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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

Focus on KOSKELIN

and SCHNELZER

RAUTAVAARA’s Mine

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NEWS

Karin Rehnqvist

to GehrmansStarting in the autumn

of 2010 Karin Rehn qvist has chosen Gehr mans 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 In connection with this agreement a number of hitherto unpublished choral works will be brought out: Teile dich Nacht (text: Nelly Sachs) for mixed choir and soprano solo, commis-sioned for the Donau Eschinger Musiktage 2002; Salve regina for mixed choir and 13 instruments, composed for the Nederlands Kamerkoor and the Nieuw Ensemble; Her-ren är min herde/Der Herr ist mein Hirte (2008) for women’s choir, commissioned by the 8th World Symposium on Choral Mu-sic; 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 char-acteristic feature of her music, and one that is often mentioned, is the cross-fertilization of art and folk music.

Gehrmans on YouTube Visit Gehrmans’ YouTube site: www.youtube.com/gehrmans! There you will find four brand new video clips about our composers and their music. An hom-age 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.

Tobias Broström portrait CDThe 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 fea-ture conductor Johannes Gustavsson and solo-ists Karen Gomyo and Håkan Hardenberger.

Big Band ChristmasAfter 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 be-ginning to spread over the world. This De-cember 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 perform-ances 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.

Tuomela’s opera staged in FranceTapio 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 Musi-catreize 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.

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Sound samples , video clips and other material are available at www.gehrmans.se/highlightswww.fennicagehrman.fi/highlights

Cover photo: Johanna Rusanen-Kartano in Einojuhani Rautavaara’s opera The Mine (Photo: Ari Ijäs)Editors: Henna Salmela and Kristina FryklöfTranslations: Susan Sinisalo and Robert CarrollDesign: Pirkko HuttunenISSN 1239-6850Printed in Sweden by TMG Sthlm, Bromma 2010

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PREMIERESAutumn 2010 – Spring 2011

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 func-tion. 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.

A year of premieres for KortekangasOlli 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 premier-ing 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.

New Fennica Gehrman online shopFennica 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.

Kimmo Hakola newsKimmo 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 Alek-sis 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 Ha-kola’s Appassionato was pre miered 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.

SVEN-DAVID SANDSTRÖMThree Poems by Prince Clausfor choir, strings and percussionPrince Claus Conservatory, cond. Peter Dijkstra10 November, Groningen, Netherlands

AlbERT SChNElzEROboe Concerto – The EnchanterSwedish ChO, cond. Lionel Bringuier, sol. Francois Leleux11 November, Örebro, Sweden

bENJAMIN STAERNbells and Waves – Chamber SymphonyNew European Ensemble, cond. Christian Karlsen11 November, White Crow Music Festival, Leiden, Netherlands

KAlEVI AhOMinea Tampere PO, cond. Hannu Lintu12 November, Tampere, Finland (Finnish premiere)

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MIKKO hEINIÖ Syyskesän laulu (late Summer Song)Turku PO, cond. Ernesto Martinez-Izquierdo, sol. Tommi Hakala9 February, Turku, Finland

VElI-MATTI PUUMAlANew work for orchestraFinnish Radio SO, cond. Hannu Lintu16 February, Helsinki, Finland

JÖRGEN DAFGÅRDThrough Fire and WaterMalmö SO, cond. Daniel Raiskin17 February, Malmö, Sweden

Gehrmans launches new website

EINOJUhANI RAUTAVAARAUnsere liebe Vier Gesänge zu Gedichten von Lassi Nummi (version for SATB choir)Helsinki Chamber Choir, cond. Nils Schweckendiek23 November, Helsinki, Finland

TIMO-JUhANI KYllÖNENTango solo, chamber operaUusinta Chamber Orchestra, cond. Nils Schweckendiek, sol. Riikka Hakola12 January, Espoo, Finland

ANDERS ElIASSONViolin ConcertoSwedish Radio SO, cond. Manfred Honeck, sol. Ulf Wallin21 January, Stockholm, Sweden

SVEN-DAVID SANDSTRÖMMissa brevisMusica Vitae, Gustaf Sjökvist Chamber Choir, cond. Gustaf Sjökvist, sol. Malena Ernman, mezzo-soprano29 January, Växjö, Sweden

TObIAS bROSTRÖMPiano ConcertoGävle SO, cond. Jaime Martin, sol. Per Tengstrand17 March, Gävle, Sweden

DANIEl bÖRTzEpodosRoyal Stockholm PhO, cond. Sakari Oramo24 March, Stockholm, Sweden

KAlEVI AhOSymphony No. 15BBC Philharmonic, cond. Juanjo Mena26 March, Manchester, UK

OllI KORTEKANGASPiano ConcertoFinnish Radio SO, cond. Dmitri Slobodeniouk, sol. Paavali Jumppanen27 April, Helsinki, Finland

Seven Songs for Planet EarthChildren’s Choir of Washington and other performers, cond. Joan Gregoryk22 May, Washington D.C., USA

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.

