DOCSLIB.ORG

Jean Sibelius (1865–1957) Sibelius Sibelius Violin Concerto Violin Concerto in Dminor,Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jean Sibelius (1865–1957) Sibelius Sibelius Violin Concerto Violin Concerto in Dminor,Op page 20/1 The The Absolute Absolute Jean Sibelius (1865–1957) Sibelius Sibelius Violin Concerto Violin Concerto in DMinor,Op. 47 33:33 1 IAllegromoderato 18:27 Symphony No. 2 2 II Adagio di molto 9:12 3 III Allegro, ma non tanto 7:45 ©Breitkopf &Härtel Symphony No. 2inDMajor,Op. 43 45:45 4 IAllegretto 10:39 5 II Tempo andante, ma rubato 15:03 6 III Vivacissimo 6:23 7 IV Finale. Allegromoderato 14:13 ©Breitkopf &Härtel [79:29] Pekka Kuusisto, violin Pekka Kuusisto, violin (1–3) Helsinki Philharmonic Orchestra Helsinki Philharmonic Orchestra Leif Segerstam ODE 1115-2 Leif Segerstam page 20/1 The The Absolute Absolute Jean Sibelius (1865–1957) Sibelius Sibelius Violin Concerto Violin Concerto in DMinor,Op. 47 33:33 1 IAllegromoderato 18:27 Symphony No. 2 2 II Adagio di molto 9:12 3 III Allegro, ma non tanto 7:45 ©Breitkopf &Härtel Symphony No. 2inDMajor,Op. 43 45:45 4 IAllegretto 10:39 5 II Tempo andante, ma rubato 15:03 6 III Vivacissimo 6:23 7 IV Finale. Allegromoderato 14:13 ©Breitkopf &Härtel [79:29] Pekka Kuusisto, violin Pekka Kuusisto, violin (1–3) Helsinki Philharmonic Orchestra Helsinki Philharmonic Orchestra Leif Segerstam ODE 1115-2 Leif Segerstam ne mightask whether Jean Sibelius's work. In particularthe first version –composed Violin Concerto was thecomposer's at theend of orinthe first fewdaysof carefully-planned revenge on thedei- –threatenedtodrownthe poorsoloist in aflood Oties of theinstrument.Inhis childhood, Sibelius of technicalchallenges. In Sibeliusperhaps (–)had first played thepiano,butafter sawtheerror of hisways, andproducedarevised afewyears he switched to theviolin.Helater editionwithamorebalancedoverallshape anda confessed:"The violin took me over completely. violin part that was marginallymore accessible From then on forthe nextten years or so my to mere mortals. profoundestwish, theloftiestaspirationofmy ButifSibelius's concerto were nothing more ambitions,was to become agreat violinvirtuoso." than arogues'galleryof thediffiCultiesthatcan ButSibeliusnever quitemanaged to reachthese be putbefore an instrumentalist, then it would goals. For astart,hebegan hisseriousstudyof the certainlynot havebecomeone of themost-played instrument fartoo late,and norwould hisrather violinconcertos of theth century.Besides,for neuroticmake-uphavesuited himfor acareeras allits obstacles, thesoloist's part is veryreward- aperformingartist. ingfor theartist. The hurdlesitprovides arejust When Sibeliusbegan in thefirstyears of this those that violinists loveovercoming.Wecan also centuryto shapeoutaconcertofor theviolin,it admire thewayin which Sibeliushas succeeded in became oneofthe most demandingpieces in the blending technicalbrilliancewithanimpressive standard concerto repertoire –almost as if he were overallsymphonicline. Thiscomes outmost clearly composinghis ownunrealiseddreamsintothe in thebroad first movement (Allegro moderato), page 3 which openswithone of Sibelius's most inspired andunforgettable themes.Thecadenzaisrather demanding, as is thefashion, Butatthe same time it hasanimportant formalfunction, sinceitforms thedevelopment sectionofthe movement. The slowmovement (Adagiodimolto), againone of Sibelius's most attractive, is warmedbyalong- limbedcantabile quality.Inthe finale (Allegro,ma nontanto) thevirtuoso elements –brokenchord progressions, runs in parallel thirds,double and triplestopping, octaves andflageoletnotes –are most on thesurface, Butatthe same time their- resistible energyandmomentumofthe movement provides an effectiveclimaxto thework. In June ,anadmirer who signed himself withthe pseudonym'X' wrote to Jean Sibelius: "Youhavebeensitting at home forquiteabit, Mr.Sibelius. It is time that youtravelled. Youwill spendthe late autumn andwinter in Italy,aland J S where onecan