NEWSLETTER FROMGEHRMANSMUSIKFÖRLAG&FENNICAGEHRMAN

NORDICHIGHLIGHTS & Larsson Focus onLintinen G othe 2/2016 NEWS

Schnelzer at Weekend Festival Rautavaara’s Mine in Hungary Albert Schnelzer will Einojuhani Rau- be next year´s Weekend tavaara’s opera Th e Photo: Beatrice Lundborg Beatrice Photo:

Festival at the Hans Lindén Photo: Mine (Kaivos) is in Concert Hall. Ondine Records Photo: the repertoire of the Scheduled for 6-9 April, Hungarian State the festival will feature Opera House in Oc- some 15 of his orchestral tober-November; the and chamber works, in- fi rst of the four per- cluding the premiere of a formances is sched- new 20-minute orchestral uled for 23 October, piece dedicated to the Royal Stockholm Philhar- and there are also monic under the direction of Evan Rogister. Ja- plans for bringing the production to Finland. cob Koranyi will be soloist in the cello concerto Jacob Mühlrad Th e conductor is Tibor Bogányi and the solo- Crazy Diamond, and the Gävle Symphony Or- ists include Tommi Hakala, Adrienn Miksch chestra will make a guest performance, together Extended agreement and Sándor Balla. Th e opera is about the Hun- Gehrmans has entered into an extended collab- with Francois Leleux, in the oboe concerto Th e garian uprising in 1956 and is one of the events oration with Jacob Mühlrad. Th e agreement, Enchanter. commemorating this. It tells how a community which initially applied to his choral music, now revolts against dictatorship through the story also includes orchestral and chamber music, as in demand of workers trapped underground when a mine well as his border-crossing cooperation with Th e series of Kalevi Aho concerto premieres collapses. Swedish Grammy Award winning rap artist Sil- continues in Antwerp on 21 October 2016 with vana Imam. When Mühlrad receives his mas- the performance by the DeFilharmonie of the ter’s degree from the composition programme Harri Viitanen highlighted Double Concerto for English Horn and Harp it has at the Royal College of Music in June there are Th e spring 2016 issue of the French magazine commissioned from him. Th e soloists will be An- already many commissions waiting: a violin con- Orgues Nouvelles has highlighted the organ neleen Lenaerts, harp, and Dimitri Mestdag, cor certo, a couple of large-scale choral works and a music of Finnish composer-organist Harri Vii- nd anglais. Aho’s 2 Violin Concerto will receive its number of chamber music pieces. tanen. Th ere are two works by him – Images premiere in Kotka on 30 November by the Kymi d’oiseau and Voyager – on the accompanying Sinfonietta. Th e soloist is Elina Vähälä. CD, and an article by Carolyn Shuster Fourni- Aho’s Symphony No. 14 ‘Rituals’ will receive Karlsson and Nieminen er extols his music for its universal visions and fi ve performances in August. It is on the tour mystique, calling him a spiritual son of Olivier programme for the Lappeenranta City Orches- Messiaen. Viitanen has given many performanc- Photo: Saara Vuorjoki Saara Photo: tra in Finland and Lithuania on August 10-19 Karlsson David Photo: es in France, at such illustrious churches as No- (there will be four performances in all) and the tre Dame and La Sainte-Trinité de , where Chamber Orchestra of Lapland will play it at the he gave a recital of his own works in May 2015. Luos to Classic Festival on 14 August. A new music festival dedicated to Kalevi Aho will be launched in Forssa, Finland on July 1-2. It will focus on his chamber music, including piano works performed by Sonja Fräki. Th e Lapland Chamber Orchestra conduct- ed by John Storgårds is to premiere Lars Karlsson’s Clarinet Concerto with Christoff er Sundqvist as the soloist in Rovaniemi on 28 NORDIC HIGHLIGHTS 2/2016 September. BIS will be recording the concer- NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN to alongside with Karlsson’s Seven Songs for Sound samples , video clips Baritone and Orchestra of poems by Pär La- and other material are available at gerkvist (with soloist Gabriel Suovanen). www.gehrmans.se/highlights Solo works by Kai Nieminen are to be pre- miered this summer in Finland, the UK and Cover photo: : Miranda Tini in African Prophetess at the Romania. A concert dedicated solely to his Larsson Gothe Festival/Jan Olav Wedin, Mats Larsson music is to be held in Jyväskylä on 9 August; Gothe/Mats Bäcker, Kirmo Lintinen/Maarit Kytöharju (Music Finland) Erkki Palola and Tuomas Mali will play chamber music. Pilfi nk Records has released Editors: Henna Salmela and Kristina Fryklöf Translations: Susan Sinisalo and Robert Carroll a CD including works by Kai Nieminen per- Design: Tenhelp Oy/Tenho Järvinen formed by Tommi Hyytinen, horn (see: New Päivi Nikkanen-Kalt and Harri Viitanen in ISSN 2000-2742 (Print), ISSN 2000-2750 (Online) CDs). front of the Église de la Sainte-Trinité de Paris. Printed in by TMG Sthlm, Bromma 2016

