model and mentor. A semi- His production would number at least five hundred cred a cappella music such as Agnus Dei and A New nal work was his grandiose High Mass (1994) , works, perhaps nearly six hundred. Sandström had Heaven and a New Earth would quickly become which followed exactly the division of movements lost count long ago. And the question is whether he in demand from choirs the world over. His monumen- in Bach’s Mass in B minor, but with Stravinsky- ever included any of the compositions he had written tal and violently dramatic Requiem De ur alla minnen coloured rhythms. Once again Sandström caused a for the desk drawer back home in Borensberg where fallna (Mute the Bereaved Memories Speak) from 1982 music-aesthetic debate, but High Mass was given an he grew up. It was not until he was 26 years old that struck down like a bomb with a scope far beyond the enthusiastic reception by audiences and critics alike. he began studies in the composition class at the Royal narrow bounds of art music; it was awarded the Nor- He himself considered the work to be his very best. College of Music in Stockholm. Ingvar Lidholm was dic Council’s Music Prize. He would develop his knowledge of Bach in a se- his teacher, and guest professors György Ligeti and By now Sven-David Sandström had also liberated ries of works where he ”borrowed” the text and the Per Nørgård contributed important impulses. himself from the often dogmatic modern music com- form, but not the tone language. He eventually felt Sven-David Sandström would himself come to munity of that period. A collaboration with the young, called upon to follow Bach’s work obligation – to be a charismatic and influencial mentor for several eccentric choreographer Per Jonsson would give birth continually provide new music for all feast days of the generations of composers. First as a composition to a number of orchestral works; gestural in design and church year. In 2008 Sven-David Sandström began a professor at the Royal College of Music (1985-95), free in form. Opera – a no-go-zone for his generation – unique project together with Stockholm Cathedral later at Indiana University in Bloomington, USA aroused his interest. Both the chamber opera Emperor and a suburban church in Hässelby. For a period of (1999-2008). But also at colleges in Ingesund and Jones and the large-scale children’s opera The White three years choristers had to learn to sing from pages Falun, as well as at the Gotland School for Music Castle were staged at the Royal Swedish Opera. where the ink had barely dried for High Mass on Composition, which he helped to found. Sundays. It amounted to a complete collection of mu- Considering Sandström’s full-time position as a Romanticism and Baroque sic for all sixty-six feast days of the ecclesiastical year. dynamic pedagogue over several decades, his enor- In 1985 Sandström entered on his post as profes- Sven-David Sandström challenged himself also mous catalogue of works seems even more remark- sor of composition at the Royal College of Music in in other genres. He composed a clarinet concerto, able. The explanation is not just his unrestrainable Stockholm, which did not involve any decline in the Soft Music, for the jazz virtuoso Putte Wickman creativity but also a discipline of compositional craft continually swelling catalogue of works. He came to and his Third Symphony, which featured vocal sec- combined with a spontaneity in giving form to music. develop his need for emotional expression in a new tions, for the musical theatre artist Helen Sjöholm. His diligence – up early in the mornings, never wast- kind of instrumental music: romantic and not seldom His interest in other kinds of voices than those with ing a free moment that could be used for composi- lively and virtuosic. Many orthodox modernists were classical schooling was a driving force in Sandström’s tion – he claims was inherited from his father, master shocked by Sven-David Sandström’s tonally coloured thinking when it came to the opera Staden (The watchmaker Sven Sandström. From his pious free palette, adorned with ornamental garlands, in his Neo- To w n) , set to the poet Katarina Frostensson’s lyrical church home in Östergötland he acquired