Finnish Works for Guitar

Compiled by Ismo Eskelinen Finnish Music Information Centre (Fimic) 2005

Contents

1. Works for Solo Guitar and Orchestra 2. Works for Solo Guitar 3. Chamber Works 4. Distributors and Retailers

3 4 11 20

Online version: www.mic. ( > Contemporary Music > Music Listings) The presentations of the works listed here and distributed by Fimic in printed form are followed by their Fimic archive number for easy location in the Fimic music library.

Compiled by Ismo Eskelinen, 2005 Translation by Susan Sinisalo Ismo Eskelinen & Fimic ISBN 952-5076-51-2

To the reader
A surprising amount of music has been composed for the guitar in Finland. The extensive use of the guitar in chamber music has, in particular, been astounding, considering that professional guitar playing is still very young in Finland; only since the 1960s has the guitar been offered as a subject for study at the Sibelius Academy, for example. There is, however, a simple explanation for the sizeable Finnish guitar literature: the brilliant guitarists who have played a major role in arousing composers interest and actively commissioning new works. More quality repertoire of the highest international standard would nevertheless be welcome, and it is thus important to encourage composers to continue writing for our instrument. The Finnish Works for Guitar cover a broad stylistic and qualitative spectrum. This list is not therefore based solely on my personal preferences. Rather, I have tried to give as varied a picture as possible of the guitar music composed in Finland. I have given a brief, succinct account of each work and avoided complex analyses. The description of each work is preceded by as much detail as possible of the year in which it was composed, the instruments, the premiere and duration. The works are listed chronologically by composer. Percussion in the case of chamber works always indicates one player unless otherwise stated. Ismo Eskelinen January 5, 2005

Ismo Eskelinen (b. 1971) began his rise to the top of the young generation of guitar players winning the international Scandinavian Guitar Festival competition as its youngest participant in 1989. Eskelinens extensive repertoire extends from the 16th century to the very latest contemporary music. Eskelinen studied with Oscar Ghiglia at the Basel Music Academy, where he received a soloist diploma, and at the Accademia Musicale Chigiana in Siena, where he received a Diploma di Merito. Prior to his studies abroad, he had studied with Timo Korhonen at the Sibelius Academy, also studying chamber music with Ralf Gothni. Ismo Eskelinen appears in solo recitals and performing chamber music all around the world. He has toured extensively in Scandinavia, central and southern Europe, the Baltic states and the USA. Ismo Eskelinens rst solo disc Magic Circle (2000) contains music by de Falla, Jos, Mompou and Rodrigo. His newest release (2003), which contains music by Ponce has been praised both nationally and internationally. Ismo Eskelinen is artistic director of the Sonkajrvi Soi Music Festival since 1992.

1. Works for Solo Guitar and Orchestra

MERILINEN, USKO (19302004)

Concerto for Guitar and Orchestra (1991) solo guitar + 2121 0110 03 1, harpsichord, strings Duration: 20 Commissioned by: Finnish Broadcasting Company (YLE) First performance: Timo Korhonen, guitar, Finnish Radio Symphony Orchestra, cond. Leif Segerstam, Helsinki, December 5, 1991 Publisher: Warner/Chappell Music Finland Oy The guitar concerto by Usko Merilinen has an exciting two-movement structure and represents a carefully-considered modernist idiom. The orchestration is impressive and the guitar part extremely difcult, even though it does not as such really require any special techniques. In the nimble-footed rst movement the harp and harpsichord at times feature as soloists alongside the guitar, thus loosely alluding to the concerto grosso tradition of the Baroque. The broad and colourful second movement is meditative and slow, though the rich solo part often proceeds in short note values.

JALKANEN, PEKKA ( B. 1945)

Concerto for Guitar and Small Orchestra (1988) solo guitar + 2200/0100/12/0, harpsichord, strings Duration: 18 First performance (broadcast): Jukka Savijoki, guitar, Finnish Radio Symphony Orchestra, cond. Pekka Savijoki, 1990 First performance (concert): Jukka Savijoki, guitar, Ostrobothnian Chamber Orchestra, cond. Ari Rasilainen, Kokkola, December 4, 1990 Distributor: Fimic (9799) The idiom of the concerto by Pekka Jalkanen echoes the pentatonic mode of Latin-American music and its harmony expands in places into broad webs of sound drawing on chromatics. The idiomatically-written guitar part consisting of melodic motifs and virtuoso outbursts loses itself in the mass of sound at the great climax. In the cadenza that follows the soloist once again assumes control right through to the end of the concerto.

