NEWSLETTER FROM GEHRMANS FROM MUSIKFÖRLAG GEHRMAN &FENNICA NEWSLETTER

NORDICHIGHLIGHTS Focus on Haglund Tommie festivals Kalevi Kalevi Aho 1/2019 NEWS

Linjama’s Three Letters to Laestadius Jyrki Linjama’s church opera Three Letters to Laestadius (Kolme kirjettä Laestadiuk- selle) is to be performed in Oulu Cathedral on 12 October, as part of Oulu’s contempo- rary . Premiered in 2017, the opera takes place while the Swedish revivalist preacher Lars Levi Laestadius (1800–1861) is dying, and addresses major human issues in a dream-like state. The title role will be sung byEsa Ruuttunen, , and the stage director is Michael Baran, who wrote the libretto with Linjama. The Soli Deo Gloria chamber orchestra will be conducted by Juhani Lamminmäki. Jyrki Linjama PHOTO: SAARA VUORJOKI/MUSIC VUORJOKI/MUSIC SAARA PHOTO: Aino Ackté at Ilmajoki Schnelzer premieres The operaAino Ackté by Ilkka a strong woman and unrelenting 2019 will see three Albert Schnelzer premieres. Besides the piano concerto Kuusisto can be heard in its origi- artist who achieved international This Is Your Kingdom with Conrad Tao and the Swedish RSO (14 March), nal version for large orchestra at the acclaim and laid the foundations for and the violin concerto Nocturnal Songs with Ilya Gringolts and the Uppsala Ilmajoki Music Festival on 14–16 Finnish opera. The conductor will Chamber Orchestra (11 April), a new concert opener will also be premiered in June. There will be four perfor- be Jonas Rannila and Marjukka connection with the Clara Schumann Bicentenary. Its title is Burning My Let- mances. The opera is a portrait of Tepponen will sing the leading role. ters: Remembering Clara, and alludes to the intensive correspondence between Clara Schumann and Johannes Brahms. The piece is a joint commission of the Gävle Symphony Orchestra and the Los Angeles Chamber Orchestra, Korsholm and will be premiered under the direction of their principal conductor Jaime Music Festival Martin in Gävle in November and in Los Angeles in February 2020. Lotta Wennäkoski is the focus composer at this year’s Whittall in Canada and on tour Korsholm Music Festival, 25 The piano concertoNameless Seas received a new commission: the July–5 August. At the open- by Matthew Whittall is to have Winnipeg Symphony has asked ing concert, the Ostroboth- two performances in Canada in him to compose a piece featuring a nian Chamber Orchestra May 2020. The soloist with the baritone soloist, and a choral role for will perform her Zeng for Toronto Symphony Orchestra will the Toonkunst Koor Amsterdam. string orchestra, percussion be Angela Hewitt, who premiered The new work will be premiered in and recorder. There will also the concerto with the National Winnipeg in April 2020 and taken be several chamber works by Arts Centre Orchestra in Ottawa on WSO’s tour in the Netherlands her on the programme. On 1 in October 2017. Whittall has also on 29 April –10 May 2020. August, the Festival will be premiering the church opera Fennica Gehrman purchases MES catalogue Elämänkuvat (Pictures of Fennica Gehrman purchased the catalogue of MES (The Foundation for Life) by Olli Kortekangas. Music Promotion) in December 2018. This includes two major – The 150th anniversary of the ’s The Horseman and Aarre Merikanto’s Juha – and a number birth of Armas Järnefelt will of smaller-scale works by various composers. According to Executive Director also be reflected in the pro- Hannu Saha, MES is pleased that these works, formerly owned by LUSES PHOTO: MAARIT KYTÖHARJU MAARIT PHOTO: Lotta Wennäkoski gramme. have ended up in a home with the best possible publishing expertise.

Matthew Peterson NORDIC HIGHLIGHTS 1/2019 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Gehrmans is staring a collaboration with American- Swedish composer Matthew Peterson with focus on his Sound samples , video clips choral music. He came to in 2008 as a Fulbright and other material are available at scholar, following studies with, among others, Sven-David www.gehrmans.se/highlights Sandström at Indiana University School of Music in www.fennicagehrman.fi/highlights Bloomington. He has received praise especially for his masterly vocal compositions that have been performed by Cover photo: Kalevi Aho (Romain Etienne) renowned choirs as Chanticleer and Vocal Essence. Editors: Henna Salmela and Kristina Fryklöf Gehrmans is now publishing four of his most recent choral works: the motets , Translations: Susan Sinisalo and Robert Carroll Ave maris stella Adoramus te and Cantate Domino premiered by the Sofia Vocal Design: Göran Lind Ensemble and Bengt Ollén in October 2018, and ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) Lux aeterna, written for the Gustaf Sjökvist Chamber Printed in Sweden by TMG Sthlm, Bromma 2019 Choir in 2017. PHOTO: PETER ERIKSSON PETER PHOTO:

HIGHLIGHTS 1/2019 Double Concerto PREMIERES for Vänskä and Keefe Spring 2019 Olli Kortekangas has written a double concerto for Osmo Vänskä and Erin Pyhäaamu Suomen Lappeenrannassa Keefe. The Concerto for Clarinet, Vio- Lappeenranta City Orchestra/Vytautas Lukocius lin and Orchestra will receive its world 8.3. Lappeenranta, Finland Michaelmas: Concerto da Camera premiere at the Naantali Music Festi- Mikkeli Orchestra, sol. and cond. Kaija Saarikettu, val on 5 June by the Lahti Symphony violin. 23.5. Mikkeli, Finland Orchestra, Vänskä on the clarinet and BENJAMIN STAERN Keefe on the violin. Osmo Vänskä will Hilma – An Opera about Hidden Art Mette af Klint, Fredrik af Klint, Alma Adolfsson, PHOTO: LISA-MARIE MAZZUCCO LISA-MARIE PHOTO: also conduct the concert. Stefan Lindgren, piano, Victoria Stjerna, violin, Andreas Lavotha, cello. 9.3. Stockholm, Sweden Konnakol Variations for solo percussion and winds Harri Wessman at 70 Swedish Wind Ensemble/Cathrine Winnes, Börtz’s mightiest sol. Lauri Metsvahi. 16.3. Stockholm, Sweden Harri Wessman will be 70 on 29 March. A versatile com- symphony TOBIAS BROSTRÖM poser whose output includes chamber and vocal music and Nigredo – Dark Night of the Soul concertos (see: Repertoire Tips), Wessman has paid special On 23 May Daniel Börtz’s Sinfonia 13 will Concerto for two trumpets and orchestra attention to music have its premiere at the Stockholm Concert Malmö SO/John Storgårds, sol. Håkan Hardenberger, Jeroen Berwaerts. 14.3. Malmö, Sweden for teaching pur- Hall. The 60-minute work is scored for a large orchestra, two narrators and three vocal La noche oscura for clarinet and piano poses and composed Contestants of the Carl Nielsen International Competition. quality repertoire for soloists, and is thus his most extensive 21.3. Copenhagen, Denmark symphony. The texts are taken from Kjell a variety of instru- ALBERT SCHNELZER ments, combinations Espmark’s collection of poems The Creation. Piano Concerto – This Is Your Kingdom of thereof, and for The Sinfonia is number three in a series Swedish Radio SO/Thomas Søndergaard, sol. Conrad Tao including the opera Medea and the choral 14.3. Stockholm, Sweden young musicians. His Violin Concerto No. 2 – Nocturnal Songs music is known for its work In the Darkness of Voices. They all Uppsala CO/Gérard Korsten, sol. Ilya Gringolts malleable melodies, have their origin in a dark outlook where 11.4. Uppsala, Sweden only mankind itself has the possibility of its practical approach TOMMIE HAGLUND and its direct appeal. influencing the world in a brighter direction Symphony No. 1 (See: Premieres). Royal Stockholm PO/Tobias Ringborg In addition to music 28.3. Stockholm, Sweden

and languages, Wess- WESSMAN LIISA PHOTO: KAI NIEMINEN man is inspired by cooking, which, like composing, offers Fragmental Reflections (on a Finnish Theme) endless potential for combining different ingredients. Osmo Palmu, guitar. 30.3. Oulu, Finland TUOMAS TURRIAGO Tangerengue for trumpet and piano Choral Composer of the Month Pacho Flores, trumpet, Tuomas Turriago, piano In 2018 Gehrmans Musikförlag celebrated its 125th anni- 3.4. Tampere, Finland versary with twelve films about choral music from 1893- KALEVI AHO Symphony No. 17 2018 under the heading #swedishchoralmusic. In our new Lahti SO/Dima Slobodeniouk. 4.4. Lahti, Finland series “Choral Composer of the Month” we are presenting Concerto for Guitar and Chamber Orchestra contemporary composers who share their thoughts about Lapland CO/John Storgårds, sol. Ismo Eskelinen choral music and its future. Subscribe to our international 10.5. Rovaniemi, Finland Triple Concerto for Violin, Cello, newsletter by sending a message to swedishchoralmusic@ Piano and Chamber Orchestra gehrmans.se! On the #swedishchoralmusic Facebook page Antwerp SO/Martyn Brabbins, sol. Storioni Trio you will find the interview of the month in Swedish. (Bart van de Roer, pf, Wouter Vossen, vl., Marc Vossen, vc.) 11.5. Antwerp, Belgium There you have the possibility of posing questions directly String Quartet No. 1, Solo X for horn, to the composers (in English if you prefer)! In February Solo XVI for harp Kamus Quartet, Ilkka Puputti, horn, Anneleen Lenaerts, harp. Jacob Mühlrad became the first Choral Composer of the 28.-29.6. Forssa, Finland (Musica Kalevi Aho)

