Highlights 4-2010

NORDIC

HIGHLIGHTS

4/2010

NEWSLET TER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN

Focus on KOSKELIN and SCHNELZER RAUTAVAARA’s Mine

NEWS Tuomela’s opera staged in France

Starting in the autumn of 2010 Karin Rehn­qvist has chosen Gehr­mans as the publisher of her choral music. In connection with this agreement a number of hitherto unpublished choral works will be brought out: Teile dich Nacht (text: Nelly Sachs) for mixed choir and soprano solo, commissioned for the Donau Eschinger Musiktage 2002; Salve regina for mixed choir and 13 instruments, composed for the Nederlands Kamerkoor and the Nieuw Ensemble; Herren är min herde/Der Herr ist mein Hirte (2008) for women’s choir, commissioned by the 8th World Symposium on Choral Music; Haya! a song to the joy of the day for mixed choir, composed for the Eric Ericson Award 2009 and Tenebrae set to a text by Paul Celan, which was premiered in Oslo by the Latvian Radio Choir during this year’s Ultima Festival.

Karin Rehnqvist is one of Scandinavia’s best-known composers, and her music is performed frequently throughout the world.

She composes chamber, orchestral and vocal music, and likes to work with unusual and border-transcending concert forms. A characteristic feature of her music, and one that is often mentioned, is the cross-fertilization of art and folk music.

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Sound samples , video clips and other material are available at www.gehrmans.se/highlights www.fennicagehrman.fi/highlights Cover photo: Johanna Rusanen-Kartano in Einojuhani Rautavaara’s opera The Mine (Photo: Ari Ijäs) Editors: Henna Salmela and Kristina Fryklöf Translations: Susan Sinisalo and Robert Carroll Design: Pirkko Huttunen ISSN 1239-6850 Printed in Sweden by TMG Sthlm, Bromma 2010

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Photo: Guy Vivien

Karin Rehnqvist to Gehrmans

Tapio Tuomela’s chamber opera Antti Puuhaara ran to 13 performances in Marseille and the Paris region in November in a puppet and shadow theatre version. It was first heard in a concert performance at the Voix de prieure festival in June. The work was commissioned and performed by the French Musicatreize vocal and instrumental ensemble, and the libretto is by Erik Söderblom. Antti Puuhaara is a mixture of folktale, melodrama and chamber opera.

The songs are in Finnish and the spoken dialogue is in the local language. A CD and book about the work illustrated by artist-writer Hannu Väisänen have been published in France.

Tobias Broström portrait CD The Gävle Symphony Orchestra has recorded a portrait CD with music by Tobias Broström.

The CD, which will include the orchestral works Transit Underground, Kaleidoscope, Violin Concerto and the trumpet concerto Lucernaris, is scheduled to be released during 2011 on the Swedish Society label. The production will feature conductor Johannes Gustavsson and soloists Karen Gomyo and Håkan Hardenberger.

Gehrmans on YouTube

Nils Lindberg

Big Band Christmas After the great international success, with some 100 performances of his Requiem for choir, soloists and big band, Nils Lindberg’s sequel, A Christmas Cantata is now beginning to spread over the world. This December will see a Canadian performance with the Pro Coro Canada and the Edmonton Jazz Orchestra at the grand Winspear Centre in Edmonton. There will also be two performances in the US featuring the Mid-Columbia Mastersingers and the Columbia Basin Jazz Orchestra. A Christmas Cantata is built on traditional English Christmas Carols which are linked together by the Christmas texts from the Bible in the form of sung recitatives.

The 50 minute work is scored for two vocal soloists (soprano and baritone), mixed choir and enlarged big band.