NORDGREN, PEHR HENRIK ( B. 1944)

Concerto for Guitar and Chamber Orchestra op. 126 (2003/2005) solo guitar + chamber orchestra: 1111/1000/00/0, strings (33221) Duration: 22 Commissioned by: Chamber Orchestra of Lapland First performance: Petri Kumela, guitar, Chamber Orchestra of Lapland, cond. John Storgrds, Rovaniemi, April 21, 2004 Distributor: Fimic (18060) The guitar part in this concerto is extremely polyphonic, its broad sound the result of innovative and at times difcult harmonics combined with the normal texture. The overall impression is elegiac, and the sections follow one another in a somewhat rhapsodic way; the lighter, slightly folksy material ultimately loses out. The work ends dramatically with a brief build-up. The relationship between the small orchestra and the guitar is well balanced. Nordgren produced a new version of his concerto at the beginning of 2005.

KORTEKANGAS, OLLI ( B. 1955)

Arabesken der Nacht (1995) solo guitar + ensemble: clarinet, horn, percussion, violin, viola, cello and double bass Duration: 930 Commissioned by: Ensemblia Festival First performance: Timo Korhonen, guitar, Avanti! Chamber Orchestra, cond. John Storgrds, Mnchengladbach (Germany), June 13, 1995 Publisher: Jasemusiikki The work by Olli Kortekangas for guitar and chamber ensemble is not really dramatic in the manner of a concerto, relying instead on intimate, chamber music-like dialogue. The nocturnal mood of this restrained, modernistic work is created by means of nely etched details. The guitar texture is natural in the conventional sense and the balance between the guitar and the chamber ensemble is excellent.

RECHBERGER, HERMANN ( B. 1947)

Golpe de corazn (Heart Beat Concerto) (1992) solo guitar + chamber orchestra: 1111/0000/02, strings 44321 min. Duration: 17 First performance: Timo Korhonen, guitar, Vantaa Orchestra, cond. Juhani Lamminmki, Vantaa, February 2, 1993 Publisher: Fennica Gehrman

Concierto oral (Flower Concerto) (1993) solo guitar + chamber orchestra: 2211/1200/00/0, strings (wind players play little bells and imitate bird sounds) Duration: 27 First performance: Timo Korhonen, guitar, Vantaa Orchestra, cond. Juhani Lamminmki, Vantaa, February 14, 1997 Distributor: Fimic (12903) Despite his almost collage-like use of different stylistic inuences, Herman Rechberger has, in his guitar concerto, kept systematically to a style that could almost be described as neoromantic. His long melodic lines draw on devices natural to the guitar, and the orchestration appeals to the senses by traditional means. This applies both to Golpe de corazn and to the Concierto oral, the latter continuing the line of the former on a larger scale.

2. Works for Solo Guitar

BERGMAN, ERIK ( B. 1911)

Suite pour guitare Op. 32 (1949) Duration: 12 Commissioned by: Hermann Leeb First performance: Hermann Leeb, Zurich 1950 Publisher: Warner/Chappell Music Finland Oy The shamanistic and lavishly dramatic style of Erik Bergman can already be sensed in this ne early work, the rhythms and harmonies of which mainly call to mind Hindemith and Bartk. The singing, lilting middle movement was inspired by a ride in a Venetian gondola. The brilliant toccata proceeds at speed in fourths chords and with the inventive use of various tremolos and repetitions towards the nal E major chord. Midnight Op. 83 (1977) Duration: 9 First performance: Jukka Savijoki, London, December 9, 1977 Publisher: Warner/Chappell Music Finland Oy Bergmans style of the late 1970s and early 80s draws on the contrasting of various timbral elds, and time values are given in seconds. The building blocks include tremolo (with one nger), harmonics, six-string chords (often with open strings at the bottom), rasqueado and such effects as the scratchy sound produced by superimposed strings and the use of a spoon to create a glissando. Extase Op. 143 (1999) pour un guitariste Duration: 1025 Commissioned by: Finnish Guitar Society First performance: Jukka Savijoki, Helsinki, November 5, 2000 Publisher: Warner/Chappell Music Finland Oy Bergmans most recent work for solo guitar is in fact a work for a guitarist. It combines the ambiance familiar from Midnight with percussion instruments played by the guitarist and a whistle imitating birdsong that is a salient feature of the work.

BJRKENHEIM, RAOUL ( B. 1956)

Harvest Dance Distributor: Fimic (15720) Raoul Bjrkenheims Harvest Dance is, harmonically and melodically, a very simple work to be played with a plectrum. Its basic elements include triple- and quadruple-time rhythms and the establishment of a common inner pulse.