Month, the second was Anna-Karin Klockar. Who will LINDÉN HANS PHOTO: be the next? DANIEL BÖRTZ Sinfonia 13 Royal Stockholm PO/Patrik Ringborg, sol. Johanna Rudström, Daniel Carlsson, Karl-Magnus Fredriksson; Tebogo Monnakgotla Stina Ekblad, Hannes Meidal, reciters Un clin d’oeil 14.5. Stockholm, Sweden Gehrmans is publishing Tebogo Monnakgotla’s song cycle Un clin d’oeil OLLI KORTEKANGAS (A Wink) – three songs for baritone and orchestra to texts by the Mada- Concerto for Violin, Clarinet and Orchestra gascan poet Jean-Joseph Rabearivelo, who is also considered Africa’s Sinfonia Lahti/Osmo Vänskä, sol. Erin Keefe, violin, Osmo Vänskä, clarinet first modern poet. The first song is about life’s transitoriness, the second 5.6. Naantali, Finland (Naantali Music Festival) is a love poem from the poet to his daughter and in the third, ”Danses”, JYRKI LINJAMA an elderly woman who dances with a young woman is really one and the Allerheiligentag IV for solo gamba same person. The cycle, with versions for both chamber and symphony Mikko Perkola. 7.6. Kittilä, Finland (Silence Festival) orchestra, is a joint commission of the Gävle and Norrköping Symphony SVEN-DAVID SANDSTRÖM/J. S. BACH Orchestras, as well as the Swedish Chamber Orchestra, which premiered The Hidden Treasure the work in 2018 with Luthando Qave as soloist. Die Kunst der Fuge – Contrapunctus 8 Deutsche Kammerphilharmonie Bremen/Omer Meir

PHOTO: OSCAR O’RYAN OSCAR PHOTO: Wellber. 18.6. Leipzig, Germany (Bachfest Leipzig)

HIGHLIGHTS 1/2019 Tommie Haglund turned sixty in January. It is heartening to see this marked by two substantial festivals of his music. Not only as a way of recognizing his position in the world of classical music but also, possibly more importantly, allowing the wider public and musicians the opportunity to experience live the remarkable impact his music has. PHOTO: MATS LUNDQVIST MATS PHOTO: Tommie Haglund festivals For a composer of Haglund’s stature and ‘pres- allows his music to resonate with audiences and Pain, beauty and ecstasy ence’ his actual body of work is notably small. The performers – while demanding a phenomenal Prior to this new Symphony, all of Haglund’s works festival held in Haglund’s home town of Halms- performance technique – and the sense of the per- have had a musical/emotional focal point within tad last October contained some fifteen works former/instrumentalist as a protagonist framing the group – a musical lightening rod through which spread across five concerts with only three or so of an extra-musical context. much of the work’s energy has been directed. Al- his most significant scores; , Haglund’s ear for instrumental colour and con- Röstens dotter Sollievo most as though the composer is presenting himself and not included – trol of extended musical form is piercingly assured. (dopo la tempesta) Frammenti within the score. In part this process of musical all three works are appearing in the concluding Very few of his scores require ‘unusual’ instruments sublimation is what makes the scores so commu- chamber music concert of the Stockholm Festi- or indeed unusual use of those instruments. Yet nicative. The Symphony affords numerous solo op- val in March. There are very few composers who within seconds he conjures unique sound worlds. portunities for players across the orchestra but there have built such a substantial international reputa- This will often require musicians to perform at the is no obvious central ‘character’. Part of Haglund’s tion on what might appear at first glance to be so very extremities with the implicit strain this will particular genius is the transition from written page few pieces. Yet part of the revelation of attending bring but again the juxtaposition of tension and to performed piece. Music that can appear in print the Halmstad festival was to see how consistently release, action and stasis, calm and impassioned is alone to be essentially simple in performance can powerful the interaction between composer, mu- at the heart of what might be termed his neo-Ro- disarm by the sheer beauty of the sounds created – sicians and audience was – each work a piece of mantic aesthetic. Indeed, I believe, a great deal of pain and beauty are inexorably linked in Haglund’s striking genius. The Artistic Director of the fes- the success that Haglund has with both perform- scores. Haglund describes the work as containing tival, Joachim Gustafsson, had drawn together a ers and audiences is that he taps into the desire “burning chords” as well as chords of “transparent roster of international performers of the very high- people have to be emotionally touched and moved. warmth” and he took his inspiration from a poem est order and the abiding impression of intense that concludes; “... Tis the touch of heaven in earthly focus, dedication and indeed devotion from these Stockholm Composer Weekend Festival things that comforts me…” players resonates still some months later. The Stockholm Festival (28-31 March) will be fo- These are elusive elements and ones not always cusing on the major orchestral scores again, with achievable in a single performance. All credit to the Unique sound worlds valuable opportunities to hear Haglund’s two large organisers of the Festival and the Royal Stockholm Haglund favours large single spans of music con- concertante scores Hymnen an die Nacht per- Philharmonic Orchestra that there will be two per- structed using slowly moving basic units of time formed by violinist Ilya Gringolts, and Flaminis formances of this work within the festival. Addi- which are then decorated and embellished with Aura for cello , with Narek Hakhnazaryan tionally, by juxtaposing each of these with one of the complex layers of musical filigree work. Watch- as soloist. Alongside these will be the ravishing La previously mentioned concertante works, listeners ing Haglund working with performers, you are Rosa Profunda for and orchestra, with solo- will be able to divine for themselves the over-arching quickly aware that he requires a near vocal fluidity ist Miah Persson, and the calmly beautiful Serenata narrative from the pain and acceptance of Hymnen in performance. A willingness to “go with the line”. per Diotima . However, of particular interest to the visionary ecstasy of Flaminis to the new paths Haglund’s scores are not littered with instructions will be the world premiere of his Symphony. This of this Symphony – a work which Haglund himself micro-managing tempi changes in the manner of will be Haglund’s longest, most substantial work to has declared to be his finest yet and also the culmi- a Mahler or Strauss. In this regard he is like his date running to some forty-five minutes. Unlike any nation of the music that has come before. One thing beloved Delius, whose scores can appear seem- other work by Haglund, it has been given no other is for certain, with this work Haglund is moving into ingly lacking in guidance for the unsuspecting per- title to guide the listener. The form is still in his pre- a new, challenging and ever more creative phase of former. Haglund has complete clarity both techni- ferred single span and the orchestra he uses – aside his composing career and the world premiere on cally and musically in what he requires from his from slightly exotic percussion – of triple wind, 28 March is set to be one of the most exciting and performers – his recall down to the tiniest detail standard brass, strings plus harp and orchestral key- important musical events of 2019. of even his earliest scores is prodigiously forensic. boards would not surprise most late 19th Century Hearing this series of concerts reinforced for me composers. Again, his tempo markings are sparse in NICK BARNARD the key aspects of Haglund’s work; the essential the extreme but with the key word rubato the very vocal/lyricism, the visionary, ecstatic quality that first thing written.