a religious and abstract . Ten years later, in 2008, it was faith that he would maintain throughout his life. An time for yet another big Sandström premiere at the existential security that made possible Sven-David Royal Swedish Opera: Bathsheba – this time with a Sandström’s many seemingly headstrong aesthetic text in English after a novel by Torgny Lindgren. choices; in reality an expression of his increasing need And after ten more years came Sven-David for artistic freedom. Sandström’s most extensive work and final opus. An epic opera of Wagnerian proportions, written International renown purely for the sake of creative pleasure. There was In 1972 he had his breakthrough with the orchestral no commission behind the vast compositional la- bour that went into ”The Book”. This opera is the work Through and Through, conducted by Herbert Blomstedt. Pierre Boulez soon took an interest and richest gift imaginable that Sandström could be- queath to posterity. commissioned Utmost, which he premiered with the BBC Symphony Orchestra. The doors were thus

opened to Europe and international renown. But MONTAN ULLA PHOTO: CAMILLA LUNDBERG

HIGHLIGHTS 3/2019 Finnish composer Jyrki Linjama here talks about inspiring communities and composing modern church music. He likens the genesis of his works to patient gold panning. Music should, he says, defy time and stretch out to eternity. Seven questions for Jyrki Linjama

Where do you find the ideas and breathes. Music (like the liturgy) offers means of 1 inspiration for your music? articulating the profoundest of questions with the One important source is direct physical and auditive greatest of sincerity: in so doing, it can have great contact with the instrument. I try to listen and, as far collective significance. as possible, play the instrument I’m composing for as We live in a time of ever-greater ecocatastrophe, much as I can. It’s a method my teacher, Einojuhani of dwindling human trust and of selfishness. Against Rautavaara, greatly encouraged. this background, I don’t believe in the topicality of PHOTO: MUSIC FINLAND/SAARA VUORJOKI FINLAND/SAARA MUSIC PHOTO: I like composing vocal music and the contacts with music; rather, it should defy time and stretch out to poetry. Translating the words into musical meanings eternity. It should be critical and cause friction. This Being a violinist, I’m also interested in well-tem- and symbols is an endlessly rich realm of experience way, it may create the potential for true interaction pered Baroque tuning systems. In my Sonata da chiesa and interpretation, both for the composer and for the that breathes, both horizontally and vertically. And for harpsichord , for example, I enjoy the chance listener. Language and music also have lots of struc- hence for growth and change. of using really pure fifths and (almost) pure thirds. tural and timbral things in common. These abound This being the case, the church should nowadays particularly if you have a sufficiently open and refined also be far more interested in good new music! I’m What book and record would you take notion of language and have the vast wealth of mate- trying to promote dialogue between my profession 6 with you to a desert island – and where rial inherent in modern music at your disposal. and the church in the association for composers of would that be? For me, music is also a natural way of belonging church music we have founded. The book would be the Bible (the Vulgate version) to an inspiring community in which all sorts of col- and the record that made by the Tallis Scholars of leagues occupy a fundamental role: players, singers, Which of your works have a special the “Sicut lilium” motet and Mass and other things conductors, to say nothing of theatre folk if your 4 meaning for you? by Palestrina. The island would be in the Turku ar- work involves opera and the stage. I do not sub- The cantus firmus [CF] melodies (Gregorian chant chipelago. scribe to the 19th-century concept of the composer and the Protestant chorale) I use signify lots of as a solitary hero: my work is possible only because things. The hymn in myVeni redemptor gentium for What compositions do you have people in our culture have been singing and playing, organ articulates the age-old Advent themes and 7 in the pipeline? dancing and conducting rites for so long. aspects of arrival, from the timid groping of the be- I’ve started composing a solo violin work for Kaija ginning to the marked closing movement. The CF Saarikettu and next summer’s Kaustinen Chamber How would you describe your composi- material in my Sonata die chiesa for piano sets Music Festival. Kaija and I have a long history of 2 tion process and your musical language? the mood for each of the four movements. The first, working together and I’m really looking forward to Jarmo Sermilä recently formed an anagram from my Miserere, keeps on repeating the simple two lines of the project. My song cycle Himmeä, kirkas, himmeä... name: ‘aj aj min lyrik!’ [in Swedish, translate as ‘oh oh the Psalm. The twilight of the music lets in the light (Bright, Dusky, Bright: settings of poems by Eeva- my lyricism’]. It’s a fitting one, because sensitivity, a in the second movement (Bells) with a Gregorian Liisa Manner) is to be premiered at the Helsinki Lied veritable mimosa-like quality, has been like a red line Hallelujah melody. The light reaches its zenith in Festival in November. The musical quality of the texts running through my work. To counterbalance this, the quick texture of the third movement (CF Veni appeals to me, and the poems I’ve chosen mention I seek aggressive tones and means of bridging these Creator Spiritus) and retreats into translucence in the two composers: Vogelweide and Bruckner. Manner is worlds. At the extremes in speaking of tonality I polyphonic finale, the material of which is the Ger- a modern Finnish classic, and addition to being struc- could mention white noise and the beginning of the man melody Es sungen drei Engel. In my new, second turally strong, her texts have a clarity, a sacred feel chorale Wachet auf. I’m not greatly interested in such string quartet (Allerheiligentag III), the material is a and a richness of content I greatly value. My church extremes or all in all getting stuck on a single point. Finnish folk chorale for All Saints’ Day. I love com- opera Kolme kirjettä Laestadiukselle (Three Letters The music of composers likeAlban Berg and Bent bining an uncouth folk melody with a sophisticated to Laestadius) is to be performed in Oulu Cathedral Sørensen speaks to me, for it operates inventively composition technique and instrumentation. The in October, and it’s nice to have it performed at the across the whole wide field opened up between dif- finale is a funeral march, a long resignation from the very heart of the region where Lars Levi Laestadius ferent perceptual extremes. My composition process sonorously rich timbres of the beginning to the great founded his Pietist revival movement. is seeking the right field for the work in hand and the bleakness of the end. I’ve got one more especially interesting project right path within it. Patient gold panning that is at scheduled for next year. I’ve just finished a piece worst tiresome and at best out-and-out rewarding. Which instruments do you feel especially called Via crucis, 14 meditations for organ and the 5 close to – and how are they reflected in way of the cross. Titta Tunkkari is doing a solo How are spirituality and its various aspects your works? choreography to my music. The project is also in- 3 manifest in your works – and how do you I play the violin and have sung in choirs, my wife is a teresting in that it’s my first contact as a composer hope to put them across to the listener? pianist and my children have experience of the French with dance. The Christian liturgy rests on a tremendous drama: horn, Baroque violin and other instruments. Mem- Last year I wrote my very first string quartets, a journey from darkness to light and the celebration bers of my extended family have been very active in nos. 1–3. The second,Allerheiligentag III, has just of communion. The long Mass tradition has created church music, playing the organ and harpsichord. It is, been premiered at the Kimito Island Music Festival, a fine substrate for the entire Western concept of I think, an advantage for a composer to have as direct and the Zagros Quartet will be performing the first music. I find being part of this tradition fascinating, and as concrete a relationship as possible with how and third next summer. and in this sense I’m not even able to divide music things are actually going to sound. So the instruments into spiritual and secular. If the music is alive, it also I’ve quoted play a considerable role in my works. HENNA SALMELA