Visit Gehrmans’ YouTube site: www.youtube.com/ gehrmans! There you will find four brand new video clips about our composers and their music. An homage to Allan Pettersson, whose 100th anniversary is coming up in 2011; a shooting from the world premiere rehearsals of Rolf Martinsson’s Concert Fantastique with Martin Fröst, a presentation of Fredrik Högberg featuring Christian Lindberg, Martin Fröst, Ole Edvard Antonsen and others, as well as Voices from the World of iOpera that offers glimpses from Högberg’s Internet opera The Woman of Cain, with soloists such as Malena Ernman and Olle Persson. The site also offers video clips about Tobias Broström, Daniel Börtz, Lars-Erik Lars­ son, Fredrik Sixten and much more.

iOpera

PREMIERES Autumn 2010 – Spring 2011

Kimmo Hakola news

SVEN-DAVID SANDSTRÖM Three Poems by Prince Claus

Kimmo Hakola is writing a new children’s opera Mara ja Katti as a commission from the Taite opera company. Based on a libretto by Johanna Jokipaltio, it sets out to draw the audience into an imaginative adventure and will use video and computer projections to create fantasy landscapes. Kimmo Hakola is also making an orchestral version of his Aleksis Kivi songs. These will be sung by Jorma Hynninen as part of his 70th birthday tour of Helsinki, Turku, Tampere, Kuopio, Jyväskylä and other towns in the course of 2011.

Music by Hakola has also been heard this autumn in performances by the ERI Theatre. Tiina Lindfors’s solo choreography to Hakola’s Appassionato was pre­m iered in October at Cividale in Northern Italy and will receive a further 10 performances in Turku in November-December.

Heini Kärkkäinen (piano) and Marko Ylönen (cello) will perform the music.

for choir, strings and percussion Prince Claus Conservatory, cond. Peter Dijkstra 10 November, Groningen, Netherlands

Albert Schnelzer Oboe Concerto – The Enchanter Swedish ChO, cond. Lionel Bringuier, sol. Francois Leleux 11 November, Örebro, Sweden

BENJAMIN STAERN Bells and Waves – Chamber Symphony New European Ensemble, cond. Christian Karlsen 11 November, White Crow Music Festival, Leiden, Netherlands

Kalevi Aho Minea Tampere PO, cond. Hannu Lintu 12 November, Tampere, Finland (Finnish premiere)

Mikko Heiniö Syyskesän laulu (Late Summer Song) Turku PO, cond. Ernesto Martinez-Izquierdo, sol. Tommi Hakala 9 February, Turku, Finland

VELI-MATTI PUUMALA New work for orchestra Finnish Radio SO, cond. Hannu Lintu 16 February, Helsinki, Finland

JÖRGEN DAFGÅRD Through Fire and Water Malmö SO, cond. Daniel Raiskin 17 February, Malmö, Sweden

Gehrmans launches new website Gehrmans will launch a new, eagerly awaited website in December. Thanks to this you will have further possibilities of finding the music that is suited to your needs and interests. This is made possible by an advanced search function. A major new feature is that the orchestral catalogue, with articles both for sale and for hire, is now available on the Web. You will also find more specific information about the works, such as scoring, durations and premiere dates.

Shortly after the release of the main site we will switch on “Gehrmans News” – a news channel that will link together the news buzz about our composers and their music. The third step will include selling sheet music direct – i. e. music that you will be able to print out on your own printer.

Visit our website www.gehrmans.se to keep yourself updated with our web development.

New Fennica Gehrman online shop

Einojuhani Rautavaara Unsere Liebe Vier Gesänge zu Gedichten von Lassi Nummi (version for SATB choir) Helsinki Chamber Choir, cond. Nils Schweckendiek 23 November, Helsinki, Finland

TIMO-JUHANI KYLLÖNEN Tango solo, chamber opera

Fennica Gehrman has opened a new online shop at www.fennicagehrman.fi selling close on 2,000 items of sheet music and a lot of the very latest music in addition to the traditional popular collections. The sheet music is delivered by Fennica Gehrman’s distributor, Kirja­ välitys.