HIGHLIGHTS 1/2019 Kalevi Aho on the threshold of his eighth decade

On the threshold of his eighth decade, Kalevi Aho (70 years old on 9 March) is in his best form ever. New works are born at a steady rate in the composer´s workshop, and in his case quantity never encroaches upon quality. New experiences and those that are tried and true: both are equally necessary for Aho, who is continually seeking new challenges, who always pours new, fresh wine even into old vessels.

tos. It has already been played close to the Netherworld (Kirje tuolle puolen), premiered 70 times across the world with soloists in Kokkola on 19.1 (the day Pehr Henrik Nord­ Colin Currie, Martin Grubinger and gren would have been 75) by the Ostrobothnian Alexej Gerassimez. Chamber Orchestra and Juha Kangas. Aho´s fourth work in the genre, it is an equally gripping Symphonic Frescoes as suggestive, sounding correspondence between Among this year´s premieres we note four him and his esteemed colleague. concertos – a Double Concerto for Two Bas- Aho has nowadays even a festival named after soons (Warsaw 18.1.) a Concerto for Guitar him in his home town, Forssa. Musica Kalevi Aho, and Chamber Orchestra (Rovaniemi 10.5.), with Aho as artistic leader, will have been held a a Triple Concerto for Violin, Cello and Piano total of four times this coming summer (28-29.6), (Antwerp 11.5.) as well as a Concerto for and here we have the opportunity to enjoy Aho´s Clarinet (Jyväskylä 4.9.) – but also music, as well as that of his colleagues, in an idyllic four additional pieces to Aho´s continually mill town. Last year the wind quintet from the Ber- expanding suite of works for various solo liner Philharmoniker were the special guests and instruments, plus a quintet for piano (left what is intersting about this year´s programme is hand) and a string quartet (Tokyo 10.11.). that the most recent Aho piece is the brand new But the highlight of this year´s pre- mieres must nevertheless be the master symphonist Aho´s Symphony No. 17

PHOTO: ROMAIN ETIENNE ROMAIN PHOTO: which will be premiered by the orches- tra, of all the world´s orchestras, that AHO´S LUST FOR discovery and general curi- understands Aho´s music best, namely Sinfonia osity seem to be unceasing. Every new work is a Lahti, under the direction of the Aho expert Osmo unique project that doesn´t resemble any other; Vänskä (Lahti 4.4.). This symphony which was the conceptual angles of approach are continually given the visually pregnant subtitle Symphonic Fres- changing and the tone language is so multifaceted coes, with its 63 minutes, is Aho´s longest, and the and flexible that there is never a risk of repetition. movements – From the Depth, Scherzo macabre and It´s unclear what kind of record this might be, Distant Songs – can also be performed separately but the fact that Aho for this current year has no as independent tone poems. Aho, who has always Sinfonia Lahti less than fourteen premieres scheduled certainly been partial to less common instruments, has HENTTONEN MARKUS PHOTO: gives some indication of his productivity. Some fol- incorporated a contraforte (an elaborate contra­ Solo XVI for harp, while the earliest was written low one another so closely that Aho, who makes a bassoon) and a lupophone (a kind of bass oboe) already in 1967 – String Quartet No. 1, which will only now get its premiere. point of being present at his premieres, cannot pos- into the orchestra. True to his usual habit, Aho has many pokers sibly make it to them all. The fact that theSixteenth Symphony (pre- in the fire, and he is accustomed to being booked As usual when it comes to this composer, the miered in September 2015) was composed for up years ahead. As of the present, Aho has experi- concertos play a central role. Aho, who with the a large string orchestra, percussion – including flat ence in most genres, even though works for choir harp concerto in 2016 completed his proj- bells, an ocean drum, a spring drum, a Japanese Mearra and orchestra are still conspicuously absent in his ect of composing concertos for every conventional binzasara and dobaci, as well as a Chinese moon opus list. And personally I hope that he will for instrument of the orchestra, has in addition writ- gong – and mezzo-soprano (to a text by Gertrud the first time in nearly half a century return to the ten concertos for more unusual instruments and Kolmar) is once again a good reminder of Aho´s clearly expressed unwillingness to repeat himself. string quartet as an artistic means of expression. instrument combinations. And with his to date 31 New experiences and those that are tried and true: solo concertos he has now surpassed his friend Pehr Gripping correspondence both are equally necessary for Aho, who is con- Henrik Nordgren (1944-2008, with 29 concertos) tinually seeking new challenges, who always pours as Finland´s most prolific actor in the genre. Considering the fact that Aho is himself a violin- new, fresh wine even into old vessels. Aho’s Sieidi for percussion and orchestra, has ist, his string orchestra production is surprisingly become one of the most performed Finnish concer- scanty, hence a welcome addition was also Letter to MATS LILJEROOS

