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n E W S L E T T E r F r o M G E H r M A n S M U S i K F Ö r L A G & F E n n i c A G E H r M A n

– speaking to the listener

Olli Kortekangas

Tommie Haglund

and the beauty of polyphony

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Swedish music at the Venice BiennialMusic by Rolf Martinsson, Tobias Broström and Sven-David Sandström will be featured at the 54th Venice Biennial the last week in September. The programme will include Martinsson’s debut work, String Quartet No. 1, performed by the Teatro La Fenice String Quartet. The Malmö Music Academy Percussion Ensemble will give the Italian premieres of Broström’s most recent percussion piece Ombra from 2009 and Sandström’s percussion hit Drums from the1980s.

Newly edited Melartin symphony availableSymphony No. 3 by Erkki Melartin is now available in an edited version. This means that new orchestral parts of this work completed in 1910 have been published as a result of a clean-copying project organised by the Erkki Melartin Society. The editing and copying were done by Jani Kyllönen, who has previously edited Melartin’s Sym-phony No. 5, the “Sinfonia brevis” of 1916. The orchestral parts of both works can be hired from Fennica Gehrman.

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Tormis rights for Fennica GehrmanFennica Gehrman has bought the publishing rights from Kirjastus Muusika for 16 works by Veljo Tormis. These are mostly choral suites in many movements such as the popu-lar 8-movement Nostalgia for mixed choir, Five Estonian Folk Dances, The Songster’s Childhood, and Songs of Singing and the Songster.

A figurehead in Estonian choral music, Veljo Tormis was 80 on 9 August. During this jubilee year works by him have been per-formed at a number of concerts, e.g. at the Nargen Festival in Estonia. His Reminiscentia Suite, an arrangement from 2009 for string orchestra of his choral cycle Nature Pictures (Looduspildid) and the much-loved St. John’s Day Songs ( Jaanilaulud), was performed in Nargen and also at the Baltic Sea Festival on 30 August by the Stockholm Sinfonietta and Tõnu Kaljuste.

Nordic Music Days performancesThe Nordic Music Days in Copenhagen on 8-11 Sep-tember presented music by Tommi Kärkkäinen, Veli-Matti Puumala, Kimmo Kuitunen, Albert Schnelzer and others. Among the works heard were Kärkkäinen’s Concordia nebu-losa for accordion and tape (Frode Andersen), Puumala’s Memorial Fragment (Danish National Chamber Orchestra/ Adam Fischer), Kuitunen’s TripleDuos (Esbjerg Ensemble) and Schnelzer’s A Freak in Burbank (Danish National Symphony Orchestra/Thomas Dausgaard).

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nEWSLET TEr FroM GEHrMAnS MUSiKFÖrLAG & FEnnicA GEHrMAn

Sound samples and other material are available at

www.gehrmans.se/highlights www.fennicagehrman.fi/highlights

cover photos: Saara Vuorjoki/Fimic (olli Kortekangas)Angelica Ahlefeldt-Laurvig (Tommie Haglund) Background photo: Lilian Pärni Editors: Henna Salmela and Kristina FryklöfTranslations: Susan Sinisalo and robert carrolldesign: Göran LindiSSn 1239-6850Printed in Sweden by TMG Sthlm, Bromma 2010

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Urmas Sisask at 50Estonian composer Urmas Sisask celebrated his 50th birthday on 9 September. Sisask is unique among Estonian composers, and his music combines sincere beauty with primeval power. He studied composition under René Eespere at the Tallinn State Conservatoire and has composed music rich in styles and genres. His international reputation comes primarily from his choral works, such as those on canonical texts, e.g. Domine ex-audi orationem meam or the motets Gratias agamus Domino Deo nostro and Benedictio. Sisask’s extremely popular Gloria Patri , consisting of 24 hymns for mixed choir, is based on the kumayoshi mode obtained from theoretical sound values for the rotations of planets. Astronomy has always been a great source of inspiration for Sisask.

Kalevi Aho has been busy composing some new orchestral works. He has recently writ-

ten a trombone concerto for Jörgen van Rijen and is now planning a percussion concerto for Colin Currie. With these new works – to be premiered in 2011 and 2012, respectively – the Aho concertos will number 16, including ones for such exotic soloists as the contrabassoon and the tuba. Aho has also raised the number of his sym-phonies. The BBC Philharmonic has com-missioned his fifteenth, to be premiered in Manchester on 26 March 2011.

