Carl Unander-Scharin Carl Unander-Scharin Focus on at 50 Lotta Wennäkoski NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDICHIGHLIGHTS 4/2019 NEWS

Fennica takes over Warner’s Rautavaara’s Vigiliagilia light catalogue Einojuhani Rautavaarara’’ss All-Night Vigil (Vigilia)a) As of 1 January 2020, Fennica Gehrman will Ondine Records Photo: Photo: Elin, Model House Elin, Photo: be acting as agent for the orchestral material is a new release on the BIBISS of Warner/Chappell Music . Under label. Nils Schweckendiekdiek the new agreement, nearly 300 works, mainly conducts the light-orchestra arrangements, will from then on- Chamber Choir, and wards be distributed by Fennica. Th e bulk will the soloists are Niall consist of works by George de Godzinsky, Rau- Chorell, tenor and no Lehtinen, Toivo Kärki and Unto Mononen, Tuukka Haapaniemi, among others. Many of them are in versions bass. made by diff erent arrangers. In 1971-72 Rau- tavaara composed a Finnish Orthodox church service similar to that of Rach- Photo: Camilla Svensk Camilla Photo: maninov, comprising Vespers as well as Matins. He then reshaped the music into what we now Tebogo Monnakgotla know as Vigilia, Monnakgotla’s Un clin d’oeil a concert version forming a musical entity. Th e 70-minute work Tebogo Monnakgotla’s acclaimed song cycle Albert Schnelzer is in 34 sections and features prominent parts Un Clin d’oeil to poems by the Madagascan poet for a bass and a tenor soloist. Jean-Joseph Rabearivelo, will be heard again in spring 2020. Baritone Luthando Qave will be Swedish MPA Award to Schnelzer soloist with the Norrköping Symphony under Albert Schnelzer has been awarded the Swed- Heino Kaski piano album Marc Soustrot on 29 February, and Anja Bihl- ish Music Publishers’ Prize 2019 for his Piano Fennica Gehrman has published a treasure maier will lead the Nordic Chamber Orchestra Concerto – Th is is Your Kingdom . “Th is is trove for piano enthusiasts: an album of 32 pi- in a performance on 2 April with Fredrik Zet- Schnelzer’s third orchestral work with the ambi- ano pieces by Finnish composer Heino Kaski terström as soloist. tion to depict life outside the centre and outside (1885–1957). One of them, in particular – Yö the glare of the fl oodlights. Th e piece alternates meren rannalla (Night by the Sea) – is a lasting Allan Pettersson’s Six Songs stirring rhythms with fragile simplicity; it leaves favourite with pianists. Also in the collection no one unmoved”, says the jury. Th e piano con- are many more lyrical miniatures with beautiful Staff an Storm has arranged Allan Pettersson’s certo was commissioned by the Swedish RSO arching melodies. Janne Mertanen has released Six Songs/Sechs Lieder for baritone, strings and for the American pianist Conrad Tao and was a CD of Kaski’s piano pieces, and all the works harp . Th e new arrangement will shortly be premiered in on 14 March 2019. on the disc are included in this collection. published by Gehrmans, and has already been recorded by baritone Jakob Högström and Mu- sica Vitae under Daniel Hansson, and released on CD by the CPO label (CPO 999.286-2). Isabelle van Keulen plays

Högberg Lund Nikolaj Photo: In the spring of 2020 Isabelle van Keulen NORDIC HIGHLIGHTS 4/2019 will give four performances of Fredrik Hög- NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN berg’s Absent Illusions – A Hunt for the Eluded Sound samples , video clips Muses. Joseph Bastian will conduct the Nürn- and other material are available at berger Symphoniker in a performance on 19 www.gehrmans.se/highlights January. Eivind Gullberg Jensen will lead the Odense Symphony Orchestra in the Danish Cover photo: LoƩ a Wennäkoski (Maarit Kytöharju) premiere on 23 January, and fi nally the Norr- köping Symphony will give two performances Editors: Henna Salmela and Kristina Fryklöf on 7 and 8 May under the direction of Joshua Translations: Susan Sinisalo and Robert Carroll Weilerstein. Absent Illusions is a multimedia Design: Tenhelp Oy/Tenho Järvinen concerto for violin/viola and orchestra with ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) fi lm, dedicated to the nine Muses, and was pre- Printed in by TMG Sthlm, Bromma 2019 miered by Isabelle van Keulen and the Düssel- dorfer Symphoniker in 2018.

HIGHLIGHTS 4/2019 Kimmo Hakola’s Fidl Kimmo Hakola’s Fidl Op. 99 for vi- PREMIERES