learnaboutcantabile,proportion at leasttosomeextent, anditwas in this direction andharmony,the plasticartsand thesymme- that Sibeliuscontinued in hislaterworks. tryof lines,alandwhere everythingisbeautiful In theSecondSymphony,Sibeliuscontinued –even that which is ugly.After all, recall what to develop hisorganic conceptofform, which Italymeanttothe development of Tchaikovsky was alreadypresentinembryonic form in the andtoRichard Strauss." FirstSymphony().The firstmovementof Some time later theadmirer revealedhimself. theSecondSymphonypresents not selfcontained He was apenniless Butwell-connectedpatronof themes Butbrief motifs that do not come together thearts, BaronAxel Carpelan.Hehad managedto into broader statementsuntil theculmination of seCure agrant forSibelius, enablingthe composer thedevelopment section. Anothermanifestation of andhis familyto spendthe beginningand spring Sibelius's organicapproachisthatthe linebetween of inRapalloonthe Bayof GenoainItaly.It thedevelopment andthe recapitulation is obscured: was here that Sibeliusbegan workonhis Second thetwosectionsdovetailintoone another. Symphony,although some of thematerial dated The slowmovementopens witharestrained from an earliertime. The workwas completed in celloand bass pizzicato, abovewhich asombre early,and itspremiere in Marchthe same bassoontheme emerges. Eventually,however,the yearisone of thegreat triumphsofmythical pro- musicescalatestoclimaxes more dramatic than portions in thehistoryof Finnish music. Even usual foraslowmovement. The scherzoisdynamiC today,the Second is themost popularofSibelius's andenergetic, reminiscent of Beethoven. Itsmain symphonies. sectionisbalancedbyatriosection dominatedby The SecondSymphonymarksaturningpoint alovelyoboe melody.Onits second appearance, in Sibelius's output. On onehand, it belongs to the thetrioleads withoutabreak into thetriumphant Romantic symphonictradition, withbrilliant or- finale, which progresses tumultuouslytowards a chestrationand powerfulclimaxes,butonthe other toweringclose crownedbythebrilliant radiance hand,itrepresentsaturn from thedefiant minor of thebrass. keyof theFirst Symphonyto abrighter andmore universalidiom.Carpelan'sflowingdescriptionof "cantabile,proportionand harmony,the plastiC KimmoKorhonen arts andthe symmetryof lines" proved prophetiC Translation: William Moore orninFinland in , PekkaKuusisto Jean Sibelius'sViolin Concerto withthe Helsinki began to studytheviolin withGézaSzilvay Philharmonic Orchestraunder Leif Segerstam, at theage of three. In ,hewenton was released in (ODE -). He hasalsore- Bto studywithTuomas Haapanenatthe Sibelius corded Vivaldi's The Four Seasons withthe Virtuosidi Academy.Healsostudied withMiriamFried and Kuhmo(ODE-), thecomplete Violin Concertos PaulBiss at IndianaUniversityin Bloomington of J.S. Bach withthe TapiolaSinfonietta andJaakko from to . Kuusisto(ODE -), Mozart'sViolin Concertos He embarked on an international career after nos. , and withthe TapiolaSinfonietta under winningthe Jean SibeliusViolinCompetition in Olli Mustonen (ODE -), worksfor violin .Hehas sinceperformed withmanyof the andpiano ByJean SibeliusaccompaniedbyHeini world's majororchestras, such as theChicago Kärkkäinen(ODE -)aswellasworks for Symphony,ClevelandOrchestra,the LosAngeles violin andorchestra BySibeliuswiththe Tapiola Philharmonic,the Philadelphia Orchestra,the Sinfonietta(ODE -). Philharmonia Orchestra,the Royal Philharmonic, theBBC SymphonyOrchestra,the Chamber eifSegerstam becamethe th Chief Orchestra of Europe, theCzechPhilharmonic, Conductor of theHelsinkiPhilharmoniC theStockholm Royal Philharmonic,the Deutsches Orchestra in .Hehas been praised SymphonieOrchester Berlin,the Australian LBycriticsfor creating powerful, convincing per- ChamberOrchestra andthe Cityof Birmingham formances that arecompelling both musically SymphonyOrchestra.Conductor champions in- andemotionally.Atruemusicalpolymath,Leif clude ValeryGergiev,Yuri Temirkanov,Vladimir Segerstam studied violin,piano,composition, and