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Einojuhani Rautavaara(B. 1928)

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1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13. The Unicorn, wounded 5:04 I Before the Arras IV “Mon Seul Désir” 14 14. The Unicorn reaches a temple in a clearing 1:53 2 1 1. The Unicorn questions the nature of the chase 1:40 3 2 2. The Lion, reading 3:28 15 15. Sigmund of Vienna 1:41 3 3. Sigmund of Vienna 3:24 16 16. The Lion 2:57 44. The Unicorn 2:07 17 17. The Unicorn 1:51 18 18. Tom Fool 0:44 II Horn and Hounds 19 19. The Virgin’s Lullaby 1:48 5 5. Entering the wilderness the Unicorn is beset by voices 1:32 20 20. The Unicorn 3:44 6 6. Young Sagittarius 1:30 © Schirmer 7 7. A Virgin, waiting 2:36 8 8. The Empress of Byzantium 1:12 Finnish Radio Chamber Choir 99. Queen Victoria 2:28 Finnish Radio Symphony Orchestra 10 10. His Honor the Mayor 1:10 Timo Nuoranne, conductor 11 11. Big Black Sambo 2:40 Reciters: Jaakko Kortekangas, baritone (3, 15), Säde Rissanen, alto (8), Petteri Salomaa, baritone (10) 1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13. The Unicorn, wounded 5:04 I Before the Arras IV “Mon Seul Désir” 14 14. The Unicorn reaches a temple in a clearing 1:53 2 1 1. The Unicorn questions the nature of the chase 1:40 3 2 2. The Lion, reading 3:28 15 15. Sigmund of Vienna 1:41 3 3. Sigmund of Vienna 3:24 16 16. The Lion 2:57 44. The Unicorn 2:07 17 17. The Unicorn 1:51 18 18. Tom Fool 0:44 II Horn and Hounds 19 19. The Virgin’s Lullaby 1:48 5 5. Entering the wilderness the Unicorn is beset by voices 1:32 20 20. The Unicorn 3:44 6 6. Young Sagittarius 1:30 © Schirmer 7 7. A Virgin, waiting 2:36 8 8. The Empress of Byzantium 1:12 Finnish Radio Chamber Choir 99. Queen Victoria 2:28 Finnish Radio Symphony Orchestra 10 10. His Honor the Mayor 1:10 Timo Nuoranne, conductor 11 11. Big Black Sambo 2:40 Reciters: Jaakko Kortekangas, baritone (3, 15), Säde Rissanen, alto (8), Petteri Salomaa, baritone (10) 1020 booklet 22.4.03 13:35 Sivu 4 Canción de nuestro tiempo (1993) 14:49 Halavan himmeän alla (1998) 10:57 Song of Our Time In the Shade of the Willow Poems by Aleksis Kivi 21 1. Fragmentos de agonía 4:08 Fragments of Agony 24 1. Ikävyys 4:27 Based on the poem Oda a Walt Whitman by Federico García Lorca Melancholy 4 22 2. Meditación primera y última 4:17 25 2. Laulu oravasta 2:38 5 First and Last Meditation The Squirrel Federico García Lorca 26 3. Sydämeni laulu 3:51 23 3. Ciudad sin sueño (Nocturno del Sarajevo) 6:23 Song of My Heart Sleepless City (Nocturno of Sarajevo) © Warner/Chappell Music Finland Oy Based on the poem Ciudad sin sueño (Nocturno de Brooklyn Bridge) Finnish Radio Chamber Choir by Federico García Lorca Timo Nuoranne, conductor © Warner/Chappell Music Finland Oy Mia Huhta, soprano (21, 23) [72:48] 1020 booklet 22.4.03 13:35 Sivu 4 Canción de nuestro tiempo (1993) 14:49 Halavan himmeän alla (1998) 10:57 Song of Our Time In the Shade of the Willow Poems by Aleksis Kivi 21 1. Fragmentos de agonía 4:08 Fragments of Agony 24 1. Ikävyys 4:27 Based on the poem Oda a Walt Whitman by Federico García Lorca Melancholy 4 22 2. Meditación primera y última 4:17 25 2. Laulu oravasta 2:38 5 First and Last Meditation The Squirrel Federico García Lorca 26 3. Sydämeni laulu 3:51 23 3. Ciudad sin sueño (Nocturno del Sarajevo) 6:23 Song of My Heart Sleepless City (Nocturno of Sarajevo) © Warner/Chappell Music Finland Oy Based on the poem Ciudad sin sueño (Nocturno de Brooklyn Bridge) Finnish Radio Chamber Choir by Federico García Lorca Timo Nuoranne, conductor © Warner/Chappell Music Finland Oy Mia Huhta, soprano (21, 23) [72:48] 1020 booklet 22.4.03 13:35 Sivu 6 True & False Unicorn (1971/2000) Unicorn in the coat of arms of the United Kingdom contemplates the labyrinths of the mind, where When I encountered the poems of True & False and among constellations. The Lion praises the “absolute clarity is the mystery beyond”. The Lion Unicorn by James Broughton in the 1950s, I legend of the Unicorn, his sacredness and strength. encourages his friend: “You shall outwit and immediately knew that I would set them to music Sigmund of Vienna speaks in the language of outlive the hounds.” The Unicorn praises the Lion when the appropriate moment came. That moment psychoanalysis. For him, “to ravish the fabulous is with a hymn to strength and vitality. In a furious did not come until two decades later, with a our secret prayer”. The Unicorn concludes this scene for speech choir, Tom Fool sees the sun and commission from Denmark for chamber choir, section, contemplating himself: “I am the Unicorn, moon as passionate lovers. The Virgin’s lullaby is spoken parts and orchestra. Broughton, an avant- but is that I?” a tender caress after the excitement. Finally, the garde poet and film-maker from San Francisco, In the second section, Horn and Hounds, the Unicorn sings to itself, having attained uses myths, associations and linguistic dexterity in Unicorn is besieged by voices. The young enlightenment: the ego-universe of the artist a way reminiscent of composition technique in Sagittarius – another constellation – describes the attains transcendence. music. The interludes between the movements misty land where young Unicorns cavort and play. were executed as tape music in the first version The Virgin waits for and dreams of the Unicorn, the 6 (1971). Later I came to feel that these were too “pure wish of my fear” who shall lay his head in her Canción de nuestro tiempo 7 different and detached from the rest of the lap. The Empress of Byzantium shouts out a cruel (Song of Our Time, 1993) material, and in 2000 I rewrote the interludes for command: to fetch her “the male cornucopia”. When the Tokyo Philharmonic Chorus approached orchestra while making minor changes elsewhere Queen Victoria tries to lure the “pretty pony” into me with a commission for an extensive choral in the work. the bosom of Victorian society with national work whose text and music was to “have a Broughton describes True & False Unicorn as a anthems. His Honor the Mayor expresses the relationship to the world of today”, I selected ‘tapestry of voices’ where the characters and indignation of decent citizens towards the certain poems by Federico García Lorca; their mythical animals in a tapestry each speak one by troublemaker. Finally, Big Black Sambo sings a mood, particularly the anguish and proximity of one on the Unicorn, the personification of the artist. spiritual, promising to clean the celestial stable of death, is perhaps even more topical today than in The choir and spoken voices describe him as a the Unicorn until the end of his life. the 1920s and 1930s when they were written. demigod and a no-good wastrel in turn. It is a post- The section Snare and Delusion has an The opening song, Fragmentos de agonía modern work written ten years before Post- orchestral introduction where the silence is (Fragments of Agony), shows the harsh, inhuman Modernism began to trickle into music. Irony, parody overwhelming in the heart of the wilderness. The world of industrial society and war through the and paradox occupy centre stage for most of the wounded Unicorn bemoans his fate, that of an surrealist images of Lorca. The mechanical time, but there is also a dimension of tenderness outsider: “Of whose fantasy am I prisoner? Whose ostinato progresses inexorably, since “none of towards people, the world and the life spirit. animal, real or unreal?” them could sleep ... none of them paused”. When In the first section, Before the Arras, “The The final section, Mon Seul Désir, opens with an the moon finally rises in cold fifths in a solo part, Unicorn questions the nature of the chase”. The introduction where the Unicorn arrives in a all we can see are “pulleys ... a border of needles” Einojuhani Rautavaara first to speak is the Lion, the companion of the temple in a clearing. Sigmund of Vienna – the world is “agony, dream”. 1020 booklet 22.4.03 13:35 Sivu 6 True & False Unicorn (1971/2000) Unicorn in the coat of arms of the United Kingdom contemplates the labyrinths of the mind, where When I encountered the poems of True & False and among constellations. The Lion praises the “absolute clarity is the mystery beyond”. The Lion Unicorn by James Broughton in the 1950s, I legend of the Unicorn, his sacredness and strength. encourages his friend: “You shall outwit and immediately knew that I would set them to music Sigmund of Vienna speaks in the language of outlive the hounds.” The Unicorn praises the Lion when the appropriate moment came. That moment psychoanalysis.
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    LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
  • Magnus Lindberg Orchestral Music Magnus Lindberg (B