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Instrumental 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 no-

ticeable in Finnish music. In a few of his early works, such as the virtuosic Exalté for solo clarinet, he leapt on board the modernist bandwagon. Yet little by little a composer intent more on building a world of his own began to emerge. Thus such works as Tutte le corde for guitar and tape, and the limpidly beautiful Courbures for piano already reveal a lyrical venerator of 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, expres-sive wind solos and arabesque-like ar-peggios.

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

Most of all Koskelin has com-posed for smallish vocal or cham-ber ensembles and solo instruments. An orchestra is

OLLI KOSKELIN – a seeker of delicate timbres

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 Acad-emy 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 de-rived 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 sound-scape of which was inspired by eight haikus by Matsuo Basho tied together in a close-knit, subtly meditative entity. Japanese haiku po-etry also inspired Koskelin at a purely instrumental level in Seven Haikus for flute and guitar.

Lyrical and expressionistKoskelin’s poetry in sound, often characterised by its fine atten-tion 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 pe-

riod 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. Tin-tinnio 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 ac-

tion-packed drive. It does not, however, represent a direct return to the modern-

ism of his early career; rather it is a sort of recapitulation and transformation of earlier phenomena at a more profound level.

Kimmo Korhonen

Olli Koskelin has proceeded at a leisurely pace in a career beginning in the early 1980s, carefully polishing his works and painting lyrical worlds of beauty.

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When I catch Swedish composer Al-bert 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 stand-ing 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 or-chestral virtuosity on the part of its com-poser.” 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 Swed-ish 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

ALBERT SCHNELZER – a Swedish sorcerer’s apprentice

tracks and keying in to new tunes seems to nur-ture Schnelzer, rather than put him off kilter.

Magical realistThe brooding imagination of young Albert Sch-nelzer took its toll when the engineer-to-be in the remote, folkloric province of Värmland re-alized that his passion was to be discovered in the realm of magical realism. Schnelzer defines his relationship to music as emotional, one that alienated him when at Malmö Academy of Mu-sic in the 1990s he was introduced to modernist soundscapes. Rather than adapting, Schnelzer discovered legitimacy for his eclectic inclination for folk music, soft romantics and hard rock dur-ing a pivotal year in 1999 at the London Royal College of Music. Technique never is allowed to generate musical material in the world of Albert Schnelzer, who prefers to define which story he is about to tell before settling on which tools to use.

Schnelzer refers to Salman Rushdie as his creative hero. Like Rushdie he wishes to lead the listener on an adventure, to experience the unexpected. Rushdie, thus, has inspired no less than three of his works, the turmoil surrounding the Satanic Verses giving the impetus for Sch-nelzer’s Symphony No. 1 – Azraeel (2007), while the Emperor Akbar of Rushdie’s The Enchant-ress of Florence is central to his String Quartet, (composed for the Brodsky Quartet in 2009), and the narrator in the same novel provided the back bone for the new Oboe Concerto.

Meeting the British audienceThis upcoming November week, The Enchanter is due to be performed in Scotland by the Scot-tish Chamber Orchestra, with Francois Leleux once again in the lead role. Albert Schnelzer is extremely enthusiastic regarding Leleux. ”He is a very fine musician. Although oboists never attain the star status of string musicians, in the world of double reed he is one of the greatest stars,” Schnelzer comments. ”Oboe is one of the finest instruments. In his hands, it sounds so easy and carefree.”

And the British premiere of the Oboe Con-certo is well promoted, the arrangers being well aware of the hype surrounding the Proms per-formance. Thus, the composer takes part in pre-concert talks in Edinburgh as well as in Glasgow. The framework is a concert series labelled New Romantics. The flattering concept places Sch-nelzer next to contemporary giants such as John Adams, Giorgio Battistelli and Luciano Berio.

Above all, it is A Freak in Burbank that has rendered Albert Schnelzer recognition. This is the Tim Burton-inspired piece, with hints of Haydn, which resulted in an overwhelmingly warm reception at the Royal Albert Hall during this years’ Proms-season.

”It was an amazing experience”, Schnelzer recounts. “In the UK they are genuinely inter-ested in new music! I felt like a rock star, as I was greeted by a screaming audience taking my bow on stage.” The Swedish Chamber Orches-tra was reviewed by as many as 15 major papers, most of them beamingly enthusiastic visavi the orchestra as well as A Freak in Burbank. Sch-nelzer recalls emptying a mailbox full of fan mail, ordinary concert audience as well as radio listeners, conductors and musicians – for weeks following the concert.

