DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Land of the Midnight Sun Music and Images from Finland MMidsun_booklet.inddidsun_booklet.indd 1 110.5.20060.5.2006 009:22:159:22:15 Land of the Midnight Sun 1 Rakastava (The Lover) (from Rakastava, Op. 14) Jean Sibelius (1865-1957) 3:57 Virtuosi di Kuhmo • Peter Csaba 2 Mélodie élégiaque (from Suite Champêtre, Op. 98b) Jean Sibelius 3:19 Virtuosi di Kuhmo • Peter Csaba 3 Minuet (from Sleeping Beauty Suite, Op. 22) Erkki Melartin (1875-1937) 3:08 Tampere Philharmonic Orchestra • Leif Segerstam 4 Butterfl y Waltz (from Sleeping Beauty Suite, Op. 22) Erkki Melartin 2:02 Tampere Philharmonic Orchestra • Leif Segerstam 5 Minä metsän polkuja kuljen (I Wander Along Forest Paths) Erkki Melartin 1:49 Soile Isokoski, soprano • Marita Viitasalo, piano 6 Rauha (Peace) Ilmari Hannikainen (1892-1955) 2:17 Soile Isokoski, soprano • Marita Viitasalo, piano 7 Adagio (from Clarinet Concerto in E-fl at Major, Op. 1) Bernhard Henrik Crusell (1775-1838) 3:24 Kari Kriikku, clarinet • Finnish Radio Symphony Orchestra • Sakari Oramo Five movements from Bagatelles, Op. 34 Jean Sibelius 8 Valse 1:45 9 Souvenir 1:41 10 Danse Pastorale 0:46 11 Reconnaissance 0:42 12 Joueur de harpe 1:37 Olli Mustonen, piano 13 Melancholy (from Cantus Arcticus) Einojuhani Rautavaara (1928) 4:17 Helsinki Philharmonic Orchestra • Leif Segerstam MMidsun_booklet.inddidsun_booklet.indd 2 110.5.20060.5.2006 009:22:209:22:20 14 Aamulaulu (Morning Song) Toivo Kuula (1883-1918) 1:43 Jorma Hynninen, baritone • Tampere Philharmonic Orchestra • Ulf Söderblom 15 Sunnuntai (Sunday) Martti Turunen (1902-1979) 3:20 Jorma Hynninen, baritone • Tampere Philharmonic Orchestra • Ulf Söderblom 16 Jo Karjalan kunnailla (The Hills of Karelia) Trad. 2:21 Tapiola Choir • Erkki Pohjola Tapiola Sinfonietta • Jorma Panula 17 Soittajapaimen (The Shepherd Piper) Trad. 1:38 Tapiola Choir • Erkki Pohjola Tapiola Sinfonietta • Jorma Panula 18 Orvon huokaus (An Orphan’s Sigh) Trad. 2:44 Elina Laakkonen, soprano solo Tapiola Choir • Erkki Pohjola Tapiola Sinfonietta • Jorma Panula 19 Summer Night (Kesäyö) (from Summer Pictures from Häme) Väinö Raitio (1891-1945) 2:26 Tapiola Sinfonietta • Tuomas Ollila 20 Herdsman’s Song (Paimenlaulu) (from Summer Pictures from Häme) Väinö Raitio 2:09 Tapiola Sinfonietta • Tuomas Ollila 21 Queen of the Flowers (Kukkien kuningatar) (from Summer Pictures from Häme) Väinö Raitio 3:03 Tapiola Sinfonietta • Tuomas Ollila 22 Lintu sininen (Blue Bird) (from Autumn Song Cycle, Op. 68) Leevi Madetoja (1887-1947) 1:59 Helena Juntunen, soprano • Gustav Djupsjöbacka, piano 23 Tule kanssani (Take My Hand) Leevi Madetoja 2:04 Helena Juntunen, soprano • Gustav Djupsjöbacka, piano 24 Scherzo (from Symphony No. 1 in C minor, Op. 30/1) Erkki Melartin 5:14 Tampere Philharmonic Orchestra • Leonid Grin 60:20 MMidsun_booklet.inddidsun_booklet.indd 3 110.5.20060.5.2006 009:22:209:22:20 inland’s summer is full of light, full of life, full of — an encapsulation of a beautiful yet brief summertime passion and very short. This brief season has been life — is probably one of the most immediately captured time and again in excited and sensitive identifi able symbols of Finland’s summer. Ftones in both music and the fi ne arts. By contrast, the In some of his solo songs too Melartin managed to long and dark winter is mostly ignored in the arts. capture something essential of Finland’s summer. Minä Winter is a time for thinking about summer — the metsän polkuja kuljen (I wander along forest paths), a memories of the past and the dreams of the future. Over setting of a fi ne poem by Eino Leino, is a portrait of a the decades, Finnish composers have invested much time carefree wanderer who cares nothing for the rainfall and feeling in the refl ection of summer, and love is very that statistics declare will surely come. Rauha (Peace) by much to the fore in the summer in Finnish folk poetry, Ilmari Hannikainen (1892-1955) refl ects the serenity literature and fi lm too. and balance of the lucid season. Aamulaulu (Morning Rakastava (The Lover) by Jean Sibelius (1865-1957) song) by Toivo Kuula (1883-1918) is almost recklessly was originally a setting of folk poetry from the Kanteletar optimistic in its contemplation of the sun rising. Sunnuntai collection for choir, later adapted by the composer for (Sunday) by Martti Turunen (1902-1979) shows the string orchestra. The poems trace the encounter between Finnish dolce vita at its most languid. a man and a woman one summer’s night. The expectation, Väinö Raitio (1891-1945) began his composing meeting and separation are painted in elegant and lucid career as a Modernist, but in Kesäkuvia Hämeestä (Summer twilight colours, enhanced by the exquisite orchestration. Pictures from Häme), which he began in 1935, it would The realm of salon music, palpable in Sibelius’s Mélodie be hard to describe him as anything but a full-blown élégiaque and his piano bagatelles Op. 34, is as appropriate Impressionist. Raitio captures the rippling air of a hot for the Finnish summer as a fl ower-print dress. Summer summer day wonderfully, in bright colours dulled by the has historically been a time for waltzes, and later tangos, heat haze. Kesäyö (Summer night) is full of vibrant life allowing Finns to release emotions bottled up during and stealthy encounters, Paimenlaulu (Herdsman’s song) the darker seasons. In his miniatures, Sibelius indulged is a dance to entertain cattle, with a melancholy twist, himself and allows the listener to indulge in a playful and Kukkien kuningatar (Queen of the fl owers) portrays its whimsy that can only occur in summer. In many cases, he namesake in a sentimental violin solo. seems to simply stop and listen to the landscape. Finnish folk songs are frequently melancholy, due to Erkki Melartin (1875-1937) also wrote a number of awareness of the transitory nature not only of summer works that bear a relationship to salon music. The pastel but of other things too. Karjalan kunnailla (On the hills tones of Prinsessa Ruusunen (Sleeping Beauty) bring the of Karelia) is the unoffi cial anthem of the province of fairy tale to life. Its stylized Minuet is like a remembrance Karelia, which was largely lost to the Soviet Union after of the summers of childhood. Perhosvalssi (Butterfl y waltz) the Second World War and which thus is inescapably MMidsun_booklet.inddidsun_booklet.indd 4 110.5.20060.5.2006 009:22:209:22:20 MMidsun_booklet.inddidsun_booklet.indd 5 110.5.20060.5.2006 009:22:229:22:22 Nötö, Nauvo – © Sten Brant MMidsun_booklet.inddidsun_booklet.indd 6 110.5.20060.5.2006 009:22:239:22:23 a source of nostalgia for Finns and particularly for inevitably acquires exotic southern tones. Karelians. Soittajapaimen (The Shepherd Piper) and Orvon Erkki Melartin was a native of Käkisalmi, the ‘city of huokaus (An Orphan’s Sigh) remind us that life can be apple blossoms’ in Ladoga Karelia. He gave his lyrical hard even in summer, and even though the sun shines on and pastoral Fourth Symphony (1912) the sub-title Kesä everyone, everything else is much less equally distributed. (Summer). The scherzo of his First Symphony (1902) is Bernhard Henrik Crusell (1775-1838) was born reminiscent at fi rst of a Brucknerian alpine landscape, in Uusikaupunki in Finland and can be described as but the clarinet solo in the middle section conjures up a Finland’s fi rst internationally successful composer. The Finnish summer landscape, responding to which the low slow movement (Adagio) of his Clarinet Concerto in E strings trace the folk song Ol’ kaunis kesäilta (One lovely fl at major published in 1811 foreshadows a Romantic summer evening). approach to emotion. It is diffi cult to imagine this music Finnish concert music took its fi rst steps in the works being conceived without the composer’s childhood of Crusell and fi nally made its international breakthrough experiences of the west coast of Finland. with Sibelius. The performing arts rose to dazzling heights Slow-movement melancholy also characterizes the in Finland in the latter half of the 20th century, thanks to middle movement of Cantus Arcticus by Einojuhani an effi cient education system and a widespread network Rautavaara (b. 1928). Indeed, the movement is titled of orchestras. Melankolia. The taped and processed calls of migratory Clarinettist Kari Kriikku carries the legacy of Crusell birds nesting in the north in summer refl ect the approach but is also an unprejudiced champion of contemporary of autumn and migration. The orchestral texture, music. Pianist Olli Mustonen has an original touch that breathing the mystery of the trackless forests, underpins makes even the most traditional of music seem new and the birdcalls with sympathy. fresh. Over the past few decades, Finland has produced Departure also seems imminent in the song Lintu an astonishing number of internationally successful sininen (Blue bird), a setting by Leevi Madetoja (1887- instrumentalists and conductors. 1947) of a poem by his poet wife L. Onerva. It is the Listening to the Tapiola Choir can give the listener an last number but one in the song cycle entitled Syksy indication of how important singing is in Finnish musical (Autumn). Finnish composers have been notably reticent education. At the forefront of the Finnish vocal arts are about the erotic dimension of summer, and it is surprising such international stars as Jorma Hynninen and Soile that the boldest composer to address this was Sibelius in Isokoski; young soprano Helena Juntunen is following in Rakastava and the tone poem Lemminkäinen ja Saaren neidot their footsteps. (Lemminkäinen and the maidens of Saari). In Tule kanssani (Take My Hand), another setting of L. Onerva, Madetoja Antti Häyrynen explores the pathways of love in summer, and the music Translation: Jaakko Mäntyjärvi MMidsun_booklet.inddidsun_booklet.indd 7 110.5.20060.5.2006 009:22:249:22:24 uomen kesä on valoisa, elämää kihisevä, kiihkeä Myös lauluissaan Melartin onnistui tavoittamaan ja lyhyt.
Recommended publications
  • Correspondences – Jean Sibelius in a Forest of Image and Myth // Anna-Maria Von Bonsdorff --- FNG Research Issue No

    Correspondences – Jean Sibelius in a Forest of Image and Myth // Anna-Maria Von Bonsdorff --- FNG Research Issue No

    Issue No. 6/20161/2017 CorrespondencesNordic Art History in – the Making: Carl Gustaf JeanEstlander Sibelius and in Tidskrift a Forest för of Bildande Image and Konst Myth och Konstindustri 1875–1876 Anna-Maria von Bonsdorff SusannaPhD, Chief Pettersson Curator, //Finnish PhD, NationalDirector, Gallery,Ateneum Ateneum Art Museum, Art Museum Finnish National Gallery First published in RenjaHanna-Leena Suominen-Kokkonen Paloposki (ed.), (ed.), Sibelius The Challenges and the World of Biographical of Art. Ateneum ResearchPublications in ArtVol. History 70. Helsinki: Today Finnish. Taidehistoriallisia National Gallery tutkimuksia / Ateneum (Studies Art inMuseum, Art History) 2014, 46. Helsinki:81–127. Taidehistorian seura (The Society for Art History in Finland), 64–73, 2013 __________ … “så länge vi på vår sida göra allt hvad i vår magt står – den mår vara hur ringa Thankssom to his helst friends – för in att the skapa arts the ett idea konstorgan, of a young värdigt Jean Sibeliusvårt lands who och was vår the tids composer- fordringar. genius Stockholmof his age developed i December rapidly. 1874. Redaktionen”The figure that. (‘… was as createdlong as wewas do emphatically everything we anguished, can reflective– however and profound. little that On maythe beother – to hand,create pictures an art bodyof Sibelius that is showworth us the a fashionable, claims of our 1 recklesscountries and modern and ofinternational our time. From bohemian, the Editorial whose staff, personality Stockholm, inspired December artists to1874.’) create cartoons and caricatures. Among his many portraitists were the young Akseli Gallen-Kallela1 and the more experienced Albert Edelfelt. They tended to emphasise Sibelius’s high forehead, assertiveThese words hair were and addressedpiercing eyes, to the as readersif calling of attention the first issue to ofhow the this brand charismatic new art journal person created compositionsTidskrift för bildande in his headkonst andoch thenkonstindustri wrote them (Journal down, of Finein their Arts entirety, and Arts andas the Crafts) score.
  • PROKOFIEV Hannu Lintu Piano Concertos Nos

    PROKOFIEV Hannu Lintu Piano Concertos Nos

    Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend.
  • 11 NOVEMBER WEDNESDAY SERIES 5 Helsinki Music Centre at 19

    11 NOVEMBER WEDNESDAY SERIES 5 Helsinki Music Centre at 19

    11 NOVEMBER WEDNESDAY SERIES 5 Helsinki Music Centre at 19 Olli Mustonen, piano Sergei Prokofiev: Piano Sonata No. 5 in C Major, Op. 38 15 min (original version) I Allegro tranquillo II Andantino III Un poco allegretto Sergei Prokofiev: Piano Sonata No. 8 in B-flat Major, 29 min Op. 84 I Andante dolce II Andante sognando III Vivace INTERVAL 20 min Sergei Prokofiev: Piano Sonata No. 1 in F Minor, Op. 1 8 min Allegro Sergei Prokofiev: Piano Sonata No. 3 in A Minor, Op. 28 7 min Allegro tempestoso Sergei Prokofiev: Piano Sonata No. 7 in B-flat Major, 18 min Op. 83 I Allegro inquieto II Andante caloroso III Precipitato Interval at about 19.55. The concert ends at about 21.10. Broadcast live on Yle Radio 1 and online at yle.fi/rso. 1 SERGEI PROKOFIEV The sonata begins with an Allegro tempestoso (“tempestuous”) that (1891–1953): PIANO charges along like the cavalry; such ac- SONATAS tion-packed Allegros would in fact be- come one of Prokofiev’s trademarks in As a student in the early years of last his works for the piano. The elegant century, Sergei Prokofiev composed a second theme (Moderato) makes only a host of piano sonatas, some of which fleeting appearance before the march- survived after subsequent revision. His like Allegro comes storming back. The Piano Sonata No. 1 dates from 1909 second time round, the lyrical second and was based on a sonata he had theme has increasingly ethereal aspira- sketched during the family’s summer tions and works up to a splendid dra- vacation in Sontsovka a couple of years matic climax.
  • 2005 Summer Bridge

    2005 Summer Bridge

    he Sibelius Academy, located in Helsinki, Finland, was founded in T1882. The Academy is named for the internationally renowned and loved Finnish composer Jean Sibelius. As a state music academy, the Sibelius Academy enjoys university status and is an integral part of the system of higher education in Finland. It is the only university of music in Finland, and the largest in Scandinavia. World-class student musicians from the prestigious music academy are invited annually by Finlandia University to present a series of outstanding public performances. This year, three consecutive evening concerts will be presented at the historic Calumet Theatre; an additional festival concert will be presented at the Holy Cross Lutheran Church in Wheaton, IL. summer 2005 This year’s award-winning performers are solo pianist Marko Mustonen, piano-cello duo Anna Kuvaja and Alexander Gebert, and chamber music quartet Soli Amici (Annu Salminen, Performance Dates horn; Paula Kitinoja, oboe; Timo Jäntti, Calumet Theatre Holy Cross Lutheran Church bassoon; and Kaisa Koivula, clarinet; with piano Calumet, MI Wheaton, IL accompanist Jussi Rinta). on August 3 rd, 4 th, and 5 th on August 1st SEVENTH ANNUAL SIBELIUS ACADEMY MUSIC FESTIVAL TICKET ORDER FORM Name: ________________________________________________ CALUMET THEATRE 340 Sixth Stree t • P.O. Box 167 • Calumet, MI 49913 Address: ________________________________________________ Box Office: (906) 337-2610 • Fax: (906) 337-4073 Address: ________________________ Phone: ________________ E-mail: [email protected] http://www.calu mettheatre.com CALUMET THEATRE ONLY Date Artist Tickets Price Qty Best Available Seat On Total Aug. 3, 2005: Soli Amici: chamber music quartet Adult $15 ______ K Main Floor K Balcony $ ______ Jussi Rintä, piano (accompaniment) Student/Senior $10 ______ K Main Floor K Balcony $ ______ Aug.
  • Press Release

    Press Release

    Press Release Polish Premiere of Baltic Sea Youth Philharmonic’s ‘Baltic Sea Voyage’ programme at the Warsaw Philharmonic Concert Hall, 26 March 2015, 7.30 pm • Under the baton of Kristjan Järvi at the 19th Ludwig van Beethoven Easter Festival • BYP LAB from 22-25 March 2015 at the Krzysztof Penderecki Center for Music in Krakow Berlin, 23 March 2015. Baltic Sea Youth Philharmonic (BYP) returns to Poland to perform for the first time at the Ludwig van Beethoven Easter Festival, on Thursday 26 March at the prestigious concert hall, the Filharmonia Narodowa. Following on from its exhilarating debut at the Warsaw Philharmonic in 2014, BYP will now give the Polish premiere of its electrifying concert programme, Baltic Sea Voyage, under the baton of Founding Conductor and Music Director, Kristjan Järvi. The programme celebrates the rich and diverse musical landscape of the entire region, giving audiences the chance to discover the sounds of the countries bordering the Baltic Sea. Another Polish premiere will be the BYP LAB, the orchestra’s annual innovative educational workshop led by Kristjan Järvi and his team of internationally-renowned coaches. This year BYP LAB takes place at the Krzystzof Penderecki Center for Music in Krakow from 22 to 25 March 2015. Discover the unique sound of the Baltic Sea region Audiences of the Warsaw concert will have the chance to hear music from composers representing every country in the Baltic Sea region: Denmark, Sweden, Norway, Finland, Russia, Estonia, Latvia, Lithuania, Germany, and Poland. The programme of musical features 12 pieces of music, and will take audiences on a journey of discovery across the Baltic Sea.
  • Steven Isserlis Violoncello

    Steven Isserlis Violoncello

    Steven Isserlis Violoncello Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster. As a concerto soloist, he appears regularly with the leading orchestras, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres and plays with many of the world’s foremost chamber orchestras, including the Australian, Norwegian, Scottish, Munich, Potsdam, Zurich, Deutsche Kammerphilharmonie Bremen and Mahler Chamber Orchestra, as well as period-instrument ensembles, such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. He also directs chamber orchestras from the cello in classical programmes. As a chamber musician, he has curated series for many famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included In the Shadow of War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann’s life and music; and the music of Sergei Taneyev (teacher of Steven’s grandfather Julius Isserlis) and his students. For these concerts, Steven is joined by a regular group of friends, such as Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon. Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra; the premiere of Thomas Adès’s Lieux retrouvés, conducted by the composer, in Lucerne, Amsterdam, at the BBC Proms, and with the Los Angeles Philharmonic; Prokofiev’s Concerto Op.
  • Jean Sibelius Jean Sibelius (1865–1957)

    Jean Sibelius Jean Sibelius (1865–1957)

    SIBELIUS TAPIOLA | EN SAGA | 8 SONGS ANNE SOFIE VON OTTER Finnish Radio Symphony Orchestra HANNU1 LINTU JEAN SIBELIUS JEAN SIBELIUS (1865–1957) 1 Tapiola, Op. 112 (1926) 18:14 2 En Saga, Op. 9 (1892, rev. 1902) 18:40 (clarinet: Christoffer Sundqvist; viola: Ilari Angervo) Eight Songs Orchestrated by Aulis Sallinen (b. 1935) 3 De bägge rosorna (The Two Roses), Op. 88 No. 2 5:40 4 Sippan (The Anemone), Op. 88 No. 4 1:31 5 Dold förening (Hidden Connection), Op. 86 No. 3 1:05 6 Under strandens granar (Under the Fir Trees on the Shore), Op. 13 No. 1 1:07 7 Kyssens hopp (The Kiss’s Hope), Op. 13 No. 2 1:11 8 Hennes budskap (Her Message), Op. 90 No. 2 2:35 9 Men min fågel märks dock icke (But my Bird is Nowhere to be Seen), Op. 36 No. 2 2:14 10 Jägargossen (The Young Huntsman), Op. 13 No. 7 2:41 Orchestrations commissioned by the Finnish Radio Symphony Orchestra and Hannu Lintu. Premiered by Anne Sofie von Otter on 6th December 2015 Anne Sofie von Otter, mezzo-soprano Finnish Radio Symphony Orchestra Hannu Lintu, conductor 3 Jean Sibelius (1865–1957) is appreciated first and foremost as a composer of symphonies, but he was equally ambitious and productive in writing tone poems. In fact, his single-movement Seventh Symphony Op. 105 (1924) and the tone poem Tapiola Op. 112 (1926) demonstrate just how close these two genres came to merging in his output. Tone poems linked Sibelius to the radical Romantic composers of the 19th century: programme music allowed composers to expand their musical idiom and to break out of the bounds of formal structures.
  • Olli Mustonen Tapiola Sinfonietta

    Olli Mustonen Tapiola Sinfonietta

    olli mustonen Tapiola Sinfonietta piano concerto no.3 violin concerto (version for piano) page 1 Beethoven in 1804, by W.J. Mähler page 2 Ludwig van Beethoven (1770–1827) Concerto for piano and orchestra No. 3 in C minor, Op. 37 1 > Allegro con brio 17:16 2 > Largo 8:45 3 > Rondo. Allegro 8:50 Concerto for piano and orchestra in D major, Op. 61a (arranged by the composer from the Violin Concerto) 4 > Allegro ma non troppo 22:05 5 > Larghetto 7:59 6 > Rondo. Allegro 9:21 [74:34] Olli Mustonen, piano and conductor Tapiola Sinfonietta Janne Nisonen, concertmaster Recording: Espoo, Tapiola Hall, 10/2007 (1–3) & 11/2007 (4–6) Executive Producer: Reijo Kiilunen Ondine Inc. Recording Producer: Seppo Siirala Fredrikinkatu 77 A 2 Recording Engineer: Enno Mäemets FI-00100 Helsinki Publisher: G. Henle Verlag, Munich (Op. 37), Breitkopf & Härtel, Wiesbaden (Op. 61a) Tel. +358 9 4342 210 Photos: Maarit Kytöharju (Olli Mustonen – cover), © Wien Museum (Beethoven – booklet p. 2), Fax +358 9 493 956 © Gesellschaft der Musikfreunde Wien (Clementi – booklet p. 24), © Staatsbibliothek zu e-mail: [email protected] Berlin/Preussischer Kulturbesitz (Page from the autograph score of Op. 37 – inlay ; title drafts for www.ondine.net Opp. 61 and 61a – booklet p. 16), Heikki Tuuli (Tapiola Sinfonietta - back cover) Cover Design and Booklet Layout: Eduardo Nestor Gomez Booklet Editor: Jean-Christophe Hausmann P 2008 Ondine Inc., Helsinki 3 Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37, and Piano Concerto in D major, Op. 61a (after the Violin Concerto) With his Piano Concerto in C minor of 1803, Beethoven was destined to create the prototype of this genre for the rest of the century.
  • TOCC0416DIGIBKLT.Pdf

    TOCC0416DIGIBKLT.Pdf

    ERKKI MELARTIN Songs to Swedish Texts Four Runeberg Settings 1 Mellan friska blomster (‘Among budding fowers’), Op. 172, No. 2 (1931?) 0:48 2 Flickans klagan (‘The Girl's Lament’), Op. 14, No. 1 (1901)* 2:16 3 Törnet (‘The Thornèd Rose’), Op. 170, No. 3 (1931) 1:36 Hedvig Paulig, soprano 4 Stum kärlek (‘Silent Love’), Op. 116, No. 5 (1919) 2:21 Ilmo Ranta, piano Jan Söderblom, violin 10 – 13 , 22 Five Hemmer Settings 5 Mitt hjärta behöver… (‘My heart requires…’), Op. 116, No. 6 (1919) 2:30 6 Under häggarna (‘Under the Bird-Cherry Trees’), Op. 86, No. 3 (1914) 1:44 7 Bön om ro (‘Prayer for Rest’), Op. 122, No. 6 (1924) 2:03 8 Elegie (‘Elegy‘), Op. 96, No. 1 (1916) 2:56 9 Akvarell (‘Watercolour‘), Op. 96, No. 2 (1916) 1:56 Tagoresånger (‘Tagore Songs’), Op. 105 11:54 10 No. 1 Skyar (‘Clouds’) (1914) 3:20 11 No. 2 Sagan om vårt hjärta (‘The Tale of our Heart’) (1918) 2:24 12 No. 3 Smärtan (‘The Pain’) (1918)** 2:53 13 No. 4 Allvarsdagen (‘On the Last Day’) (1914) 3:17 Other Swedish Settings 14 Skåda, skåda hur det våras (‘See, see how the spring appears’), Op. 117, No. 2 (Löwenhjelm; 1921)* 1:57 15 I skäraste morgongryning (‘As aurora broke’), Op. 21, No. 2 (Tavaststjerna; 1896) 3:20 16 Marias vaggsång (‘Mary’s Lullaby’), Op. 3, No. 1 (Levertin; 1897)*** 3:24 17 Maria, Guds moder (‘Mary, Mother of God’), Op. 151, No. 2 (R. Ekelund; 1928) 3:13 18 Stjärnor (‘Stars’), Op.
  • 01 April 2020