HIGHLIGHTS 3/2019 REPERTOIRE TIPS REVIEWS Music for percussion Musica Kalevi Aho KALEVI AHO MIKKO HEINIÖ Kalevi Aho’s first string quartet (1971) provided Sieidi (2010) Dur: 36’ Khora (Piano Concerto No. 7) (2001) a fascinating insight into the musical world of an Concerto for Solo Percussion and Orchestra: Dur: 45’ 18-year-old… The third string quartet is Aho’s 3343-4331-03-str Dance Images for Piano and Five Percussionists undisputed masterpiece in the genre …. Timpani Concerto (2015) Dur: 29’ Here the timpani and the percussion instru- Anneleen Lenaerts, solo harpist in the ments combine with a piano, creating a sensual and hypnotic 3333-4331-02-hp-str Philharmonic, has previously performed Symphony No. 11 (1997-98) Dur: 34’ atmosphere. Khora was originally a dance work but can also be performed in a concert version. This is an example of Heiniö’s in- Aho’s concerto for harp and cor anglais and for 6 solo percussionists and orchestra: 2322-3221-euph-str the chamber concerto for harp and strings, Aho’s shamanistic Sieidi has been hugely popular, having been novative piano concertos – hybrids full of surprises, intelligence, Mearra. At this concert she did the expressive performed some 70 times across the world. It is an extremely fantasy and seductive appeal. tasty and impressive showpiece, a sort of world music in which Mearra in a way that left virtually nothing to the soloist roams between the instruments. JACOB MÜHLRAD be desired. The Timpani Concerto is a half–hour journey of shifting Kata (2017) Dur: 8’ Hufvudstadsbladet 1.7. moods, firm handling of form and material well suited to the for percussion and two Kalevi Aho: String Quartets nos 1-3, solo instrument. The third movement sets off a virtuosic display Mühlrad’s Kata is inspired by the body move- Mearra for harp and string orchestra of rhythmic fireworks. ments in Japanese martial arts, so-called Kamus Quartet, Concerto Málaga/Arturo The 11th Symphony proceeds at times with almost Ravelian ”katas”. The music fluctuates between rhythmic and meditative Alvarado, sol. Anneleen Lenaerts, harp ecstasy and hypnotic energy. The wondrous last movement is features, and is composed so as to give a visual impression with 28.-29.6.2019 Forssa, Finland (Musica Kalevi Aho Festival) tranquil, ritual-like music in which the percussions are used as the choreographed movements of the percussion soloist (who ‘sacred’ instruments. plays on Thai gongs and vibraphones) in the foreground. Unique concerto Loving the Beethoven may be routine, but this DANIEL BERG HANNU POHJANNORO evening will long be remembered for the Aho. Concertino for Marimba and Strings time exposures (2005) Dur: 16’ Aho has always made a point of making a care- (2017) Dur: 9’ for percussion quartet ful study of the instrument and the commissioner Pohjannoro’s music is subtle, concentrated Daniel Berg’s elegant Concertino is composed of a work. Tonight’s was thus a unique combina- for a virtuosic solo marimba and a less de- and full of rich details. This work addresses questions of time and rhythm: even though clock time proceeds tion: magnificent, guaranteed fresh Aho while manding, softly accompanying string texture, in classical style, at the same time strongly reflecting Raasakka’s but with distinct features of jazz harmony. The work is written to at an even pace, the listener’s time does not necessarily. Instead musician-personality covering everything from enable performances also by amateur together with of an endless chain of pulses, time may also be a space in which a skillful soloist. sounds are located. classical via contemporary to jazz and free impro- visation. A rare solo instrument also won a host ERIK BERGMAN MARIE SAMUELSSON of new friends for its noble sound, and I wouldn’t Vision (1999) Dur: 12’ Air Drum III (2000) Dur: 5’ be at all surprised if the richly-colourful work for solo percussion 