Ashkenazy,OsmoVänskä, PaavoBerglund, conductingatthe SibeliusAcademyandcontin- ThomasDausgaard, andLeifSegerstam.Apart ued at theJuilliardSchool. He won theMaj Lind from hisappearances as asoloist,Pekka Kuusisto competitionfor pianists at theage of in and also performs chamber music, jazz,folkmusicand gavehis déButrecital as aviolinist in thefollowing electronic music. He is Artistic Director of theLake year. At theage of , he was appointedConductor Tuusula Chamber MusicFestival. of theFinnishNationalOpera.His conducting PekkaKuusistohas an exclusiverecording career continued withpostsatthe Royal Opera contract withOndine. HisaCClaimed first disc, of Stockholmand theDeutscheOperBerlin,as wellasChief Conductor positions at theAustrian as theHelsinkiOrchestralSocietyBytheyoung RadioSymphonyOrchestra,the Finnish Radio Robert Kajanus, itsfirst ChiefConductor,in. SymphonyOrchestra,the Staatsphilharmonie Well knowntodayforits traditionofperforming Rheinland-Pfalz,the Danish National Radio Sibelius, it also premieredmanyof hismajorworks, SymphonyOrchestra,and theRoyal Operain often withthe composerhimselfconducting. The Stockholm. Leif Segerstam hasappearedasguest orchestraundertook itsfirstforeign tourtothe conductor withorchestrassuch as theBerlin UniversalExpositioninParis in ,and since Philharmonic,the ChicagoSymphony,and the then it hasvisited most European countries,inad- LosAngeles Philharmonic.Hehas also conducted dition to visitingthe USAand Japan, both on four in most of theworld's leadingopera houses, includ- occasions. The Helsinki Philharmonic Orchestra ingthe Metropolitan Opera, La Scala, Covent andOndinehavemaintainedalong-standing Garden,the operahousesofCologne,HamBurg, exclusivepartnership with, amongothers, an edi- Munich,and Geneva, as wellasatthe SalzBurg tion of thecomplete
Load more

Recommended publications
  • Summerthoughts RAUTAVAARA Works for Violin and Piano 1 Einojuhani Rautavaara (*1928)
    PEKKA KUUSISTO PAAVALI JUMPPANEN SummerThoughts RAUTAVAARA WORKS FOR VIOLIN AND PIANO 1 EINOJUHANI RAUTAVAARA (*1928) Lost Landscapes (2005) 20’33 1 I. Tanglewood 5’58 2 II. Ascona 6’18 3 III. Rainergasse 11, Vienna 5’22 4 IV. West 23rd Street, NY 2’55 5 Summer Thoughts (1972/2008) 4’28 6 April Lines (1970/2006) 8’55 Notturno e danza (1993) 7’18 7 I. Notturno 5’15 8 II. Danza 2’03 9 Variétude, for solo violin (1974) 6’01 10 Dithyrambos (1970) 2’22 Pelimannit (The Fiddlers), Suite for piano based on traditional Finnish polska tunes for the fiddle (1952) 20’03 11 Fiddle tune: Närböläisten braa speli 1’50 12 I. Närböläisten braa speli (Narbö Villagers in Fine Fettle) 1’30 13 Fiddle tune: Kopsin Jonas 2’38 14 II. Kopsin Jonas (Jonas of Kopsi) 1’43 15 Fiddle tune: Jacob Könni 1’40 16 III. Jacob Könni 1’30 2 17 Fiddle tune: Klockar Samuel Dikström 2’24 18 IV. Klockar Samuel Dikström (Bell-ringer Samuel Dikström) 1’06 19 Fiddle tune: Pirun polska 2’12 20 V. Pirun polska (Devil’s Polka) 1’32 21 Fiddle tune: Hypyt 0’55 22 VI. Hypyt (Village Hop) 0’55 PEKKA KUUSISTO, violin (except tracks 12, 14, 16, 18, 20, and 22) PaavaLI JUMppanEN, piano (except tracks 9, 11, 13, 15, 17, 19, and 21) Publisher: Boosey & Hawkes (Lost Landscapes, Dithyrambos, Summer Thoughts, April Lines); Modus Music (Notturno e danza); Fennica Gehrman (Dithyrambos, Pelimannit, Variétude) Recordings: Sello Hall, Espoo, Finland, 28.–30.12.2010 A 24-bit recording in DXD (Digital eXtreme Definition) Executive Producer: Reijo Kiilunen Recording Producer: Seppo Siirala Recording Engineer: Enno Mäemets – Editroom Oy Piano Technician: Matti Kyllönen ℗ 2011 Ondine Oy, Helsinki © 2011 Ondine Oy, Helsinki Booklet Editor: Jean-Christophe Hausmann Cover Painting: Pekka Hepoluhta Artist Photos: Maarit Kytöharju / FIMIC (Rautavaara), Sonja Werner (Kuusisto), Petri Puromies (Jumppanen) Cover Design and Booklet Layout: Armand Alcazar This recording was produced with support from the Foundation for the Promotion of Finnish Music (LUSES) and the Finnish Performing Music Promotion Centre (ESEK).