    Magnus Lindberg Orchestral Music Magnus Lindberg (B

    Magnus Lindberg ORCHESTRAL MUSIC Magnus Lindberg (b. 1958) ORCHESTRAL MUSIC CD 1 [65’49] 1 Tendenza (1982) 11’54 Avanti! Chamber Orchestra SAKARI ORAMO, conductor Recorded in May 1996, Kanneltalo, Helsinki Producer: Seppo Siirala · Engineer: Enno Mäemets 1997 Ondine Oy Kraft (1985) 30’16 2 I. 16’04 3 II. 14’12 Toimii Ensemble (Kari Kriikku, clarinet and percussion · Anssi Karttunen, cello and percussion · Magnus Lindberg, piano and percussion · Juhani Liimatainen, sound control and percussion · Lasse Erkkilä, percussion · Riku Niemi, percussion · Esa-Pekka Salonen, percussion) Finnish Radio Symphony Orchestra ESA-PEKKA SALONEN, conductor Recorded in February 2002, Kultuuritalo, Helsinki Producer: Laura Heikinheimo · Engineer and Digital editor: Pentti Männikkö Assistant engineer: Anu Pylkkänen Mixing: Pentti Männikko, Juhani Liimatainen, Laura Heikinheimo, Magnus Lindberg Recorded in co-production with the Finnish Broadcasting Company YLE 2004 Ondine Oy 4 Kinetics (1989) 12’39 Bavarian Radio Symphony Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in October 1989, Herkulessaal, Munich Producer: Michael Kempff · Engineer: Hans Schmid 1992 Ondine Oy 5 Marea (1990) 10’30 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: Seppo Siirala · Engineers: Robi de Godzinsky, Juhani Liimatainen 1992 Ondine Oy CD 2 [66’26] 1 Joy (1990) 26’39 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: