Nordic Highlights No. 3 2020

NORDIC

HIGHLIGHTS

3/2020

NEWSLETTER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN

News from our composers

Repertoire tips: works for smaller-sized orchestra

Photo: Maarit Kytöharju

Photo: Mats Lundqvist

NEWS

Tommie Haglund

Tommie Haglund Festival in Halmstad Juhani Nuorvala and Sabina

Nuorvala at the Rusk Festival Juhani Nuorvala is Composer of the Year at the Rusk Festival in Pietarsaari from 17 to 21 November 2020. There are several of his works on the programme, including arias from the for cello and synthesiser and the Quaedam variationes ex “Bene opera Flash Flash, Boost quondam” for strings to be performed by the Ostrobothnian Chamber Orchestra conducted

by Anna-Maria Helsing. It is a shortened version of the variations which the same orchestra premiered in 2017.

Musicians from around the world will be assembled again on 23–25 April 2021 to perform Tommie Haglund’s music in his home town, Halmstad. The guest orchestra this time is the Aarhus Symphony Orchestra from Denmark.

On the programme is his Symphony, the violin concerto Hymns to the Night and the cello concerto Flaminis aura , as well as a large number of his chamber works. Concerts will alternate with symposiums. All under the direction of the festival’s artistic leader Joachim Gustafsson.

Complete programme and featured musicians to be announced.

HIGHLIGHTS

3/2020

New Antti Auvinen release Ondine Records is releasing a CD of orchestral music by Antti Auvinen in November. Junker premiered by the FinnTwist, ish Radio Symphony Orchestra in 2015, and Himmel Punk, heard at the 2016 Tampere Biennale, marked the countdown to Auvinen’s musical take-off.

Though bursting with explosive energy, the powerful beat is offset by some moments of calm meditation. The third work on the disc is Turbo Aria, in which a sampler played by a keyboardist occupies a central role; the processed voices are from old records made by Finnish sopranos.

The FRSO is conducted on the new disc by Hannu Lintu.

Photo: Eija Tervo

American-Finnish composer Alex Freeman studied at the Sibelius Academy on a Fulbright fellowship, while completing doctoral studies at The Juilliard School.

Fennica Gehrman has published four choral works by him. Under Alex Freeman the Arching Heavens: A Requiem was nominated for the 2019 Teosto Prize.

According to the jury, “it is a profound work offering consolation for the moments when we are face to face with transience”. Calle sin nombre (Street without a Name) addresses a contemporary issue: asylum-seeking children from Latin America are separated from their parents in the USA. Cathedral of Spring for chamber choir can be heard on the CD by the Somnium Ensemble that was chosen by the Finnish Broadcasting Company as Record of the Year in 2019. I Feel the Same Way (Three Songs of Lilian Moore) was composed for the Helsinki Conservatory children’s choir (SSA).

Photo: Bruce Reinoso

Choral works by Alex Freeman

Antti Auvinen

Photo: Katja Tauberman

Photo: Maarit Kytöharju

Benjamin Staern

Benjamin Staern in focus

Lotta Wennäkoski and the Danish String Quartet Lotta Wennäkoski is one of the four composers in an ambitious 4-year international commissioning project DOPPELGÄNGER initiated by the Danish String Quartet. The project pairs new works by Bent Sørensen, Wennäkoski, Anna Thorvaldsdottir and Thomas Adès with Schubert’s three last string quartets and the string quintet. Lotta Wennäkoski’s work is paired with Schubert’s ‘Death and the Maiden’.

The pieces have been commissioned by the Danish String Quartet with the support of Carnegie Hall, Cal Performances, UC Santa Barbara Arts & Lectures, the Vancouver Recital Society, Flagey in Brussels, and Muziekgebouw in Amsterdam. Lotta’s commission is scheduled to premiere at Carnegie Hall in April 2022 and the European premiere at Muziekgebouw is scheduled for September 2022.

Daniel Nelson’s Chaplin Songs Daniel Nelson has set to music the famous concluding speech in Charlie Chaplin’s cinematic masterpiece ‘The Great Dictator’ from 1940.