HIG HLIG HTS 2/2016 Summer Håkan 2016 Hardenberger PREMIERES

KIMMO HAKOLA Monument Annikka Konttori-Gustafsson, piano 19.5. , Finland String Quartet No. 4 Meta4

Photo: Marco Borggreve Marco Photo: 12.7. Kemiö, Finland (Kimito Island Music Festival) Broström’s Sputnik at the Proms KAI NIEMINEN Håkan Hardenberger will take Tobias Broström´s Shades... around Stonehenge Ruins Sputnik on tour with the Academy of St. Martin in Marco Ramelli, guitar Peter Friis-Johansson and 15.6. St. Andrews, UK Sven-David Sandström the Fields in July and August. Th ere will be perfor- The Smile of Flamboyant Wings Photo: Emelie Kroon Photo: mances in Germany and Norway, and the tour will Tuomas Mali, piano Sandström’s new Piano Concerto end with a concert at the BBC Proms, for which Bro- 26.6. Campina, Romania Northern Spells In March of 2017 the Symphony Or- ström has also made an arrangement of Brahms´s Marko Rutanen, guitar chestra will premiere Sven-David Sandström´s Hungarian Dance No. 6 for trumpet, banjo, accordi- 3.7. Jämsä, Finland Five Pieces for Piano and Orchestra. Th e work has on, piano and strings. MIKKO HEINIÖ been fi nanced by the Anders Wall Foundation and is When the Boys…/ Kun pojat… James D. Hicks, organ dedicated to pianist Peter Friis Johansson who says, 21.6. Turku, Finland “the piano concerto is a stroke of genius. Th e music is Haglund Festival in Halmstad Three Morning Songs very personal, full of brilliant ideas, interesting tim- Tommie Haglund will be honoured with a two- Sampo Haapaniemi, baritone, Ville Matvejeff , piano bres and vivid themes. Th is will be an epic journey day festival in St. Nicolai Church, in his home- 12.8. Turku, Finland (Turku Music Festival) Jag vill gå mellan rågen for me and undoubtedly for the audience as well.” town Halmstad on 30 September-1 October. Th e Key Ensemble/Teemu Honkanen artistic leader is conductor Joachim Gustafsson, 14.8. Turku, Finland (Turku Music Festival) Englund works published who will present a programme featuring orches- BENJAMIN STAERN Fennica Gehrman is signing an agreement with the tral, choral and chamber music works. Partici- Drop Waves David Huang, piano Einar Englund estate for works by him that have not pants include the Göteborg Opera Orchestra, 29.6. Båstad, Sweden (Båstad Chamber Music Festival) yet been published. It covers 17 items for orchestra, the St. Nicolai Choir, the Merentin Quartet, et al. Air – Spiral – Light among them Th e Great Wall of China, Symphonies You will fi nd the complete programme at: www. Camilla Hoitenga, fl ute, Karin Dornbusch, clarinet, gehrmans.se/en/calendar. Magdalena Meitzner, percussion, David Huang, piano, 3, 5 and 7, concertos, chamber and vocal music. Th e Nadia Wijzenbeek, violin, Ylvali Zilliacus, viola, birth of Englund 100 years ago is being celebrated Marie Macleod, cello, cond. Christian Karlsen, sol. this year with numerous concerts and performances. Jacob Kellermann, guitar Fennica Gehrman recently published new, clean-cop- Heiniö’s Evening on stage and CD 1.7. Båstad, Sweden (Båstad Chamber Music Festival) ied orchestral material of his Symphony No. 4. Th e choral work Ilta (Evening) by Mikko Hei- JACOB MÜHLRAD Point of No Return for solo cello niö can now be heard on the new disc released by Antonio Hallongren the Key Ensemble. Lasting 53 minutes, it is in fi ve 29.6. New York, USA movements, each in a diff erent language and joined OLLI KORTEKANGAS together by clarinet and cello intermezzos. Th e crit- Valon aika (Time of Light) Juha Kotilainen, baritone, Janne Malinen, guitar ically-acclaimed premiere in September 2015 was 30.6. Heinävesi, Finland a co-production with the ERI Dance Th eatre to a JYRKI LINJAMA choreography by Tiina Lindfors. ERI and the Key Sonata da chiesa III Ensemble conducted by Teemu Honkanen are now Petteri Pitko, harpsichord 15.7. Hiittinen, Finland (Kimito Island Music Festival) bringing Evening to Helsinki for the fi rst time; the eagerly-awaited performance will be held in the Almi KALEVI AHO Kimmo Hakola commissions Hall of the Finnish National Opera on 8 October. Passacaglia Marko Ylönen, cello, Timo Korhonen, guitar Th e Gulbenkian Foundation and the Europe- 13.8. Luosto, Finland (Luosto Classic) an Concert Hall Organisation have commis- Staern in focus SVEN-DAVID SANDSTRÖM sioned Kimmo Hakola to compose a piece for Th e Båstad Chamber Music Festival’s focus on Ben- Föreställningen/The Performance clarinet and piano for their concert season. Th e jamin Staern (27 June-2 July) will include the world – Chamber Opera Ensemble from the Royal Swedish Orchestra/Mattias Böhm, premiere in London on 19 October by Horácio premiere of Air – Spiral – Light for guitar and small Love Derwinger, piano, Jeanette Köhn, soprano, Ferreira, clarinet, and David Bekker, piano ensemble with Jacob Kellermann as soloist. It will Katija Dragojevic & Miriam Treichl, mezzo-soprano will be followed by a further 16 performances also see the premiere of the piano piece Drop Waves 28.8. Stockholm, Sweden (Baltic Sea Festival) across Europe in autumn 2016 and spring 2017. composed for David Huang. Conducted by Daniel LARS KARLSSON A new string quartet by Hakola (his fourth) is Raiskin, the Iceland Symphony Orchestra will play Clarinet Concerto Lapland CO/John Storgårds, sol. Christoff er Sundqvist also forthcoming. Written for the Meta4 Quartet, Godai – Th e Five Elements at the Nordic Music Days 28.9. Rovaniemi, Finland it will be premiered at the Kimito Island Music in Reykjavik in October. And just before Christmas, MARIE SAMUELSSON Festival in July. Hakola’s fi rst quartet made his Staern´s family opera Th e Snow Queen (Snödrottnin- Eros Eff ect and Solidarity – Love Trilogy No. 3 breakthrough on winning the Unesco Rostrum gen), based on H.C. Andersen´s fairy tale, will have Nordic CO/Sarah Ioannides competition in 1991. its premiere at the Malmö Opera. 8.10. Sundsvall, Sweden