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Fredrik Högberg signs with From Sweden Productions Fredrik Högberg has embarked on a collaboration with the newly founded London-based artists agency From Sweden Productions, that now represents Högberg worldwide. As a result of this relationship all commissions of new works by Högberg are arranged through the agency. For further information and contact see www.fromswedenproduc-tions.com or e-mail sofie@fromswedenproductions.com.

Marie Samuelsson newsGehrmans has recently published Marie Samuelsson’s orchestral work Flygande linjer och dån (Airborne Lines and Rumbles). Commissioned by the Stockholm Cham-ber Orchestra (SNYKO), it was premiered in Stockholm and repeated at the annual festival in Beauvais, France in May 2009. Andrew Manze will conduct the Helsing-borg Symphony Orchestra in the next performance of the work on 14 October. Samuelsson’s future commisions include an opera for the Vadstena Academy to a libretto by the novelist Kerstin Ekman. Lasting around an hour and three quarters, it will be a chamber opera including four soloists, chamber choir, dancers and an ensemble of twelve instrumentalists scheduled for the 2012 season.

New orchestral works by Kalevi Aho

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P r E m I E r E Sautumn 2010

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Per Gunnar PeterssonOrgan Massandrew canning, organ2 September, Uppsala, Sweden

FreDrIK HÖGBerGDancing with Silent PurposeJönköping Sinfonietta, cond. and sol. Martin Fröst4 September, gislaved, Sweden

Paavo HeInInen Flute Concerto ”Autrefois”Lappeenranta co, cond. tibor Bogányi, sol. Mikael helasvuo30 September, Lappeenranta, Finland

PasI LyytIKäInenNectothe guard’s Band, cond. Jarkko aaltonen12 october, helsinki, Finland

roLF MartInssonConcert Fantastique – Clarinet Concerto No 1Malmö So, cond. Shi Yeon-Sung, sol. Martin Fröst14 october, Malmö, Sweden

aLBert scHneLzerEmperor Akbar, for string orchestratromsø cho, leader Kolbjørn holthe22 october, tromsø, norwayOboe Concerto – The EnchanterSwedish cho, cond. Lionel Bringuier, sol. Francois Leleux11 november, Örebro, Sweden

oLLI KorteKanGas Charms, Concerto for Piano Trio and Orchestra (revised version) tapiola Sinfonietta & trio Finlandia, cond. Santtu-Matias rouvali, 4 november, espoo, FinlandBenJaMIn staernBells and Wavesnew european ensemble, cond. christian Karlsen11 november, Leiden, netherlands

Starting in September and for the next three years Benjamin Staern will be Composer-in-Residence with the New Eu-ropean Ensemble. To begin with, they will perform his Tranströmer Songs , (com-posed for the ensemble and the singer Carina Vinke in 2009), on their tour of Sweden this October.

It will be followed by the world premiere of their new Staern commission, Bells and Waves for large ensemble, at the White Crow Music Festival in

Hardenberger’s 50th performance of BridgeIn January of next year Håkan Hardenberger will give his 50th performance of Rolf Martins-son’s trumpet concerto, Bridge, which he has played with high ac-claim throughout the world. The 50th performance will take place in Zürich with the Tonhalle Or-chestra under conductor Andris Nelsons. The young trumpet virtuoso Guiliano Sommerhal-der will be the next trumpeter to take up the concerto in his reper-toire when he performs with the Norrköping Symphony Orches-tra on 4 November.

Fennica Gehrman has signed a publishing agreement for seven works by Kimmo Kuitunen (b. 1968): Three Movements for string quartet, Saxes for alto saxophone, TripleDuos for sextet, Trio for clarinet, cello and piano, Fantasies for piano, Crest, through and scrolling nodes for bass clarinet and cello and Three Songs for soprano and piano.

