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As One Listens To The Rain

Miniatures Op. 21 and Legend Op. 34 No. 3

Six delightful miniatures from Leevi Madetoja (1887–1947, one of the most significant Finnish contemporaries of Sibelius) are now available as new guitar arrangements by Lauri Manninen. The Miniatures suite (1914) has five movements: The Evening Star, Valsette, Nocturne, The Game and The Children’s March. The Legend from Suite Pastorale (1916) was also originally composed for piano.

Divertimento For String Orchestra

A completely new edition of Einojuhani Rautavaara’s Divertimento is based on the composer's manuscript, incorporating corrections and comments by composer's hand in various sources. Written in 1953, the 9-minute Divertimento is one of Einojuhani Rautavaara's early works in which the rhythms and melodies of Finnish folk music have left a strong print. In this respect the work is a close relative of his popular work The Fiddlers.

Elegie For String Orchestra

Siri Brander (1866-1934) was one of the first female composers to be played by the Helsinki Philharmonic Orchestra. Elegie (originally for piano) was arranger for string orchestra by A. E. Westerlind and first performed in 1894. More than 120 years later it was recovered in the archives. The small treasure of pure salon romanticism has the duration of 4 minutes. The package includes a full score and a set of string parts (2+2.3.2.2.1).

Valses Lentes et Amoureuses

Klami (1900-1961) was an acclaimed Finnish orchestral composer whose works in other genres also deserve to be known. Valses lentes et amoureuses consists of two waltzes and dates from 1932. It is one of the most graceful pieces of salon music ever composed by Uuno Klami. The first waltz, Con passione, begins in subtly sensual, veiled, passionate mood, like an invitation to a dance. The second movement begins with a languorously erotic and chromatic introduction leading to a livelier Wienerlied in a G-major landscape.

Cello Concerto No. 1

The Russian-born Victoria Yagling (1946 2011) had a career as cellist which served as an excellent accompaniment to the composition she began at an early age. At the Moscow Conservatory she was a cello student of Mstislav Rostropovich and Dmitry Kabalevsky for composition. In her wide composition catalogue the three cello concertos are her main works. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich. The first concerto was composed in 1975 and the second one (1983 84) is dedicated to Rostropovich.

Cello Concerto No. 2

The Russian-born Victoria Yagling (1946 2011) had a career as cellist which served as an excellent accompaniment to the composition she began at an early age. At the Moscow Conservatory she was a cello student of Mstislav Rostropovich and Dmitry Kabalevsky for composition. In her wide composition catalogue the three cello concertos are her main works. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich. The first concerto was composed in 1975 and the second one (1983 84) is dedicated to Rostropovich.

Lament For Violoncello and String Orchestra

Anyone who believes traditional tonality to be no longer capable of expressing anything more than timeworn clichés should listen to Kerem's work.” (Robert Maxham / Fanfare) Lament for violoncello and strings was written as a commission from Camerata Nordica and its principal cello, Per Nyström, in 2008. At Per's request the solo part in this piece was composed to represent a lone human voice in a world of disappointment. The composer tells: “I used the violins and violas as an operatic choir: they support and comment on the lament of the lone human being. The bass line is one long drone throughout the piece, representing destiny or unwanted reality. It disappears only whenthe solo voice with the chorus of violins and violas intensifies in their disagreement with life. At the climax of the piece the solo voice is momentarily swallowed by the chorus, only to return with an angry statement of the opening phrase. Thereafter the chorus calms down in acceptance that the world won't change. The bass drone returns to haunt the dying lament of the lone voice. The very last phrase is the only one in a major key and echoes as a prayer for hope.” Duration c. 9 minutes. Score (all three versions), separate solo parts for violoncello / viola / violin and orchestral parts (33221). |||||