Uusinta Chamber Orchestra, cond. Nils Schweckendiek, sol. Riikka Hakola 12 January, Espoo, Finland

Gävle SO, cond. Jaime Martin, sol. Per Tengstrand 17 March, Gävle, Sweden

DANIEL BÖRTZ Epodos Royal Stockholm PhO, cond. Sakari Oramo 24 March, Stockholm, Sweden

Kalevi Aho Symphony No. 15 BBC Philharmonic, cond. Juanjo Mena 26 March, Manchester, UK

A year of premieres for Kortekangas

Olli Kortekangas Piano Concerto ANDERS ELIASSON Violin Concerto Photo: Saara Vuorjoki/FIMIC

Olli Kortekangas has a number of major premieres coming up next spring in Finland and the United States, for no fewer than three new works by him are to receive their first performance within the space of six weeks. The Finnish Radio Symphony Orchestra will be premiering the Piano Concerto it has commissioned from him on 27 April, with Paavali Jumppanen as the soloist. Then follows Seven Songs for Planet Earth, an oratorio commissioned jointly by the US Choral Arts Society and the Tampere Philharmonic, in Washington on 22 May and later in Tampere and San Francisco. A cantata for four voices and Baroque instruments will then be heard at the opening concert of the Naantali Music Festival on 7 June. A further Kortekangas premiere is scheduled for October, when his new opera One Night Stand (Yhden yön juttu) will be on the programme for the opening season at the new Helsinki Music Centre.

TOBIAS BROSTRÖM Piano Concerto

Swedish Radio SO, cond. Manfred Honeck, sol. Ulf Wallin 21 January, Stockholm, Sweden

SVEN-DAVID SANDSTRÖM Missa Brevis

Finnish Radio SO, cond. Dmitri Slobodeniouk, sol. Paavali Jumppanen 27 April, Helsinki, Finland

Seven Songs for Planet Earth Children’s Choir of Washington and other performers, cond. Joan Gregoryk 22 May, Washington D.C., USA

Musica Vitae, Gustaf Sjökvist Chamber Choir, cond. Gustaf Sjökvist, sol. Malena Ernman, mezzo-soprano 29 January, Växjö, Sweden

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OLLI KOSKELIN

– a seeker of delicate timbres

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nstrumental virtuosity, soft, mellow sounds, lyrical moods, intricate textures and expressionist sharpness – all are to be found in the music of this Finnish composer born in 1955.

Koskelin is, however, no postmodernist combining different styles; though the emphasis varies from one work to another, most are marked by homogeneity of the expression and of the material.

Audiences first became aware of Olli Koskelin in the early 1980s, at a time when modernist trends were becoming very noticeable in Finnish music. In a few of his early works, such as the virtuosic Exalté Olli Koskelin has proceeded at a leisurely for solo clarinet, he leapt on board the modernist bandwagon. Yet little by little a pace in a career composer intent more on building a world beginning in the of his own began to emerge. Thus such early 1980s, carefully works as Tutte le corde for guitar and tape, polishing his works and and the limpidly beautiful Courbures for painting lyrical worlds piano already reveal a lyrical venerator of of beauty. beauty working with modern techniques.

In 1986 Koskelin studied in France with Tristan Murail, yet years were to pass before the master’s ideas about such things as spectral music began to materialise in the young Finn’s works. With them, his sound became softer and richer in nuance, though only seldom has he employed the microintervals exploited by the spectral composers.

In the orchestral …like a planet silently breathing (1993), for example, he weaves a fine-spun texture of ethereal string timbres, expressive wind solos and arabesque-like arpeggios.

Focus on small ensembles Koskelin is a ‘slow-but-sure’ composer, and his output has not been particularly large. In speaking of his deliberative way of composing he says, like Stravinsky: “I’m somebody who can wait.”

Most of all Koskelin has composed for smallish vocal or chamber ensembles and solo instruments. An orchestra is

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most in evidence in his concertos for piano, clarinet and flute, plus the related lyrical, impressionistic Seven Shades of Blue for flute and orchestra dating from 2000.