    01 April 2020

    01 April 2020 12:01 AM Johann Christoph Pez (1664-1716) Overture in D minor Hildebrand'sche Hoboisten Compagnie DEWDR 12:10 AM Edvard Grieg (1843-1907) 3 Pieces from Slatter (Norwegian Peasant Dances), Op 72 Havard Gimse (piano) NONRK 12:19 AM Veljo Tormis (1930-2017) Sugismaastikud (Autumn landscapes) Norwegian Soloists' Choir, Grete Helgerod (conductor) DKDR 12:29 AM Jean-Baptiste Quinault (1687-1745) Overture and Dances - from the Comedy 'Le Nouveau Monde' (1723) L'ensemble Arion CACBC 12:38 AM Mario Nardelli (b.1952) Three pieces for guitar (1979) Mario Nardelli (guitar) HRHRT 12:47 AM Gabriel Faure (1845-1924), Jon Washburn (orchestrator) Messe Basse Henriette Schellenberg (soprano), Vancouver Chamber Choir, CBC Vancouver Orchestra, Jon Washburn (conductor) CACBC 12:57 AM Joseph Haydn (1732-1809) Symphony No. 97 in C major Hob.I:97 (1792) Royal Concertgebouw Orchestra, Nikolaus Harnoncourt (conductor) NLNPO 01:23 AM Johann Sebastian Bach (1685-1750), Felix Mendelssohn (arranger) Chaconne in D minor, from 'Partita No. 2, BWV 1004' arr. Mendelssohn Hiro Kurosaki (violin), Linda Nicholson (fortepiano) DEWDR 01:35 AM Wolfgang Amadeus Mozart (1756-1791) Quintet for piano, oboe, clarinet, bassoon and horn in E flat major, K452 Douglas Boyd (oboe), Hans Christian Braein (clarinet), Kjell Erik Arnesen (french horn), Per Hannisdal (bassoon), Andreas Staier (piano) NONRK 02:01 AM Bela Bartok (1881-1945) Divertimento, Sz. 113 Romanian Chamber Orchestra, Cristian Macelaru (conductor) ROROR 02:27 AM Dan Variu (b.1983) MikroDivertisment Romanian
  • Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting

    Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting

    Estonian Academy of Music and Theatre Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2018 ABSTRACT Conducting Madetoja. Discoveries About the Art and Profession of Conducting For the material of my doctoral project, I have chosen the three symphonies of the Finnish composer Leevi Madetoja (1887–1947), all of which I have performed in my doctoral concerts during years 2012–2017. In my doctoral thesis, I concentrate on his first symphony, Op. 29, but to fully understand the context it would be beneficial to familiarize oneself with my doctoral concerts on the accompanying DVDs, as well as with the available commercial and archival recordings of Madetoja’s three symphonies. The aim of this thesis is to understand the effect of scholarly activity (in this case working with manuscripts and recordings) on the artistic and practical aspects of a conductor’s work; this is not a study on the music of Madetoja per se, but I am using these hitherto unknown symphonies as a case study for my research inquiries. My main research inquiry could be formulated as: What kind of added value the study of composer’s manuscripts and other contemporary sources, the analysis of the existing recordings of the work by other performers, and the experience gained during repeated performances of the work, bring to performing (conducting) the work, as opposed to working straightforwardly using only the readily available published edition(s)? My methods are the analysis of musical scores, manuscripts and recordings, critical reflection on my own artistic practices, and two semi-structured interviews with conductor colleagues.
  • Symphony No. 4 in E Major Op. 80 by Erkki Melartin

    Symphony No. 4 in E Major Op. 80 by Erkki Melartin

    Symphony No. 4 in E Major Op. 80 by Erkki Melartin The five first of the six symphonies by Erkki Melartin (1875–1937), dated from 1903 to 1916, represent the National Romantic Finnish musical heritage based on Austro-German sym- phonic tradition. Back in Melartin’s time, their premieres became substantial, patriotic events, as was the case with the type of national symphony concerts introduced by Jean Sibelius . Typical for these concerts was the immediate presence of the composer. Accord- ingly, Melartin conducted all the premieres of his symphonies himself. After the occasions he always was greatly applauded and celebrated with great floral tributes. In addition, the crit- ics of the time gave great acknowledgement to Melartin’s symphonies. Melartin considered himself primarily as a composer, although he also was a professional conductor, a professor of music theory and composition, and from 1911 on he also worked as the director of the Helsinki Conservatory – later the Sibelius Academy – for 25 years. In his large oeuvre, e.g. the symphonies and the opera Aino are significant works when considering their artistic importance, but were left in oblivion after the composer’s death and during post-war Modernism. Since Melartin’s large-scale works were left unpublished during the composer´s lifetime – apart from Symphony No. 6 –, there has been an unnecessarily high threshold for bringing up or getting acquainted with them. In 2006, the Erkki Melartin Society launched an editing and clean-copying project for Melar- tin’s symphonies. The aim was to promote their performing, and help them become a living part of the music culture in Finland.