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NORDIC HIGHLIGHTS 4/2015 NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN Daniel Börtz & Medea Sibelius piano miniatures NEWS Awarded composers Samuelsson´s Trilogy of Love Garden of Devotion Karin Rehnqvist was awarded the composer Marie Samuelsson Rolf Martinsson and Lisa Larsson are contin- prize in memory of Bo Wallner for her great has composed a Tril- uing their successful collaboration in 2016 with artistry. “With her unmistakably personal tone ogy of Love consisting another 15 performances of Garden of Devo- Photo: Josef Doukkali Photo: language, often with folk music as a strong sono- of three orchestral tion, a song cycle about love, set to texts by Ra- rous fundament, she creates music of immediate works inspired by bindranath Tagore. In Sweden there will be per- interest that is both engaged and engaging.” Ma- texts of Göran Son- formances with the Norrköping SO, the Swedish rie Samuelsson received the magazine Nutida nevi, Sappho, and and Uppsala Chamber Orchestras, and the Musik’s annual recording prize “Nutida Sound” George Katsiafi cas. Västerås Sinfonietta. Th e German premiere will for her CD Th e Sun Goddess “where her orches- Conducted by Marc be in February with Staatskapelle Weimar, and tral sound shines with the power of the sun and Soustrot, the Malmö in September the Stuttgarter Kammerorchester swirls in seductive movements.” Mats Larsson SO and clarinet so- will follow. Th e Lapland Chamber Orchestra will Gothe was awarded the Swedish Music Pub- loist Johnny Teyssier will premiere A New Child give the Finnish premiere in September and the lishers Award for his “inventive instrumentation of Infi nity – To My Two Sons on 28 November. Dutch premiere with the Netherlands Chamber that creates both drama and variation” in his op- Scheduled for March of next year is the premiere Orchestra is scheduled for November. era Blanche and Marie. of Aphrodite – Fragments by Sappho, with mez- zo-soprano Katija Dragojevic and the Swedish Christian Radio SO under Daniel Blendulf, while October Lindberg will see the premiere of Th e Eros Eff ect and Soli- Photo: Jussi Vierimaa Jussi Photo: Photo: Mats Bäcker Mats Photo: darity with the Nordic Chamber Orchestra under the baton of Sarah Ioannides. Sputnik becomes Beatnik After the success with the short trumpet concertino Sputnik composed for Håkan Hardenberger and the Malmö Symphony Orchestra, Tobias Broström has now made Mikko Heiniö Lindberg conducts Pettersson an orchestral version, Beatnik, on commis- Christian Lindberg performs Allan Petters- sion from the Wermland Opera Orchestra. Premieres of Heiniö and son’s symphonies around the world. In Novem- Th is fi ve-minute opening piece or orchestral Aho concertos ber he conducted the unfi nished First Symphony encore, or as Hardenberger puts it, “a small Th e Organ Concerto by Mikko Heiniö com- with Nürnberger Symphoniker and thereafter fi rework rocket for festivities”, will have its missioned by the Katedraali soi festival is to be Symphony No. 14 with the Norrköping SO. Sym- premiere at the Wermland Opera’s Epiphany premiered on 11 February 2016. Th e soloist will phony No. 4 will have its Asian premiere with concert. be Jan Lehtola, with the Turku Philharmonic the Taipei SO in December and it will be per- Orchestra conducted by Leif Segerstam. Th e formed in March of next year by both the Royal Lintinen concerto for festival celebrates its 20th anniversary in 2016. Flemish and the Royal Stockholm Philharmonic Klingenthal fi nals Among the new works by Kalevi Aho is a Con- Orchestras. Th is October BIS released the CD certo for Tenor Saxophone and Orchestra to be per- Th e Accordion Concerto by Kirmo Lintinen has with the monumental 13th Symphony, which has formed at concerts by the Pori Sinfonietta and the been chosen as the compulsory work for the