2222-2220-03-strings became one of Aho’s most frequently-performed On being requested by Keijo Puumalainen to In Marie Samuelsson’s powerful and sugges- worldwide. compose this work, Bergman aimed at music tive short piece, the three percussionists play Keskisuomalainen 5.9. on air drums that sound like rumbling thunder, while the winds using a battery of percussion instruments in a rich world of Kalevi Aho: Concerto for colours, timbres and rhythms. Vision opens with the faint chink- answer with jazzy rhythms. The flutes, followed closely by the and Orchestra ing of the metal discs of a creating an ethereally orchestra’s other parts, fly through the storm like birds in a flock. World premiere: Jyväskylä Sinfonia/Ville Matvejeff, sol. Mikko sonorous sound world. Metal and membrane percussion instru- A brilliant concert opener that also works fine on stage with the Raasakka, 4.9.2019 Jyväskylä, Finland ments – 53 in all – later interact. spectacular drums beautifully illuminated in focus. TOBIAS BROSTRÖM SVEN-DAVID SANDSTRÖM Theatron (2014/15/17) Dur: 22’ Concert Pieces for Percussion and Late Romatic, expressive, lasting for 2 percussion soloists and orchestra: Orchestra (2002) Dur: 30’ Eichendorff’s Mondnacht is performed with a 3233-4331-12-str or 2222-4231-12-pf-str or for 6 percussion soloists and orchestra: particular sensitivity, and the singer makes the wind orchestra: 2131-2332-12-pf-vc-db 3333-4222-00-strings moon shine with her purest voice. A brilliant The marimba and the vibraphone are central in this work. The This concerto was composed for the Kroumata percussion en- achievement in a work whose expressiveness first movement opens explosively and lets the solo parts play semble, and each of the six percussion parts was created with a phrases that overlap like a string of pearls. The chorale-like, specific Kroumata member’s personality and ability in mind. The should actually make it a repertoire piece… Tour slow middle movement focuses on the lyrical timbres, while in work consists of three movements, each presenting a group of de Force is a highly dramatic, almost frightening the last movement, which starts out with an improvisatory call- percussion instruments; wooden, skin and metal. The work is at work of about 10 minutes, very characteristic and and-response section, the tempo accelerates and the intensity times extraordinary beautiful and romantic, but with contrast- in the surround sound of this Malmö recording gradually increases right up to the end. ing passages that hit like a kick in the stomach. extremely effective and impressive… At the end, this release must be described as very successful, PAAVO HEININEN BENJAMIN STAERN with attractive and ambitious yet immediately Sonatina (1996) Dur: 7’ Konnakol Variations (2019) Dur: 10’ accessible music. for snare drum solo for solo percussion and winds: 2262-a. Pizzicato 2.8. Belline (1996) Dur: 3’ sax-t.sax-2431-11-0-db for tuned percussion (5 players) In Staern’s work the inspiration from Indian Rolf Martinsson: These works belong to Op. 59, Points and Lines for Percussion, ‘Konnakol’ is especially evident in the first part where the solo- Ich denke Dein…, a collection of short compositions testing limits: things that are ist plays pattering, rapid figures on the congas and the bongos, Tour de Force compositionally impossible – and most obviously possible. The while the orchestra marks the beat by hand-clapping. In the CD: Malmö SO/ Sonatina is, says Heininen, a ‘gamble’, an attempt to achieve a second part the soloist changes to metal and wood, creating a Paul Mägi, sol. classical, though short, three-movement format by means of calm and meditative atmosphere. The expression shifts in the Lisa Larsson, soprano rhythm and dynamics alone. It can also be played with other third part, becoming more aggressive, chasing and driving, with (BIS-2323 ’Into Eternity’) sound material with a short resonance, either singly or in combi- intense drumming in focus. The orchestral percussion latches on nation, hereby creating new tones. Belline can be performed on toward the end and duels with the soloist. It all leads up to a virtually any instrument. quiet, slightly mystical coda with a simple xylophone solo.