HIG HLIG HTS 2/2016 Mats Larsson Gothe – a musical seeker Mats Larsson Gothe doesn´t excuse himself any longer. He writes the music that he wants to write and doesn´t hesitate to bring out the beautiful.

– Th e fact is that this new symphony is based and when Mats started to play in the brass band, a in its entirety on material from Blanche and Marie; new world opened up to him. He even began to lis- at the same time it is important to emphasise that ten to music by Shostakovich, Stravinsky, and later it is a new work. You neither have to have seen nor during his secondary school years he also found his heard the opera to enter into the vast sound world way to Lutoslawski, Stockhausen, Boulez, et al. – of the new symphony, he says. who profoundly infl uenced his music at He describes the music as a journey through a the beginning of his career. changeable musical landscape, where he puts to- But the composer who has probably meant the gether the parts from Blanche and Marie that he most for Mats Larsson Gothe is Anders Eliasson likes best. (1947-2013), who was also one of his best friends. – Th e long lines in the music have come to be – As soon as I had fi nished a piece I went home essential, he says. For he is keen on keeping the to him to play it and get his opinion. He could be listeners in his grip and not losing them on the very frank, but we had great respect for one anoth- way. Nor does he make any abrupt changes or play er, says Mats. hide-and–seek with the audience. Th e only thing Epilogos for cello and piano (2008-09) bears the

Photo: Mats Bäcker Mats Photo: that matters is to move the listeners emotionally subtitle “Hommage à Anders Eliasson”. It was the and, if possible, to say something about what it is fi rst piece that Mats had composed after Poet & ats Larsson Gothe is without a like to be human. Prophetess and it was therefore given the title Ep- doubt one of Sweden´s most high- ilogos, channelling at the same time the fatigue he ly acclaimed composers just now. Poet & Prophetess had experienced after his work on the opera. Th e His opera Blanche and Marie, af- Mats Larsson Gothe´s major breakthrough came music is explosive and pendulates between fervent Mter P.O. Enquist´s novel about Marie Curie and with the opera Poet & Prophetess (2006-07). Th is intensity, dramatic attacks and frenetic energy. her assistant and friend Blanche Wittman, was a was a commission from the Norrland Opera in great success at its premiere during the Capital of collaboration with the Cape Town Opera in South The Phantom Carriage Culture year in Umeå 2014, and was nominated in Africa. In the libretto by Michael Williams both Just now Mats Larsson Gothe is working almost the category World Premiere at the International Swedish and South African eighteenth-century exclusively on one extensive and somewhat diff er- Opera Awards. His extensive output also includes history are linked up through two historical per- ent task – to write new music to Victor Sjöström´s orchestral works, solo concertos, chamber music, as sons, the Swedish poet Bengt Lidner and the classic silent fi lm Körkarlen/Th e Phantom Carriage well as songs. South African prophetess Jula. Th ey never met in from 1920, a commission from the Gothenburg In his opinion, to be a composer is to be contin- real life, but in the opera they meet aboard a ship Symphony Orchestra. Th e music will have its pre- ually seeking, a seeking that never ends. As far as on the way to Cape Town. She is to be sold as a miere in February of next year in connection with Mats Larsson Gothe is concerned, this has meant slave, he has been sent off by his stepfather who the Gothenburg Film Festival’s 40th anniversary. diff erent artistic directions and diff erent periods hoped that the romantic poet would fi nally be- It will be performed live to the fi lm, which will be with a variety of aesthetic achievements. But he has come a real man by the hard drudgery on the ship. projected onto a gigantic screen in the Gothenburg always returned to his point of departure: himself And just as the opera Blanche and Marie lives on in Concert Hall. % and his own conscience. the Th ird Symphony, Poet & Prophetess has been Mats Larsson Gothe compares this creative pro- transformed into Th e African Prophetess, a concert cess to writing an opera, but without singers. Th e To move the listener version of the opera that was premiered at the Nor- singers are replaced by the various actors in the Over the last few years it has become ever more im- rland Opera on 7 April 2016 and performed at the cast on the fi lm screen, and he follows them just as portant for Mats Larsson Gothe that the music he Stockholm Concert Hall the following evening. painstakingly as if it were a real opera he was work- creates moves the listener on an emotional level. In In the summer of 2015 Mats Larsson Gothe ing on. Th e composition of the music is scheduled the spring of 2016 he was given a comprehensive celebrated his 50th birthday and he has been work- to be fi nished by October of this year, and he has portrait with music for both small and large ensem- ing as a composer full time for twenty years. For already begun to develop various leitmotivs for the bles during the Composer Weekend at the Stock- the Weekend Festival in Stockholm he picked out diff erent characters in the fi lm. – It is of course a fantastic fi lm, very powerful. p holm Concert Hall – fi ve concerts in four days. Th e the works that he felt most satisfi ed with, but also I have had more fun doing this than anything else 2 premiere of the Th ird Symphony “… d e Bl a n c h e e t music that has meant a lot to him personally, such I have done up to now, says Mats Larsson Gothe, Marie… “ attracted great interest, a continuation of as the Trumpet Concerto (1996), which he wrote who has several exciting projects coming up after his opera Blanche and Marie. during a period when he was more oriented toward p Th e Phantom Carriage, symphonic as well as mu- Already during the rehearsals of the opera and than he is today. sical-dramatic. when he saw the performances himself, it gradually Music came to him at an early age from the Free p dawned on him that he should let this music live on Church. His father was a pastor in the Swedish Göran Persson a in some other form. Missionary Society, where music was important,