    [Show full text]
  • Tapiola Sinfonietta
    MAGNUS LINDBERG VIOLIN CONCERTO PEKKA KUUSISTO, VIOLIN & DIRECTOR JUBILEES SOUVENIR MAGNUS LINDBERG, CONDUCTOR TAPIOLA SINFONIETTA 1 Magnus Lindberg 2 nstrumental qualities have always inspired Magnus Lindberg (b. 1958). However abstract his musical ideas may Ibe and however tightly constructed their subsurface structures, his music is always instrumentally idiomatic and powerful. Often his ideas develop in an instrumental direction of their own accord; sometimes they emerge from the special properties of a particular instrument, fusing musical and instrumental innovation into a single creative act. This approach is of course heightened in concertos, which constitute an important genre in Lindberg’s output. He has written two concertos for piano (1990–94; 2012) and one each for cello (1997–99), clarinet (2001–02) and violin (2006), and other works with prominent solo parts. The Violin Concerto was written to a commission from the Lincoln Center in New York together with the Barbican Centre in London, the Casa de Música–Porto and the Swedish Chamber Orchestra and was premiered at the Mostly Mozart festival in New York in August 2006. Although the commission was specifically aimed at the 250th anniversary celebration of Mozart’s birth, Lindberg did not write a tribute with Mozart elements in it. However, the situation of the premiere had an influence on the work in the way that Lindberg used a smaller orchestra than usual. There are two oboes, two bassoons and two horns plus strings – a standard Mozart orchestra, in fact. The very fact that the ensemble is so small prompted clearer and more translucent structures than in many of Lindberg’s other orchestral works.
    [Show full text]
  • Sakari Oramo, Conductor Pekka Kuusisto, Violin Ottorino
    Sakari Oramo, conductor Pekka Kuusisto, violin Ottorino Respighi: Fontane di Roma (The Fountains of Rome) 18 min I La fontana di Valle Giulia all’alba (The Fountain of the Valle Giulia at Dawn) (Andante mosso) II La fontana del Tritone al mattino (The Triton Fountain in Early Morning) (Vivo) III La fontana di Trevi al meriggio (The Trevi Fountain at Midday) (Allegro moderato - Allegro vivace - Largamente) IV La fontana di Villa Medici al tramonto (The Fountain of the Villa Medici at Sunset) (Andante) Samuel Barber: Violin Concerto, Op. 14 22 min I Allegro II Andante III Presto in moto perpetuo INTERVAL 20 min Joseph Haydn: Symphony No. 103 in E flat major, “Drum roll” 29 min I Adagio - Allegro con spirito - Adagio - Tempo 1 II Andante più tosto allegretto III Menuetto (Minuet) - Trio IV Finale (Allegro con spirito) Interval at about 7.45 pm. Th e concert ends at about 8.45 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi /rso). 1 Ottorino Respighi (1879–1936): Fontane di Roma (The Fountains of Rome, 1916) Respighi studied the viola and composition in sations and visions suggested to him by four of St. Petersburg, in the class of Rimsky-Korsakov Rome’s fountains contemplated at the hour in and others. His music was later infl uenced by which their character is most in harmony with French Impressionism, from which he selected the surrounding landscape, or in which their colours for his masterly handling of the orches- beauty appears most suggestive to the observ- tra. He is best remembered for his Roman Tril- er.” Th e day dawns at the fountain of the Valle ogy for orchestra.