As it happens, Schnelzer has become a part of the success story of the Swedish Chamber Orchestra. The ensemble was founded in 1995, and over the past decade has risen to interna-tional fame. ”We have taken advantage of one another”, Schnelzer notes.

”Particularly Gregor Zubicky is a key mem-ber in the orchestra. He was brave enough to give my music a chance when I was still un-known. ” As of today, Schnelzer and the Swed-ish Chamber Orchestra have actually shared the stage several times, growing with each new ven-ture. Schnelzer enjoys meeting the musicians, getting to know them more and more.

”It’s an extraordinary orchestra!” the com-poser exclaims. ”They make me proud of being Swedish.”

What’s next?Once the Oboe Concerto has been premiered. Schnelzer will wrap up his work on the Cello Concerto for the Gothenburg Symphony Or-chestra. The work is scheduled to be premiered in 2011–2012, and the cellist in mind is Claes Gunnarsson, solo cellist of the orchestra.

”He performed a number of the solo tracks on my portrait CD, and that became the embryo of the solo concerto.”

A string orchestra version of Emperor Akbar was completed this autumn and premiered by the Norwegian Tromsø Chamber Orchestra in late October. And this version works remarkably well, the composer feels, following intense dia-logue with the concert master in order to perfect the details. Several other orchestras have con-tacted Schnelzer, asking to incorporate it with their own repertoire.

So, what new projects might this imaginative composer dream up for the future? Evidently, several of them are already on their way. A com-mission for a large-scale orchestral piece with triple wood winds, large brass section and per-cussion is being discussed. Schnelzer feels that after a number of solo concertos, he is ready to tackle something full scale – possibly another symphony. ”It would be wonderful to really gorge in orchestral color”, Schnelzer muses.

Sofia Nyblom

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REVIEWSComplex, rewarding and human HaglundIf there is any justice in the musical world at all I hope this release will lead to a far wider apprecia-tion 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 mu-sic 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 BreezeCD: Helsingborg SO, cond. Hannu Koivula, sol. Elizabeth Pitcairn, violin, John Mills, guitar, etc. (Phono Suecia PSCD 184)

Profound and moving quartetsThe two works by Pehr Henrik Nordgren would gua-rantee 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 AndersonPehr Henrik Nordgren: String Quartets Nos. 10 and 11CD: Tempera Quartet (Alba ABCD 308)

Aho CD – a real findScored 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 HurwitzKalevi Aho: Piano Concerto No. 2, Symphony No. 13CD: Lahti SO, cond. Osmo Vänskä, sol. Antti Siirala (BIS-CD 1316)

Wild flow of energy in Aho’s MineaMinea is one of Aho’s most rip-roaring works. You can tell it was originally composed for a top Ameri-can 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 ex-perience. The role of the percussionists, who played magnificently, was almost that of soloists.Aamulehti 14.11. / Harri HautalaKalevi Aho: Minea Finnish Premiere: Tampere PO, cond. Hannu Lintu, 12.11.2010 Tampere, Finland

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 HautsaloEinojuhani 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

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

Rautavaara’s magnificent Mine

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Evocative Passages by MellnäsMellnäs’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 con-trasted 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 emo-tionally evocative. And that is precisely what Arne Mellnäs’s music on this CD is.Tidningen Kulturen 6.11. / Carl AbrahamssonArne Mellnäs: Passages CD: Swedish Radio SO, cond. Esa-Pekka Salonen (Phono Suecia PSCD 175)

Martinsson’s Bridge the highlight of the eveningConductor Alan Buribayev built up a gigan-tic musical house, which contained both jazz and grandiose romanticism. The whole thing ended in a magnificent urban envi-ronment 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 char-acterised by energy. The trumpet concerto was the absolute highlight of the evening. Norrköpings Tidningar 5.10. / Michael BruzeRolf Martinsson: Bridge – Trumpet Concerto No. 1Norrköping SO, cond. Alan Buribayev, sol. Giuliano Sommerhalder, 4.11.2010 Norrköping, Sweden

Tranströmer SongsBenjamin Staern has composed a mini symphony based on four poems by Tomas Tranströmer… Tranströmer’s distinctly drawn imagery is given a fur-ther dimension with the aid of strings, winds and Carina Vinke´s voice.Vestmanlands Läns Tidning 10.10. / Dan LinderBenjamin Staern: Tranströmer Songs (New enlarged version)World Premiere: New European Ensemble, cond. Christian Karlsen, sol. Carina Vinke, alto, 9.10.2010 Västerås, Sweden

Touches the soulAt 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 display-ing Madetoja’s mastery of cho-ral writing.FMQ 3-2010 / Martin AndersonLeevi Madetoja: Works for mixed choirCD: Tapiola Chamber Choir, cond. Hannu Norjanen (Alba ABCD 271)