HIGHLIGHTS 3/2019 Intoxicating Broström at the Proms Wennäkoski Composer-in-Residence His writing has an intoxicating allure: the first move- Lotta Wennäkoski was an optimal Composer-in-Resi- ment holds us in limbo, with flickering harps and dence. Her output was viewed from many perspectives uneasy brass; the second moves towards a cathartic, and the world premiere of Zeng and the duo Tocca for defiant burst of sound… I’d like to hear it again – and violin and harp hinted at a new, rhythm-based aesthetic Broström is a name to watch. direction. The Times 26.7. Hufvudstadsbladet 3.8. It’s a masterpiece! Brooding beds of strings mix The violin and harp of Cecilia Zilliacus and Stephen with soft pedalled vibraphone, as contemplative, Fitzpatrick met in the action-packed idiom. The intricate overlapping lines echo out. The effect is music flowed along, logical and elastic. Modernism at its very New York film noir, but a B-movie score this is best. Bravo! not. Towards the end, rapid, mambo-style percussion Vasabladet 1.8. hammers out the piece’s driving finale. Lotta Wennäkoski: Tocca for harp and violin, The Prickle 26.7. Zeng for recorder, percussion and strings World premiere: Cecilia Zilliacus, violin, Stephen Fitzpatrick, harp, Tobias Broström: Nigredo: Dark Night of the Soul Ostrobothnian CO/Dalia Stasevska, sol. Anna Petrini, recorder, Antti Ohenoja, UK premiere: BBC National Orchestra of Wales/Markus Stenz, sol. percussion, 25.&31.7.2019 Vaasa, Finland (Korsholm Music Festival) Håkan Hardenberger, Jeroen Berwaerts, , 25.7.2019 London, UK (BBC Proms) Wennäkoski was awarded by the Finnish Music Publishers in September. PHOTO: MIKKO KAUPPINEN MIKKO PHOTO:

Daniel Börtz’s Sinfonia 13 An exquisitely beautiful, quietly flowing Requiem: pretentious in its form and choice of subject, yet unpretentious in its way of letting the music subordinate itself to the caustic insights of the text… The impression that the composer carves out the words from the orchestra, as if he wanted to be sure that nothing is unnecessarily orchestrated, persists throughout the whole evening. Every bar feels carefully calculated and suited to the essence of the Tobias Broström, Håkan Hardenberger and Jeroen Berwaerts in London poem… Grief has rarely been depicted with such fervent beauty. Svenska Dagbladet 27.5. Stunningly beautiful Sandström Daniel Börtz: Sinfonia 13 World premiere: Royal Stockholm PO/Patrik Ringborg, sol. Johanna Rudström, mezzo soprano, “Uppbrott” has fateful sonorities but doesn’t focus on Patrik Ringborg conducting Daniel Carlsson, counter tenor, Karl-Magnus Fredriksson, baritone, Stina Ekdal, Hannes death as much as on life… The music is characterised the Börtz premiere by both seriousness and calm, and is throughout

PHOTO: JAN-OLAV WEDIN JAN-OLAV PHOTO: Meidal, reciters, 23.5.2019 Stockholm, Sweden exceedingly beautiful. Dagens Nyheter 17.6. Exciting and mysterious The beauty of the piece was stunning and moving. The Concerto for and Double Bass is one of the Pehr Henrik Nordgren: The Adolf Fredrik Church Chamber Choir filled the Concerto for Viola, composer’s most unusual. The soft-toned solo instru- room with a fantastic, bright choral sound under the Double Bass and ments produce some surprising combinations…the Chamber Orchestra direction of Christoffer Holgersson. string orchestra is supplemented by a piano and per- CD: Ostrobothnian CO/Juha Svenska Dagbladet 18.6. cussions, the clinking and thudding beats of which Kangas, sol. Lilli Maijala, viola, Sven-David Sandström: Uppbrott (Breaking Up) create a ceremonial mood. It would be good to hear Olivier Thiery, double bass World premiere: Adolf Fredrik Chamber Choir and Orchestra/ this exciting and mysterious work in concerts as well. (Alba 435) Christoffer Holgersson, sol. Hanna Husáhr, soprano, Olle Persson, Rondo Classic 7-8/2019 baritone, 15.6.2019 Stockholm, Sweden