“When I first came across a short video clip of the speech, I was immediately struck by the monologue’s almost hypnotic flow, and the way in which it builds to a climax and release in a near perfect musical arch”, says Nelson. “Most importantly, however, I found it unnerving how the speech had remained so topical even today, 80 years after it was written. As people and ideologies start chipping away at the foundations of democracy, Chaplin Songs is merely my way of retelling the ever important message that Charlie Chaplin voiced in his speech; that if democracy is not maintained, we are all lost.” The 40-minute song cycle for soprano, mixed choir and orchestra, is jointly commissioned by the Swedish Radio, the Helsingborg and the Gävle Symphony Orchestras.

Photo: Ella Nelson

Lotta Wennäkoski

The Stockholm Composer Weekend on 15–18 April 2021 will be devoted to the music of Benjamin Staern. The Concert Hall promises a colourful festival, including the premiere of Staern’s Symphony No. 2 – A Magical Evening, inspired by Lili Boulanger’s ‘D’un soir triste’.

Alto Anna Larsson will be soloist in Songs of Dazzlingly White Love, and Karin Dornbusch will play the prize-winning clarinet concerto Worried Souls. We also get to hear Staern’s breakthrough work, The Threat of War, the brilliant concert opener Jubilate , his first symphony, Polar Vortex and the billowing Wave Movements. Participating orchestras include the Royal Stockholm Philharmonic under the baton of Cathrine Winnes, and the visiting Gävle Symphony Orchestra with conductor Emil Eliasson. The festival is rounded off by chamber music with the ensemble Norrbotten Neo and soloists.

Daniel Nelson

HIGHLIGHTS

3/2020

REPER TOIR E TIPS

Works for smaller-sized orchestra

Due to the current coronavirus restrictions many concert producers are asking for repertoire for smaller-sized orchestras. Here are some exciting pieces for chamber ensemble, chamber orchestra and string orchestra, some with a soloist. We have also included a few staff favourites – ones that have struck our fancy in performance or have left fond memories. You find more repertoire for smaller-sized orchestra listed on our web sites.

CHAMBER ENSEMBLE

CHAMBER / SINFONIETTA ORCHESTRA

JÖRGEN DAFGÅRD Esprit (2012) Dur: 24’

DANIEL BÖRTZ Sinfonia 11 (2006) Dur: 22’

The music in Dafgård’s constantly flowing Esprit, is fast throughout the piece. It has a swinging pulse and at times an almost jazzy feel. It starts lightly and playfully, but gradually the course of events gets more and more adventurous and filled with drama, to finally reach a euphoric ending.

A markedly dramatic Sinfonia in four movements, in which fits of rage lurk even in the loveliest of passages.

The middle movements vacillates between hope and despair while the outer movements are at the same time epic and concentrated.

1111-1000-pf-str (11111)

MATS LARSSON GOTHE The Apotheosis of the Dance (2012) Dur: 10’

KIRMO LINTINEN Ballata Concertante (2015–16) Dur: 12’

2222-2200-10-str

Schnelzer’s work, inspired by Clara Schumann’s letters to Johannes Brahms, is constructed as a dialogue between a wild and free flute (Clara) and a more thoughtful bassoon (Johannes). The music captures the energy of Clara’s hectic life as a touring musician. But there are also contrasting quiet and melancholy sections where the mother, the friend and the human being Clara, with her doubts, fears and sorrows shines through. Jointly commissioned by the Los Angeles CO, Gävle SO, RTE National SO and Sinfonia Lahti for Clara Schumann’s 200th anniversary.

BENJAMIN STAERN Wave Movements (2011) Dur: 11’ 2222-2200-11-0-str

Staern’s water-inspired opening piece is bubbling with energy. It drips, it ripples, it flows and it eddies.

The waves roll and wash over one.

And it all ends up in a magnificent climax.

2222-2200-11-str

octet: 0011-1000-str (11111)

This is a vibrant piece intended for performance without a conductor.

Lintinen’s ingenious stylistic allusions were triggered by the music of the Trecento, for Ballata Concertante speaks the language of the 14th century with a catchy “modernist twist”. The solo winds act like a vocal trio.

The instruments are the same as in Schubert’s Octet, so the two works make good programme partners.

BENJAMIN STAERN Bells and Waves (2010) Dur: 30’ 11 instruments: 1121-0000-01-pf-str (10111)

An eventful chamber symphony in five movements, that seethes with life and energy. It is rhythmically complex and playful. At times one can imagine church bells in the distance and boats slowly gliding by in the fog. In the last movement the music gushes forth in a torrent of rapid toccata-like figures until it finally fades away and disappears into nothingness.