HEININEN, PAAVO ( B. 1938)

Touching op. 40 (1978) Duration: 14 Commissioned by: Association of Finnish Soloists Dedicated to Jukka Savijoki First performance: Jukka Savijoki, Helsingborg, February 2, 1979 Publisher: Fennica Gehrman Paavo Heininen, also known as a highly-esteemed teacher of composition, has, as a standard-bearer of modernism, made an exhaustive study of guitar techniques. In Touching he unfolds a world of timbre rich in original effects. A complex work, it is technically very demanding, and getting the musical idea across to the audience is also a challenge. The work uses such special effects as playing with a spoon. Siniloimi (Bluestring) op. 71 bis No. 1 (1996/1997) I Seitti (Cobweb) II Si (Strand) III Silkki (Silk) IV Siima (Line) Duration: 10 First performance: Jukka Savijoki, Time of Music, Viitasaari, July 6, 1997 Distributor: Fimic (15436) Unlike Touching, Heininens Bluestring concentrates on a simple and even ascetic texture, though structurally the music is quite the opposite. The guitarist is hard put to observe the unpredictable, rapidly changing dynamic markings that are, according to the composer, vital to the performance of the music, especially in the third movement (Silk).

Tenebrae is Latin and means darkness or gloom, but it also refers to the Roman Catholic matins and lauds services in Holy Week. These are held as dusk falls, and the idea is that the sixteen candles that are burning at the beginning of the service are gradually extinguished until, after sixteen prayers, the church is in darkness. The same development is carried through in this work, but the timbres towards the beginning of the work may come as a surprise to the listener who, with a knowledge of etymology, may be expecting gloomy, quiet and meditative music. The composers note well describes this unusual work the material of which consists mainly of minor thirds. It ends with meditative pauses that get longer and longer towards the end and ever simpler gestures that are ultimately reduced to an E minor chord. The motor-like, dramatic middle section is exceptionally difcult due to the steady semiquaver beat and the determined rush of tricky rasqueado chords.

KANGAS, JUHO ( B. 1976)

Fantasia per chitarra (2002) Duration: 15 First performance: Rody van Gemert, 15. Night concert series, Helsinki, March 15, 2002 Distributor: Fimic (17613) This broad Fantasy in darker hues examines a simple basic idea by exploring the timbral potential of the guitar. In writing it, Juha Kangas was inspired by the guitar compositions of Toru Takemitsu (193096).

KARLSSON, LARS ( B. 1953)

Introduzione, toccata et aria (1988) Duration: 930 Commissioned by: Scandinavian Guitar Festival as the obligatory work for its competition in 1988 First performance: participants in the Scandinavian Guitar Festival guitar competition, Tammisaari, July 2126, 1988 Distributor: Fimic (9435) Lars Karlssons Introduzione, toccata et aria is a virtuosic work, its neoclassical rhythms and themes coloured with chromaticism.

JRNEFELT, ARMAS (18691958)

see Siirala, Seppo, p. 9

KOSKELIN, OLLI ( B. 1955)

KAIPAINEN, JOUNI ( B. 1956)

Tenebrae op. 39 (1991) Duration: 15 Commissioned by: Turku Music Festival First performance: Timo Korhonen, Turku Music Festival, Turku, August 13, 1991 Publisher: Edition Wilhelm Hansen

Tutte le corde (19881989) guitar and tape Duration: 1520 Commissioned by: Finnish Broadcasting Company (YLE) First performance: Timo Korhonen, Time of Music, Viitasaari, July 27, 1988 Publisher: Edition Love Olli Koskelins idiom, with its mysterious tones, creates a captivating entity in a work that is almost like a concerto for guitar and tape. The clear, individual motifs expand in places into webs of sound. Some musical gesture emerges

from the texture from time to time, only to recede again as another gesture takes its place. The guitar techniques are conventional, simply and nely interpreting the musical ideas. The tape consists of guitar sounds used either as such or processed in various ways. ...far and near (1989) Duration: 6 Commissioned by: Society of Finnish Composers First performance: Timo Korhonen, Tampere Biennale, Tampere, April 21, 1990 Distributor: Fimic The idiom familiar from Tutte le corde paints a delicate, improvisatory landscape.

building up frenzied tensions one after the other. The harmonies, exploiting the harmonic series in the manner typical of Lindberg, make use of open-string pentatonics and the notes of the D at major scale in between the open strings.

LINJAMA, JYRKI ( B. 1962)

Sonata (1998) I Introduction Ricercar II Nocturne II Finale Duration: 16 Commissioned by: Andrzej Wilkus First performance: Andrzej Wilkus, Helsinki, February 15, 1998 Publisher: Finnish Amateur Musicians Association (Sulasol) A serious, expansive modern work. A striking feature of the rst movement is the very polyphonic texture evocative of Renaissance lute music. The Nocturne creates a nocturnal mood complete with creaks and cracks. The Finale is dominated by a Balkan 3+2+3 rhythm and a medieval Hallelujah hymn hidden in the structure, but the mood remains restrained and modernistically alienated. Apart from the effects of the middle movement, the work has a very conventional texture.