In a special league of their own are the dance works by Koskelin.

He has taught in the Department of Dance of the Theatre Academy Helsinki and established close relations with many Finnish dancers. An example of his dance works is Coldstar (Kylmäntähti), lasting over an hour in performance, the material of which is derived from the orchestral …like a planet silently breathing.

One of the most delicate of Koskelin’s vocal works is Breaking the Silence for soprano and five instruments, the clear, bright soundscape of which was inspired by eight haikus by Matsuo Basho tied together in a close-knit, subtly meditative entity. Japanese haiku poetry also inspired Koskelin at a purely instrumental level in Seven Haikus for flute and guitar.

Lyrical and expressionist Koskelin’s poetry in sound, often characterised by its fine attention to detail, has struck a note in audiences. Uurre for chamber ensemble of 1997 was awarded the first prize in a competition for a new composition organised by the Society of Finnish Composers in which the audience chose the winner. Another work of this period is Circles within scored for 19 solo strings and painting static soundscapes.

In his works of the third millennium Koskelin has continued his search for delicate timbres, but he also displays features harking back to the expressionism of his early career. Tintinnio for solo flute, for example, is akin to the early Exalté for solo clarinet in its rhythmical exuberance and virtuosity.

The String Quartet No. 1 is more varied in style, more expressionistic and edgy than many of Koskelin’s previous works, its devices ranging from long, static sounds to sharp juxtapositions and action-packed drive. It does not, however, represent a direct return to the modernism of his early career; rather it is a sort of recapitulation and transformation of earlier phenomena at a more profound level.

Kimmo Korhonen

Photo: Hans Lindén

ALBERT SCHNELZER – a Swedish sorcerer’s apprentice

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hen I catch Swedish composer Albert Schnelzer on the telephone in early November, I get an extremely happy man on the line. He can look back at an international breakthrough with this year’s Proms-festival in London, rendering him standing ovations for A Freak in Burbank – a witty concert opener conceived for a sinfonietta sized orchestra. ”Schnelzer has created a Sorcerer’s apprentice (Paul Dukas) for our times”, writes one blogger, while the Independent reviewer comments that ”the piece reveals an exceptional flair for orchestral virtuosity on the part of its composer.” And Financial Times, finally, exhorts its readers to ”Keep an eye out for this talented composer!”

As we speak, Albert Schnelzer is getting ready to board the train for Örebro, two hours west of Stockholm, where his oboe concerto, The Enchanter is to be premiered by the French virtuoso Francois Leleux and the Swedish Chamber Orchestra. And this same week, his string quartet Emperor Akbar is nominated in the Chamber Music Category at the annual Swedish MPA Awards ceremony. ”I hardly have time to change shirts”, Schnelzer comments his hectic schedule. But he doesn’t really seem to mind. After all, improvisation was always a forte of his, and Schnelzer’s pieces are vitalized by the impression of unbridled imagination. Switching