Pictures of Life by Kortekangas – an opera of the highest rank Elämänkuvat (Pictures of Life) demonstrates that Kortekangas is one of our highest-ranking opera composers… The audience gave it a standing ovation. Seldom does one experience a work in which the pieces are so well in place. The music drew out both bubbling joy and resignation tinged with melancholy, along with mystical allusions to the other world. The vocal parts are skilfully written, Kortekangas being thoroughly familiar with the human voice. Yet the ninth part, an orchestral intermezzo, made the biggest impression. No way is it just a filler; it is possibly the finest music by Kortekangas I have ever heard. Helsingin Sanomat 3.8. Pictures of Life absolutely deserves more performances. There would undoubtedly be a sufficient audience and interest. Kortekangas demonstrated a vast knowledge of the music of centuries past, as proved not least by the tremendous intermezzo in the middle of the opera. Vasabladet 3.8. The libretto by Pia Perkiö lets the different time perspectives meet in an emotionally touching way... Kortekangas is a wily opera fox who knows what will work on stage. Also, the music keeps to a simple but striking dramatic medium, expressive recitatives and harmonies that occasionally open up to tonality. Hufvudstadsbladet 3.8. Olli Kortekangas: Elämänkuvat (Pictures of Life, church opera) World premiere: Vaasa & Seinäjoki Orchestras/Anna-Maria Helsing, Vaasa Opera Choir etc., sol. Päivi Nisula, soprano, Waltteri Torikka, baritone 1.8.2019 Isokyrö, Finland (Korsholm Music Festival) PHOTO: KORSHOLM MUSIC FESTIVAL/JOHAN HAGSTRÖM FESTIVAL/JOHAN MUSIC KORSHOLM PHOTO:

HIGHLIGHTS 3/2019 NEW PUBLICATIONS

CHORAL ALBUMS AND TUTORS CHAMBER AND INSTRUMENTAL AVICII /ARR: FREDRIK NICOLAS INDERMÜHLE – KALEVI AHO KAI NIEMINEN BERGLUND LAURI HUOTARINEN Solo XIII Piano Trios: Without You Working Zone for In der Winterzeit for mixed choir SATB and Scale and interval exercises for tuba FG 9790-55011-487-6 FG 9790-55011-525-5 piano (Eng) (and other bass clef instruments) (score and parts) ARMAS GE 13724 FG 9790-55011-534-7 Reflecting Landscapes JÄRNEFELT FG 9790-55011-526-2 DANIEL HJORT Berceuse FREDRIK KEMPE/ARR: (score and parts) Detta är platsen. KARL-JOHAN ANKARBLOM available in two new Detta är tiden. Så som i himmelen versions: Frammenti dal buio… This is the place. This is the (As It Is in Heaven) for piano trio (com- FG 9790-55011-527-9 (score and parts) time. A choral work about being All the songs from the musical poser’s arrangement for human. For children’s and youth Editor: Gunnar Helgesson violin, violoncello and choir, mixed choir, recitation, GE13738 piano) HEIKKI SARMANTO piano, , double bass FG 9790-55011-520-0 Impressions de and percussion BARBRO MARKLUND for saxophone (Josef (Paris Impressions) Text: Kersin Weman Thornell (Sw) (EDITOR) Kaartinen’s trans- 20 unique pieces for piano GE 13700 for Young Voices – cription for soprano, inspired by the friendship alto/mezzo alto, tenor or between the Finnish jazz JONATHAN KRONER 30 short and well-known arias for baritone) composer Sarmanto and INGVALD young singers who want to FG 9790-55011-519-4 the French chansonnier Missa Chori Discantus boost their repertoire. Allain Leprest. for descant choir SA and GE 13194 OLLI KOSKELIN FG 979-0-55011-473-9 piano or organ (Lat) X’Seven GE 13717 TURE RANGSTRÖM for violoncello Collected Songs FG 9790-55011-521-7 TUOMAS TURRIAGO AGNETA