olin and orchestra was the commis- Vessiez Bruno Photo: sioned work for the Queen Elisa- Spring 2020 beth Competition 2019. Fidl is the JONAS VALFRIDSSON A Spark in the Deep Dark Yiddish word for a violin – Hakola’s Dalasinfoniettan/Claire Levacher fi rst instrument. isTh 17-minute 1.2. Falun, Sweden (Composer in Residence) John Bauer Overture work radiates light and humour Dalasinfoniettan/Tobias Ringborg and combines everything Hakola 28.2. Orsa, Sweden (Composer in Residence) always dreamt of when imagining KALEVI AHO Solo XV for marimba music for the violin, its textural Martin Grubinger and expressive potential. In the fi - 9.2. Wien, Austria nal round of the competition the Quartet for Accordion and String Trio candidates performed a concerto of Janne Rättyä, Zillacus Trio their choice and Hakola’s work, ac- 6.4. Stockholm, Sweden Stella Chen was companied by the Belgian National MIKKO HEINIÖ awarded 1st prize Syvyyden yllä tuuli (Wind above Orchestra under Hugh Wolff (See: at the Queen the Depths) Reviews). Elisabeth Violin Turku PO, Turku University Choir/Tomas Competition. Djupsjöbacka, sol. Ville Rusanen, baritone 28.2. Turku, Finland Sonata for Guitar Patrik Kleemola 15.3. Boulder, USA Wessman and Turriago on CD Täällä, kaikkialla (Here, Everywhere) for male choir Pilfi nk has released a disc of solo and chamber works for Polytech Choir/Saara Aittakumpu the guitar by Harri Wessman. Th e performers are Matti 17.4. Helsinki, Finland Photo: Nea Ilmevalta Photo: Photo: Liisa Wessman Liisa Photo: Riutamaa and Patrick Vena, guitar, Eva Trygg, fl ute and MATTHEW WHITTALL where rain ends...... begins Antti Leinonen, accordion. the sky A disc of the complete works for solo piano by Tuo - KAAÅS Piano Trio mas Turriago was released on 3 December. Included are 1.3. Helsinki, Finland These Things Remain Somber and Jitters , published by Fennica Gehrman as Winnipeg SO, Toonkunstkoor Amsterdam/ Daniel Raiskin, sol. Henk Neven, baritone sheet music. Pilfi nk is also planning a CD of Turriago’s 24.4. Winnipeg, Canada four chamber sonatas: for fl ute, alto sax, French horn and SVENDAVID SANDSTRÖM tuba. Trombone Concerto Swedish Radio SO/Daniel Harding, sol. Håkan Björkman New choral works by Jan Yngwe and 26.3. Stockholm, Sweden KARIN REHNQVIST Olle Lindberg Silent Earth Gehrmans is publishing Jan Yngwe’s In State of Emergency Netherlands Radio PO & Choir/ Dima Slobodeniouk for mixed choir and percussion. It was written for the Vo- 18.4. Amsterdam, Netherlands cal Art Ensemble and the Rhythm Art Duo and was pre- BENJAMIN STAERN miered during the Point Music Festival at the Pippi Longstocking anniversary work for orchestra Concert Hall in May. Th e piece is based on a poem by the Swedish Radio SO/Ariane Matiakh Burundian poet Ketty Nivyabandi, who also founded the 22.4. Stockholm Sweden Women’s Movement for Peace and Security, and led the SVENDAVID SANDSTRÖM fi rst demonstration of women in Burundy. Te Deum Philharmonischer Chor Berlin/Uppsala Olle Lindberg’s A Requiem for the Living had its premiere Academic Chamber Choir/Brandenburgisches Staatsorchester Frankfurt/Stefan Parkman, sol. Benjamin Staern on 2 November in Stockholm. Subtitled “A Journey To- Karin Dahlberg, soprano, Olle Persson, baritone wards Eternal Light”, the piece shows infl uences from clas- 10.5. Berlin, Benjamin Staern news sical music, jazz, folk music and some hard rock too. Scored KIMMO HAKOLA Benjamin Staern’s Wave Movements will receive its for two soloists, mixed choir, brass quintet, percussion, Work for orchestra (Helsinki Variations) North American premiere on 31 January at the Win- piano and strings, it was premiered by the Adolf Fredrik Helsinki PO/Susanna Mälkki nipeg New Music Festival, with Daniel Raiskin con- Chamber Choir, conductor Christoff er Holgersson, Ag- 15.5. Helsinki, Finland ducting the Winnipeg Symphony. Staern is presently nes Lindberg, Staff an Liljas, the Linnaeus Quintet, et al. working on a commission from the Swedish Radio Symphony Orchestra, a work inspired by “Pippi Long- stocking” – next year will be the 75th anniversary of Kortekangas & the Naantali Astrid Lindgren’s famous children’s book character. Music Festival

Staern will depict the strong and fearless Pippi who Henna SalmelaPhoto: Th e Naantali Music Festival has commissioned a new stands up for herself and, not least, for others. He is work for cello and chamber ensemble from Olli Korte- dedicating the piece to climate activist Greta Th un- kangas for inclusion in the summer 2021 repertoire. Th e berg. Th e orchestral work will be premiered on 22 April soloist will be Arto Noras. Th e premiere of the Double in Berwaldhallen in Stockholm under the direction of Concerto commissioned earlier by the festival has also Ariane Matiakh. been scheduled for 2021. Th e soloists in that work will be Osmo Vänskä, clarinet and Erin Keefe, violin.