”It was an amazing experience”, Schnelzer tracks and keying in to new tunes seems to nurrecounts. “In the UK they are genuinely interture Schnelzer, rather than put him off kilter. ested in new music! I felt like a rock star, as I was greeted by a screaming audience taking my Magical realist bow on stage.” The Swedish Chamber OrchesThe brooding imagination of young Albert Schtra was reviewed by as many as 15 major papers, nelzer took its toll when the engineer-to-be in most of them beamingly enthusiastic visavi the the remote, folkloric province of Värmland reorchestra as well as A Freak in Burbank. Schalized that his passion was to be discovered in nelzer recalls emptying a mailbox full of fan the realm of magical realism. Schnelzer defines mail, ordinary concert audience as well as radio his relationship to music as emotional, one that listeners, conductors and musicians – for weeks alienated him when at Malmö Academy of Mufollowing the concert. sic in the 1990s he was introduced to modernist As it happens, Schnelzer has become a part soundscapes. Rather than adapting, Schnelzer of the success story of the Swedish Chamber discovered legitimacy for his eclectic inclination Orchestra. The ensemble was founded in 1995, for folk music, soft romantics and hard rock durand over the past decade has risen to internaing a pivotal year in 1999 at the London Royal tional fame. ”We have taken advantage of one College of Music. Technique never is allowed to another”, Schnelzer notes. generate musical material in the world of Albert ”Particularly Gregor Zubicky is a key memSchnelzer, who prefers to define which story he ber in the orchestra. He was brave enough to is about to tell before settling on which tools to give my music a chance when I was still unuse. known. ” As of today, Schnelzer and the SwedSchnelzer refers to Salman Rushdie as his ish Chamber Orchestra have actually shared the creative hero. Like Rushdie he wishes to lead stage several times, growing with each new venthe listener on an adventure, to experience the ture. Schnelzer enjoys meeting the musicians, unexpected. Rushdie, thus, has inspired no less getting to know them more and more. than three of his works, the turmoil surrounding ”It’s an extraordinary orchestra!” the comthe Satanic Verses giving the impetus for Schposer exclaims. ”They make me proud of being nelzer’s Symphony No. 1 – Azraeel (2007), while Swedish.” the Emperor Akbar of Rushdie’s The Enchantress of Florence is central to his String Quartet, What’s next? (composed for the Brodsky Quartet in 2009), and the narrator in the same novel provided the Once the Oboe Concerto has been premiered. back bone for the new Oboe Concerto.

Schnelzer will wrap up his work on the Cello Concerto for the Gothenburg Symphony Orchestra. The work is scheduled to be premiered Meeting the British audience in 2011–2012, and the cellist in mind is Claes This upcoming November week, The Enchanter Gunnarsson, solo cellist of the orchestra. is due to be performed in Scotland by the Scot”He performed a number of the solo tracks tish Chamber Orchestra, with Francois Leleux on my portrait CD, and that became the embryo once again in the lead role. Albert Schnelzer is of the solo concerto.” extremely enthusiastic regarding Leleux. ”He is a A string orchestra version of Emperor Akbar very fine musician. Although oboists never attain was completed this autumn and premiered by the star status of string musicians, in the world the Norwegian Tromsø Chamber Orchestra in of double reed he is one of the greatest stars,” late October. And this version works remarkably Schnelzer comments. ”Oboe is one of the finest well, the composer feels, following intense diainstruments. In his hands, it sounds so easy and logue with the concert master in order to perfect carefree.” the details. Several other orchestras have conAnd the British premiere of the Oboe Contacted Schnelzer, asking to incorporate it with certo is well promoted, the arrangers being well their own repertoire. aware of the hype surrounding the Proms perSo, what new projects might this imaginative formance. Thus, the composer takes part in precomposer dream up for the future? Evidently, concert talks in Edinburgh as well as in Glasgow. several of them are already on their way. A comThe framework is a concert series labelled New mission for a large-scale orchestral piece with Romantics. The flattering concept places Schtriple wood winds, large brass section and pernelzer next to contemporary giants such as John cussion is being discussed. Schnelzer feels that Adams, Giorgio Battistelli and Luciano Berio. after a number of solo concertos, he is ready to Above all, it is A Freak in Burbank that has tackle something full scale – possibly another rendered Albert Schnelzer recognition. This is symphony. ”It would be wonderful to really the Tim Burton-inspired piece, with hints of gorge in orchestral color”, Schnelzer muses.

Haydn, which resulted in an overwhelmingly warm reception at the Royal Albert Hall during Sofia Nyblom this years’ Proms-season.