SKÖLD 49 songs for voice and piano Tanguerengue Unto Us a Child is Born (Sw, Ger) KIRMO for trumpet and piano for mixed choir SATB and Editor: Anders Annerholm LINTINEN FG 9790-55011-529-3 alto solo GE 13405 Buster! Text: Percy Dearmer (Eng) Caprice for clarinet HARRI VUORI GE 13627 ARJA SUORSA- and piano Chiroptera RANNANMÄKI FG 9790-55011-514-9 for guitar MATTHEW WHITTALL Colour Keys, the Piano FG 9790-55011-522-4 As One Listens to Patikka ABC - Teacher’s Guide B for violin, violoncello the Rain FG 9790-55011-523-1 (in English) FREJ WEDLUND for mixed choir and piano Piano Quintet Text: Octavio Paz (Eng. by FG 9790-55011-536-1 Winner of O/Modernt Eliot Weinber TRINE FOLMOE Rondo burlesque Composition Award 2019 FG 9790-55011-506-4 Allan Pettersson for bassoon and piano GE 13679 (score), GE13680 Lauantaisauna Barfotasånger FG 9790-55011-524-8 (parts) (Saturday Sauna) 24 paintings inspired by Allan for mixed choir Pettersson’s Barefoot Songs by ERKKI MELARTIN DAG WIRÉN/ARR: Text: Niilo Rauhala (Fin) Norwegian painter Trine Folmoe. Little Quartet ROBERT GOWER for Four Saxes FG 9790-55011-530-9 ISBN: 978-82-995657-2-1 15 Pieces arranged Op. 185 for organ Arr. Jari Eskola 15 well-known orchestral FG 9790-55011-533-0 and chamber pieces by Dag Wirén arranged for ORCHESTRA & WIND BAND organ by Robert Gower. TOBIAS BROSTRÖM GE 13614 Sputnik version för piccolo trumpet, wind quintet, piano ad lib. and strings GE 13726 (score), GE 13728 (study score) NEW CDs ROLF MARTINSSON Rondo for string orchestra TOBIAS BROSTRÖM TOIVO KUULA GE 13471 (score), GE 13473 (study score) Beatnik, Crimson Seas, Complete piano Stellar Skies, Theatron works ROOPE MÄENPÄÄ Malmö SO/Ingar Bergby, Janne Oksanen, piano Buoyancy for wind band JS34b Norrlandsoperan SO/Johannes Alba ABCD 445 FG 9790-55011-537-8 (score and parts) FG 9790-55011-399-2 (score), Gustavsson, sol. Anna Larsson, 55011-400-5 (parts) alto, Malin Nordlöf, flute, SVEN-DAVID SANDSTRÖM MATS LARSSON GOTHE / The Beloved Malleus Incus, percussion The Autumn Diary Five Pieces for Piano Op. 14 Swedish Society SCD1165 (‘Orchestral Works’) and Orchestra Dalasinfoniettan/Daniel FG 9790-55011-401-2 (score), Blendulf GE 12591 (score), GE 12592 (solo part), 55011-402-9 (parts) GE 12593 (study score) ILMARI HANNIKAINEN Swedish Society SCD1164 Scherzo Op. 4 Piano Sonata C Minor Op. 1 ALBERT SCHNELZER FG 9790-55011-389-3 (score), EINARI MARVIA Sonata for Piano Op. 16 JACOB MÜHLRAD Apollonian Dances 55011-390-9 (parts) Anim zemirot, Time, for string orchestra and percussion Urtext editions of the most Risto-Matti Marin, piano Nigun, Kaddish Alba ABCD 446 ’Hidden treasures’ GE 13597 (score) beloved Sibelius pieces for Swedish Radio Choir/ string orchestra in the new Violin Concerto No. 2 Ragnar Bohlin/ – Nocturnal Songs Helsinki Sibelius Edition series. PAAVO HEININEN Fredrik Malmberg Violin Sonatas Op. 134 GE 13410 (score), GE 13412 (study score), Deutsche Grammophon JENNAH VAINIO (Boston Sonatas) DG 060250825366 GE 13413 (piano reduction and solo part) Winterborn Kaija Saarikettu, violin, GE 13418 (score), GE 13420 (study score) for chamber orchestra Juhani Lagerspetz, piano extended orchestration FG 9790-55011-513-2 Alba ABCD 443 (score) For further information about our works or representatives worldwide check our web sites or contact us at: Gehrmans Musikförlag AB Fennica Gehrman Oy Ab Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 www.gehrmans.se • [email protected] www.fennicagehrman.fi • [email protected] Hire: [email protected] Hire: [email protected] Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi HIGHLIGHTS 3/2012 Sales: [email protected] Sales: [email protected] (dealers)