garnered rave reviews (See: Reviews). Lappeenranta City Orchestra in March; the solo- celebrated Klingenthal Accordion Competition ist is Esa Pietilä. Th e Turku Philharmonic Or- to be held in Germany on 2–8 May 2016. Th e chestra is to premiere the Timpani Concerto it has Concerto was commissioned by the Kokkola commissioned from Kalevi Aho in April 2016; NORDIC 4/2015 Winter Accordion Festival and premiered in HIGHLIGHTS the soloist then will be Ari-Pekka Mäenpää. NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN February 2015 by Niko Kumpuvaara and the Ostrobothnian Chamber Orchestra conducted Sound samples , video clips Kalevi Aho and other material are available at by Anna-Maria Helsing. www.gehrmans.se/highlights Romain Etienne Photo: Works by Palmgren and Pylkkänen Cover photo: Anneke Lönnroth/Eri Dance Theatre & Fennica Gehrman has signed a publishing agree- Key Ensemble in Mikko Heiniö’s Ilta (Matti Kivekäs) ment with the Sibelius Academy Foundation Editors: Henna Salmela and Kristina Fryklöf for six pieces for orchestra by Selim Palmgren Translations: Susan Sinisalo and Robert Carroll (1878–1951) and 73 mainly orchestral works Design: Tenhelp Oy/Tenho Järvinen ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) by Tauno Pylkkänen (1918–1980). Ten operas, Printed in Sweden by TMG Sthlm, Bromma 2015 including Mare and her Son, and Th e Wolf Bride, are also among the works by Pylkkänen. HIG HLIG HTS 4/2015 New composer – Jacob Mühlrad November 2015 Gehrmans has begun collaboration with the PREMIERES – March 2016 young composer Jacob Mühlrad (b. 1991), who already has managed to establish himself and reach out with his music to renowned institutions ALBERT SCHNELZER and musicians, such as the Royal Swedish Opera, Magical Allusions for oboe and orchestra the Swedish Radio Choir and pianist Staff an Malmö SO/Marc Soustrot, sol. Cristina Monticoli, 7.11. Malmö, Sweden But Your Angel’s on Holiday – Clarinet Concerto Scheja. Th e collaboration with Gehrmans will Norrköping SO/Anna-Maria Helsing, sol. Staff an Mårtensson at the outset include his choral works. Mühlrad’s 12.11. Norrköping, Sweden feeling for the human voice as an instrument is JONAS VALFRIDSSON, Bikernieke Forest special. He uses the text to create a sound pal- Sinfonietta Riga/Normunds Sne, 14.11. Riga, Latvia ette to paint with. “I have listened to his music OLLI KORTEKANGAS for choir and it is really top notch”, says compos- Grace – Sonatina for Horn and Organ er Sven-David Sandström. Th e works Th oughts Petri Komulainen, horn, Jan Lehtola, organ, 15.11. Helsinki, Finland & Th oughts, Anim Semiraus and Nigun have now KIMMO HAKOLA been published. Shevah, a work commissioned by In Memoriam 2015 for reciter and organ Christina Indrenius-Zalewski, recitation, Kimmo Hakola, organ Västerås Cathedral Parish, will be premiered in 17. 11. Siuntio, Finland (Lux Musicae Festival) the spring of 2016, and another commission for Metsämiehen laulu, arr. for baritone and wind band the Swedish Radio Choir is planned for 2018. Helsinki Police Band/Sami Ruusuvuori, sol. Jorma Hynninen Photo: Marcus Rönne 6.12. Espoo, Finland DANIEL BÖRTZ Sibelius editions for orchestra I mörkret av röster (In the Darkness of Voices) Th e orchestral transcription by Ernest Pingoud be published. Drawing mainly on Sibelius’s own for choir and tubular bells of the Op. 75 Trees piano cycle by Jean Sibelius manuscript, it corrects the errors in the material Eric Ericson Chamber Choir/Fredrik Malmberg, 18.11. Stockholm, Sweden can now be hired from Fennica Gehrman. Th is used since 1923 and for the fi rst time provides a Medea – Opera in 2 Acts Royal Swedish Opera/Patrik Ringborg, sol. Emma Vetter, Karl-Magnus gem dating from 1942 had been catalogued but true picture of the Humoresques. Fennica Gehr- Fredriksson, Marianne Eklöf etc., 23.1. Stockholm, Sweden the material was not