Kuitunen’s main teacher in composition at the Sibelius Academy was Paavo Heininen; before studying composition Kuitunen had been work-ing as an all-round musician. His collaboration with Mikael Laurson and

Mika Kuuskankare in computer-assisted composition continues and is aiming far into the future. Trusting relations with musicians are, for Kuitunen, a matter of life and death. Most of his works are for virtuosos: Olli-Pekka Tuomisalo (sax) and Joonas Pohjonen (piano) have, for example, com-missioned works from him, and he has partnerships with the Dutch pianist Ralph van Raat and the Estonian Ensemble U. Next in the pipeline is the recording in Tallinn of the sextet TripleDuos.

violin concerto no. 2 new collected works of Dmitri Shostakovich. vol. 44 (Full Score)ruslania 153469 / iSBn 979-0-706364-15-5

symphony no. 7 & no. 8new collected works of Dmitri Shostakovich. vol. 7 & vol 8 (Full Scores)ruslania 153959 / iSBn 979-0-706364-16-2 (vol. 7)ruslania 153522 /iSBn 979-0-706364-13-1 (vol. 8)

orangoUnfinished satirical opera (Piano score)ruslania 154057 / iSBn 979-0-706364-17-9

string Quartet no. 8 (Parts)ruslania 152397 / ean 9781001523972

andantino for violin and pianoruslania 152338 / ean 9781001550466

other shostakovich string quartets parts and scores are also available from www.ruslania.com (webstore)sheetmusic@ruslania.com

Leiden (NL) on 11 November. The New European Ensemble was founded by the Swedish conductor Christian Karlsen and a group of young top musi-cians from throughout Europe in 2008, and is based in the Neth-erlands. Their goal is to bridge the gap between new music and the public through exciting and expressive performances and to renew the concert format with the aim of showing new music’s relevance to society. More in-formation at www.neweuropean-ensemble.com. New Shostakovich

releases from DSCHSofi Oksanen’s Purge staged as opera An opera based on the best-selling novel Purge (Puhdistus) by Sofi Oksanen is to be premiered at the Finnish National Opera in April 2012. The composer is Estonian cosmopolitan Jüri Reinvere, who is also writing a libretto based on the book. Reinvere (b. 1971) is a talented, versa-tile composer and poet who studied composition at the Chopin Academy in Warsaw and the Sibelius Academy in Helsinki and is at present living in Berlin. He has twice won the International Rostrum of Composers (in 2000 and 2006).

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New publishing agreement with Kimmo Kuitunen

Staern and the New European Ensemble

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T o m m i e H a g l u n d is a composer of the latter sort. To begin with, a circle of Swedish musicians started to campaign for his music: among them were pianists Hans Pålsson and Carl-Axel Dominique, cellist John Ehde and violinists Dan Almgren and Joachim Gustafsson. After that his music began to be played by musicians from abroad, e.g. the English Medici Quartet, guitarist John Mills and violinist Elisabeth Pitcairn. A markedly interna-tional Swede, clarinettist Karin Dornbusch, is helping him along in the same way. And these are continually being joined by new musicians.

Spiritual powerIt is its spiritual power that distinguishes Ha-glund’s music from most other music that is composed today. Just the fact that one can speak unabashedly about spiritual power indicates that there is something special about Haglund. His voice has something that has been missing in art music for a long time, without his resorting to sty-listic means that are retrospective. To be sure, he can work with tonal fields, but he does it in a way that does not repeat the past. Melodic phrases can certainly crop up, but they are melodies that in a peculiar way always seem to quickly disappear.

Chances are that the new record with Haglund’s music will result in another step forward. With the violin concerto Hymnen an die Nacht (2005)

, the ensemble work Röstens dotter (Daughter of the Voice) (2002-03) and the sextet To the Sunset Breeze (1997/2009) , we get a clear picture of the composer’s profile. The solo concerto searches out the magical darkness to be found in

the German romanticist Novalis’s collection of poems, the title of which has been borrowed by Haglund. The texts for Röstens dotter are taken from St. Bridget’s revelations, and this gives a hint of the religious themes that are not seldom found in Haglund’s works. In the sextet, written for an unusual ensemble including guitar, harp and string quartet, we also find the affirmative side of Haglund – what the American poet Walt Whitman lent his voice to – the piece was composed after a reading of one of Whitman’s poems.

reaching broader audiencesConcert audiences have already got to know Haglund in Paris, Philadelphia and Scandinavia. His music has been performed in all continents of the world except Australia. Commissions also come in from abroad. In that sense, Haglund is already established internationally. But the next step is, of course, over the threshold to meet wider audiences, both in Sweden and abroad. There have been many requests for further performances of the Violin Concerto from the USA and Central Europe. The cello concerto, Flaminis Aura, which had its premiere in Helsingborg with Ehde as soloist, is waiting for its first gramophone record-ing, this time on a foreign record label.