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REVIEWS If there is any justice in the musical world at all I hope this release will lead to a far wider appreciation of this composer’s unique and extraordinary work and opportunities for us all to hear these important works in live performance wherever we live… I use the phrase advisedly but I would, with no hesitation – call at least one of the works here – Hymns to the Night – a masterpiece. I cannot think of another piece of contemporary music that has made such a strong impression on me in the last twenty years either as a performer or listener…

What a restoration of faith in the power of new music this disc gives me – contemporary music that is complex, rewarding, moving and above all human.

My disc of the year without a doubt.

MusicWeb International September 2010 / Nick Barnard Tommie Haglund: Hymns to the Night, Daughter of the Voice, To the Sunset Breeze CD: Helsingborg SO, cond. Hannu Koivula, sol. Elizabeth Pitcairn, violin, John Mills, guitar, etc. (Phono Suecia PSCD 184)

Photos: Ari Ijäs

Complex, rewarding and human Haglund

Rautavaara’s magnificent Mine The topical political issue was a bold move.

Rautavaara nevertheless created an opera that works dramatically and musically and is, when detached from its specific era, universal.

Helsingin Sanomat 26.9. / Jukka Isopuro The orchestra extracted the full essence of Rautavaara’s already mature music. Even at this stage his idiom had a distinctive impetus that grew and grew as the work proceeded.

Aamulehti 26.9. / Harri Hautala

The second act begins with a monologue by Ira with a stylistic allusion to jazz. Rautavaara here shows himself to be a masterly orchestrator; his style derives not necessarily from his harmony but from his instrumentation and handling of rhythm.

Turun Sanomat 26.9. / Liisamaija Hautsalo Einojuhani Rautavaara: The Mine, an opera in three acts Stage Premiere: Tampere PO, cond. Hannu Lintu, sol. Jorma Hynninen, Johanna Rusanen-Kartano, Jaakko Kortekangas, Hannu Niemelä etc., 24.9.2010 Tampere, Finland

Wild flow of energy in Aho’s Minea Profound and moving quartets The two works by Pehr Henrik Nordgren would guarantee him a place as a master of the medium even if there hadn’t been nine earlier exemplars. The writing is absolutely assured, the music profound and moving.

FMQ 3-2010 / Martin Anderson Pehr Henrik Nordgren: String Quartets Nos. 10 and 11 CD: Tempera Quartet (Alba ABCD 308)

Minea is one of Aho’s most rip-roaring works. You can tell it was originally composed for a top American orchestra – and an American audience. The orchestra in Minea is a music machine operating at peak power in which all the sections are equals in creating a flow of energy that grows wilder and wilder. … A brilliant performance, a captivating experience. The role of the percussionists, who played magnificently, was almost that of soloists.

Aamulehti 14.11. / Harri Hautala Kalevi Aho: Minea

Finnish Premiere: Tampere PO, cond. Hannu Lintu, 12.11.2010 Tampere, Finland

Scored only for keyboard and strings, the music unfolds effortlessly from its simple beginnings, the thematic material being consistently memorable, the string writing luminous and never monochrome.

It’s a major addition to the contemporary literature for piano and chamber orchestra, and we can only hope that it slips into the repertoire without delay. … this piece is a real find. The same might be said of the Thirteenth Symphony.

Classics Today.com / David Hurwitz Kalevi Aho: Piano Concerto No. 2, Symphony No. 13 CD: Lahti SO, cond. Osmo Vänskä, sol. Antti Siirala (BIS-CD 1316)

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Photo: Ghadi Boustani

Aho CD – a real find

The technically sovereign weave of the many-hued musical texture was enchanting. …The flutiness of the solo part is a success and the composer has created some delightful soundscapes and dialogues by combining the solo with splendid orchestration.

Etelä-Saimaa 30.9. / Jukka Lind Paavo Heininen: Flute Concerto ‘Autrefois’

World Premiere: Lappeenranta CO, cond. Tibór Bogányi, sol. Mikael Helasvuo, 30.9.2010 Lappeenranta, Finland

Kortekangas’s composite expression is a Bartók-like combination of long-lined, arching melodies and grand Rachmaninov-like gestures in the piano part interspersed with theme work harking back to the spirit of Classicism.