HIGHLIGHTS 4/2019 Exposed to reality Lotta Wennäkoski, who will be 50 in February 2020, is one of today’s most cel- ebrated Finnish composers. In September, the Helsinki Philharmonic Orchestra premiered her orchestral “Om fotspår och ljus” (Of Footprints and Light), which had as its point of departure an opera by the composer Ida Moberg (1859–1947). Wennäkoski’s choice of topic can also be seen as a cultural-political statement. Lotta Wennäkoski here refl ects on gender equality in the Finnish musical establishment.

quality in the world of music has been those in Finland; over there, the striving towards the subject of sometimes quite heat- a pluralist society seems nowadays to be taken for ed debate in Finland this autumn. It granted by “men” as well. (“Men” because biologi- all began with an article in our leading cal gender does not in any way directly imply any ESwedish-speaking newspaper, Hufvudstadsbladet particular worldview or a need for change.) Th ree stating that only 4.3 per cent of the works to be years ago in Rondo Classica, I reckoned that the Maarit Kytöharju Photo: performed this season by our three main metro- Finns do not even seem to have a particular prob- politan orchestras are by female composers. Th e lem with gender equality, or at least not in the has in many respects been the resolute defence of bulk of the works on the programme are the old arts. Th e general atmosphere was, that after all, the way things have always been done, of “quali- familiar ones, i.e. by men now dead, and those of we have Kaija Saariaho and a couple of others, so ty” and “masterpieces”. Where does this innate Beethoven alone, for example, amount to more why go on about it? reluctance spring from, when the statistics could, than all the ones by women put together. Th e A number of things have surprised me in this I am sure, quite easily be slightly rectifi ed? How debate has since spread to other media, and oth- autumn’s debate. Any female composer has, right about some music by, say, Louise Farrenc instead er statistics have been dug up. One of the most at the start of her career, had to come to terms of even a little by Beethoven, regardless of wheth- astounding is that 44 per cent of this summer’s with the fact that the active role in the history er or not he has a jubilee year? If the New York Finnish chamber music festivals did not perform of music best known to us has beyond all doubt Philharmonic can, just like that, put on a concert a single piece composed by a woman. been reserved for a man. Th e few female com- in honour of the City’s Pride Week, as it did this Th e fact that the opening move in the debate posers have been exceptional individuals in many year, couldn’t Finland, which prides itself on being came from Finland’s Swedish-speaking minority ways, and their music has – from time immemo- a modern society, just as well do something simi- possibly says a lot. Because I can remember being rial and right up to the past few decades – been lar, if only occasionally? Would it not be possible surprised as a student back in the 1990s that Swe- viewed from the perspective of womanhood more to fi nd material composed by women suitable for den had far more female composers than Finland. than anything else. It would, after all, be strange all levels of our music education? It wouldn’t be All in all, the equality debate in our western neigh- if this did not still have psychological and struc- diffi cult these days, and would set a good exam- bour seems for a long time to have been ahead of tural consequences, even if there were no longer ple. Could we not make it a point of honour to us. I personally raised the issue in the magazine any obvious concrete obstacles to women’s com- always ensure that a competition jury, a commit- Rondo Classica three years ago. As its top prior- posing. Th e Finns happily subscribe to a view of tee or composer consortium always has a member ities, Statens Musikverk (Swedish Performing their country as a paradise where all are equal. It representing more than a single gender? Why not Arts Agency) quoted children, young people, di- is nonetheless short-sighted to close our eyes to introduce quotas to boost the pluralist agenda, versity and gender equality, and a few years earlier, the expectations and demands, both stated and even just as a start and in passing – until things it had earmarked SEK 8 million expressly for the unstated, still imposed on us by gender in matters really get moving? promotion of equality. ”A lot needs to be done,” I both large and small. For it will be odd if the audience aware of the quoted them in my column, “especially in making On the other hand, the performance of clas- ongoing debate in society do not soon start de- music by female composers better represented in sical music all in all relies so strongly on age-old manding all this. We are not indebted to Beethov- the repertoires of orchestras and opera houses. tradition that contemporary male composers may en, but we are to our society. We need both conscious strategies and task forces with good reason feel alienated and excluded (to Lotta Wennäkoski to tackle the issue.” say nothing of other genders). Yet I fi nd it hard to An objective stated in such clear terms is unfor- imagine that many of us in any way categorically tunately still very diffi cult to imagine in the Finn- despise the “canon”; for me at least, many of the Footnote ish cultural climate. Gender equality in music has, orchestral works in the Classical-Romantic can- Lotta Wennäkoski will be 50 on 8 February 2020. On that day, the Avanti! Chamber Orchestra is holding a it is true, been thrashed out in many a forum and on are quite honestly important and stirring, even birthday concert in Helsinki including works by Hele, on numerous occasions, at least in musicological though they were composed by men. Th ey are Zeng and others. circles but also in various projects and festivals. part of the tradition of which I am part. I would, Music by Wennäkoski will be widely performed Yet not until this autumn does the topic seem to however, quite probably love and respect certain during the year. The Royal Stockholm Philharmonic Orchestra conducted by Sakari Oramo will be per- have penetrated public awareness and been more works by women just as passionately if they had forming Flounce at a ‘Ladies versus Beethoven’ widely debated. Only now, it seems, has the de- etched themselves on my musical memory with concert in Stockholm in March, and Uniin asti (Until mand for equality at last been registered by the the same intensity and through as many repeti- the Dreams) is on the programme for a concert by “establishment” – the “weightiest” and most prom- tions as my favourite works in the canon. We can- the Finnish Radio Symphony Orchestra in April. Lot- ta Wennäkoski is at present composing an opera, inent level of classical music. It is precisely here not know things unless we are exposed to them. Regine, to a libretto by Laura Voipio for the Savonlin- that attitudes in Sweden possibly diff er most from Th e reaction to this autumn’s equality debate na Opera Festival.

HIGHLIGHTS 4/2019 REPERTOIRE TIPS Fresh concert starters REVIEWS

TOBIAS BROSTRÖM DANIEL NELSON On Urban Ground (2013) Dur: 9’ Steampunk Blizzard (2016) 3222-4231-12-str Dur: 8’ 3222-4231-01-str Broström’s comment on Beethov- This is an attractive, fun and en’s Pastoral Symphony (No. 6), swinging concert opener, with has certain characteristics in com- rhythmic and powerful brass mon with the symphony’s fourth sections. The music conjures movement Gewitter, Sturm (Thunder, Storm), although associations with steam engines. It is easy to imagine Broström has chosen to contrast the pastoral theme with the smoke billowing from the chimneys, and the indus- the life in a whirling, pulsating and up-tempo urban envi- trial cogs turning to the tempo of the music. Nelson has ronment. Eventually, however, even the sounds of the big himself described this piece as a “steam engine ballet city are brought to rest, and through the urban noise you in a snowstorm”. can still hear the birdsong. MARIE SAMUELSSON CECILIA DAMSTRÖM Singla/Float (2007) Dur: 16’ Tundo! (2016/2018) Dur: 11’ 2222-2221-13-pf/cel-str Singla is an enigmatic and shim- 2222-4231-11-str mering work. The title suggests Tundo is the Latin word for “knock”, something light, such as snow- and Cecilia Damström has used it fl akes or leaves, fl oating down, as a metaphor for the refugee crisis twisting and turning, swirling of our time. The piece begins and and twirling, just like the music, which explores tempo ends with the entire orchestra knocking on the doorway changes and a variety of spinning and vibrating musical to safety, with energetic semiquavers in fortississimo. In movements. between, the music conjures up images of the refugees’ hazardous journeys through war zones, sometimes ALBERT SCHNELZER beautiful landscapes and the dangerous boat rides over Bulletproof (2016) Dur: 15’ heavy seas. 3333-4331-13-hp-pf/cel-str In his music, Schnelzer portrays MATS LARSSON GOTHE a dark and unsafe world. It has The Apotheosis of the Dance to do with the confl icting emo- Catharina Chen, Christian Karlsen, (2012) Dur:10’ tions that co-exist in modern Marie Samuelsson & Jacob Kellermann 2222-4231-11-str times; beauty, fear, anger, aggression. The music begins or 2222-2200-11-str quietly, with shimmering strings and high woodwinds, An ingenious companion piece to although a threatening, muffl ed, rumbling percus- Beethoven’s Symphony No. 7. The sion emerges from below. Rhythmic and expressive Profoundly gripping Samuelsson piece begins with a bobbing, modulating, chromatic outbursts are intertwined with lyrical and dream-like Music can be indiff erent, something that fl its by, pleasant for the moment ascending motif. Larsson Gothe then continues to refl ect sequences in which a glimpse of hope can be discerned. but quickly forgotten. Or it can be completely fulfi lling. The tones create a on themes from the symphony. The aim was to write a TAPIO TUOMELA world that fascinates, that we continue to explore. The premiere of Samu- piece that could be listened to as a standalone composi- elsson’s “The Crane’s Beak” was one of those special moments. This music tion, without prior knowledge of Beethoven’s work; but Nordan (2003) Dur: 10’ also that the experience would hopefully be enhanced 3333-2331-13-hp-str had concentration, sharp contrasts and a sensitive beauty in a barren land- still further if the listener was already familiar with the Nordan (The North Wind) con- scape that grips one profoundly. Arbetarbladet 9.11. original symphony. tinues Tuomela’s quest for exam- There is something enigmatic over stretchable guitar strings against a ining his northern roots and the foundation of the celesta’s eerie glittering crystal tones…This is about a KIRMO LINTINEN arctic atmosphere. In this over- ture, written for the Orkester Norden youth orchestra, kind of delicacy characterised by an implacable strength, and the way in Mobile festivo (2003) Dur: 11’ violent and virtuosic orchestral textures marked “con una which Samuelsson transforms her visions is absolutely superb… It creates 3333-4331-13-1-pf-str furia arctica” alternate with rough melodic expression. Lintinen is a master of orchestral a feeling of wandering around in nature, marvelling at its beauty and its timbres, and at giving diff erent JENNAH VAINIO raging forces. Dagens Nyheter 9.11. instruments a chance to stand out Winterborn (2008) Dur: 12’ Marie Samuelsson: Brandnäva/The Crane’s Beak in the texture. As its title suggests, 1111-1000-str World premiere: Gävle SO/Christian Karlsen, sol. Jacob Kellermann, guitar, Catharina Chen, violin, the piece proceeds at a lick, with swinging echoes of jazz As is often the case in Vainio’s 8.11.2019 Gävle, Sweden alternating with a dream-like mood created by the piano. music, this wild piece carries hints A work abounding in exciting details, it accelerates up to of metal music, a serene and even an ultimate climax. earnest ambiance, and rhythmic oriental harmonies. A commission from the Zagros En- Brilliant and intricate ROLF MARTINSSON semble and Petri Komulainen, Winterborn travels through Schnelzer’s concerto is intricate but at the same time easily accessible, and Tour de Force (2013) Dur:10’ cold, winter landscapes from dawn to moonlit darkness. builds on a close interplay between soloist and orchestra. It is, in short, a 2222-4231-12-str splendid work. And when, in addition, the soloist’s performance is just as This is a short, energetic and LOTTA WENNÄKOSKI glowing as the orchestra’s is inspired, there is nothing more to be desired. Flounce (2017) Dur: 5’ dramatic opening piece. Its form Jönköpingsposten 20.10. can be described as a single long 3232-4221-03-hp-str crescendo with dynamic and dra- The BBC commissioned this Albert Schnelzer: Violin Concerto – Nocturnal Songs matic tempo changes, a crescendo that also embodies fi ve-minute ‘curtain raiser’ for Jönköping Sinfonietta/Gérard Korsten, sol. Ilya Gringolts, 20.10.2019 Jönköping, Sweden the increase in intensity that occurs as the number of the last night of the 2018 instruments being played gradually increases. Each of Proms, and it quickly became a the musical parameters of melody, harmony, rhythm, hit: close to 30 performances worldwide. It is a toybox of Magical Fidl by dynamic, timbre and tempo undertakes its own intense exciting sounds off ering plenty of action for all the sec- journey, culminating in the inevitable overall eruption at tions of the orchestra. A witty scherzo, deft and surprising Kimmo Hakola the end of the piece. – as it was described in the enthusiastic reviews. An exceptionally positive experience… This VICTORIA YAGLING piece is much more than a compulsory work TIINA MYLLÄRINEN that will end up in the archives after this com- Finnish Notebook (2003) Traces (2014) Dur: 10’ petition. It’s is a truly inspired composition 3333-4331-13-pf-hp-str Dur: 20’, 3332-4231-11-hp-cel-str Myllärinen’s music has been de- Yagling’s expressive, romantical- which possesses delicate fi nesse supplement- scribed as cheerfully curious and ly-orientated idiom is Russian in ed by everything a thoroughly trained young energetic. Traces begins with con- spirit. Apart from being an out- solo artist must meet in terms of mastery of centrated outbursts of diff erent standing cellist she was also a the instrument. The composer deserves a prolifi c composer, who wrote several works for her own eff ects and noises. It follows the various, diff erent-sized standing ovation for his work. Klassiek Centraal 21.5. traces left by the musical material, zooming in and out in instrument, e.g. three cello concertos. Other orchestral diff erent ways, sometimes at the centre of the action and works include the Finnish Notebook, which is an exam- Kimmo Hakola: Fidl for violin and orchestra at others far away in an aura of echoes and resonances. ple of Yagling’s style: fresh energy and temperament World premiere: Belgian National Orchestra/Hugh Wolff , sol. fi nalists of the Queen Elisabeth Competi- combined with profound lyricism. tion, 20.5.2019, Bruxelles, Belgium

HIGHLIGHTS 4/2019 Allan Pettersson – still alive and kicking! And how they play! Wallin approaches the solo part Photo: Tarja Reijonen Tarja Photo: with a passionate, fi ery and intense performance that grips me from the very fi rst tone. The Norrköping Symphony and Christian Lindberg are catching on. There is a fantastic interaction between soloist, con- ductor and orchestra that is highly impressive. And I am amazed at the drive and the frenzy that streams out of the loudspeakers… Allan Pettersson’s music is still alive and kicking! Opus #92 Oct-Nov 2019 Allan Pettersson: Violin Concerto No. 2

CD: Norrköping SO/Christian Lindberg, sol. Ulf Wallin, violin (BIS-2290)

Angelic dance Mühlrad’s style is easily recog- nisable with its slow chordal progressions, melismatic mel- odies and reverberations that yearn for eternity. This is espe- cially eff ective in Time, where the text consists of about twenty diff erent words for Moomin Opera in the mood “time”. It is like hearing the fi rst translations between The Moomin Opera proves that opera can, at its best, be anything but stiff … the performance appeals to strangers in an angelic dance in the sky over the Tower adults and children alike. The music is magnifi cent, and the stage quivers with the genuine mood of Tove of Babel. Jansson’s Moomin stories. Kulttuuritoimitus.fi 15.9. Dagens Nyheter 24.10. Ilkka Kuusisto: Muumiooppera (Moomin Opera) Jacob Mühlrad: Anim zemirot, Time, Nigun, Tampere Music Academy, Valkeakoski City Theatre/Tuomas Turriago, sol. Allan Sääski, Sanna Vähälä, Olli Lammi etc., 15.9.2019 Tampere, Finland Kaddish

CD: Swedish Radio Choir/Ragnar Bohlin/Fredrik Malmberg (Deutsche Grammophon/Universal 060250825366 ‘Time’) Premium- Linjama opera in Oulu Kind about Laestadius, critical about Laestadianism… quality What’s not to like? Linjama’s music is captivating and

concertos Ghadi Boustani Photo: high-impact, among other things making use of sev- Aho has a way of add- eral Songs of Zion melodies. oopperaa.blogspot.com 12.10.