LOTTA WENNÄKOSKI Hele (2018) Dur: 13’ 12 players: 1111-1100-01-str (11111)

An energetic work in which, according to critics, Wennäkoski “utilized the slide whistle amid frantic and agile ensemble writing to sometimes atmospheric, sometimes cartoonish, but always surprising effect.” Hele was commissioned by the Los Angeles Philharmonic and Gustavo Dudamel. It is a rhythmically playful piece including some extraordinary instruments such as a typewriter.

HIGHLIGHTS

2222-2200-10-0-str

ALBERT SCHNELZER Burn My Letters – Remembering Clara (2019) Dur: 12’

3/2020

Larsson Gothe’s ingenious companion piece to Beethoven’s 7th Symphony, begins with a bobbing, modulating, chromatic ascending motif. He then continues to reflect on themes from the symphony. The aim was to write a piece that could be listened to as a standalone composition, without prior knowledge of Beethoven’s work; but also that the experience would hopefully be enhanced still further if the listener was already familiar with the original symphony.

JYRKI LINJAMA Allerheiligentag II (2009) Dur: 16’ 2222-2200-10-str

This symphonic meditation begins tenderly. The original Finnish folk chorale shimmers through the orchestral texture, at times more directly, at times more disguised. A lyrical work, it would be ideally suited together with Mozart’s or Faure’s Requiem. It was commissioned for a church concert held before All Saints’ Day in 2009. The timing of the premiere in relation to the church year influenced the work and its title.

MARIE SAMUELSSON The Eros Effect and Solidarity (2016) Dur: 12’ 2222-2200-01-str Text: George N Katsiaficas Swe/Eng

In the third part of Samuelsson’s Love Trilogy the orchestra musicians get to play dual roles, as the music is intertwined with recitation of words from George N. Katsiaficas’ article ‘The Eros Effect’. The tranquil mood and delicacy permeates the whole work, including exquisite strings and wind parts.

JONAS VALFRIDSSON John Bauer Overture (2019) Dur: 15’ 2222-2200-01-str

Valfridsson’s new overture has a magic shimmer and a scent of deep forests, with glittering brooks and shadowy lakes. Sometimes it is seductively beautiful, at other times almost threatening, but incessantly captivating. This is the third part of a trilogy of works inspired by the fairy-tale painter John Bauer.

ERLAND VON KOCH Nordic Capriccio (1943) Dur: 6’ 2222-2210-10-str

Von Koch’s exuberant fantasy overture, inspired by a folk motif from Dalecarlia, opens with a “troll-drum” timpani solo which later returns linking the various sections together. It is a spectacular mixture of whirling dances and sweeping beautiful strings. A highly suggestive piece reminiscent of wide open landscapes as well as midsummer dancing.

STRING ORCHESTRA KALEVI AHO Letter to the Netherworld / Kirje tuolle puolen (2018) Dur: 12’

strings (55432)

Subtitled ‘Pehr Henrik Nordgren in memoriam’, this is a work dedicated to the memory of fellow-composer Nordgren. Letter to the Netherworld is a musical conversation in which the violins ask the low strings questions and the rich viola tones act as catalysts. The result is beautiful, moving music.

ANDERS ELIASSON Ein schneller Blick…ein kurzes Aufscheinen (2003) Dur: 17’

MIHKEL KEREM String Sextet ‘Restless Night’ (2004) Dur: 30’ string sextet or string orchestra

This is a fine example of Eliasson’s exquisite string writing. The title is not a quote but a distinctive feature of the work. The music begins with a minimalist and frenetically repetitive rhythmical energy which is followed by a more melancholy ‘Tranquillo’ section. The concluding ‘Presto’ has an almost fiddler-like drive.

Kerem, himself a violinist, writes idiomatic and hauntingly beautiful music for strings. The idea of the String Sextet was connected to Schönberg’s Verklärte Nacht so that the two pieces could be performed together. The mood goes from calm to agitated and finds peace at the end with a long, meditative stretch in D major.