Helsingin Sanomat 8.11. / Lauri Otonkoski Olli Kortekangas: Charms, Concerto for Piano Trio and Orchestra

Tapiola Sinfonietta, cond. SanttuMatias Rouvali, sol. Marita Viitasalo, piano, Eeva Koskinen, violin, Riitta Pesola, cello, 4.11.2010 Espoo, Finland

Evocative Passages by Mellnäs

At the coda of De profundis, the upper voices soar upwards in a moving gesture that touches the soul. The other works here swing through a variety of moods, all displaying Madetoja’s mastery of choral writing.

FMQ 3-2010 / Martin Anderson

Mellnäs’s music is really dynamic and there are often sudden changes between harmonic calm and abrupt cacophonies… Energetic sections, frequently backed up by percussion, are contrasted with tranquil strings. Interspersed are great, epic, emotional fluctuations between gentle, singular beauty and wild aggression…

To be able to convey the visionary force, the music must really be intellectually and emotionally evocative. And that is precisely what Arne Mellnäs’s music on this CD is.

Tidningen Kulturen 6.11. / Carl Abrahamsson

Leevi Madetoja: Works for mixed choir CD: Tapiola Chamber Choir, cond. Hannu Norjanen (Alba ABCD 271)

Arne Mellnäs: Passages

CD: Swedish Radio SO, cond. Esa-Pekka Salonen (Phono Suecia PSCD 175)

Martinsson’s Bridge the highlight of the evening Conductor Alan Buribayev built up a gigantic musical house, which contained both jazz and grandiose romanticism. The whole thing ended in a magnificent urban environment with a feeling for a darkness that gets under your skin… When the orchestral texture obtained its densest structure, the work sounded beautiful in the best sense of the word. Both the soloist’s presentation and the orchestra’s performance were characterised by energy. The trumpet concerto was the absolute highlight of the evening.

Norrköpings Tidningar 5.10. / Michael Bruze Rolf Martinsson: Bridge – Trumpet Concerto No. 1 Norrköping SO, cond. Alan Buribayev, sol. Giuliano Sommerhalder, 4.11.2010 Norrköping, Sweden

Martinsson + Fröst = Fantastique

Photo: Tord Martinsson

Kortekangas’s Charms

Photo: Saara Vuorjoki/FIMIC

Delightful soundscapes

Touches the soul

He has stretched the limits of clarinet playing and is as stupendous as a trapeze performer under a circus dome when he climbs up Martinsson’s difficult tone lianas. “Fantastique” is the word!… The energy in this unexpected move is conveyed by an often dense and dramatic orchestral texture, as in an exciting adventure film… Still, the loveliest part is found in the eye of the storm, in the lyrical lines, where the music has Aaron Copland´s delightful clarinet concerto as a precursor.

Sydsvenska Dagbladet 15.10. / Carlhåkan Larsén Rolf Martinsson: Concert Fantastique

World Premiere: Malmö SO, cond. Shi-Yeon Sung, sol. Martin Fröst, clarinet, 14.10.2010 Malmö, Sweden

NEW CDs Paavo Heininen Small Wolfstock, Anadyr.img and other works The Academic Saxophone Quartet

OPTCD-10007-8 “Finnish Saxophone Quartets”

Carina Vinke, Tomas Tranströmer, Benjamin Staern och Christian Karlsen

Tranströmer Songs Benjamin Staern has composed a mini symphony based on four poems by Tomas Tranströmer… Tranströmer’s distinctly drawn imagery is given a further dimension with the aid of strings, winds and Carina Vinke´s voice.