Photo ©Opera BOX Photo ing a twist to familiar Jyrki Linjama: Kolme kirjettä Laestadiukselle genres that always (Three Letters to Laestadius) engages and, quite Soli Deo Gloria/Juhani Lamminmäki, sol. Esa Ruuttunen, Laura Mäkitalo, often, intrigues. And 12.10. 2019 Oulu, Finland what a meticulous ap- proach he takes to his Rautavaara’s Vigil is a wonder art; in the concertos Kalevi Aho On its own terms, the piece is a wonder. Rautavaara Aho makes it his busi- Vickan & Väinö harbours the Vigil’s structure to monumental eff ect in ness to understand the range and unique character the creation of a tapestry that ebbs, fl ows, declaims Charming mice in Helsinki of the solo instrument in question… Aho is still at the and recedes. The mood can turn on a sixpence from Vickan & Väinö warmly encourage a living bilin- top of his game, and that there’s so much to relish in lamentation to radiant joy. Gramophone, Autumn 2019 this splendid score… Two premium-quality concer- gualism. Language is an opportunity, not a hinder, Einojuhani Rautavaara: Vigilia (All-Night Vigil) tos, stylishly played and magnifi cently recorded; Aho even when we don’t understand one another at CD: Helsinki Chamber Choir/Nils Schweckendiek (BIS-SACD 2422) all… Cecilia Damström’s music eff ectively under- and BIS at their considerable best. lines the various moods and dramatic events… Musicweb International 2019 Thrilling and exquisite Broström Kalevi Aho: Concerto for Trombone and Orches- The sole musician, Janne Valkeajoki, had to stand With lovely Anna Larsson in the vocal part, Fröding’s tra, Concerto for Trumpet and Symphonic Wind in for two, but with his accordion he pulled it off “Atlantis” is performed in an English version in which Orchestra with fl ying colours. The trio of singers handled the the orchestra dramatises and carries the content of CD: Antwerp SO/Martyn Brabbins, sol. Jörgen van Rijen, trombone, operatic aspects with fi nesse. Hufvudstadsbladet 19.10. this clearly wondrous poem forward… It is thrilling Alain De Rudder, trumpet (BIS-SACD 2196) Cecilia Damström: Vickan & Väinö and exquisitely harmonious, as are the other works (Children’s opera) on this album – especially the percussion concerto World premiere: Opera Box, sol. Hedvig Paulig, soprano, Ville Sa- “Theatron” from 2015. lonen, tenor, Aku Rantama, baritone, Janne Valkeajoki, accordion, Shimmering Wennäkoski Dagens Nyheter 9.10. 17.10.2019 Helsinki, Finland Wennäkoski’s new work for orchestra is meticulously Beatnik is four minutes written, lyrical and introspective. The dramatic span is of festive and impetuous Damström’s important large, using both changes of the spectrum. Yet it is the music… The rhythms Requiem calmness that is most striking, in both the meditative dance wildly… Stellar Damström’s Requiem for Our Earth is at its strong- introduction and the fragile, chamber-music-like end. Skies lets fl ute soloist est in the introduction where Greta Thunberg’s Hufvudstadsbladet 13.11. Malin Nordlöf frolic, im- parable of a burning house is illustrated eff ective- The sound shimmers in the most captivating manner. bedded in pastoral, lyrical ly in Marek Pluciennik’s fl ames projected on the Wennäkoski seems to make optimal use of the Hel- sonorities… But Theatron choir singers. The work feels like the most impor- sinki Music Centre acoustics, which well convey the aff ords the most exciting music of all, where the solo- tant I have seen in a long time... It is not without delicate nuances. ist duo Malleus Incus really show off . reason that Damström earlier has been explicitly Helsingin Sanomat 13.11. Opus #92 Oct-Nov 2019 praised for her choral music. Hufvudstadsbladet 9.11. Lotta Wennäkoski: Om fotspår och ljus Tobias Broström: Beatnik, Crimson Seas, Cecilia Damström: Requiem for Our Earth (Of Footprints and Light) Stellar Skies, Theatron Academic Female Voice Choir Lyran/Jutta Seppinen, World premiere: Helsinki PO/Susanna Mälkki, 11.9. 2019 Helsinki, CD: Malmö SO/Ingar Bergby, sol. Anna Larsson, alto, Malin Nordlöf, fl ute, Marek Pluciennik, video, 7.11.2019 Espoo, Finland Finland Norrlandsoperan SO/Johannes Gustavsson, Malleus Incus, percussion

HIGHLIGHTS 4/2019 Carl Unander-Scharin – singing composer, composing singer

Th e four pillars in my compositional work are text, song, nearness to nature and empathy, says composer and lyrical tenor Carl Unander Scharin, who has composed twelve operas to date and Joakim Cerwall Photo: a considerable amount of choral music.