Kortekangas’s CharmsKortekangas’s composite expres-sion is a Bartók-like combination of long-lined, arching melodies and grand Rachmaninov-like gestures in the piano part inter-spersed with theme work hark-ing back to the spirit of Classi-cism.Helsingin Sanomat 8.11. / Lauri OtonkoskiOlli Kortekangas: Charms, Concerto for Piano Trio and OrchestraTapiola Sinfonietta, cond. Santtu-Matias Rouvali, sol. Marita Viitasalo, piano, Eeva Koskinen, violin, Riitta Pesola, cello, 4.11.2010 Espoo, Finland

Carina Vinke, Tomas Tranströmer, Benjamin Staern och Christian Karlsen

Delightful soundscapesThe technically sovereignweave of the many-hued musical texture was en-chanting. …The flutiness of the solo part is a successand the composer has createdsome delightful soundscapesand dialogues by combining the solo with splendid orchestration.Etelä-Saimaa 30.9. / Jukka LindPaavo Heininen: Flute Concerto ‘Autrefois’World Premiere: Lappeenranta CO, cond. Tibór Bogányi, sol. Mikael Helasvuo, 30.9.2010 Lappeenranta, Finland

PAAVO hEININENSmall Wolfstock, Anadyr.img and other worksThe Academic Saxophone QuartetOPTCD-10007-8 “Finnish Saxophone Quartets”

ARMAS JäRNEFElTSymphonic Fantasy, Suite in E Flat Major, Serenade, berceuse for violin and orchestra Lahti SO, cond. & sol. Jaakko Kuusisto BIS-CD-1753

ARNE MEllNäSPassagesSwedish Radio SO, cond. Esa-Pekka SalonenPhono Suecia PSCD 175

Martinsson + Fröst = Fantastique

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 con-veyed by an often dense and dramatic orchestral texture, as in an exciting ad-venture 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 LarsénRolf Martinsson: Concert Fantastique World Premiere: Malmö SO, cond. Shi-Yeon Sung, sol. Martin Fröst, clarinet, 14.10.2010 Malmö, Sweden

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ChORAlTHOMAS JENNEFELTDixit Dominusfor soli, mixed choir and string orchestraTexts: 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 11570Instrumental parts on hire

PER GUNNAR PETERSSON Resurrexitfor mixed choir, trumpet and organText in latinGE 11629

EINOJUHANI RAUTAVAARAUnsere LiebeVier Gesänge zu Gedichten von lassi Nummifor 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.FG ISMN 979-0-55011-020-5

FREDRIK SIXTENLet There Befor mixed choir, percussion, timpaniText: Maria Küchen (English)GE 11637

NEW PUBLICATIONS

ORChESTRAlROLF MARTINSSONBridgeTrumpet Concerto No. 1GE 10866 ScoreGE 11055 Solo part with piano reduction

ANDERS SOLDH (Arr.)Popular Christmas Songs in arrangements for symphony orchestra (choir ad lib)

När det lider mot jul (Ruben liljefors)Text: Jeanna Oterdahl (Swedish)GE 11743 Score • GE 11744 Set of partsGE 11754 Choral score (S+A)

Natten går tunga fjät / Santa Lucia (Trad.)Text: Arvid Rosén (Swedish)GE 11745 Score • GE 11746 Set of partsGE 11755 Choral score (S+A)

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

ChAMbER & INSTRUMENTAlBO HANSSON5 Etudesfor guitar soloDrawing from the same tradition of concert etudes as brouwer, Diego-Pujol and Villa-lobos, bo hansson’s 5 Etudes are fine examples of pieces that combine musical perfection with technical ambitions. GE 11547

FREDRIK HÖGBERGIce Pianofor piano and backtrackGE 11632 (Score and CD)

JYRKI LINJAMA4 Etudes for violinFG ISMN 979-0-55011-015-1

bOOKS

MIKKO RAASAKKAExploring the ClarinetA guide to clarinet technique and Finnish clarinet music (book & CD)FG ISMN 979-0-55011-005-2

EDUARD TUBINComplete WorksVolume XII Concertino for Piano and OrchestraFull Score GE 11742

Volume XIII Concertino for Piano and OrchestraPiano Score GE 11713

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ROBERT SUNDLa cucaracha canto popular mejicanoText in SpanishVersion for male choir a cappella GE 11260Version for mixed choir a cappella GE 11624

SVEN-DAVID SANDSTRÖMVeni creator spiritusfor six part mixed choir a cappellaText in latinGE 11724

Julvisa (Christmas Song)for tenor solo and six part mixed choir a cappellaText: zacharias Topelius (Swedish)GE 11554

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Gehrmans Musikförlag ABBox 42026, SE-126 12 Stockholm, SwedenTel. +46 8 610 06 00Fax +46 8 610 06 27www.gehrmans.seinfo@gehrmans.seHire: hire@gehrmans.seWeb shop: www.gehrmans.seSales: sales@gehrmans.se