    [Show full text]
  • ISI99 Daily Bulletin 5
    ISI99 Daily Bulletin 5 Friday 13 August, 1999 Contents Remember your ticket Please remember to take your concert ticket with you tonight. Unfortunately, no one without a ticket will be allowed in. • General Assemply 2 The concert has been one of the most popular events in the Social Programme. The organisers are very sorry that all interested • Changes in the programme 3 participants could not obtain a ticket due to the limited availability of seats in the Temppeliaukio church. • Behing the scenes and in the frontline 4 You can ask if any tickets have become available due to cancellations at the Registration Desk. • International Association for Statistical Computing, IASC 4 • Pricing of statistical journals 5 Excursion to Suomenlinna • In my experience 6 The excursion to the Suomenlinna fortress on Saturday afternoon will comprise some walking in the open air, partly on cobbled • ISI Marco Polo Committee on alleys. This is the time to wear your most comfortable pair of shoes. The weather has been rather unstable during the week, so Statistics of Travel and Tourism COSTT 7 please remember also to take an umbrella or a raincoat with you (one has been supplied in the Conference pags). • The Committee on Women in Statistics... 7 • Statistical Education 7 • Young virtuosi in concert tonight 8 • ISI in the media 9 • The church in the rock 10 • Sibelius, the sound of Finland 11 • Festivals in the forests 12 • An enviable minority 13 • Pääsy kielletty 14 • Photographs 14 • Something for the sweet tooth 15 • Children`s Helsinki 16 The IASS General Assembly In the description of the IASS in yesterday’s Daily Bulletin there was an unfortunate misprint stating that the IASS General Assembly and a silver jubilee would have taken place yesterday.
    [Show full text]
  • FILM WEEK at the PHILHARMONIC Alec Baldwin, the ART of the SCORE Artistic Advisor
    UPDATED April 29, 2016 CHRONOLOGICAL LISTING 2015–16 SEASON THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor ON THE WATERFRONT Avery Fisher Hall at Lincoln Center Friday, September 18, 2015, 7:30 p.m. David Newman, conductor Robert Osborne, special guest BERNSTEIN On the Waterfront (World Premiere–live score with complete film) THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor THE GODFATHER Avery Fisher Hall at Lincoln Center Saturday, September 19, 2015, 8:00 p.m. Monday, September 21, 2015, 7:30 p.m. Justin Freer*, conductor Paul Sorvino, special guest (September 19) ROTA The Godfather (New York Premiere–live score with complete film) * denotes New York Philharmonic debut 2 ALAN GILBERT CONDUCTS: OPENING GALA CONCERT WITH LANG LANG David Geffen Hall at Lincoln Center Thursday, September 24, 2015, 7:30 p.m. Live From Lincoln Center Alan Gilbert, conductor Lang Lang, piano GRIEG Piano Concerto BEETHOVEN Symphony No. 7 ALAN GILBERT CONDUCTS: COMPOSER-IN-RESIDENCE ESA-PEKKA SALONEN’S LA VARIATIONS David Geffen Hall at Lincoln Center Friday, September 25, 2015, 8:00 p.m. Saturday, September 26, 2015, 8:00 p.m. Alan Gilbert, conductor Esa-Pekka SALONEN LA Variations R. STRAUSS Ein Heldenleben Frank Huang, violin ALAN GILBERT CONDUCTS: BRAHMS WITH EMANUEL AX David Geffen Hall at Lincoln Center Wednesday, September 30, 2015, 7:30 p.m. Alan Gilbert, conductor Emanuel Ax, piano BEETHOVEN Symphony No. 7 BRAHMS Piano Concerto No. 2 3 ALAN GILBERT CONDUCTS: WORLD PREMIERE BY MARC NEIKRUG David Geffen Hall at Lincoln Center Thursday, October 1, 2015, 7:30 p.m.
    [Show full text]
  • [email protected] FOREIGN B
    FOR IMMEDIATE RELEASE ARTIST UPDATE January 17, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] FOREIGN BODIES Conducted and Hosted by ESA-PEKKA SALONEN The Marie-Josée Kravis Composer-in-Residence June 8, 2018 Esa-Pekka SALONEN’s Foreign Bodies WORLD PREMIERE of Live Video Installation by TAL ROSNER NEW YORK PREMIERE of Daníel BJARNASON’s Violin Concerto with PEKKA KUUSISTO OBSIDIAN TEAR Choreography by Wayne McGregor Performed by Members of BOSTON BALLET Set to Esa-Pekka SALONEN’s Lachen verlernt and Nyx The New York Philharmonic announces Foreign Bodies, a one-night-only multidisciplinary event conducted and hosted by Esa-Pekka Salonen, concluding his tenure as The Marie-Josée Kravis Composer-in-Residence. The concert, Friday, June 8, 2018, at 8:00 p.m., will feature Esa-Pekka Salonen’s Foreign Bodies, accompanied by the World Premiere of a live video installation by Tal Rosner; the New York Premiere of Daníel Bjarnason’s Violin Concerto, with Pekka Kuusisto in his New York Philharmonic debut; and Obsidian Tear, a dance work choreographed by Wayne McGregor performed by members of Boston Ballet (Philharmonic debut) and set to Mr. Salonen’s Nyx and Lachen verlernt, the latter of which will be performed by violinist Simone Porter. Foreign Bodies will be casual and multi-sensory; drinks and conversation will flow as attendees mingle with the performers, who will give additional impromptu performances throughout the event. The program showcases several cross-pollinating collaborations related to Esa-Pekka Salonen. Tal Rosner previously created a video installation for Lachen verlernt (most recently presented at London’s Barbican Centre in December 2017), and Wayne McGregor previously choreographed a ballet to Foreign Bodies.
    [Show full text]
  • Ligeti Forward
    New York Philharmonic Contact: Katherine E. Johnson (212) 875 -5718; [email protected] LUCERNE FESTIVAL Contact: Eric Latzky Culture | Communications NY (212) 358-0223; [email protected] MetLiveArts Contact: Meryl Cates (212) 650-2684; [email protected] May 23–June 11, 2016 JUNE 3–5, 2016, AT THE METROPOLITAN MUSEUM OF ART: LIGETI FORWARD ALAN GILBERT To Conduct Ensemble of the LUCERNE FESTIVAL ALUMNI in Three Programs of Works by Unsuk CHIN, Gérard GRISEY, Alexandre LUNSQUI, Marc-André DALBAVIE, Dai FUJIKURA, and John ZORN Alongside György LIGETI Concertos with Soloists Conor HANICK, Jay CAMPBELL, and Pekka KUUSISTO Conceived of and Programmed by Jay Campbell Live Video Webcast As part of the NY PHIL BIENNIAL, Alan Gilbert will conduct the Ensemble of the LUCERNE FESTIVAL ALUMNI at The Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium in Ligeti Forward, three programs exploring György Ligeti (Hungary, 1923–2006) as a fountainhead of modern music through three of his concertos — the Piano Concerto, performed by Conor Hanick; Cello Concerto, performed by Jay Campbell; and Violin Concerto, performed by Pekka Kuusisto — alongside works by his students Unsuk Chin (South Korea, b. 1961) and Gérard Grisey (France, 1946–98), as well as works by Alexandre Lunsqui (Brazil, b. 1969, now a U.S. resident), Marc- André Dalbavie (France, b. 1961), Dai Fujikura (Japan, b. 1977), and John Zorn (United States, b. 1953). David Fulmer will conduct the works by Lunsqui, Grisey, Fujikura, and Chin. Ligeti Forward will take place approximately ten years after Ligeti’s death on June 12, 2006. Many of these composers have been featured in CONTACT!, the Philharmonic’s new-music series.
    [Show full text]
  • Suomen Kansallispäivä 12.05.2005 the Finnish
    SUOMEN KANSALLISPÄIVÄ 12.05.2005 THE FINNISH NATIONAL DAY May 12th 2005 We in Finland feel a certain affi nity towards Japan. Being a country of forests and lakes, it goes without saying that we are a country of nature lovers, just like the Japanese are – amid your vast urban surroundings. We both respect silence and humility in manners, in order to better be in tune with Nature’s Wisdom. Finland offers ample opportunities for tourism for the nature loving Japanese. Our landscape - a mixture of forests and lakes - and our unique archipelago, our wilderness and modern cities, our four sea- sons and aurora, fascinate thousands after thousands European and Asian travellers and we are ready to host more. The land of the Moomin and Santa Claus warmly welcomes our Japanese friends. As our third largest trading partner outside of the European Union, Japan is important to us commercially. Finland has also a lot to of- fer for Japanese investors. Our economy ranks consistently among the most competitive in the world. Finland also has an excellent infrastructure, high quality human capital and transparent regulatory environment. In addition, Japanese companies have a great deal to benefi t from our location as a gateway to the European Union and Greetings by to some of the most promising emerging markets to the east of our Prime Minister of Finland borders. It is my pleasure to welcome you to the National Day of Finland In the same vein Japan offers many opportunities for Finland. With at the 2005 World Exposition in Aichi. In the best spirit of earlier a touch of creativity, opportunities to expand commercial and in- World Expositions the Aichi Expo 2005 provides an opportu- vestment relations are plentiful.