KURONEN, JOUNI ( B. 1958)

Three Old Dances op. 5 (1986) Duration: 4 First performance: Ismo Eskelinen, Youth Arts Event, spring 1986 Distributor: Fimic (11135) Jouni Kuronens Three Old Dances make up a brisk and original neoclassical work combining expressive melody with natural-sounding harmonies. Though relatively clear and simple, it is not all that easy to perform, the last movement in particular calling for precise synchronisation of the hands.

MADETOJA, LEEVI (18871947)

See Siirala, Seppo, p. 9

KUULA, TOIVO (18831918)

MARTTINEN, TAUNO ( B. 1912)

See Siirala, Seppo, p. 9 Shamaani op. 206 Duration: 8 Distributor: Fimic (6350) Chaconne op. 222 (1983) Duration: 8 Distributor: Fimic (7212) The guitar works by Tauno Marttinen incorporate elements from many sources archaic modality, fths harmonies and tonal effects blended together to form a chromatic, often monophonic, freely progressing idiom. The works are technically very easy.

KUUSISTO, ILKKA ( B. 1933)

Praeludium and Fughetta (1998) Duration: 4 Commissioned by: Ikaalinen Guitar Festival First performance: Timo Korhonen, July 25, 1998 Publisher: Tactus Oy Ilkka Kuusistos Praeludium and Fughetta is a fresh, tonal, good-humoured little piece with jazzy overtones. The polyphony of the Fughetta works well, even though it occupies the low registers throughout.

MERIKANTO, OSKAR (18681924) LINDBERG, MAGNUS ( B. 1958)

See Siirala, Seppo, p. 9

Mano a mano (2004) Duration: 17 Commissioned by: Berliner Festspiele and Turku Music Festival First performance: Timo Korhonen, Turku Music Festival, Turku, August 16, 2004 Publisher: Boosey & Hawkes Magnus Lindbergs Mano a mano is written in an idiomatically virtuosic style that is gratifying to play. The overall mood is dramatic and achieves orchestral effects by

MURO, JUAN ANTONIO ( B. 1945)

Basic Pieces (2 volumes) (1982/1992) guitar pieces for teaching purposes Publisher: Chanterelle/MEL BAY 1996

Juan Antonio Muros Basic Pieces are a magnicent collection of delightful pieces for beginners. Many of them also have words to sing. This imaginative combination of classical forms with the occasional more modern harmony is an all-round means of ear training.

Estampes (1997) Frank Martin in Memoriam Duration: 7 First performance: Kai Nieminen, Jyvskyl, September 16, 1997 Publisher: Warner/Chappell Music Finland Oy Himself a guitarist, Kai Nieminen makes expert use of various guitar sounds and timbres, equipping them with precise dynamic markings and verbal instructions. The works are often rhapsodic in construction, each strongly atmospheric. They also contain melodic and tonal elements alongside the most modern of expression.

MUSTONEN, OLLI ( B. 1967)

Jehkin Iivana Sonata for Guitar (2004) Dedicated to Ismo Eskelinen Duration: 14 First performance: Ismo Eskelinen, Kuhmo Chamber Music Festival, July 26, 2005 Publisher: Schott Musik International The world of Olli Mustonens brilliant guitar sonata was inspired by the singer of archaic poetry (runes) Jehkin Iivana (Iivana Shemeikka, 18431911). The tension between the open D and G string ostinato and the melody, reminiscent of rune-singing, centred on C sharp and G sharp creates a magic mood that becomes little short of heroic in the quick, toccata-like second and fourth movements. The middle section of this sonata of unusually symmetric construction is a meditative slow movement in which material in C sharp minor harmonised in the manner of a chorale calls to mind Russian liturgical singing. The texture is natural but extremely virtuosic.