he island of Möja, the Stockholm Carl Unander-Scharin follows his tracks, The Cloud of Unknowing archipelago. Carl Unander-Scharin sidetracks and new paths from new angles. He Th e work – to be premiered live throughout dips his paddle into the water, pushes works non-stop, a habit that began when as an Europe in February 2020 – is the fi rst that has out, glides away toward the outskirts eleven-year-old he started to sing in the Adolf been composed entirely “outside the skerries”, as Tof the archipelago. He takes calm, deep breaths. Fredrik Boy’s Choir, and suddenly had to com- Carl puts it. In the house at Möja, with the out- At the Ingesund College of Music he teaches bine school work with performances at the Roy- er archipelago just a paddle trip away, an anon- breathing techniques combining the Indian yoga al Opera three evenings per week. ymous medieval text has been attired in tones. tradition with British vocal pedagogue Anna Th e Cloud of Unknowing has followed Carl Un- Sim’s exercises, a singing technique developed ander-Scharin during his many and extended over her long and eventful career as a singer. working journeys by train, when he has time to – My creativity is intimately bound up with read literature. my need for the archipelago and proximity to – It’s an absolutely fantastic text, associated Photo: Mikkel Örstedholm Mikkel Photo: nature, says Carl. I cannot be indoors for longer with my own spirituality; the union of body than an hour or so at a time. I simply have to go and soul and the insight that we never reach out. Th e music comes while I ponder, and such God through knowledge but by letting ourselves thinking must be anchored in some form of ideal be touched, says Carl. It is a text which I have world or experience. And that is what takes time. longed to get the opportunity to use. Th e parallel tracks in Carl Unander-Scharin’s Th e opportunity arose when the Erik West- life are closely connected: his profession as a berg Vocal Ensemble commissioned a work for singer, his composing and his nearness to nature. choir and organ. In six movements, with names He was fi rst educated as a church musician and such as ”Unknowing and Forgetting”, ”God a choral pedagogue; he later studied at the Elec- & Love” and ”Darkness”, the choir depicts six tronic Music Studio in Stockholm (EMS), has a themes from the text, in harmony with an or- degree from the University College of Opera and gan part, that were pleasurable to compose for holds a doctorate in the subject Opera and Tech- a composer who has been trained as a church nology from the Royal Institute of Technology. musician. Th ese pieces, with complex choral textures, pose a challenge even for a profession- Innovative and unique al vocal ensemble. And that is as it should be. Twelve operas and a considerable number of Carl Unander-Scharin is intensely interested in choral and vocal works have seen the light, from reaching the core of the text. his highly acclaimed debut with To k f u rs t e n – I wanted to be a poet when I was young…I (Th e King of Fools) at Vadstena Castle (1996) ”Scharin’s music is intelligent and singable, it still have that love for the text and it goes into the to the well-nigh intangible universal art-work is written by an active singer who knows how to music. I am, of course, biased by the fact that I ”Th e Heavenly Mechatronics” at Berwaldhallen utilise all the fi nesses in the art of opera”, wrote sing and have always sung. Th e ”cantabile” is es- (2017), where the Swedish Radio Choir accom- Tobias Th eorell in Finanstidningen concerning sential, even when I write for instruments. And panied themselves in the work Calligrammes Hummelhonung (Sweetness) at the Royal then nearness to nature. And empathy. I am so by playing on red ropes suspended from the ceil- Swedish Opera (2001), a musical interpretation curious! I want to understand people and how ing to the fl oor of the concert hall, a collaboration of Torgny Lindgren’s eponymous novel. ”His they think. Indeed, there you have the four pil- with his wife and dancer Åsa Unander-Scharin soundscape is deeply personal and every tone lars in my compositional work: text, song, nature and the musician and technological developer has meaning. Th is is music in which the melody and empathy. of language has imperceptibly passed over into Ludvig Elblaus. Berwaldhallen, celebrating Janna Vettergren their 40th anniversary, has a description of the song; music so dense that it is tangible, thickly project in their Jubilee folder, calling it ”inno- fl owing as honey and nourishing as pork.” vative and unique” and the absolute highlight Th e language and poetry lie extra close to a of the season. Th e artistic research behind the light lyrical tenor, tenore leggiero, with ”a special Footnote interactive music installations that were set up awareness of the meaning of the text and thus of The Cloud of Unknowing will be premiered on 3 Feb- in the foyers of Berwaldhallen during the pro- the phrasing, just like other tenors who of tra- ruary 2020 by the Erik Westberg Vocal Ensemble, dition sing Rossini, Bach, Handel and Mozart”, broadcast live on Swedish Radio P2 and throughout ject resulted in the dissertation Extending Opera Europe via the network EBU. It will also be recorded (2015), about liberating the opera singer with as Carl Unander-Scharin says in his interview as on CD in connection with the concert. the aid of electronic instruments that are played Composer of the Month #5 in the series #swed- Read more about Carl Unander-Scharin on elec- by the singer herself/himself. ishchoralmusic. tronic-opera.com

HIGHLIGHTS 4/2019 NEW PUBLICATIONS NEW CDs

JACOB MÜHLRAD CHORAL & VOCAL CHAMBER & INSTRUMENTAL Anim zemirot ABBA/ARR: GÖRAN BEJSTAM KALEVI AHO MATTHEW PETERSON ABBA The Medley Solo XIV Cantate Domino for clarinet for choir SATB and piano ATB OCH S PI KÖR ANO R AV FÖ G G Ö N R A A M N E B G E KARIN REHNQVIST N J FG 9790-55011-488-3 A S T 1. Waterloo R A R M

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l M o ABBA o THE MEDLEY e Solo XVI (Ballade) h • t r M o a f m u o m Y a k 3. Does Your Mother Know M n a ia h • T for harp D • SVENDAVID SANDSTRÖM o n e ee s Y u ou g Q r M ncin 4. Dancing Queen other Know • Da FG 9790-55011-490-6 In Paradisum 5. Thank You for the Music Sofi a Vokalensemble/Bengt Ollén GE 13641 KIRMO LINTINEN Footprints FR 112 (’In Paradisum’) Palindrome / Palindromi LINDA ALEXANDERSSON ALLAN PETTERSSON Linda Alexandersson for piano Vox Humana, Sex sånger/Sechs Lieder A Room of One’s Own A Room of One’s Own for solo ensemble and SSAA a cappella FG 9790-55011-542-2 for solo ensemble and choir SSAA a cappella Musica Vitae, Ensemble SYD/Daniel Hansson, Text: Virginia Woolf (Eng) Benjamin Staern sol. Kristina Hellgren, soprano, Anna Grevlius, GE 13731 BENJAMIN STAERN mezzo-soprano, Conny Thimander, tenor, Dropwaves Jakob Högström, baritone Dropwaves