HIGHLIGHTS 1/2019 REPERTOIRE TIPS REVIEWS Playful Wennäkoski Wennäkoski offered something of an exception to JUKKA LINKOLA the profound alienation of male composers. Her Solo concertos for Euphonium Concerto (1996) Dur: 29’ ”Hele”, the title being a Finnish term for grace note 1111-1110-02-pf/cel-str brass instruments According to Linkola, the concerto is pos- and implies light, sparkled without setting off dan- sibly the most ‘romantic’ of his large-scale gerous sparks. It is complex and rhythmically playful. KALEVI AHO works and unashamedly melodic. It is greatly prized by eu- Los Angeles Times 14.11. Concerto for Tuba and Orchestra phonium players and is regularly performed the world over. Lotta Wennäkoski: Hele for 12 players (2001) Dur: 29’ The variety of characters and styles makes it an enjoyable work World premiere: Los Angeles Philharmonic/Susanna Mälkki, 3333-4.barhn.330-11-hp-str exploiting the instrument’s splendid sound, its wide register 13.11.2018 Los Angeles, USA Concerto for Contrabassoon and and amazing agility – potential that inspired its composition. Orchestra (2004) Dur: 37’ Available also as a wind band version. 2222-3221-12-pf/cel-str Personal, meditative Whittall Concerto for Trombone and Orchestra (2010) Dur: 30’ KIRMO LINTINEN This is Whittall at his most meditative. Many of his 2222-3201-baritono-03-hp-str​ Tuba Concerto (2014) Dur: 18’ works have afforded glimpses of similar tenden- Concerto for Horn and Orchestra (2011) Dur: 27’ 3333-4330-13-hp-cel-str cies, but they are crystallised here in an extremely 1111-1000-01-str This catchy and rhythmically virile yet firmly- personal, minimalist variant. The Aho concertos offer enormous potential for some more constructed concerto is divided into three Hufvudstadsbladet 5.2. unusual instruments to shine. His aim has been to place them distinctive sections: Agitato, Invenzione and Impulsivo. It may Matthew Whittall: Resonance Orbits for ensemble on a par with any of the others for more commonly featured be taken as a story in three chapters or as one long sonata-form World premiere: Crash Ensemble, 2.2.2019 , Finland (Musica nova) soloists and to make maximum use of their instrument’s expres- work, depending on the listener. Here, more than in any of his sive potential. 12 concertos, Lintinen forefronts the jazz musician within him. A giant fanfare TOBIAS BROSTRÖM ROLF MARTINSSON for a new Lucernaris – Concerto for Trumpet, Fairlight (2004) Dur: 20’ beginning trombone solo+3333-4331-13-hp-pf/cel-str The long-awaited work Live Electronics and Orchestra In Fairlight the composer’s idea was a posi- is an original com- (2009) Dur: 30’ tive, radiant light with high energy. A very 2222-4231-12-pf/cel-str entertaining, colourful work opening with a big bang, then diz- poser’s weighty take Lucernaris can be described as a wandering from darkness zying runs, sonorous legatos and a concluding big band duel. on the symphony as a towards light. The first part of the concerto is opening on the There is also a dreamy middle section which culminates in two genre, and an impres- PHOTO: KAAPO HAKOLA KAAPO PHOTO: flugelhorn, and ending with a very effective section where the solo cadenzas. Fairlight received the Swedish Music Publishers’ sive large-scale work… soloist plays against himself in a rhythmic pre-recorded loop, Award in 2005. Lasting 45 minutes, the symphony offers the sweep- building up a huge climax which leads over to a short live-elec- ing, epic breathing, dogged monumentalism, natural tronic interlude. In the second part it starts to lighten up and forces and richness of colour of a great work. like a shimmer comes over the orchestra. The work concludes BENJAMIN STAERN Rondo 1–2019 with a beautiful chorale-like section where the soloist leaves Pont de la Mer (2016) Dur: 12’ the stage, and in the very end we hear the muted trumpet play- Morceau de concert pour cor et orchestre Kimmo Hakola: Symphony No. 1 ing in the distance. for horn and orchestra 2222-2211-02-str World premiere: Finnish RSO/Hannu Lintu, 12.12.2018 Helsinki, Finland Inspired by Baudelaire’s poem The Albatross, Sputnik (2016) Dur: 5’ Staern has composed a horn concerto which is impressionistic piccolo trumpet solo+3233-4331-03-0-pf-str in colour and quite atmospheric. The obligato hornists also Burning intensity (or string orchestra) play an important role, starting off-stage, entering the scene, I am gripped so that my hair stands on end by this This rhythmically lilting encore piece for piccolo trumpet is looping a phrase, and join the orchestra. Towards the end of the short, yet broad, profound and meaning-creating like a little firework ascending towards the sky, where it fizzles concerto they disappear again, together with the soloist, play- work. and roars and reaches stratospheric heights. Written for Håkan ing a call-responsive motive – while the rest of the orchestra Gefle Dagblad 8.2. Hardenberger for the inauguration of the concert hall Malmö murmurs and the music fades away. Live, it has also been performed at the BBC Proms. What we heard was music with a burning intensity and HARRI WESSMAN a wealth of sonorities that touched us very deeply. Concerto for Trumpet and Orchestra Arbetarbladet 8.2. ANDERS ELIASSON Jacob Mühlrad: Einride Concerto per Corno ed archi (1987) Dur: 18’ 1111-1100-02-str World premiere: Gävle SO/Daniel Bjarnason, 7.2.2019 Gävle, Sweden – Farfalle e ferro (1991) Dur: 21’ Concertino ‘Mirrors’ for Trumpet for horn and string orchestra A meditation over time This horn concerto is divided into three and Strings (1997) Dur: 17’ In the work ”Time”, Mühlrad joins the word ”time” movements that are played attacca. The subtitle Farfalle e ferro In the Trumpet Concerto Wessman’s aim was to write a beautiful (Butterflies and Iron) describes the two opposing characters of melody creating a feeling of sea and archipelago. His concertos in over twenty different languages, and with differ- the music – the opening’s powerful, hammering horn part that are often intimate and have delicate rather than showy solo parts. ent sounds, to an expanding, grandiose structure. rushes on with choppy chromatic motifs, and the conclusion’s In the slow movement, the muted trumpet sings melancholy Instead of divisive confusion of tongues there is a quick, light, softly swirling butterfly music. In-between is a thoughts in dialogue with a solo violin. The concertino ‘Mirrors’ was beautiful linguistic beautiful and melancholy cantilena. written for the Juvenalia Music Institute and represents Wessman’s unity transcending dedication to music for teaching purposes. borders. A meditation FREDRIK HÖGBERG over time, for our time. MATTHEW WHITTALL Just open enough Rocky Island Boat Bay (2006) Dur: 21’ Northlands (2009) Dur: 23’ for interpretation tuba solo+3333-4331-13-hp-str Album for horn and string orchestra that it can be a real Högberg describes his concerto as “genre- (min.55432) upheaval. exotic”, a kind of musical variety show, with Whittall writes hugely enchanting music many different styles held together by a common idea running and Northlands is readily accessible with its direct beauty. It Dagens Nyheter 18.11. throughout. “The music is funky, raw, warm and immensely was influenced by Iceland’s epic landscapes and otherworldly Jacob Mühlrad: Time beautiful, exactly what I think music should be”, says Norwe- light, which had had a powerful impact on the concept for the World premiere: Swedish gian tuba virtuoso Øystein Baadsvik, for whom the concerto piece. The CD by Alba Records won the Record of the Year prize Radio Choir/Ragnar Bohlin, was written. awarded by the Finnish Broadcasting Company (Yle) in 2017. 17.11.2018 Stockholm, Sweden PHOTO: ELISABETH OHLSON WALLIN OHLSON ELISABETH PHOTO:

HIGHLIGHTS 1/2019 Poetical Traumreise Ostrobothnian Chamber Orchestra With an orchestration that is as colourful as it is transparent, Martinsson captures the mood in the songs right on the spot. … Larsson moves with supreme lightness in all languages… Neue Zürcher Zeitung 30.11. Franz Berwald/Rolf Martinsson/Lisa Larsson: Traumreise World premiere: Tonhalle-Orchester Zürich/Lahav Shani, Dreamy nostalgia sol. Lisa Larsson, soprano, in work by Aho ISAKSSON KAROLINA PHOTO: 28.11.2018 Zürich, Switzerland The work is a question-and-answer A meandering poetical journey through a dialogue between violins and low strings. variegated landscape with high mountains The magnificent sound of the viola section here again and deep valleys in the texts… Rolf operates as a catalyst and transmitter of the dialogue… Martinsson packs Berwald’s melodies Vanishing into the heights and light at the end, the work with richly varied euphony… Lisa Larsson is, as expected, superb. calls to mind the emotional world of Sibelius’s fourth symphony. Sydsvenska Dagbladet 17.12. Keski-Pohjanmaa 22.1. Swedish premiere: Helsingborg SO/Johannes Gustavsson, sol. Lisa Larsson, 16.12.2018 Helsingborg, Sweden Kalevi Aho: Kirje tuolle puolen/Letter to the Netherworld

PHOTO: MERLIJN DOOMERNIK MERLIJN PHOTO: World premiere: Ostrobothnian Chamber Orchestra/Juha Kangas, 19.1.2019 Kokkola, Finland

Profound Pettersson Aho’s shamanistic The throbbing sore behind the symphonist’s passion percussion concerto for saving the world drives the mighty orchestra Sieidi makes the soloist, the phenomenal Austrian from tranquil wonder to desperate agitation in multi-percussionist Martin Grubinger, the main actor rhapsodically swelling outbursts, whipped up by the in a musical journey both brutal and gripping, as the snare drum and the fateful rhythm of the timpani. spearhead of a multi-player orchestra… Not surpris- This short piece touches on profoundly existential ingly, the audience gave a standing ovation for this questions, as always with Pettersson. striking performance. Svenska Dagbladet 16.2. Svenska Dagbladet 9.11. Amalie Stalheim An extremely The denseness of the writing is immediately appar- WEDIN JAN-OLAV PHOTO: tasty showpiece ent: multilayered polyphony, a spread of instru- Pulsating beauty mental timbres from piccolo to tuba and a snare anchored on ritual A work full of mysterious suggestion in which the drum in constant attendance adding to a prevail- that Grubinger, cello part is conjured up from the shadows of an ing mood of uncertainty… It was authoritatively with his spectacu- accelerating pendulum motion in the orchestra, and directed by Harding, with the Swedish woodwind lar span between then leads a dance of minimalistic, pulsating beauty. and brass lustrous, the ensemble coiled tight right circus art and SVD 29.11. down to the perfectly placed pizzicatos from the shamanism, and double basses. Tobias Broström: Cello Concerto the orchestra turn Royal Stockholm PO/Stanislav Kochanovsky, sol. Amalie Stalheim, Bachtrack 17.11. into a ravishing 28.11.2018 Stockholm, Sweden encounter. Allan Pettersson: Symphonic Movement Martin Grubinger Swedish Radio SO/Daniel Harding, 8.-25.11.2018 (Tour of Europe) Dagens Nyheter 15.2. PAULY SIMON PHOTO: Söderqvist’s Kalevi Aho: Sieidi (Concerto for Percussion and Orchestra) Markedly refreshing striking Gothenburg SO/Santtu-Matias Rouvali, sol. Martin Grubinger, In this age of climate crisis […] Kortekangas has Movements percussion 16.2.2019 Stockholm, Sweden found a way to raise a voice for a climate-conscious Ann-Sofie Söderqvist’s ”Move- alternative… With his solid experience of both ments” is a pulsating big band church and vocal music, he knows exactly which translated into a symphony Larsson’s orchestral works buttons to press to make the music ring, to balance orchestra. Powerful undula- This is yet another fine series that’s opened my ears to the organ with the choir and soloist; how long tions in the brass, harp and a composer whose music deserves to be more widely to sustain a note and in what register to place a percussion level off into PIANO PELLE PHOTO: heard. Manze has taken this repertoire to the next level. male choir. serene patches of sometimes tepid oases, sometimes Music Web International November 2018 desolate, cooler congelations. A striking musical meta- Hufvudstadsbladet 19.11. Lars-Erik Larsson: Symphony No. phor for the changing uncertainty of time. Olli Kortekangas: Missa Silvestris for male choir 3, Three Orchestral Pieces, Adagio, World premiere: Akademiska sångföreningen/Kari Turunen, Dagens Nyheter 9.12. Musica Permutatio 17.11.2018 Helsinki, Finland Ann-Sofie Söderqvist: Movements CD: Helsingborg SO/Andrew Manze Royal Stockholm PO/Karina Cannelakis, 8.12.2018 Stockholm, Sweden (CPO 7776732 ‘Larsson - Orchestral Works Vol. III’)

Flash Flash: a bonbon for the senses Flash Flash is a baffling, captivating and exhilarating bonbon for the senses… As the applause died down, the audience left the hall simultaneously buoyed up by the hyperbole and the comic absurdity, amazed at the versatility, unexpectedness and intricacy of the performance, pensive and intellectually sated by the maze of thoughts aroused by the fundamentally surprisingly profound themes and their treatment. That such a brilliant work has been sitting waiting for funding for over a decade is a disgrace. Rondo 10.2. A masterpiece that should be noted both at home and abroad. I would have thought the topic at least would interest international contemporary-music audiences, and it would be a shame if it were not performed in the United States, too, at some stage. Turun Sanomat 10.2. Juhani Nuorvala: Flash Flash (opera) – Two Deaths of Andy Warhol World premiere: Nyky Ensemble/Nils Schweckendiek, sol. Tuuli Lindeberg, David Hackston, Martti Anttila, Sampo Haapaniemi etc., libretto: Juha Siltanen, dir. Erik Söderblom. 9.2.2019 Helsinki, Finland Sampo Haapaniemi and Martti Anttila in Nuorvala’s opera Flash Flash PHOTO: MAARIT KYTÖHARJU MAARIT PHOTO:

HIGHLIGHTS 1/2019 NEW PUBLICATIONS NEW CDs

HEINO KASKI CHORAL/VOCAL Piano works REIBJÖRN CARLSHAMRE PER GUNNAR Janne Mertanen, piano Sicut cervus PETERSSON Alba ABCD 436 (‘Yö meren rannalla’) ANDERS ANNERHOLM for choir SATB Tempus adest floridum Sternmusik Text: Psalm 42:2-3 (Lat) for choir TTBB and LARS KARLSSON Seven songs for voice GE 13553 soloist Recitativo et aria (& works and piano Text: from Piae Cantiones by other composers) Text: Nelly Sachs (Ger) ULRIKA EMANUELSSON (Lat) Erica Nygård, flute, GE 13421 Min tunga jublar GE 13338 Niels Burgmann, organ for choir SSAATTBB Alba ABCD 439 (‘Momentum’) / O Sing Unto the Lord Text: from Acts (Swe) a New Song ARR: HENRIK DAHLGREN GE 13529 LARS-ERIK LARSSON Wake me up for choir SATB and organ Symphony No. 3, Three for choir in three different Text: Psalm 96 (Eng) Orchestral Pieces, Adagio, BO HANSSON GE 13482 settings (Eng) Libera nos a malos Musica Permutatio GE 13525 SATB, GE 13526 SSAA, for choir SSAATTBB (Lat) Helsingborg SO/Andrew Manze AGNETA SKÖLD CPO 777 673-2 (‘Orchestral GE 13527 TTBB GE 13596 O Be Joyful Works Vol. III’) DANIEL BERG in the Lord LARS KARLSSON for choir SATB and organ 3’ 44’’ Två körvisor för ROLF MARTINSSON for speech choir diskantkör Text: Psalm 100 (Eng) Garden of Devotion, A. S. GE 13483 in Memoriam, To the Text: The word Silence for choir SSAA Shadow of Reality, in all European languages Text: Gustav Fröding (Swe) Landscape, Kalliope GE 13520 FG 9790-55011-463-0 BENJAMIN STAERN Ro mig hem/ Netherlands CO/Gordan Nikolic, Row Me Shorewards sol. Lisa Larsson, soprano JENS BRAGDELL ERIKSSON PÄR OLOFSSON Challenge Classics CC72754 Jubilate Deo The Endicott Service: for soprano and piano for choir SATB and organ Magnificat & Nunc Text: Mi Tyler (Swe, Eng) dimittis GE 13257 KAI NIEMINEN (Lat) 3 Quartets of Winter for GE 13557 for SATB and organ (Eng) Strings: I Can Hear Northern O nata lux GE 13521 MARTINA TOMNER/ Lights, Towards the Light, for choir SATB, solo voice The Endicott Service: HENRIK DAHLGREN Gestures of Winter and piano (Lat) Preces and responses Missa ordinarium Meri-Lappi String Quartet GE 13554 for SATB and organ (Eng) for two part choir Pilfink JJVCD-204 GE 13567 and piano (Swe) (‘Gestures of Winter’) JAVIER BUSTO GE 13565 (score) Magnificat ANDERS PAULSSON GE 13566 (choral score) PEHR HENRIK for choir SATB (Lat) Deep Water Interlude NORDGREN GE 13530 for choir SATB and soprano Concerto No. 3 for Cello and saxophone Strings, Concerto for Viola, Ave Maria Double Bass and Chamber for choir SMzA Text: Vocalise Orchestra, Kuin unessa/ GE 13539 choral score GE 13531 As in the Dream GE 13540 saxophone part Ostrobothnian CO/Juha Kangas, sol. Marko Ylönen, cello, Lilli Maijala, viola, Olivier Thiery, double bass Alba Records ABCD 435 CHAMBER & INSTRUMENTAL ORCHESTRA/BAND/ (’As in the Dream’) STAGE MUSIC EINOJUHANI KALEVI AHO KIRMO LINTINEN RAUTAVAARA Solo XII Quattro capricci Halavan himmeän alla ARMAS JÄRNEFELT (Ikävyys, Laulu oravasta, for viola for saxophone quartet Miranda FG 9790-55011-480-7 FG 9790-55011-467-8 Sydämeni laulu) & songs by Melodrama to the play other composers by Zacharias Topelius Ylioppilaskunnan laulajat, PAAVO HEININEN MERI LOUHOS – FG 9790-55011-468-5 (study score) Tapiolan kuoro, Lyran/Pasi Hyökki Etudes for piano KATARINA NUMMI FUGA 9446 Op. 104 Piano Studies (’Järvi on siintävä sinipinta’) in four volumes EINAR ENGLUND In addition to the first (arr. Elias Seppälä) Vol. 1: FG 9790-55011-469-2 two books the volumes 3 Rumba from “The Great Wall ​MARIE SAMUELSSON Vol. 2: FG 9790-55011-470-8 and 4 are available again. of China” Aphrodite, A New Child of Vol. 3: FG 9790-55011-471-5 Vol. 3: FG 9790-55011-195-0 for wind band Infinity, The Eros Effect and Vol. 4: FG 9790-55011-472-2 Vol. 4: FG 9790- 55011-196-7 Solidarity, Airborne Lines FG 9790-55011-441-8 and Rumbles (score and parts) MIKKO HEINIÖ Swedish Radio SO/Daniel ERKKI MELARTIN Blendulf, Malmö SO, Nordic CO/ Through Green Glass Little Quartet for guitar ANDERS PAULSSON Sarah Ioannides, sol. Katija Dragojevic, mezzo for Four Horns Coral Symphony FG 9790-55011-465-4 soprano, Andreas Sundén, clarinet FG 9790-55011-475-3 – Kumulipo Reflections Daphne 1062 (‘The Love Trilogy’) (score and parts) for Hawaiian chant (reciter) ARMAS JÄRNEFELT or baritone and orchestra WILHELM STENHAMMAR Romanze ALBERT SCHNELZER Trad. (The Kumulipo)/transl. Symphony No. 2, for violin and piano With Dark Martha Warren Beckwith Serenade in F FG 9790-55011-466-1 Forebodings Too GE 13343 (score) GE 13345 Gothenburg SO/Herbert for piano (study score) Blomstedt JYRKI LINJAMA GE 13528 BIS-2424 Taivas on sininen ja SVEN-DAVID SANDSTRÖM valkoinen/The Sky is Halleluja VICTORIA YAGLING Blue and White for mixed choir and orchestra Cello Sonatas Nos. 2-4, for violin and piano Text: The Bible, Rev. 11:15, Yagling Reger Duo FG 9790-55011-476-0 19:6/16 (Eng) (Krzysztof Karpeta, cello, GE 12716 (score) GE 12718 Michal Rot, piano) (choral score) DUX 1528

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 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)