NORDGREN, PEHR HENRIK ( B. 1944)

Butteries op. 39 (1977) Duration: 8 First performance (Souls, Fluttering, Autumn): Josef Holecek, Sydney, October 23, 1977 Publisher: Gehrmans Musikfrlag Pehr Henrik Nordgrens Butteries was inspired by the stories about butteries in the collection Kwaidan by Lafcadio Hearn (18501904). The mixing of diverse inuences familiar in Nordgrens music nds free, original expression in his works for guitar, as stories tinged with intimate overtones. The meditative hues of Butteries are contrasted by the hammering, primitive beat of the Dance movement. The texture does not incorporate any unusual instrumental techniques and is alternately thin and denser. On the surface, it may possibly have some Japanese elements such as the rhythm of the Dance movement or the slight imitation of an old Buddhist hymn in the Introduction and Fluttering movements but they are not overpowering, and I dont think I ever intended to produce something exotic, says the composer. Come da lontano op. 122 (2003) Duration: 11 First performance: Petri Kumela, Oulunsalo Soi, Oulunsalo, August 6, 2003 Distributor: Fimic (17795) The falling, lament-like melodic lines create an emotionally extremely forceful meditative mood. Contrasting this is the relatively short, more dynamic middle section. This otherwise more or less monophonic piece concentrates more on textural timbre.

MYLLRINEN, JYRKI ( B. 1961)

Moa Mirob (2004) Duration: 12 First performance: Jyrki Myllrinen, Ja kitara soi Festival, Lappeenranta, September 2004 Distributor: Fimic Having already established himself as a guitarist, Jyrki Myllrinen made a promising debut as a composer. The rst two movements of Moa Mirob engage in quasi-improvised meditation on various aspects of slight, concise material. This leads to a speedy nale in which the same material is transformed into a liberating, dance-like ecstasy rich in guitarist invention.

NIEMINEN, KAI ( B. 1953)

Yn akvarelleja (Aquarelles of the Night) (1981) Duration: 10 First performance: Kai Nieminen, Rome, May 6, 1985 Publisher: Warner/Chappell Music Finland Oy Manaus ja loitsu (Exorcism and Incantation)
(1989)

POHJANNORO, HANNU ( B. 1963)

kuun kiertoa kohti (towards the orbit of the moon)

(1998)

Duration: 5 First performance: Alpertti Rieskjrvi, Jyvskyl, May 19, 1992 Publisher: Fennica Gehrman (in Three Pieces for Guitar )

Duration: 9 Commissioned by: Jyrki Myllrinen First performance: Jyrki Myllrinen, Mikkeli, November 23, 1998 Distributor: Fimic (14672) A work that avoids grand gestures and drama, drawing instead on nely-tuned, lingering characters idiomatically written for the instrument.

PUUMALA, VELI-MATTI ( B. 1965)

Hailin Drams (1991/1992) I Uni (Dream) . Inquieto (attacca) II Puusepp Kusakov (Carpenter Kusakov). Comodo, semplice III Sinfonia nro 2 (Symphony No. 2) . Fluido (attacca) IV Viisi keskenerist kertomusta (Five Unnished Tales) . Vivace V Yhteys (Connection) . Sostenuto Duration: 15 First performance: Jyrki Myllrinen, Ung Nordisk Musik, Reykjavk, September 9, 1992 Publisher: Fennica Gehrman Veli-Matti Puumalas Hailin Drams is a study of the guitars vast harmonics reserve and the almost imperceptible merging of normal sounds and noise. The unusual handling of the guitar produces some delightfully unexpected timbres, creating an ecstatic, dramatic arch. The work is extremely difcult, especially for the right hand, which unceasingly alternates between senza unghia tremolo, rasqueado, topspeed runs and normal texture. Puumalas space-time notation makes great demands of the performer.

Monologues of the Unicorn (1980) I Monologue with JSB (He gets slightly annoyed with the beast) II Monologue with Claude-Achille (Poeticized by the whiteness) III Monologue with Ad Schbeg (With occasional remarks by his son Aba Beg) IV Monologue with Igor (The horn gets on his nerves) Duration: 6 Commissioned by: Josef Holecek First performance: Josef Holecek, Gothenburg, February 26, 1981 Publisher: Warner/Chappell Music Finland Oy Once again Rautavaaras unicorn adventures in an environment natural to the guitar in which each phrase comes alive. The composer writes: Their world is the fairytale kingdom of the Unicorn, the creature of which the great apotheosis was the cantata True and False Unicorn composed to poems by James Broughton in 1971. In the serenades the unicorn operates in a milieu of Antiquity, not the Middle Ages, as may be deduced from the title of the piece. It is nevertheless a timeless being and appears in the Monologues in the dreams of masters far removed from each other. Hence, they react in different ways, one annoyed, the other delighted. It would preferably appear to speak a universal language, apart from music: English. And fully intentionally, because when C.A. is poeticized by the whiteness, the word, an articial American one, denotes precisely the sentimentality with which the music has to be played.