TOMMIE HAGLUND Serenata per Diotima (2014/15) Dur: 14’

CARIN MALMLÖF-FORSSLING Release (1973/93) Dur: 9’

An altogether delightful work that either opens your mind to the rest of the concert, allowing you to leave everyday life behind, and experience beauty in the present moment; or a work that gets you to make a landing at the end of the concert, and to go home with an intensity of feeling and an openness to the beautiful.

Release was composed over a period of twenty years. It demonstrates that music can be both dramatically contemplative and restfully intense. The first movement from 1973, was supplemented in 1992 with an ‘Adagio funèbre’, composed after a personal loss. She then added a short and lighter ‘Allegro con spiriti’ to function as a bridge between the old Release work and the concluding elegy.

PAAVO HEININEN Sinfonietta Op. 66i (1996/2000) Dur: 19’ Dance rhythms are strongly present throughout Heininen’s big opus 66, which is a treasure trove embracing several works for string or chamber orchestra. The Sinfonietta is in four movements (Sonata, Scherzo, Elegia and Ricercata), all waltzes. Together they trace a symphonic arch. Commissioned by the Lapland Chamber Orchestra.

MIKKO HEINIÖ Minne (1996) Dur: 18’ Minne features both rhythmic fireworks and lyrical moments. It consists of three movements each different in character. Hovering in the background of Martellato are rhythm and blues; Cantabile is marked by expressive, singing polyphony and Animato is a quick, throbbing dance.

Premiered by the Ostrobothnian Chamber Orchestra and Juha Kangas.

PEKKA JALKANEN The Serf of Viro / Viron orja (1980) Dur: 6’30

two violins and strings (44321)

This work won an award in a competition seeking works using folk music in new ways. Jalkanen’s music has a mystical appeal, setting an old folk tune that runs like a hypnotic scarlet thread through the texture, which grows from a minimalist lightness towards dramatic moments executed using web technique.

ROLF MARTINSSON A. S. in Memoriam (1999/2001) Dur: 12’

Op 50a for 15 strings (54321) Op 50b for string orchestra

In his stunning tribute to Arnold Schoenberg and his masterpiece ‘Verklärte Nacht’, Martinsson has sought to mirror the vocabulary, gesture and musical characters present in Schoenberg’s works. The 49th bar quotes a moving passage from Verklärte Nacht, as a sounding acknow­ledgement of the work’s influence on A. S. in Memoriam.

VELI-MATTI PUUMALA Rime (2013) Dur: 24’ strings (55432)

Quiet moments are often a mystical fundamental element of Puumala’s works. His music is crystal clear and breathtaking, and Rime alludes to the frosty autumn fields of Central Ostrobothnia. The thread running through it is a folk melody noted down by Toivo Kuula. This piece was premiered by the Ostrobothnian Chamber Orchestra.

EINOJUHANI RAUTAVAARA Divertimento (1953) Dur: 9’ The three-movement Divertimento is a youthful work by Rautavaara. In addition to its fresh, folk-song spirit and the influence of the Ostrobothnian folk music tradition, it bears echoes of Hungarian rhythms. Also suitable for student orchestras, it is now available in a revised edition.

HERMAN RECHBERGER Polar Night / Kaamos (1972) Dur: 5’

Rechberger has often looked beyond Western culture, chiefly in the direction of Arabian music, but this piece turns towards Nordic myths and folk music. It opens mysteriously and proceeds in a burst of energy. The mood keeps changing, creating mystical visions, and effective glissandos precede a haunting violin solo in the middle section.

MARIE SAMUELSSON Five Seasons (2017) Dur: 12’ strings and sound file

JUHANI NUORVALA Variationes ex “Bene quondam” (2017) Dur: 24’ Here are eight variations on Bene quondam dociles in the medieval Piae Cantiones collection. The solo viola binds the movements together and the theme passes through different eras, musical cultures and styles. Shifting rhythms, archaic tones, toe-curling sounds, beautiful flageolet notes and gamelan allusions, hints of tango and rock – all these can be found in this relaxed, enjoyable piece.

Samuelsson’s elegiac comment on Vivaldi’s The Four Seasons, is composed for string orchestra with the viola and electronically processed sounds in the center. Poems from a collection by Mimmi Palm mark the start of each new part and season. The music is influenced by the sounds connected with climate change and global warming; more insects, more storms and more rain.