p HIG HLIG HTS 2/2016  

Fences ! no obstacle * sff for music’s gentleman  !  %* sff ff Despite his long history as a prominent fi gure in jazz circles, most ! of Kirmo Lintinen’s compositions have been in the  Classical tradition. His music is full of imagination, free sff * from stereotypical ideas and highly expressive.

 !  % % * sff ff here’s a lot of talk these days about crossover and breaking  ! down fences, but Kirmo Lintinen (b. 1967) – a man with a % fi nger in many musical pies – skims across borders with such  * sff elegance that the thought of crossover barely occurs. For here Tis a composer who seamlessly adjusts the ambience and stylistic profi le of

%* his ! works, and in doing so creates hybrids with a balanced blend of con- sff tents and each with its own crisp, characterful identity. His sources of inspiration are not diffi cult to spot. Many of them date from ! around the 1920s: Maurice Ravel, Francis Poulenc and the other %* sff members of Les Six. French Baroque and jazz. Historical forms from ron- do to cavatina fl ow from his pen, as do Afro-American genres. Stravinskyan kleptomania ! goes hand in hand with ever gentlemanly musical decorum.  * Lintinen graduated from the Jazz Department some sff two decades ago, but the bulk of his composition studies were with Eero Hämeenniemi ! in the classical sector. Th e UMO Jazz Orchestra has kept * sff him busy for nearly thirty years, as pianist, as the conductor of countless concerts, and for a couple of terms as Artistic Director. Among the items in his lengthy CV are a jazz concert he arranged and conducted for soprano Karita Mattila and the artistic planning of several festivals.