Concerto for flute and orchestra (1985) : Huilukonsertto

Einar Englund’s (1916-1999) Flute Concerto (1985) is beyond dispute one of his greatest works. Its finest attributes are its rich melodic invention, colourful instrumentation and immediate message. Add to these its rewarding solo part, and the result is truly one of his best concertos – and works. He himself did not hesitate to regard it as such. It was premiered in Helsinki on September 16, 1985, having been completed at Ljugarn on the Swedish island of Gotland at the end of June. The Finnish Radio Symphony Orchestra was conducted by Leif Segerstam, and the soloist was the concerto’s dedicatee, Mikael Helasvuo. The Flute Concerto opens with a Ritornello in which the flute's playful, dance-like passages make sharp contrast with the orchestra's heroic stance. In the mellow Canzona which follows, the flute plays rhapsodically over repetitive orchestral figures. The work's "action-packed" finale hints at parody in its military march-like opening, but also gives rein to the lyricism already familiar from the second movement. This product includes the solo flute part and the piano reduction. The orchestral study score (composer’s manuscript) is available for sale (product number 9790550117471). The performance material is available for hire from the publisher. Duration: c. 23’ Instrumentation of the orchestra: 3(III=picc)222–4330–14–harpsichord(+celesta)–hp–str

String Quartet No. 4

According to Jouni Kaipainen, the fourth string quartet (2006) is one of key works of Seppo Pohjola (b. 1965) and holds a place as a landmark in Finnish quartet literature. Of the composer's five string quartets, it is the longest and has the widest thematic arcs of his quartets. Seppo Pohjola has gone through a variety of styles in his musical career. He began as a strict Modernist, progressed towards Expressionism and took on board Romantic influences before ending up in the early 2000s in (a reformed brand of) Modernism again. Osmo Tapio Räihälä describes the end result thus: “The ‘new' Pohjola often anchors his style in a frenetic pulse through which he builds musicalprocesses.” Duration c. 33 minutes. Score (A4) and parts (B4).

Mot Natten - Towards Night : 3 Nocturnes and 2 Interludes For Cello and Guitar

Mikko Heiniö's Mot natten (Towards night), three nocturnes and two interludes for cello and guitar was composed in 2018. This suite found its inspiration and name in Finnish poet Bo Carpelan's (1926-2011) posthumous poetry collection Mot natten (2013), though the movements are not tied to specific poems. The first nocturne, Obscuro (‘twilight'), dominated by pizzicatos, is followed by a more dynamic interlude, Spasimo (‘spasm'). The fragile second nocturne, Sospiro (‘sigh'), is coloured by delicate micro-interval chords plucked on the guitar between the left hand and the nut. The interlude Passi (‘steps') leads with taps on the sound box straight into the third nocturne,Battito (‘beat'), the way having been paved by the heartbeat of strong guitar pizzicatos. The duration is c. 11'30''. The product includes one full score and separate parts for guitar and violoncello.

String Quartet No. 1 (1967)

Kalevi Aho (b.1949) was only 18 years old when he completed his String Quartet no. 1 in g minor (1967). Nonetheless it was already the second one of its kind: the earlier string quartet in a minor got christened String Quartet No. 0 and banned from performing. The g minor quartet was heard the first time only 50 years after it was born, when the Kamus Quartet premiered it at the Musica Kalevi Aho Festival in Forssa on June 28, 2019. In Aho's home town, Forssa, it was not possible to study composition with a teacher: ?My model in this and the other works I composed while I was at school was all the mostly tonal music I had personally played on the violin or heard on the radio.?The first movement, Moderato, begins in variation form, until followed by a fugue based on the variation theme. The initially lyrical second movement has a quick, virtuosic and light middle section. The third movement is a very quick scherzo that becomes dramatic, and the work ends with a chorale-like finale. The composer tells: ?When I got to study composition at the Sibelius Academy in autumn 1968 and showed the quartet to my teacher, Einojuhani Rautavaara, he said there was no point my studying tonal harmony and tonal formal constructions any longer; that I could do the exams in them straight away and start the courses in modern music resources there and then.?