RAUTAVAARA, EINOJUHANI ( B. 1928)

Partita (1956/1980) [incomplete 1956 version lost] Duration: 4 First performance (nal version): Vladimir Mikulka, Paris 1980 Publisher: Henry Lemoine The three short movements of Einojuhani Rautavaaras Partita were originally written as musical portraits of the children of friends of his and are different characterisations of the same theme. The salient features of this work are the inventive transformation of the simple melody into different guises and the idiomatic style in which pungent harmonies built on fourths are contrasted with soft-sounding triads. Serenades of the Unicorn (1977) I A Nervous Promenade and Dance (With His Own Reection) II Serenading a Pair of Giggly Nymphs (Drunk of Night) III Serenading the Beauty Inobtainable (Too Far in Time) IV Having a Grand Time (With Some Scythian Centaurs) Duration: 8 Commissioned by: Josef Holecek First performance: Josef Holecek, Gothenburg 1978 Publisher: G. Schirmer Inc. Serenades of the Unicorn is a real modern Finnish guitar classic! This unicorn makes ingenious and simply idiomatic use of the guitars potential in a work that is deliciously humorous, spirited and even sentimental (when the unicorn sings a melody that vanishes into the heights to the unattainable beauty). The sound of the giggly nymphs produced with a spoon is an amusing effect and contains a clear musical idea that motivates the performer to learn the slightly tricky spoon technique.

RECHBERGER, HERMAN ( B. 1947)

Prludes (1990) I Nocturne II Fte des cloches III Le Chanteur IV Rendez-vous des cordes V Le train Duration: 16 Publisher: Warner/Chappell Music Finland Oy Herman Rechbergers own guitarist background is reected in his guitar works; they sit well under the ngers, and he makes frequent use of open strings and the potential for playing the same note on several strings. Various scordaturas, for example, are among the devices used by him. Stylistically, his works embrace a wide range of elements, from Renaissance music to aleatory. His most recent works for the guitar are nevertheless an unbroken melodic line that is borne along in arpeggios, tremolos, etc.

RIHL, OSMO TAPIO ( B. 1964)

Dorean Dumble Dorean (2001) A Triptych Duration: 11 Commissioned by: Jyrki Myllrinen First performance: Jyrki Myllrinen, Tampere, April 22, 2001 Publisher: Uusinta Publishing Company Ltd

A work exuding a jaunty, straightforward rhythm. Giving the piece its basic character is an Agg sharpd1 motif that recurs in the nature of a signal. One very amusing effect in the slow section is plucking between the nger pressed down in the left hand and the nut.

Harri Suilamo has set out to chart the timbral world of the guitar by very complicated modernist means. His works for guitar are rich in juxtaposed detail, an often meditative ow of precisely notated timbral situations. ANFANGS das erste Prelim, written for teaching purposes, is shorter, simpler and more concise than the other pieces.

SEGERSTAM, LEIF ( B. 1944) TIENSUU, JUKKA ( B. 1948)

Episodes Nos. 8 and 11 (1978) No. 11 dedicated to Jukka Savijoki Duration: 815 Publisher: Universal Music Publishing AB Leif Segerstams free-pulsative works are expansive, relying on free association. The atonal idiom is late-romantically expressive in spirit.

preLUDI, LUDI, postLUDI (1974) Duration: 14 First performance: Pekka Vesanen, Helsinki, November 8, 1983 Distributor: Fimic (2279) A composer with a liberal attitude to stylistic principles, Jukka Tiensuu has enriched the guitar repertoire with a few ne works of great originality, the biggest and rst of which is preLUDI, LUDI, postLUDI. PreLUDI evokes associations with Baroque preludes. The opening is built on the note E, grows with the addition of a fth and culminates as the intervals widen in a dramatic, swinging, busy section on the bass strings. The LUDI movement creates dense patterns tinged with micro-intervals produced with natural invention on adjacent strings. For this movement the B string is tuned a quarter-tone lower than normal. Dolce amoroso (1977) Duration: 4 First performance: Pekka Vesanen, Helsinki 1978 Distributor: Fimic (6246) Dolce amoroso is part of Tiensuus chamber work Sinistro. The guitarist plays dolce music, as the title suggests, but in Sinistro the Aufschwung played simultaneously on the accordion gradually frustrates the guitar so that its music, too, becomes ugly and aggressive. (See Tiensuu: Sinistro, p. 18) Drang (1998) Duration: 8 Commissioned by: Guitaristival 98 First performance (ofcial): Guitaristival 98 guitar competition, Tampere, June 7, 1998 Distributor: Fimic (14507) The tremendously virtuosic Drang consists of long notes coloured by faster and slower vibratos. Their utter effect increases at times to precisely-dened micro-intervals. Another salient feature of the work is the top-speed scale outbursts at times evocative of Oriental scales and at times carrying a suggestion of blues.

SIBELIUS, JEAN (18651957)

See Siirala, Seppo

SIIRALA, SEPPO (ARR.) ( B. 1952)

Souvenir Finnish Romantic Miniatures for Guitar Armas Jrnefelt: Berceuse Toivo Kuula: Lampaanpolska Leevi Madetoja: Kansanlaulu op. 14/1; Menuetti op. 14/3; Pieni satu op. 31/3 Oskar Merikanto: Kesillan idylli op.16/2; Scherzo op. 6/4; Valse lente Jean Sibelius: Berceuse op. 40/5; Chanson sans paroles op. 40/2; Etude op. 76/2; Laulu ristilukista op. 27/4; Menuetto op. 40/4; Rondino op. 68/1; Souvenir op. 99/3; Valsette op. 40/1 Publisher: Fennica Gehrman A collection of some of the best-loved romantic Finnish miniatures arranged for the guitar. Many of the pieces were written for the piano but sound, in these arrangements, like guitar originals.

SUILAMO, HARRI ( B. 1954)

Noun a fretwork circle (1990) Duration: 10 First performance: Christoph Jggin, ISCM, Winterthur (Switzerland), September 18, 1991 Publisher: Edition Hug Musikverlage ANFANGS... das erste Prelim (1996) for teaching purposes Duration: 430 First performance: Misa Jggin, Romanshorn (Switzerland), November 8, 1996 Publisher: G. Ricordi & Co. Eidola weiland Gitarrespieler (1999) Duration: 8 First performance: Christoph Jggin, Time of Music, Viitasaari, July 9, 1999 Publisher: Edition Love

TUOMELA, TAPIO ( B. 1958)

Spiral II (1996) Duration: 6 First performance: Timo Korhonen, Helsinki, November 17, 1996 Distributor: Fimic (15477)

Spiral IIB (1997) Duration: 5 First performance: Rody van Gemert, Helsinki, March 24, 1998 Distributor: Fimic (14412) Focal to Tapio Tuomelas modernistic but musicianly spirals are virtuosic bursts of notes and bitone sounds produced by hitting the strings hard between the frets.

Sonate Classique (1991) Duration: 12 First performance: Timo Korhonen, Scandinavian Guitar Festival, Tammisaari, July 9, 1992 Publisher: Edition Love The exquisitely polished works of Harri Wessman are very lyrical and often gently persuasive. The widespread use of softly-dissonant four-note chords creates impressionistic or jazzy associations, often in dancing, rocking rhythms. The Sonate Classique is more solemn and virtuosic than the other guitar works. Wessman writes naturally for the guitar, and with great originality, thoroughly exploiting the cello-like melody character of the bass strings.

VILN, ASKO ( B. 1946)

Sonata (1975) Distributor: Fimic (3056) Asko Vilns Sonata is slightly Prokoevian in tone, the machine-like rhythm and the pungent harmonies with their hint of tonality contrasting with the enigmatic nale.

VIRTAPERKO, OLLI ( S. 1973)

Klftwerk (2003) Duration: 7 First performance: Mikko Ikheimo, Espoo, December 19, 2003 Distributor: Fimic (17983) The chromatic-toned runs of this work representing a owing, moderate brand of modernism sound in places like a modern jazz solo. The texture sits naturally under the hand.

VUORI, HARRI ( B. 1957)

Mysticae metamorphoses nocturnae

(1982, 1990, 1994)

Duration: 12 First performance: Kari Jmbck, Helsinki Festival, Helsinki, July 31, 1990 Harri Vuoris Mysticae metamorphoses nocturnae is a collection of effects in precise rhythmic notation covering a wide range from wah-wah to knocking, scratching, etc., to create an entity that seeks out extremes.

WESSMAN, HARRI ( B. 1949)

Four Episodes for Guitar (1979) Duration: 7 First performance: Seppo Siirala, Helsinki, April 25, 1980 Distributor: Fimic (4020) Preludes for guitar (1981) Duration: 7 Distributor: Fimic (3576)

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3. Chamber Works

Three Tangos (1999) violin, guitar, double bass, accordion and piano I Tango dolente II Tango lamentoso III Tango appassionato Duration: 11 Commissioned by: InTime Quintet First performance: InTime Quintet, Tampere Biennale, Tampere, April 13, 2000 Distributor: Fimic (15131) Kalevi Aho wrote his Three Tangos as a commission for the InTime Quintet specialising in the music of Astor Piazzolla (19211992). The instrumentation is modelled on that of Piazzollas own quintet. The rst tango is very conventionally tonal, but the second and third make bolder use of chromatic, atonal progressions. The guitar part is written for electric guitar but can be performed on an acoustic instrument with amplier. The guitar texture consists mainly of chords and has little melodic material.