Vestmanlands Läns Tidning 10.10. / Dan Linder Benjamin Staern: Tranströmer Songs (New enlarged version)

World Premiere: New European Ensemble, cond. Christian Karlsen, sol. Carina Vinke, alto, 9.10.2010 Västerås, Sweden

Armas Järnefelt Symphonic Fantasy, Suite in E Flat Major, Serenade, Berceuse for violin and orchestra

Lahti SO, cond. & sol. Jaakko Kuusisto BIS-CD-1753

ARNE MELLNÄS Passages

Swedish Radio SO, cond. Esa-Pekka Salonen Phono Suecia PSCD 175

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NEW PUBLICATIONS

ORCHESTRAL

CHAMBER & INSTRUMENTAL CHORAL

ROLF MARTINSSON Bridge

BO HANSSON 5 Etudes

Trumpet Concerto No. 1

for guitar solo Drawing from the same tradition of concert etudes as Brouwer, Diego-Pujol and VillaLobos, Bo Hansson’s 5 Etudes are fine examples of pieces that combine musical perfection with technical ambitions.

GE 10866 Score GE 11055 Solo part with piano reduction

ANDERS SOLDH (Arr.) Popular Christmas Songs

GE 11547

in arrangements for symphony orchestra (choir ad lib)

FREDRIK HÖGBERG Ice Piano

När det lider mot jul (Ruben Liljefors) Text: Jeanna Oterdahl (Swedish)

for piano and backtrack

GE 11743 Score • GE 11744 Set of parts GE 11754 Choral score (S+A)

GE 11632 (Score and CD)

Natten går tunga fjät / Santa Lucia (Trad.)

Text: Arvid Rosén (Swedish)

GE 11745 Score • GE 11746 Set of parts GE 11755 Choral score (S+A)

JYRKI LINJAMA 4 Etudes for violin

FG ISMN 979-0-55011-015-1

O helga natt / O Holy Night (Adolphe Adam) Text: Augustin Kock (Swedish) GE 11747 Score • GE 11748 Set of parts GE 11756 Choral score (S+A)

EDUARD TUBIN Complete Works Volume XII Concertino for Piano and Orchestra Full Score GE 11742

Volume XIII Concertino for Piano and Orchestra Piano Score GE 11713

Subscribe to Eduard Tubin – Complete Works! Download the subscription folder at www.gehrmans.se/tubin.

THOMAS JENNEFELT Dixit Dominus

for soli, mixed choir and string orchestra Texts: Dixit Dominus (Psalm 110), Pope Urban II, speech at Clermont 1095 (Latin and English) In memory of the victims of the massacre in Srebrenitsa 1995, and to the honour of “Women in Black”. Durata: 27´ Score GE 11569 • Vocal score GE 11570 Instrumental parts on hire

canto popular mejicano Text in Spanish

Version for male choir a cappella GE 11260 Version for mixed choir a cappella GE 11624

SVEN-DAVID SANDSTRÖM Veni creator spiritus

for six part mixed choir a cappella Text in Latin GE 11724

PER GUNNAR PETERSSON Resurrexit

Julvisa (Christmas Song)

for tenor solo and six part mixed choir a cappella Text: Zacharias Topelius (Swedish)

for mixed choir, trumpet and organ Text in Latin GE 11629

EINOJUHANI RAUTAVAARA Unsere Liebe

ROBERT SUND La cucaracha

GE 11554

Vier Gesänge zu Gedichten von Lassi Nummi for mixed choir (1. Meine Liebe 2. Dann, in jener Nacht 3. Der Brief 4. Flüstern) These songs have previously been published in a version for female/children’s choir under the title ‘Wenn sich die Welt auftut’. German translation by Ingrid Schellbach-Kopra.

BOOKS

FG ISMN 979-0-55011-020-5

FREDRIK SIXTEN Let There Be

for mixed choir, percussion, timpani Text: Maria Küchen (English) GE 11637

MIKKO RAASAKKA Exploring the Clarinet

A guide to clarinet technique and Finnish clarinet music (Book & CD) FG ISMN 979-0-55011-005-2

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