previously available. It is a man published the original version of Sibelius’s SVEN-DAVID SANDSTRÖM fi ve-movement work and lasts about ten min- Cassazione, Op. 6 for symphony orchestra earlier Halleluja for mixed choir and orchestra utes. New, edited material of the Humoresques, this year. Joyful Mission Choir, Vienna Volksoper Orchestra/Yunsung Chang Op. 87 for violin and orchestra is shortly also to 22.11. Vienna, Austria Nun komm der Heiden Heiland for mixed choir, organ, cello and double bass Kortekangas to the fore in the USA WDR Rundfunkchor/Stefan Parkman, 28.11. Cologne, Germany Seven Pieces for Violin and Orchestra Olli Kortekangas’s Migrations for male choir, O/Modernt Chamber Orchestra, Swedish Wind Ensemble, soloist and orchestra is to be given its fi rst per- sol. Hugo Ticcati, 20.2. Stockholm, Sweden formance on 4 February 2016, in Minneapolis. The Giver of Stars A commission from the Minnesota Orchestra NOTUS Choir/Dominick diOrio, 26.2. Chicago, USA and Osmo Vänskä, it will be recorded by BIS JYRKI LINJAMA, Kastemusiikkia in April, coupled with Sibelius’s Finlandia and Finland Vuorjoki/Music Saara Photo: Sari Rantanen, soprano, Päivi Hakomäki, organ, 29.11. Espoo, Finland Kullervo. Th e soloist with the YL Male Voice Läsnäolosi, Hannu Jurmu, tenor, Liisa Malkamäki, organ 13.12. Espoo, Finland Choir will be Lilli Paasikivi. Migrations is the second sizeable commission Kortekangas has MARIE SAMUELSSON Ett nytt barn av oändlighet received from the United States; the fi rst, Sev- (A New Child of Infi nity) for clarinet and orchestra en Songs for Planet Earth, was premiered by the Malmö SO/Marc Soustrot, sol. Johnny Teyssier, 28.11. Malmö, Sweden Washington Choral Society in 2011. Th is can Aphrodite – Fragments by Sappho next be heard in the USA on 23 April, in a per- Swedish Radio SO/Daniel Blendulf, sol. Katija Dragojevic, mezzo-soprano, 11.3. Stockholm, Sweden formance by the Masterworks Chorale of Augs- Olli Kortekangas burg College conducted by Peter Hendrickson. TOBIAS BROSTRÖM, Beatnik Wermland Opera Orchestra/Johannes Gustavsson, 5.1. Karlstad, Sweden OLLI KORTEKANGAS, Migrations Minnesota Orchestra, YL Male Voice Choir/Osmo Vänskä, New solo discs sol.
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    TOCC0419DIGIBKLT.Pdf

    PIANO, ORGAN, HARMONIUM: THREE INSTRUMENTS, THREE SONORITIES, ONE TECHNIQUE by Annikka Konttori-Gustafsson and Jan Lehtola Te works recorded on this album are rather rare, having been composed or transcribed for the unusual combination of piano and harmonium. Why should a composer opt to bring two very diferent keyboard instruments together as a duo? Te answer can be found by taking a closer look at the co-existence of piano, organ and harmonium. Te technique required to play each of them did not difer enormously in the Romantic era, and in the nineteenth century in particular students were taught to play the organ in the same way as they were the piano. Te reason may lie in the fact that many of the major composers of organ music of the time, such as Brahms, Franck, Liszt, Mendelssohn, Saint-Saëns and Schumann, were also frst-class pianists. Te piano infuenced not only organists’ technique but organ-building as a whole. Te works of these pianist- composers posed new challenges in the organ lof, and various aids were devised to make playing organs as efortless as playing the piano: the organ keys, for example, were enlarged until they soon resembled those of the piano. Te Romantic era also fostered interest in the harmonium; it was an inexpensive instrument and added variety to music-making in the home. Easy to carry about and capable of producing a range of timbres, it also enjoyed a career as a concert instrument that, though brief, was rich in repertoire. Many important composers wrote for it, among them Berlioz, Boëllmann, Dvořák, Franck, Karg-Elert, Vierne and Widor.