  Concertos for a variety of instruments (Music Finland) Maarit Kytöharju Photo: mf Kirmo Lintinen has an extensive catalogue ranging from opera to chamber   ! sff music, fi lm scores and songs for children. In recent years he has added con- along the way by a rich battery of percussion instruments. Th e Accordion certos for a variety of instruments: 12 in all. Piano Concerto No. 1 (2008) Concerto (2015) cannot be labelled as jazz, but as an arch endlessly churn-    $ is !a splendid example of his elegant blend of styles. Th e fl owing opening ing out ideas, it calls to mind a great Keith Jarrett solo. sff    6 melody continues in a piano texture reminiscent of Scriabin. Th e skilful 7 6 9 6 % % %  orchestration includes such novel combinations as a tuba,% glockenspiel  and  %     %    %%   ! ' %       %       %       piano all playing in unison. Th e abundant %use of ornaments could be a relic Humour and% hybrids in chamber   music %    6 %  6 % of the French Baroque, while the endless one-fi nger5 melody of6 the Not- Th e close on 50 chamber works by Lintinen are for their part proof of 6 sff p mf f crresc./dim. simile turno movement pays homage to both Bill Evans and Ravel. Th e quirky,% his diverse 5mastery and musicianly approach. Quattro capricci5 (2004) for chipper Scherzo urbano could be described as musical   parkour, halting and saxophone quartet ends with a movement %  titled Keaton. Humour, games  !   %%              %% % leaping onto platforms, fences and walls. Whether the music% is soft or loud, and play masked as serious are  true Lintinen, as they are in the preceding%  %  6    slow or fast, there is always room for a neatly immersed beat5 in the or- 6 Canon movement, where5 two pairs of saxophones acting as mirror images5 5  & & & & & chestra or solo piano.  chase each other, one a quarter of a bar behind the other.  Risoluto e maestoso. q = 48 con sord. Th ere is also a tailored, chic elegance in the Clarinet Concerto (2013) that Th e quintet Marcheairrag (2005), a march, aria and ragtime hybrid, is slips on as smoothly as a chamois-leather glove. Joining the$ velvety solo both% $frugal yet extravagant.$ Parody, empathy, nostalgia%$ and joy are here$  %$ clarinet, each in turn, are% a %plodding %  bass in the nature of a passacaglia, inseparable. p %$    % % pp 2  lush fi fths on the cellos, unusually rich melodic support from the timpa- Canonische Begegnungen (2006) for oboe, clarinet and piano takes strict con soni,rd. a French horn and violin canon, and woodwind arabesques. Sensual, part writing of German type as its starting point, but from the piano’s $ %$ $ %$ $ civilised and conscious of tradition. Even the slow passages proceed with opening signal onwards the canons keep straying onto wayward paths. p % % %$ %$ assurance, while the fast ones  positively% binge on rhythm. Th e wildly zig- Here,pp as in his other works, Lintinen writes music of detailed precision, con sord.  zagging clarinet plays a game of tag with itself in the leaps of its cadenza. full of imagination, free from stereotypical ideas and highly expressive; and %$ $ $ $ %$ In the one-movement Tuba Concerto%  (2014),$ the soft-lined solo is borne never more so than in the works for his own instrument, the piano. p % % % %$ along by an orchestra  %of varying timbre and texture that, as it waxes and pp a 2  con sowanes,rd. adds to the continuous melodic weave. Th e music is seasoned all Jukka Isopuro $ $ %$ $ $ $ p %$   % % pp con sord.  HIG HLIG HTS 2/2016 %$ $ $ $ %$   % $ %$   % % REPERTOIRE TIPS Concert pieces for organ REVIEWS

TOMMIE HAGLUND and the organ gradually becomes the focus of attention. The Di sogni tessuto (2013) Dur: 18´ middle movement is based on Linjama’s own, jubilant cho- organ solo ral transcription of the medieval Christmas carol Puer natus

Tommie Haglund describes this work in Bethlehem, and shining through the last movement is a Wedin Jan-Olav Photo: as a journey between various states Gregorian chant. of mind, where the main destination is consolation. The music goes from the tranquil and medita- ROLF MARTINSSON tive to really big, dark and roaring emotional outbursts. But Chords and Bells (2008) Haglund also lets the light shine through in the form of im- Dur: 10´ mensely beautiful melody lines that instil a glimmer of hope. organ solo In this piece chords and harmonies PAAVO HEININEN become symbols for bells. The chords Aiolos (2014) Dur: 80´ are presented in the quiet fi rst part of the work, after which Concerto for Organ and Symphonic Band: the sound of fragile bells appears, using colorful registrations 3373-433(+bar)1 and short, rhythmic touches. Towards the end of the piece the Heininen’s monumental Aiolos, rich bells emerge with full force, furioso in forte fortissimo. in fantasy, is in nine movements each with its own distinct sound and character. Orchestra and or- PEHR HENRIK NORDGREN Cape Town Opera Choir in African Prophetess gan weave together as one huge, throbbing wind instrument Concerto for Organ and Cham- to produce a fascinating mystery and drama: 1½ hours just fl y ber Orchestra (2007) Dur: 26´ Larsson Gothe Festival past listening to this miracle. organ+3perc-hp-str Here there are dazzlingly beautiful transitions between pi- This is a work of deep hues and dynam- ano and celesta, supporting brass parts and a fervent solo MIKKO HEINIÖ ic variation against a serene orchestral violin in conversation with a cello. Now and then Stravin- Concerto for Organ and Orchestra soundscape. The undercurrent in Nordgren’s music is dark and sky casts a shadow over rhythmically intense passages. But (2012-13) Dur: 25´ the melodies are often melancholy and falling, but there is above all it is his model Anders Eliasson who reappears in organ+2222-2200-10-str always a way to the light. Nordgren composed the concerto the contrast between expressive outbursts and reconciling At times the organ dances to the beat of only a year before he died, and the Ostrobothnian Chamber calm. It is intertwined in a refi ned manner to form a unity. an old Italian Saltarello, while at others Orchestra premiered it with Jan Lehtola as the soloist in 2009. Dagens Nyheter 8.4. it engages in sustained, intense dialogue with the orchestra. Mats Larsson Gothe: ”…de Blanche et Marie…” The result is an impressive, sublime work steeped in colour. FREDRIK SIXTEN – Symphony No. 3 At the heart of the concerto is the Summer Hymn familiar to Variations for Organ (2008) all Finns, its theme sumptuously and variedly treated before Dur: 14´ The performance of African Prophetess was magnifi cent building up to a mighty climax. and explosive… Rhythmical and dramatic, with an apt organ solo staging of the choir and the soloists, this opera may very 11 variations on the Swedish folk song well be Larsson Gothe’s best work up till now. For once the GUNNAR IDENSTAM Visa från Åhl (Song from Åhl) intended audience´s standing ovations were not at all excessive… Cathedral Music (1995-96) for the myriad colours possible on a large symphonic instru- Mats Larsson Gothe is a composer whose music is very ment. Each of the eleven variations possesses a distinct iden- Dur: 76´ accessible; all remaining prejudices about new art music tity. The contrasting movements include a section for double organ solo being diffi cult come to nought. Aftonbladet 8.4. This suite consists of 17 pieces where pedals, a scherzo, varying contrapuntal techniques, tender virtuosity, form, structure and sonori- adagios, and a fugue, all of which are concluded by a toccata. Mats Larsson Gothe: African Prophetess ties from the French tradition of cathedral music are combined Commissioned and premiered by James D. Hicks. Composer Weekend Festival: Royal Stockholm PO/Benjamin Shwartz, Cape with the harmony and energy in the symphonically oriented Town Opera Company, Norrland Opera SO/Rumon Gamba, 7-10.4.2016 rock music. There is also inspiration from Swedish folk music BENJAMIN STAERN Stockholm, Sweden and Gregorian chant. Organ virtuoso Gunnar Idenstam off ers Fluxus (2008) Dur: 10´ us a soundscape fi lled with mysticism, playfulness, brilliance organ solo and euphoric delight. The pieces can also be performed sep- The Latin word fl uxus means fl ow. Eliasson’s amazing sound world arately. In Staern´s work it is about diff erent Eliasson’s sound world is depicted in well-balanced harmonic and rhythmical fl ows, which water colours… It is the most powerful in its quiet mo- NILS LINDBERG toward the end of the work are united in a dancing and vir- ments, when a strange beauty, unusual for contem- Dalecarlian Pictures (2013) tuosic fi nale. Fluxus was written for Hans Fagius, who has porary music, makes its appearance – perhaps most played the work more than 30 times in venues throughout beautiful in Anna Larsson’s contralto parts. Dur: 10´ Dagens Nyheter 14.3. organ+2222-2200-01-str Europe and in Japan. Lindberg´s Dalecarlian Pictures was Anders Eliasson: Dante Anarca composed for the inauguration of the HARRI VIITANEN Royal Stockholm PO, Eric Ericson Chamber Choir/Sakari Oramo, sol. Ingela new “Organ Acusticum” in Piteå, the largest organ in Scandina- Firmamentum (1985-88) Brimberg, Anna Larsson, Michael Weinius, Gabriel Suovanen, 10.3.2016 via. The work is based on two folk tunes from Dalarna, a Horn Dur: 45´ Stockholm, Sweden Tune from Gagnef framed by a Marching Tune from Leksand. organ+2222-2220-03-str It moves in the late Eliasson’s typical landscape in a Lindberg displays once again his skill in combining Swedish The Firmamentum concerto is, says state of pure stringency, a restless chromaticism and folk tradition with a classical tone language. Viitanen – a keen astrologist – like a here also an almost folk-musical touch and accentua- Mass in space. His aim was to convert the distances between JYRKI LINJAMA constellations into relationships between notes. The organ tion… The soloist pair wandered together through vi- olent outbursts, over calmer refl ections to the fi nale’s Liturgical Concerto for Organ rises out of the initial silence, after which diff erent moods and elements, such as synthetic scales, a chorale and variations, fi ddling and urgent soloist lines. and Strings (2005) Dur: 25´ Dalarnas Tidning 10.4. organ+strings: 6-6-4-4-2 and meditative episodes follow one another and in doing so Anders Eliasson: Concerto per violin ed orchestra da This concerto can be performed either create astonishing timbral eff ects that reach out to another camera in concert or as part of divine worship. reality. Dala Sinfonietta/Daniel Blendulf, sol. Fredrik Paulsson, violin, Ellen In the opening movement the strings create a lyrical setting Nisbeth, viola, 9.4.2016 Falun, Sweden