JEAN SIBELIUS Music for the play The Lizard / Ödlan (1909) Dur: 20’

string ensemble

PEHR HENRIK NORDGREN Transe-Choral (1985) Dur: 33’ 15 strings (54321)

A work in two broad sections, the idea being for the listener to mentally prepare for the second by listening to the silence after the first. Its painful chorale themes ultimately lead to a radiant, almost sacred, trance-like final motif.

This incidental music shows Sibe­ lius at his most enchanting, and he looked upon The Lizard as one of the most exquisite works he had ever written. The chromatic and wholenote motifs and mysterious string tremolos are a direct forerunner of Tapiola. According to Sibelius’s notes, the ideal instrumentation in this work is nine strings.

HIGHLIGHTS

3/2020

REPER TOIR E TIPS LILLE BROR SÖDERLUNDH Three Folk Waltzes / Tre folkliga valser (1945) Dur: 7’

“I have fond memories of Söderlundh’s lovely Three Folk Waltzes, which I played together with my orchestra at an outdoor concert in Lund. The spring breezes caused the note sheets to provide an accompaniment with their flapping. And the audience was all smiles listening to this folk tone infused string music, which well reflected the delight and the expectations for the summer that was in the air.”

VELJO TORMIS Reminiscentia (1969/2009)

Dur: 41’ string/chamber orchestra: trp-2perc-str

Reminiscentia consists of choral works transcribed for string orchestra, however some of the five movements include additional instruments. They can be performed separately or in combination. Among them is the hypnotically primitive St. John’s Day Songs (Jaanilaulud). The sustained, singing melodies are ideally suited for strings. Rather than a suite as such, this is a sort of “rendezvous of reminiscences”.

ANTTI AUVINEN Breathe (2005) Dur: 11’

piano and strings (min. 54321)

Serene and introverted passages alternate with ones bursting with energy. Auvinen creates a host of delicious timbres, some of them requiring extended performance techniques.

Breathe is like a beautiful painting that always has a little twist: an interval that causes distortion, a closely premeditated glissando or something else to sustain the listener’s interest. A work that leaves no one cold!

TOBIAS BROSTRÖM Piano Concerto No. 1 – Belle époque (2010/11) Dur: 21’ piano and strings

Broström’s concerto is a nostalgic retrospect of an epoch long past, viewed in a modern light. You take your seat and the trip begins. Various rooms, milieux and landscapes pass by. They are chiseled out by the soloist and the orchestra, and burst into a wonderful rhythmic finale that carries you out into the evening.

ANDERS ELIASSON Concerto per violin, viola ed orchestra da camera (2009)

ERKKI-SVEN TÜÜR Action-Passion-Illusion (1994)

Dur: 15’

The rhythmically syncopated opening is indeed an action-packed start to this popular work with Passion, a beautiful, meditative middle movement, at its heart. It sets off in a low register on the double basses and cellos and gradually expands into a chorale-like, intensive outburst.

HARRI VUORI To Fly, to Fly / Lentoon (2015) Dur: 10’ 18 strings (44442)

This work pictures the polyphony of swans on the wing and the strange, mesmerising rhythm of their cry. The composer wrote: “In summer 2014, four swans landed on the lake by my summer cottage. My attention was immediately caught by their joint song using the first four notes of a major scale, at times slightly extending their melody up or down.” Sakari Oramo conducted the premiere in 2015.

SOLOIST(S) & STRING / CHAMBER ORCHESTRA KALEVI AHO Piano Concerto No. 2 (2001-02) Dur: 29’

piano and 20 strings (65432)

Aho’s artfully-constructed concerto is an irresistible combination of virtuosity and playfulness. The last of the three movements, with its suggestion of nursery rhymes, culminates in a take on Big Ben presented by the violas, weaving it into the jubilant counterpoint.

HIGHLIGHTS

Works for smaller-sized orchestra

3/2020

ROLF MARTINSSON Golden Harmony – Soprano Saxophone Concerto No. 1 (2012) Dur: 23’ 2222-2200-11-0-str

In this concerto Martinsson displays his gift for lyricism. The first two movements are characterised by beautiful and romantic melody lines, embedded in exquisite sonorities.

Martinsson himself describes the orchestral garb as “a luxurious alloy of sound from the piccolo, muted strings and trumpets, stopped horns and a bowed vibraphone.” The third and last movement offers an energetic finale with breakneck virtuosity.

GÖSTA NYSTROEM Sånger vid havet / Songs by the Sea (1942)

Dur: 14’ mezzo-soprano and orchestra: 1111-2100-11-hp-cel-str Text: Ebba Lindqvist, Edith Södergran, Ragnar Jändel, Hjalmar Gullberg (Sw/Eng)

“There is a strong feeling of something fateful in Nystroem’s Songs by the Sea. The first leap of an octave with the text “A day shall come…”, and then the ethereal continuation that, as it were, meanders downwards, ”… when the wind is at a standstill. When the quaking-grass sings and the sun has set.” What an ingenious setting of Ebba Lindqvist’s text! The vocal contour, the timbre of the orchestra and the poetic visions are fused into an entity of divine geometry. These are five very expressive songs that one cannot help but love.”

Dur: 25’ 0200-2000-00-str

This concerto is characterised by a rhythmic drive and a forceful pulse, where the soloists rush forth with Eliasson’s typical restless energy.

There is only time for rest in the more melodic and infinitely beautiful middle movement. Jointly commissioned by the Ostrobothnian, Norwegian and Swedish Chamber Orchestras.

KIMMO HAKOLA Kivi-laulut (Seven Songs to Texts by Aleksis Kivi (2007/2011) Dur: 27’ baritone and strings (hp-str) (other versions also available) Text: Aleksis Kivi (Fin)

“Listening to this work is like alternately enjoying salt and sugar.

Delicious melodies follow one after the other: there are folk-like songs, defiant outbursts, heart-rending melancholy – all brilliantly interpreting Kivi’s most beautiful poems. The cycle ends with the woeful Song of my Heart that is like a hypnotic lullaby. But beware: the melodies will become lodged in your head on first hearing!”

INGVAR LIDHOM Three Songs (1948) Dur: 10’

mezzo-soprano and strings Text: Hjalmar Gullberg and Lope de Vega (Sw)

“When I got to know Ingvar Lidholm’s Three Songs at the Royal College of Music, I fell for them right off.

His tone language is somehow harsh and warm at the same time. Since then I have sung them many times and above all listened to Anne Sofie von Otter, who sings them with that velvety voice of hers.”

ALBERT SCHNELZER Cello Concerto – Crazy Diamond (2011) Dur: 23’

2222-2200-11-pf/cel-str (version for chamber orchestra)

Schnelzer’s cello concerto is full of wondrous sonorities and lyrical, lengthy melodic lines, as well as his unmistakable rhythmic, dance-like motives. It is dramatic and expressive. The concerto concludes with an achingly beautiful song for the cello that lingers on after the music has fallen silent.

MATTHEW WHITTALL Northlands (2009) Dur: 23’ Album for horn and strings (min. 55432)

Northlands is readily accessible with its direct beauty. It was influenced by Iceland’s epic landscapes and otherworldly light, which had had a powerful impact on the concept for the piece. The CD by Alba won the Record of the Year prize awarded by the Finnish Broadcasting Company in 2017.

VICTORIA YAGLING Suite for Cello and String Orchestra (1967) Dur: 15’ Melodic development, traditional handling of the orchestra and delicate, beautiful lyricism combined with passionate energy are Yagling’s true self. This Suite, an early work dating from 1967, has often been performed by the Helsinki Junior Strings, also on their foreign tours.

N E W P U B L I C AT I O N S CHORAL & VOCAL

CHAMBER & INSTRUMENTAL

DANIEL BERG

KALEVI AHO

Componi for mixed choir (SATB) and organ or marimba Text: Vocalise

La Violina for 4 violins

FG 979-0-55011-616-0

GE 13780

UUNO KLAMI

DANIEL BERG

Componi

DAVID BODIN

Berceuse & Laulelma for violin & piano

SATB and organ or marimba

Vela – Leva for mixed choir (SATB) and marimba ad lib.

Text: the words vela and leva

FG 979-0-55011-612-2

GE 13782

MATS LARSSON GOTHE

Viocla Perpia for violin, clarinet, percussion and piano

ALEX FREEMAN

I Feel the Same Way Thee Songs of Lilian Moore (Eng) for children’s choir (SSA)

GE 13865 (score), GE 13866 (parts)

FG 979-0-55011-569-9

LEEVI MADETOJA

GUNNAR IDENSTAM, ARR

Folkjul – A Swedish Folk Christmas for mixed choir (SATB) 1. Den signade dag (Trad) 2. Nu sjunga guds änglar (Alice Tegnér) Text:Trad, Edvard Evers (Sw)

Arr. Gunnar Idenstam

folkjul

A Swedish folk Christmas I Den signade dag Nu sjunga Guds änglar for mixed choir

Sestetto per archi (String Sextet)

THOMAS JENNEFELT

GE 13885

FG 979-0-55011-528-6 (score & parts)

JUHANI NUORVALA

Tomas Jennefelt William Blake

The Lilly

Boost for cello & analogue synthesizer

SATB div a cappella

JOONAS KOKKONEN

Viimeiset kiusaukset (The Last Temptations) opera Text: Lauri Kokkonen (Fin) A brand new, updated reduction made by Pekka Asikainen marking the centenary of birth of Joonas Kokkonen in 2021.

FG 979-0-55011-611-5

AARRE MERIKANTO (COMPL. PAAVO HEININEN)

GE 13936

The Lilly for mixed choir (SATB div) Text: Willliam Blake (Eng)

Miniatures Op. 21 & Legend Op. 34/3 for guitar Arr. Lauri Manninen

FG 979-0-55011-629-0

EINOJUHANI RAUTAVAARA

String Quartet No. 1 (Urtext) A new edition based on the manuscript, incorporating corrections and comments by the composer.

故郷

FG 979-0-55011-617-7 (piano reduction)

FG 979-0-55011-639-9 (score and parts)

TEIICHI OKANO/ FREDRIK MALMBERG, ARR.

JEAN SIBELIUS

Furusato for mixed choir (SSAATTBB) Text: Tatsuyuki Takano (Jap)

Suite for Violin and String Orchestra Op. 117 Available for the first time for violin and piano!

Fredrik Malmberg, arr

Furusato SATB a cappella

GE 13937

FG 979-0-55011-635-1 (solo part & piano reduction)

STEFAN NILSSON

After Therapy for mixed choir (SATB) and piano Text: Stefan Nilsson (Eng) GE 13734

STEFAN NILSSON

MATTHEW PETERSON

After Therapy

EDITH SÖDERGRAN

Ljusfälten

SATB and piano

MIXED CHOIR A CAPPELLA

FG 979-0-55011-626-9

MATTHEW PETERSON

VICTORIA YAGLING

Ljusfälten (The Light Fields) for mixed choir (SATB) Text: Edith Södergran (Sw)

Autumn Diary for piano

FG 979-0-55011-633-7

GE 13846

With Wondering Awe Agneta Sköld

AGNETA SKÖLD

With Wondering Awe for soprano solo and mixed choir (SATB) Text: Anon (Eng) GE 13796

Soprano solo and mixed choir a cappella

CARL UNANDER-SCHARIN

Calligrammes pour choeur mixte a cappella

CARL UNANDER-SCHARIN

Calligrammes for mixed choir (SATB) Text: Guillaume Apollinaire (Fr) GE 13845

JAN YNGWE

Fantasi över Ack Värmeland du sköna for mixed choir (SATB) Text: Trad (Sw) GE 13946

JENNAH VAINIO

Queen Bee for tuba

JAN YNGWE

Fantasi över Ack Värmeland du sköna SATB a cappella

Mats Larsson Gothe

Viocla Perpia for violin, clarinet, percussion and piano

SCORE

N E W P U B L I C AT I O N S ORCHESTRA & ENSEMBLE

PDF EDITIONS

KALEVI AHO

Concerto for Piano and String Orchestra (Piano Concerto No. 2) FG 979-0-55011-641-2 (study score)

J. S. Bach: Mä seimes ääreen seisahdun / Ich steh’ an deiner Krippe hier (SATB)

FG 979-0-55011-642-9 (solo part)

Franz Gruber: Jouluyö, juhlayö / Stille Nacht, heilige Nacht (SATB)

Kysymysten kirja (The Book of Questions) for mezzo-soprano and chamber orchestra Text: Pablo Neruda, transl. Katja Kallio (Fin)