  • Magnus Lindberg Tempus Fugit Violin Concerto No

    Magnus Lindberg Tempus Fugit Violin Concerto No

    MAGNUS LINDBERG TEMPUS FUGIT VIOLIN CONCERTO NO. 2 FRANK PETER ZIMMERMANN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU 1 MAGNUS LINDBERG Philip Gatward 2 © MAGNUS LINDBERG (1958) Tempus fugit (2016–17) 33:16 1 Part 1 3:30 2 Part 2 7:53 3 Part 3 9:19 4 Part 4 5:43 5 Part 5 6:51 Violin Concerto No. 2 (2015) 24:57 6 1st movement 9:07 7 2nd movement – Cadenza 10:46 8 3rd movement 5:04 FRANK PETER ZIMMERMANN, violin (6–8) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 3 “I’m not as cautious as some about returning for a second concerto. In the second half of the 20th century it seemed that composers wrote one definitive concerto for an instrument and then moved on, but if you look further back, composers like Bartók and Prokofiev were happy to return and come up with new solutions for the same instrument. I’m with them because I’m particularly drawn to the great instruments such as piano, violin and cello – I’m not interested in ending up having to write concertos for exotica such as theremin. I’ve also had healthy gaps between my concertos to allow thinking time: 20 years between my two piano concertos, 15 between those for cello, and about 10 years will separate the violin concertos.” Thus spoke Magnus Lindberg around the time of the premiere of his Second Violin Concerto in late 2015. He had gone through a quick replay, so to speak, of his earlier concerto cycle in the preceding years: his earlier concertos for piano (1994), cello (1999) and violin (2006) each gained a successor in fairly rapid succession with the Second Piano Concerto (2012), the Second Cello Concerto (2013) and the Second Violin Concerto (2015).
  • Ernest Martínez-Izquierdo, Conductor Jouko Laivuori, Piano Kirmo

    Ernest Martínez-Izquierdo, Conductor Jouko Laivuori, Piano Kirmo

    Ernest Martínez-Izquierdo, conductor Jouko Laivuori, piano Kirmo Lintinen: Piano Concerto 1, fp. (YLE commission) 32 min INTERVAL 15 min Gabriel Fauré: Incidental music to Pelléas et Mélisande, 16 min Op. 80 I Prélude (Quasi adagio) II La Fileuse (The Spinner) (Andantino quasi allegretto) III Sicilienne (Allegretto molto moderato) IV Molto adagio (La mort de Mélisande, The Death of Mélisande) Olivier Messiaen: L’Ascension 22 min Four symphonic meditations for orchestra I Majesté du Christ demandant sa gloire a son Père (The Majesty of Christ seeking his glory from his Father) II Alleluias sereins d’une âme qui désire le ciel (Serene alleluias of a soul seeking Heaven) III Alleluia sur la trompette, alleluia sur la cymbale (Alleluia on the trumpet, allelulia on the cymbal) IV Prière du Christ montant vers son Père (Prayer of Christ ascending unto his Father) Interval at about 7.35 pm. Th e concert ends at about 8.40 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi /rso). 1 Kirmo Lintinen (1967–): Piano Concerto No. 1 Kirmo Lintinen has composed over a hun- Of his fi rst piano concerto Lintinen says: dred works covering a wide range of genres “My Piano Concerto No. 1 (2008) is a work and moods, from children’s songs to opera, lit- lasting over half an hour and is in fi ve move- tle pieces for teaching purposes to fi lm scores, ments performed without a break. Th ough the dance music to dodecaphony, and jazz to Ba- movements all have basic characters of their roque allusions.