    [Show full text]
  • SIBELIUS, Johan (Jean) Christian Julius
    BIS.CD-TO23STEREO EDDI Totalplaying time: 73'14 SIBELIUS,Johan (Jean) Christian Julius (1865-1e57) Complete Youth Production for Violin and Piano - Volume 2 THE STUDYYEARS IN HELSINKI(1885-I889) Suite in E major, JS188 (1888) rr,.a 17'38 tr I. Allegro molto moderato - quasi adagio 6'40 tr Il. Allegro molto l'33 tr Iil. Pii lento quasi ondantino 3'36 tr IY. Allegro brillunte 5'41 lTwo Piecesl 2'59 tr [Lento] in E flat n'rinor.JS 76 (1887-88) rurr aFrrJ-rrEcoRprNdl1' 5 4 tr Allegrettoin E flat n'rajor,JS 22 ( 1888) rwr'r tFrRsrEcoRorNc-l1'01 lThree Piecesl 3',27 tr Moderato- Maestosoin E flat major,JS 132 ( I 887-88) r,urr lTlRsrFEcoRprNGl 2'21 tr flnterludium for pianol in C minor (l 887-88) rutr lTlRsrREcoRprNG I 0'29 rdt [Maestosolin C minor (1887-88) r,utr fFlf,J_Tl-R5iTEco-Rpttrc-10'35 @ Allegretto in C major, JS19 (188f1) 1,ure lTrFsrBEcoRprucl I'19 E [Tempodi valselin A major r1888r,v,. lFlBsrREcoRprNG-l0,37 tr Allegro [Sonata Exposition] in A minor. JS26 (1888-R91,,,,, lnnsTneconotlttjl1'43 Sonata in F major, JS 178(1889) rr".a ,<t)) tr I. lAllegrol 11'16 tr II. Andante 6',O1 t;? III. Vitace 8'02 sruDrESrN BERLIN (1889-1890) AND VTENNA (1890-1891) tr [Largamente, Fragment] in E minor (1889-91)r,vr'r fFr-FSiTEco-Bp-NAl2'03 tr [Adagio] in D minor (1890)rvtr lTrRsrTEedFpN-6I1'11 tr [Larghetto, Fragment] in D minor (1890-92)rvrt tFr$-Trr-oRp-iilC-10,49 t36 tr [Grave, Fragment] in D minor (1891-94)rutl fFrrJrEEcoRprr'tcl1 COMPLETEWORKS FOR SOLOVIOLIN @ [Btuae] in D major, JS55 (1886) rv^l fFr$-Tr-Eco-Bp-iNAl4'31 E [Allegretto] in A major (1891-9.1)rvur tFrrJ-rrEcoFp'Ndl0t51 @ Romance in G major (1915).Allegretto rNre fFrf,J-Tr-ns-mco-no-mal3'02 @ En glad musikant (A HappyMusician) .J570 0924_26)ur"t lTiEsr-IEe6Edmd2,20 (Text:Ture Rangsllotz) for violin solowith wordswritten in abovethe musical notation Jaakko Kuusisto, violin Folke Grdsbeck,piano All works except Sri/s in E major and Sonato in F nrujor are world premidre recordings (manuscripts in Helsinki University Library).
    [Show full text]
  • 2016-17 Chronological Listing of Concerts.Pdf
    2016–2017 SEASON CHRONOLOGICAL LISTING OF CONCERTS SPECIAL PERFORMANCES OPENING NIGHT CONCERT & GALA Saturday, September 17, at 5 p.m. Ludovic Morlot, conductor Joyce DiDonato, soprano HANDEL: Overture from Music for the Royal Fireworks, HWV 351 PACINI: “Ove t’aggiri, o barbaro” (“Where are you, O cruel man?”) from Stella di Napoli (“Star of Naples”) HANDEL: “Ombra mai fu,” Aria from Xerxes ROSSINI: “Tanti affetti” (“So many emotions”) from La donna del lago Trad./FREDERICK WEATHERLY: “Danny Boy” RODGERS/HAMMERSTEIN: “You’ll Never Walk Alone” from Carousel BERNSTEIN: Overture from West Side Story BERNSTEIN/SONDHEIM: “I Feel Pretty” from West Side Story GEORGE GERSHWIN/IRA GERSHWIN: “Embraceable You” from Girl Crazy Be part of the glamour and glitter of the Opening Night Concert & Gala, featuring the joyful artistry of renowned American mezzo-soprano Joyce DiDonato. Ludovic Morlot conducts the Seattle Symphony in a program of old world elegance and new world vivacity and charm. To reserve a Gala package, please call 206.215.4868. MASTERWORKS SEASON BEETHOVEN & PROKOFIEV Thursday, September 22, at 7:30 p.m. Saturday, September 24, at 8 p.m. Sunday, September 25, at 2 p.m. Ludovic Morlot, conductor PROKOFIEV: The Love for Three Oranges BEETHOVEN: Symphony No. 1 GABRIEL PROKOFIEV: New Work (World Premiere) BEETHOVEN: Symphony No. 8 Our monumental Beethoven cycle enters its second season with the innovative Symphony No. 1 and the elegant Symphony No. 8. Two other trendsetters reflect Beethoven’s daring legacy: Sergey Prokofiev, unabashed in his wit and whimsy, and grandson Gabriel Prokofiev, an electrified, genre-bending composer/producer. Commission by Gabriel Prokofiev is generously supported by Norman Sandler and Dale Chihuly.