HIG HLIG HTS 2/2016 Katija Dragojevic Photo: Mattias Ahlm Mattias Photo: Lotta Congenial Samuelsson Wennäkoski It has more to do with sonorities and atmosphere Maarit Kytöharju Photo: Mogens Dahl than with melodic and harmonic drive forward – Wennäkoski’s Amor Omnia Suite Chamber Choir congenial, since the poems depict states of mind, Wennäkoski’s work has an amazing eff ect. The music Ole Christiansen Photo: not narratives. Katija Dragojevic sings with a fl oating is refi ned, delicate and sustained. It is as if the musi- voice about consuming love, at the same time as the cians were addressing the listener all the time, both Sandström casts light orchestra churns out a fascinating acoustic ambience. literally and in rhetorical gestures. Hufvudstadsbladet 17.4. The string quartet Brooklyn Rider from New York spins lovely violin threads through this peacefully billowing Dagens Nyheter 14.3. Lotta Wennäkoski: Amor Omnia Suite and often lamenting work… You don´t have to be a Marie Samuelsson: Aphrodite – Fragments by World premiere: Tampere PO/Ville Matvejeff , 15.4.2016 Tampere, believer to fi nd peace when Sandström, if only for 100 Sappho Finland minutes, casts light on the way out of the darkness. World premiere: Swedish Radio SO/Daniel Blendulf, sol. Katija Dragoje- Dagens Nyheter 29.3. vic, mezzo-soprano, 11.3.2016 Stockholm, Sweden Majestic Heininen concerto The Aiolos Organ Concerto by Paavo Heininen, last- Sven-David Sandström’s new work for Easter is incred- High point of the evening ing some half-an-hour in performance, is a mightily ibly beautiful music, and it is performed by an abso- …The one leaving a mesmerizing impression was the majestic work, but its copious material is credibly and lutely world-class chamber choir… mystical “Eternal Echo”…it evolves with haunting so- captivatingly constructed. The wind band and organ Berlingske 23.3. los, vocalise and echo eff ects, as if emanating from an often intertwine and the instruments imitate one an- Sven David Sandström: Passion of St. John isolated group attempting to make human contact… other in such a way as to detract from the organ’s solo Danish and Swedish premiere: Mogens Dahl Chamber Choir, Brooklyn This work skillfully blends distinct art forms in hybrid dominance. The performance by Jan Lehtola was sim- Rider, Jens-Björn Larsen, tuba, sol. Daniel Carlsson, counter tenor, Lars fashion, suggesting a provocative vein for other art- ply brilliant. Aamulehti15.4. Möller, baritone, 22.3. 2016 Copenhagen, Denmark, 23.3.2016, Lund, ists to develop. www.artssf.com 16.5. Paavo Heininen: Aiolos, Concerto for Organ and Sweden Olli Kortekangas: Ikikaiku (Eternal Echo) Symphonic Band Piedmont East Bay Children’s Choir/Robert Geary, 14.5.2016 Guards Band/Petri Komulainen, sol. Jan Lehtola, 14.4. 2016 Tampere, San Francisco, USA Finland Subtle melancholy A work that strikes a balance between unadulterated yearning for beauty and moderate anti-sentimentali- Staern’s most beautiful Elegant Meriläinen ty. A subtle melancholy mood is heard right through composition Usko Meriläinen’s Visions and Whispers (1985) made the seven movements, and the contrast between the He picks up colours and moods and mixes them into a splendid concert come-back. The elegant, sensitive solo violin´s nakedness and the orchestra´s thunder- an almost impressionistic shimmer. Over against this music of Meriläinen, fl owing along with a natural ing power is utilised to the hilt… But the strongest he places the French horn´s solo part, almost luxuri- breeziness, has become yet more refi ned with the impression is made by Ticciati, who gets everything ous in its melodic abundance… I would call “Pont de passing of time. The rich orchestral writing and the to vibrate with tension. Dagens Nyheter 22.2. la mer” Benjamin Staern’s most beautiful composition sovereign solo playing by Mikael Helasvuo were com- Sven-David Sandström: Seven Pieces for Violin and thus far. Skånska Dagbladet 2.5. pletely at one. Aamulehti 16.4. Orchestra Benjamin Staern: Pont de la mer Usko Meriläinen: Visions and Whispers World premiere: O/Modernt Chamber Orchestra, Swedish Wind World premiere: Malmö SO/Marc Soustrot, sol. Einar Öhman, French Tampere PO/Ville Matvejeff , sol. Mikael Helasvuo, fl ute, 15.4.2016 Ensemble/Kasper de Roo, sol. Hugo Ticciati, violin, 20.2.2016 Stockholm, horn, 30.4.2016 Malmö, Sweden Tampere, Finland Sweden

Kalevi Aho Breathtaking musical visions Virtuosic fi reworks Kalevi Aho provided proof of his musical wisdom in his Saxo- We got half an hour of shifting moods, fi rm phone Concerto… The concerto revealed his masterly command handling of form and material well suited of instrumentation and the psychologically correct timing of Photo: Romain Etienne Photo: to the solo instrument… The most mem- events. Breathtakingly beautiful musical visions unfolded during orable of the work’s fi ve interlinked move- the performance. In the orchestral part there were ingenious, at- ments was the second, dominated by glo- tention-catching details in, among others, the harp and above all riously languorous musical arches on the the percussions. woodwinds. In the third movement Mäen- Satakunnan kansa 12.3. pää switched to hard sticks and set off a virtuosic display of rhythmic fi reworks. A grand concerto that banished any preconceived ideas. The work Turun Sanomat 24.4. variedly presented the instrument’s expressive potential, and Esa Kalevi Aho: Concerto for Timpani and Pietilä’s gritty but strictly professional grasp brought a breath of Orchestra the world of jazz that fi t the work perfectly. An enjoyable premiere. World premiere: Turku PO /Erkki Lasonpalo, Etelä-Saimaa 19.3. sol. Ari-Pekka Mäenpää, 22.4.2016 Turku, Finland Kalevi Aho: Concerto for Tenor Saxophone and Orchestra Double premiere: Pori Sinfonietta/Jan Söderblom, Lappeenranta City Orchestra/ Tibor Bogányi, sol. Esa Pietilä 10.3.&17.3., Pori/Lappeenranta, Finland