The TV documentary that is presently being shot will doubtless lead to more attention on the part of broader audiences. For the past year the film team has come to visit from time to time in Halmstad, where Haglund has resided for a long time. One of the central features is when they are working on the recording of the Violin Concerto,

where Elisabeth Pitcairn practises in eager con-versation with the composer. In addition, there are comments from a number of musicians who have followed him from the very the beginning.

Music just for youAnd so it will go on, whatever happens. Tommie Haglund’s music has literally spoken to musicians, who have made it their own. The same goes for the listeners. The music speaks to the listener. It speaks about things that are elusive, about the pain that can accompany a person through life, about the happiness that brightens up one’s existence, about that which is beyond life. What is remarkable is that all this seems to be formulated just for you, the individual listener. Irrespective of whether it has to do with a work such as Spiráre celorum for the clavisino (an intimate instrument akin to the clavichord) or the view of the cosmos in the Cello Concerto (here there is actually sound picked up from outer space), the music seems to be directed toward one’s own person.

Nor does this apply to all music. Some music can create a great spirit of community with its festive mood, while another type can aim at a play-fulness that can be attained only through music. But the music that Tommie Haglund composes – often in a process that requires long periods of time, based on ideas of sound that have been scribbled down on note paper, then expanded dur-ing lengthy mental elaboration – seems directed to what you are as a listener. It is true that a con-cert experience may lead to a great community of listeners or that there are also playful features in Haglund’s music, but its special quality lies in a fervour that never becomes sentimental.

So whatever steps may be taken, the music will keep its intimate character, speaking to the musi-cian, speaking to the listener.

E r I k Wa L L r u PMusic critic, Svenska Dagbladet

Some composers write good music, pure and simple. Others compose music with an inexplicable charisma. While the former are almost automatically caught up by the institutions of concert life, the latter are surrounded by musicians who have been enraptured by the music. Slowly, the rumour of something exceptional spreads.

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– speaking to the listener Tommie Haglund

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commissions from the United StatesThe demand for works by Olli Kortekangas is not confined to Finland. He has, among other things, received two choral commissions from America, the first of which led to the second. The com-missioner of the first is a leading US symphonic choir The Choral Arts Society of Washington, which requested a work with an ecological slant to its text. The other commissioner of the work is the Tampere Philharmonic. Performances have already been fixed for Washington, San Francisco and Tampere.

“My new piece is called Seven Songs for Planet Earth, and the words are a collage of bits from works by different writers. These include St Francis of Assisi and the contemporary US poet Wendell Berry. I also use folk poetry. Lasting about 40 minutes, it has a big choir and orchestra and two soloists, so it could be described as an ora-torio. It will first be heard at the Kennedy Center in Washington at the end of May 2011.”

Kortekangas reveals that his new work also has parts for a children’s choir, rather like the chorales in Bach’s St Matthew Passion.

“Because I also wanted it to have a children’s choir, the Children’s Chorus of Washington in-spired by the Tapiola Choir and Erkki Pohjola will also be taking part. On top of all this, the Chorus placed a commission of its own,” Kortekangas gleefully reports.

L I I S a m a I j a H a u T S a Lo

Chamber music and working with early instru-ments – especially the viol – have made him think polyphonically again.

“Polyphony in fact comes naturally to me, be-cause I’ve always felt I think of music in linear terms. Could this be because I used to be a choris-ter? Of course all music has both a vertical and a horizontal dimension, but in most cases one or the other dominates. It’s fascinating to explore the po-tential of polyphony and the various layers of the music, and on the other hand transparency, even in such larger-scale works as opera.”

one night StandKortekangas’s new chamber opera, One Night Stand, is a commission from the Sibelius Academy and will be premiered in the opening season of the new Helsinki Music Centre, in October 2011.

“One Night Stand is a spin-off from my pre-vious opera, Daddy’s Girl, in that in early 2008 Markus Lehtinen, who conducted the world premiere of Daddy’s Girl at the 2007 Savonlinna Opera Festival, suggested a follow-up by the main people involved, this time under the aegis of the Sibelius Academy.” The libretto for the new opera is, like that for Daddy’s Girl, being written by Michael Baran, dramaturge at the Finnish National Theatre.