    [Show full text]
  • 20.10.2020 Music Listening in Finland 2020
    MUSIC LISTENING IN FINLAND 2020 A strange year Kari Tervonen, Roadmap Director, GroupM Responses collected in August 2020 We surveyed the current state of music listening in Finland for the seventh year in a row. We interviewed 1,072 Finns aged 13–75. Norstat interviewed 1,072 Finns in its consumer panel in mid-August 2020, as assigned by IFPI and Teosto. We specifically sought respondents aged 13–15 and 16–18. The key findings were weighted to represent 13–75-year- old Finnish men and women nationwide. The survey’s working group has been the same for a good while. The survey results were analysed by Kari Tervonen, GroupM’s Roadmap Director. Susanna Perämaa from Teosto and Tommi Kyyrä from IFPI Finland are the group’s music industry experts. The survey produces information in serial form on how Finns’ music listening habits are changing over the long term. Contents 1. Music listening habits 2. The effect of the coronavirus pandemic on music listening 3. The popularity of music genres 4. The most popular classical composers 5. Summary Age • Music listening habits change particularly quickly between the age groups 13–15, 16–18 and 19–25. • Also from that point on, the differences between the age groups 26–35, 36–45, 46–55, 56–65 and 66–75 are big: in listening devices, taste in music, behaviour and attitudes towards music. Streaming is still growing PART 1: Music listening habits Streaming is still growing • Listening to music in a car increased slightly (radio and streaming). • The growth of listening to music on a phone has stopped for now.
    [Show full text]
  • Zinovjev Sauli
    ROSTRUM 2017 INTERNATIONAL ROSTRUM OF COMPOSERS Sauli Zinovjev: Batteria (2016) Finnish Radio Symphony Orchestra, cond. André de Ridder Recorded at Helsinki Music Centre, on 1 February, 2017 by Anna-Kaisa Kemppi Disc orders: YLE Culture, Music programmes, PB 14, 00024 Yleisradio, Finland e-mail: [email protected] Sheet Music orders: Music Finland Sheet Music Library phone: +358 20 730 2232 e-mail: [email protected] Sauli Zinovjev Sauli Zinovjev (b. 1988, Lahti) is one of Finland’s most frequently-performed composers of his generation. Recurring themes in his art are powerful moods and stylistic diversity. Zinovjev made his breakthrough with a work entitled Gryf that was one of the prize winners in the third International Uuno Klami Composition Competition. Works by him have been performed by, among others, the Finnish Radio Symphony Orchestra, the Lahti and Oulu Symphony Orchestras, and the Kymi Sinfonietta. He is now working on a violin concerto to be performed by Pekka Kuusisto as the soloist with the Oulu Symphony Orchestra in autumn 2017. Sauli Zinovjev’s teachers in composition have included Tapio Nevanlinna at the Sibelius Academy and Wolfgang Rihm in Karlsruhe, Germany. He is at present working on an artist’s grant from the Finnish Cultural Foundation. www.saulizinovjev.com Batteria Batteria, which I composed in 2016, continues my exploration of vigorous, virtuosic music, but it also steers my expression towards more extra-musical topics. Throughout the piece the rhythms are strongly tied to the pulse, from a primitive crotchet one to a more relentless clock-like tick. The rhythmic aspect is crystallised in the flash cut to a belligerent march for percussions and brass just before the climax.
    [Show full text]