HIG HLIG HTS 2/2016 NEW PUBLICATIONS NEW CDs

ANDERS ELIASSON VOCAL & CHORAL TUTORS & BOOKS Disegno No. 2 Beth Levin, piano Navona Records NV6016 (Personae) MATHIAS ALGOTSSON GÉZA SZILVAY Be Not Afraid Scales and arpeggios for mixed choir a cappella for children 3 MIKKO HEINIÖ Text: From the oratorium Elijah (Asteikkoja ja murtosointuja Ilta (Evening) by Felix Mendelssohn (Eng) lapsille 3) Key Ensemble/Teemu Honkanen, GE 12930 FG 9790-55011-268-1 Erkki Lahesmaa, cello, Var inte rädd för mörkret/Oh, Henna Jämsä, clarinet Do Not Fear the Darkness Fuga 9409 for mixed choir a cappella ARJA SUORSARANNANMÄKI Text: Erik Blomberg/ Winner of Allmänna Sången & Anders Wall Composition Award 2016 Colour Keys – The Piano ABC, MATS LARSSON GOTHE transl. Linda Schenck (Sw/Eng) Book B Symphony No. 2, Apotheosis GE 12931 Anna-Karin Klockar This colourful, inspiring and of the Dance, Autumn Diary SPEECHES modern piano method is a result Västerås Sinfonietta, of long pedagogical work and for mixed choir Helsingborg SO/Fredrik Burstedt ANNAKARIN KLOCKAR research at the Sibelius Academy. dB Productions dBCD172 Speeches The Rights of Woman Surrender Speech It is suitable for even the youngest for mixed choir a cappella The Best Friend players and can be used in both Text: The Rights of Woman private and group lessons. INGVAR LIDHOLM (Olympe de Gouges), FG 9790-55011-166-0 Fantasia sopra laudi The Surrender Speech Dan Styff e, double bass (Hinmuuttu-valatlat/Chief Joseph), Simax PSC1342 (Octophonia) The Best Friend (G. Graham Vest) (Eng) HERMAN RECHBERGER Winner of Allmäna Sången & Balkania Anders Wall Composition Award 2016 KAI NIEMINEN GE 12947 Rhythms in songs and dances from Albania, Bulgaria, Greece, The Republic of Macedonia, Elegy, Hymnos II, Ancient Songs... Romania and Serbia Tommi Hyytinen, horn, Päivi Severede, harp, Tuomas Turriago/ JYRKI LINJAMA A major reference compendium for everyone interested in world music and the Balkan Emil Holmström piano, Lieder der Elisabeth especially. The book includes notation Pasi Eerikäinen, violin Four songs for mezzo-soprano, Pilfi nk Records JJVCD 162 examples, pictures, rhythmic patterns viola and piano (Tired Light - 21st century music for horn) Score (incl. parts) FG 9790-55011-282-7 and descriptions of traditional instruments. FG 9790-55011-281-0 SELIM PALMGREN Piano Concertos Nos. 1, 2 and 3 JACOB MÜHLRAD Pori Sinfonietta/Jan Söderblom, Shevah ORCHESTRAL & INSTRUMENTAL sol. Henri Sigfridsson for mixed choir a cappella Alba Records ABCD 385 (The River) Text: Genesis 1:1 (Hebrew) GE 12821 MATS LARSSON GOTHE The Apotheosis of the Dance for orchestra Mats Larsson Gothe Barefoot Songs KJELL PERDER GE 12932 (score), GE 12934 (study score) Ola Sandström, vocals, Love is All Mikael Karlsson, electric guitar, for mixed choir a cappella The Apotheosis Anja Strautmanis, cello, Text: 1 Cor. 13 (Eng) of the Dance Johan Renman, vibraphone INGVAR LIDHOLM for orchestra GE 12885 Tröstlösa TRCD005 (Mest ibland tistlar) Nausikaa ensam/Nausikaa Alone Scene for soprano, choir and orchestra SCORE GE 12836 (score), GE 12839 (study score) EINOJUHANI RAUTAVAARA KARIN REHNQVIST Four songs from the opera When I Close My Eyes, Rasputin for mixed choir and I Dream of Peace NILS LINDBERG orchestra, Rubáiyát, for mixed choir a cappella Dalabilder/Dalecarlian Pictures Balada, Into the Heart of Light Text: Anonym Croatian boy for organ and orchestra (Canto V) (in 12 languages) GE 12860 (score), GE 12862 (study score) Helsinki PO, Helsinki Music Centre GE 12918 (full version) GE 12919 (short version) Choir/John Storgårds, sol. Gerald Finley, bass-baritone, JUHANI NUORVALA Mika Pohjonen, tenor Ondine ODE 1274-2 TAPIO TUOMELA Concertino for Clarinet & Nils Lindberg Soundtrack Rondo for Clarinet in A or Basset for mixed choir Dalabilder JEAN SIBELIUS Clarinet in A (+ CD) Dalecarlian Pictures Norden – Songs by Jean Sibelius Text: Kalevala (Fin) FG 9790-55011-283-4 FG 9790-55011-284-1 for orchestra Pia Freund, soprano, Tommi Hakala, baritone, Kristian Attila, piano Rondino SCORE Alba Records ABCD 384 for SSAA choir Text: after Kanteletar (Fin) FG 9790-55011-285-8

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