P. J. Hannikainen: Kautta tyynen, vienon yön (SATB) Martti Hela: Hiljainen joululaulu (SATB)

FG 979-0-55011-640-5 (study score)

Armas Maasalo: Jouluaatto (No, onkos tullut kesä) (SATB)

Violin Concerto No. 2

FG 979-0-55011-615-3 (solo part & piano reduction)

Armas Maasalo: Joulun kellot (SATB and piano)

UUNO KLAMI

Sulho Ranta: Kolme kiinalaista runoa / Tre kinesiska dikter (voice, flute and piano)

Souvenir for violin & string ensemble

FG 979-0-55011-627-6 (score & parts)

Sulho Ranta: Kolme Nocturnea Elina Vaaran sanoihin (voice and piano)

Valses lentes et amoureuses for string orchestra & piano

Ahti Sonninen: Jouluhymni (Rauhaa, vain rauhaa) (SATB)

ERKKI MELARTIN

Kolmen kuninkaan marssi / Ce matin j’ai recontré le train (Trad.)

(SATB)

Synnytti piltin Beetlehem / Puer natus in Betlehem (Piae Cantiones) (TB/SATB)

FG 979-0-55011-628-3 (score & parts)

Symphony No. 3 Op. 40 (F major) FG 979-0-55011-134-9 (study score)

Nyt riemuiten tänne / Adeste fideles (SATB) Available in Fennica Gehrman’s web shop

KAI NIEMINEN

Palomar (Flute Concerto)

FG 979-0-55011-613-9 (solo part & piano reduction)

JUHANI NUORVALA

Variationes ex “Bene quondam” for string orchestra FG 979-0-55011-618-4 (study score)

ALLAN PETTERSSON/ STAFFAN STORM, ORCH.

Allan Pettersson Orchestration:

Sex sånger/Sechs Lieder/Six Songs for voice, harp and string orchestra Text:Björling, Andersson, Sandell, Björklund, Hemmer (Sw/Ger)

Staffan Storm

Sex sånger Six Songs for voice, harp and string orchestra

GE 13903 (score), GE 13905 (study score)

SCORE

EINOJUHANI RAUTAVAARA

Repertoire for Cello from English-speaking countries

Divertimento for string orchestra A completely new edition of Rautavaara’s early work.

FG 979-0-55011-638-2 (score and parts 33221)

Series 1: Songs Without a Stave (for solo cello) Book A: FG 979-0-55011-619-1, Book B: 55011-634-4 Series 2: Pentatonic Songs (for cello & piano) Book A: FG 979-0-55011-620-7, Book B: 55011-621-4 Series 3: Children’s Songs (for cello & piano) Book A: FG 979-0-55011-622-1, Book B: 55011-623-8 Series 4: Easy Diatonic Songs (for cello & piano) Book A: FG 979-0-55011-624-5, Book B: 55011-625-2

VICTORIA YAGLING

Cello Concertos Nos. 1 & 2

No. 1: FG 979-0-55011-631-3 (solo part & piano reduction) No. 2: FG 979-0-55011-632-0 (solo part & piano reduction)

Suite for Cello and String Orchestra

FG 979-0-55011-643-6 (study score & solo part)

NORDIC

HIGHLIGHTS

COLOURSTRINGS MATERIALS MARYAN BALKWILL

For further information contact us at: 3/2020

NEWSLE T TER FROM GEHRMANS MUSIKFÖRLAG & FENNICA GEHRMAN

Editors: Henna Salmela and Kristina Fryklöf Translations: Susan Sinisalo and Robert Carroll Design: Tenhelp Oy ISSN 2000-2750 (Online)

Gehrmans Musikförlag AB

Fennica Gehrman Oy Ab

Box 42026, SE-126 12 Stockholm, Sweden Tel. +46 8 610 06 00 info@gehrmans.se Web shop: www.gehrmans.se Hire: hire@gehrmans.se Sales: sales@gehrmans.se

PO Box 158, FI-00121 Helsinki, Finland Tel. +358 10 3871 220 info@fennicagehrman.fi Web shop: www.fennicagehrman.fi Hire: hire@fennicagehrman.fi HIGHLIGHTS 2/2020 Sales: kvtilaus@kirjavalitys.fi (dealers)