“Right from the start the new opera has been constructed from the perspective of the Sibelius Academy’s voice students. Markus Lehtinen was of the opinion that the project should include a degree of experiment and pedagogical dimensions. One Night Stand is reminiscent of a musical in that it has lots of roles, and when a character isn’t singing a solo, he or she sings in the ensemble or chorus.”

Olli Kortekangas is composing several works side by side. “If doing an opera is like making a cream gateau, chamber music is like baking rye bread,” he says.

and the beauty of polyphony

Olli Kortekangas

arly autumn 2010 finds composer Olli Kortekangas working on several commis-sions: a piano concerto, an oratorio, and a

work for children’s choir, the last two commissions from America. A new opera, Yhden yön juttu (One Night Stand), for the opening season of the new Helsinki Music Centre is also coming along nicely.

The piano concerto will be premiered in April 2011 by Paavali Jumppanen and the Finnish Radio Symphony Orchestra. Though Kortekangas has written concertos before, this one, for piano and orchestra, is the first of its kind.

“It’s in one movement but falls into five parts, and it lasts about half an hour” he says. “I want it to be a concerto in the best sense of the word. In other words, though it is thematically clear and the orchestra is important, the piano has a promi-nent role and is what carries the story along. The piano part is challenging but also brilliant.”

The fascination of chamber music Though Kortekangas loves choral music and opera most of all, he is now finding himself fascinated by chamber music.

“Over the past three years I’ve written several big chamber works. These include the Divertimento (2007) for solo cello, Crossing the Five Rivers (2008) for viol and organ, and Pietà (2010) for soprano, viol and harpsichord. Last winter I also did two paral-lel works, Boreas for clarinet and string quartet for musicians from the Oulu Symphony Orchestra, and Aveux for oboe and string quartet as a commission from the Uusikaupunki Crusell Week.”

The processes of composing chamber music and opera differ considerably. As Kortekangas puts it:

“If doing an opera is like making a cream gateau, chamber music is like baking rye bread. Working with little forms and small ensembles is infinitely challenging and educational. The actual performance is rewarding, because you can follow what the individual players are doing in a way you can’t in opera or orchestral music.”

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Symphonic meditationThe concert opened with Linjama’s symphonic meditation Allerheiligentag ii. it began tenderly and softly, and that is how it ended... The unembel-lished harmonies penetrating the drum rolls and the

in his article “Stockholm 2007–2009: Marie Samuels-son premieres in context”, in the July issue of Tempo Music Magazine, Guy rickards writes a review of Marie Samuelsson’s orchestral music which he finds “exquisite”, “grippingly evocative”, “deftly scored” and “a rewarding musical ride”. He is also looking forward to her opera premiere in 2012 which he suspects will be a thrilling experience. The full article

Pettersson’s passionate 7th in Gothenburg and in Cologneone can indeed wonder why this existentially affecting, pressure-cooker music is not performed more often. The work is a 20th-century classic […] conductor Johannes Gustavsson sees to it that the work gets a compact and coherent interpretation, where the orchestra´s passionate string sonorities make the extended passage for string orchestra especially poignant. A warm feeling, in the midst of the anxiety-ridden. …in Pettersson’s case you cannot escape the flame of life’s intensity…Göteborgsposten 20.5. / Magnus Haglund

in his Seventh Symphony here performed in a totally grandiose manner, one could feel every part of his pain, lament and desperation in a way that reminds of Schostakovich and Mahler. it was a capturing concert.Kölner Stadtanzeiger 21.6.

christian Lindberg presented a very exciting and sophisticated version of Allan Pettersson’s 7th Symphony. Gone was the entertainer and there was an artist bringing out chromatic lines, disturb-ing screams and painful shattering from a com-poser born in the Stockholm slum in 1911. And the Gürzenich orchestra let this 45-minute passionate work take a compelling shape.Kölnische Rundschau 21.6. Allan Pettersson: Symphony No. 7 gothenburg So, cond. Johannes gustavsson, 19-20.5.2010 gothenburg, Swedengürzenich-orchestra cologne, cond. christian Lindberg, 20-22.6.2010 cologne, germany