Sonata for piano solo sonata for piano solo CPO 999.286-2 NILSPETTER ANKARBLOM GE 12981 Lussepolska TURE RANGSTRÖM for mixed choir SATB and orchestra Den mörka blomman, Melodi, Vingar i Text: Tea-Louice Beurling (Sw) MATTHEW WHITTALL natten, Vinden och trädet, Bön till natten GE 13774 (score), GE 13776 (study score) Bright Ferment Helsingborg SO/Stefan Solyom, sol. Malin – String Quartet No. 2 Byström, soprano FG 9790-55011-510-1 Swedish Society SCD 1168 (’Orchestral Songs’) PER EGLAND (score and parts) Bereden väg för herran Bereden väg för Herran MARIE SAMUELSSON for 14-part mixed choir a cappella Two Lives Text: Frans Michael Franzén (Sw) för 14-stämmig kör GE 13690 a cappella Duo Gelland (Cecilia and Martin Gelland, violins) Nosag CD 236 (’Violin Duos vol. 5’) JACOB MÜHLRAD SAMIS JUNTUNEN AroundA the World Olga’s Hands EINOJUHANI RAUTAVAARA for choir SATB div iin 30 Pit-stops / Vigilia (All-Night Vigil) Text: Zara Kjellner (Eng) MMaailman ympäri Helsinki Chamber Choir/Nils Schweckendiekckendiek GE 13608 330 biisissä BIS-SACD 2422 forf piano ThisT colourful album is a TUOMAS TURRIAGO TIINA MYLLÄRINEN whirlpoolw of world music. Complete piano solo works: Somber, Three Songs TheT pieces present exciting Jitters etc. for female voice, guitar and cello rhythms,r harmonies and Tuomas Turriago, piano Text: Kari Aronpuro, Ilpo Tiihonen, Leif Färding (Fin) melodiesm of diff erent Pilfi nk JJVCD-215 FG 9790-55011-515-6 culturalc and geographical regionsr and can be heard in HARRI WESSMAN STEFAN NILSSON/ARR: ANDERS HÖGSTEDTEDT YouTube.Y Sonate Classique, Five Preludes Solo, choir SATB and piano FGF 9790- 55011-532-3 for Guitar, Duo for Flute and Guitar, In the Night of New Year’s Eve for solo, choir SATB and piano Trio for Accordion, Flute and Guitar etc. Text: Py Bäckman (Eng) Matti Riutamaa, Patrick Vena, guitar, GE 13739 Eva Trygg, fl ute, Antti Leinonen, accordion ALBUMS & TUTORS Pilfi nk JJVCD-214 ’Encounters’

MATTHEW PETERSON In the Night of Lux aeterna NEW YEARYEAR’S S EVE HEINO KASKI Stefan NilNNilssonilssossson | Py Bäckman arr Piano Works / Pianoteoksia AndersAn Högstedt four double SATB choir a cappella (Lat) forffoor solossolo, choir SATB and piano GE 13519 32 best-loved pieces in a handsome ORCHESTRA collection. Included are Night by Cecilia Damström the Sea, Pankakoski and Prelude in CECILIA DAMSTRÖM ESA PIETILÄ G-Flat Major. Tundo! Uirapuru FG 9790-55011-541-5 for orchestra Tundo! for symphony orchestra for male choir and tenor saxophone GE 13662 (score), GE 13664 (study score) Text: Phonetics SCORE PIRKKO SIMOJOKI & Jacob Mühlrad FG 9790-55011-549-1 Einride GÉZA SZILVAY JACOB MÜHLRAD for symphony orchestra URMAS SISASK Colourstrings Einride Viola ABC (Book C) Kui armsast jõulupuu nüüd hiilgab for symphony orchestra FG 9790-55011-254-4 GE 13568 (score), SCORE (How Sweetly Shines the Christmas Tree) GE 13570 (study score) Benjamin Staern FG 9790-55011-544-6 Kümme Kildu (Ten Fragments) HELENA SINISALO FG 9790-55011-545-3 Trumpetti ABC (Trumpet ABC)C) BENJAMIN STAERN Konnakol Variations

for solo percussion and winds Sensus Choral Music No 826 A new tutor for small trumpet players. Konnakol Variations Three Songs for mixed choir FG 9790-55011-531-6 for solo percussion and symphonic FG 9790-55011-544-6 SCORE wind band Tormod Tvete Vik Mass to Light from Darkness Three publications of Urmas Sisask’s soprano | choir | strings | organ GE 13590 (score), GE 13591 (solo part), choral pieces and cycles for mixed choir. GE13592 (study score) Texts by Estonian poets (Est).

TORMOD TVETE VIK For further information about our works or representatives worldwide check our web sites or contact us at:

Mass to Light from Darkness ScoreS for choir SATB, string ensemble and/or organ Texts from the Bible (Eng) GE 13764 (score), GE 13765 (vocal score) Gehrmans Musikförlag AB Fennica Gehrman Oy Ab Box 42026, SE-126 12 Stockholm, Sweden PO Box 158, FI-00121 Helsinki, Finland CARL UNANDERSCHARIN Tel. +46 8 610 06 00 • Fax +46 8 610 06 27 Tel. +358 10 3871 220 • Fax +358 10 3871 221 The Cloud of Unknowing www.gehrmans.se • [email protected] www.fennicagehrman.fi • info@fennicagehrman.fi for choir SATB div and organ Hire: [email protected] Hire: hire@fennicagehrman.fi Text: Anonymous, 14th century (Eng) Web shop: www.gehrmans.se Web shop: www.fennicagehrman.fi GE 13733 Sales: [email protected] Sales: kvtilaus@kirjavalitys.fi (dealers)