The electric harp is a magnificent invention... Kimmo Hakola’s KAL plus the electronics directed by Timo Kurkikangas sent cold shivers down my back. The little girl in the balcony even stopped knitting for the whole of the mighty nine-movement work.Helsingin Sanomat 30.5. / Jukka IsopuroKimmo Hakola: KALLily-Marlene Puusepp, harp, Linda hedlund, violin, Maya egashira, viola, Seeli toivio, cello, Malla vivolin, flute, 28.5.2010 helsinki, Finland

A veritable feast of sound Kimmo Hakola invited the listener to a veritable feast of sound in two of his latest orchestral works, Maro and KiMM, which with almost shocking clarity demonstrated the enormous expressive and effective resources that passed the rigorous postserialists by. ...Hakola weaves a polyphonic web of great melodic beauty that, à la charles ives, collided with aggressive orchestral outbursts.Hufvudstadsbladet 22.5. / Mats LiljeroosKimmo Hakola: Maro, KIMMFinnish rSo, cond. Sakari oramo, 19.5.2010 helsinki, Finland

This is a smart, likeable showpiece from a talented composer.The Independent 29.8. / Anna Picard

Telescoping as many ideas into its nine minutes as John Adams would stretch out for a full symphony, it combines ear-friendliness with the adrenalin-busting energy of a fairground ride.Intermezzo 26.8.

Albert Schnelzer’s A Freak in Burbank was hugely enjoyable. …Schnelzer’s compositional voice seems both individual and assured.Classical Source.com 24.8. / Alexander CampbellAlbert Schnelzer: A Freak in BurbankSwedish cho, cond. thomas Dausgaard, 23.8.2010 Proms, London, england

The Swedish composer Albert Schnelzer is little known in the UK, but A Freak in Burbank may change that…the restlessly busy, witty, lightly-scored music lives in an imaginative world of its own.Financial Times 25.8. / Richard Fairman

The piece reveals an exceptional flair for orchestral virtuosity on the part of its composer.The Guardian 24.8. / Tim Ashley

Aho’s Piano Concerto – strong individual voice The three movements have a wonderful; rhapsodic character. …And yes, even though one might detect a Brahmsian flavour at times there’s a strong, very individual voice here, any stylistic snatches welded into an entirely original and convincing whole. As for the strings, they soften the music’s edges, bring-ing out a wonderful sense of wistfulness in quieter passages. Just sample the gentle rain of sound that Siirala conjures up at 7:59 in the second move-ment, the string playing that follows Straussian in its weight and quiet stoicism. The Lahti forces are glorious, full, warm and beautifully blended. Musicweb-international.com July 2010 / Dan MorganKalevi Aho: Concerto for Piano and String Orchestra, Symphony No. 13 cD: Lahti So, cond. osmo vänskä, sol. antti Siirala (BiS-cD-1316)

Hugely enjoyable and witty – Schnelzer at PromsPh

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trumpet fanfares from time to time created some wonderfully lyrical moments.Kleine Zeitung 13-14.6. / Willi RainerJyrki Linjama: Allerheiligentag IIKuopio So, cond. Sascha goetzel, 12.6.2010 carinthian Music Festival, austria

A rewarding musical ride with Marie Samuelssonis available for download on cambridge Journals online: http://journals.cambridge.org/action/displayJournal?jid=TEM.

Marie Samuelsson: Singla, Airborne Lines and Rumbles, The Horn in the Wind royal Stockholm Pho, Stockholm cho, cond. Mats rondin, Stockholm Wind ensemble, sol. Sören hermansson, cond. Staffan Larsson 2007-2009, Stockholm, Sweden

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N E W C D sKalevi aHOConcerto for Piano and String Orchestra (Piano Concerto No. 2), Symphony No. 13 ‘Symphonic Characterizations’Lahti So, cond. osmo vänskä, sol. antti SiiralaBiS-cD-1316

TOMMie HaGlUNDHymns to the Night, Röstens Dotter (Daughter of the Voice), To the Sunset Breezehelsingborg So, cond. hannu Koivula, Joachim gustafsson, the Lysell Quartet, elizabeth Pitcairn, violin, John Mills, guitar, Stephen Fitzpatrick, harp, Jeanette Bjurling and tua Åberg, sopranos etc.Phono Suecia PScD 184

Olli KORTeKaNGaSShadows, Psalm Music (Psalmimusiikkia)vox cantorum, cond. heikki Seppänenomfalos oMF 004 (”Domine, Dominus, noster”)

leevi MaDeTOJaSo What If I Sing (Mitä tuosta, jos ma laulan)Works for mixed choirtapiola chamber choir, cond. hannu norjanenalba aBcD 271

WilHelM STeNHaMMaRPiano Concertos Nos. 1 and 2helsingborg So, cond. andrew Manze, sol. Seta tanyelhyperion cDa 67750

eDUaRD TUBiNWorks for Violin and Piano vol. 1Sigrid Kuulmann, violin, Marko Martin, pianoestonian record Productions erP 3009

Rautavaara evergreen in new version Leif Segerstam lets the orchestra wallow in sweet timbres and gilded hues in the orchestral version of the popular icons piano suite. in doing so he has given the evergreen a new lease of life.Helsingin Sanomat 12.6. / Veijo MurtomäkiEinojuhani Rautavaara: Before the IconscD: helsinki Po, cond. Leif Segerstam (ondine oDe 1149-2)

Antti Puuhaara in FranceTapio Tuomela’s music [...] includes a great variety of fine harmonies, humming with closed mouths, noises, great melodic lines, popular themes, spicy dissonances... The skilful direction of roland Hayrabedian creates music with millions of colours, lyrical legato, stunning pizzicato and murmuring of the frightening forest. Zibeline June-July 2010 / Yves Berge

Antti Puuhaara, a Finnish legend, was performed with incredible talent. The artistic director roland Hayrabedian performed the songs, noises, cries of anxiety, and spoken voices with a communicative passion and intensity. The sublime voices of the soloists and the score deliver the spirit of the tale in a splendid interpretation by the strings, clarinet and accordion.Le Dauphine 13.6. / Colliat-Dangus PierretteTapio Tuomela: Antti Puuhaara (concert version)ensemble Musicatreize, cond. roland hayrabedian, 10-11.6.2010 Bourget-du-lac & Marseille, France

Spiritual HaglundA sense of spirituality permeates Halmstad composer Tommie Haglund’s music. ...Powerful and delicate of sound, splendidly performed.Svenska Dagbladet 22.6. / Lars Hedblad

This nocturnal music approaches darkness in a manner that has few parallels. it is like a slow dance between the solo part and the orchestra, or between the ego and its dissolution, where the vicissitudes are such that one doesn’t know for sure who is leading or who is being led. But toward the end there is also a light, or one could perhaps call it lucidity, with a promise of dawn. Dagens Nyheter 23.6. / Martin Nyström Tommie Haglund: Hymns to the Night, Daughter of the Voice, To the Sunset BreezecD: helsingborg So, cond. hannu Koivula, elizabeth Pitcairn, violin, John Mills, guitar, etc. (Phono Suecia PScD 184)

One of the most gorgeous pieces I have ever heard The Violin concerto is probably unique among the works of nieminen that i have heard so far; the solo passages are legion, somewhat virtuosic… This piece has the evocation of Sibelius in its midst… Enter in Mirrors of Time and you will encounter in the last movement one of the most gorgeous pieces i have ever heard, wistful, ruminative, and melancholy in a way that we all like. ...With the rich scoring of the Viola concerto, and the genius idea of accentuating the harp, we have a modern concerto that takes advan-

tage of the viola’s considerable yet often unused resources to provide not only atmosphere and warmth, but sterling technique and a leadership role in the proceedings. Fanfare July-August 2010 / Steven E. RitterKai Nieminen: Violin Concerto “Il viaggio del cavaliere...(inesistente)”, In Mirrors of Time, Viola Concerto “La Serenissima”cD: Pori Sinfonietta, cond. Jukka iisakkila, sol. erkki Palola, violin and viola, anni Kuusimäki, harp (Pilfink JJvcD-79)

Fine Finn in Canberra Music Festivalrautavaara’s compositions opened a welcome window onto the world of Finnish music, and i hope that this theme will continue in future festivals. …david Pereira accompanied by pianist Timothy Young performed the cello Sonata no. 1, providing a deeply musical interpretation. …The Fiddlers was an exciting piece, and provided a welcome opportunity to watch Thor Fromyhr bring out the best in the AnU chamber orchestra and treat the audience to rautavaara’s wild and intentional dissonance. Canberra Times 18.5. / Jennifer GallMusic of Einojuhani RautavaaraanU chamber orchestra etc., 25.5.2010 canberra international Music Festival, australia

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elizabeth Pitcairn and Tommie Haglund

Husband and wife Ben connor and sonia antiloff sang the main roles in rautavaara’s “the Gift of the Magi” in canberra

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aNDeRS eliaSSONTriofor violin, vibraphone and pianoge 11708 (score and parts)

ROlF MaRTiNSSONDawning Landscapesconcertino for flu te, oboe and string quintetge 11193 (score and parts)

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Fennica Gehrman Oy AbPo Box 158, Fi-00121 helsinki, Finlandtel. +358 10 3871 220 • Fax +358 10 3871 221www.fennicagehrman.fi • info@fennicagehrman.fihire: hire@fennicagehrman.fi Sales & distribution: Dealers: kvtilaus@kirjavalitys.fi end users: ostinato@ostinato.fi, nuotit@f-music.com or other music shops

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N E W P u b L I C aT I o N S

T U T o r SGéza SzilvayYellow Pages of the Colourstrings Violin School 1. Basic rhythms (iSMn 979-0-55009-545-8)2. Basic rhythms and ornaments (55009-640-0)3. Basic Bowings (55009-641-7)the three Yellow Pages books offer pedagogical material to violin teachers and their students in order to develop the feeling of pulse, to assist the mast-ering of all rhythms and their combinations, to help build basic knowledge on ornaments and to create a solid basis for virtuosic bow technique.

aNNe-liSe liNDBeRG SJöDiNOrgelpuls 1 innovative beginners school for church organ. inspiring graphics and creative moments to encourage improvisation and creativity from the very beginning. texts in Swedish. ge 11508

c H o r A L M U S i cPeR GUNNaR PeTeRSSONHosianna for mixed choir and organtext in Swedishcg 7490new version for double mixed choir and organ text in Swedish ge 11725

FReDRiK SixTeNMagnificatfor mixed choir, brass instruments and organ text in Latinge 11498 (score) • ge 11499 (choral score)ge 11500 (set of parts)

Klappa händer (Clap Your Hands) for mixed choir, organ and percussion text: Psalm 47 (Swedish and english) ge 11575 (score) • ge 11576 (organ part)ge 11577 (percussion) • ge 11578 (choral score)

SveN-DaviD SaNDSTRöMThe Lord’s Prayerfor six part choir a cappellatext in englishge 11676

Three Poems by Prince Clausfor choir, strings and percussiontext: Prince claus (english)ge 11585 (score)

liNa MalM/MaRTiNa KaRlSSONYes, I´m Coming HomeSeven gospel songs for mixed choir and pianoarr: Staffan Sundås and Mattias Johansson texts in englishPiano part and chord symbols in the scorege 11644

S c o r E STOBiaS BROSTRöMViolin Concertoge 11362

ROlF MaRTiNSSONOrchestral Songsfor mezzo-soprano and orchestratext: emily Dickinson (english)ge 11382

FReDRiK PaCiUSMelodramas: Die Weihe der Töne (Tonernas välde), Tod im Tode (Död i döden)Full score of two melodramas by Pacius (1809-1891), edited by Mikko nisula & Jani Kyllönen. Foreword by eero tarasti.iSMn 979-0-55009-651-6

allaN PeTTeRSSONConcerto No. 2 for Violin and Orchestrage 11663

Symphony No. 2ge 11638

Symphony No. 4ge 11639

MaRie SaMUelSSONFear and Hopefor orchestrage 11511

Flygande linjer och dån (Airborne Lines and Rumbles)for chamber orchestrage 11567

alBeRT SCHNelzeREmperor Akbarfor string orchestrage 11599

Oboe Concerto – The Enchanterge 11573

HalvOR HaUG Symphony No. 2 ge 11411

c H A M B E r & i n S T r U M E n T A L PeR GUNNaR PeTeRSSONOrgan Mass commissioned by the church of Sweden for the Fourth National Symposium for Church Music in Uppsala. the work replaces the corresponding sections of the mass, which otherwise may have been sung by the congregation. ge 11723

SveN-DaviD SaNDSTRöMSeven Pieces for String Quartet(String Quartet no. 4)ge 11572 (score and parts)