AHMAS, HARRI ( B. 1957)

Trio (1999) ute, violin and guitar I Pllikk Taperahi laulaa (Chief Taperahi sings) II Intermezzo III Bossa alea Duration: 12 Commissioned by: Alea Ensemble First performance: Alea Ensemble, Kouvola, May 10, 2000 Distributor: Fimic (15606) This Trio relies on the melodic power of expression and natural, unforced, musicianly rhythm but harmonically it is freshly piquant. The narrative of the rst movement, aspiring towards mystic intensity, is continued in the stylised, maybe even ironic bossa nova take-off of the second movement.

Leonid Bashmakov, Hannu Pohjannoro and others have also written chamber works for the InTime Quintet, some of them as commissions.

ALMILA, ATSO ( B. 1953)

Of Life and Death... (1989) ute and guitar Duration: 730 First performance: Mikael Helasvuo, ute, Jukka Savijoki, guitar, Helsinki, December 7, 1989 Distributor: Fimic (10129) Atso Almilas composition reects minimalist and neoclassical inuences. The narrative is vibrantly descriptive and the duration of the musical ideas is well balanced with the content.

AHO, KALEVI ( B. 1949)

Quartet for ute, alto saxophone, guitar and percussion (1982) I [no tempo marking] II [presto] III [no tempo marking] Duration: 22 First performance: Cluster Ensemble (Mikael Helasvuo, ute, Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli Hmlinen, percussion), Amsterdam, October 1, 1982 Distributor: Fimic (7201) The Aho quartet is a broad, seriously dramatic work often orchestral in sound. Adding a surrealist touch are the Shostakovich-like irony and the unusual instrumental techniques. The guitar is, among other things, prepared with plastic tabs and played with a bow.

ARHO, ANNELI ( B. 1951)

Minne (1997) piccolo, guitar, percussion and cello Duration: 8 Distributor: Fimic (14701) Minne is, in Arhos own words, an interpretation in music of the Agnus Dei movement of Guillaume de Machauts (c. 13001377) Messe de Notre Dame. A meditative work, yet one of lively rhythms, it is sonorous and succeeds in creating a soundscape both archaic and modern using the natural means of each instrument. The guitar texture makes use of arpeggios, tremolos, harmonics and the playing of the same note on various strings.

11

BASHMAKOV, LEONID ( B. 1927)

TANGOMM (2000) violin, accordion, piano, guitar and bass Duration: 8 Commissioned by: InTime Quintet First performance: InTime Quintet, Tampere Biennale, Tampere, April 13, 2000 Distributor: Fimic (15144) Dolado (2000) violin, accordion, piano, guitar and bass Dedicated to InTime Quintet Duration: 5 Distributor: Fimic (15475) Having moved away from his earlier atonal idiom in the direction of chromaticism, Leonid Bashmakov plays in both his works for the InTime Quintet with tango clichs in a dramatic and virtuosic style.

The music of Bergman has always been marked by a boyish desire for experiment, and the shamanistic approach in this work again culminates in a show of aggressive heroism.

BJRKENHEIM, RAOUL ( B. 1956)

Guitar Duo 2 guitars Distributor: Fimic (15721) Raoul Bjrkenheim is both a brilliant electric guitarist and a ground-breaking composer. The Guitar Duo was inspired by the jazz pianism of Cecil Taylor (b. 1930). The lyrical rst movement is followed by a nimble second that puts the guitarists rhythmic swing and art of timing to the test.

HEININEN, PAAVO ( B. 1938)

Utazawa no e (Short II) op. 61

(1991)

BERGMAN, ERIK ( B. 1911)

Dialogue op. 82 (1977) ute and guitar Duration: 11 Commissioned by: Savonlinna Opera Festival First performance: Ilari Lehtinen, ute, Seppo Siirala, guitar, Savonlinna, July 22, 1977 Publisher: Warner/Chappell Music Finland Oy Erik Bergmans colouristic style of the 1970s80s is most concise in this sizzling work drawing for effect on all sorts of swishes, swooshes and scratches. Janus op. 92 (1980) violin and guitar Duration: 21 Commissioned by: Jyvskyl Summer Festival First performance: Erkki Palola, violin, Jukka Savijoki, guitar, Jyvskyl Summer Festival, Jyvskyl, July 2, 1980 Publisher: Warner/Chappell Music Finland Oy Janus, the culmination of Bergmans music for the guitar, is a long, dramatic piece in which the violin and guitar engage in intensive dialogue in terms familiar from his other guitar works. The salient elements of this work reaching from one extreme to another are wild rasqueado passages, a sound evocative of a snare drum produced by crossing the strings, yet also quiet, delicate sections, even with harmonics, associated with the fells of Lapland. Mipejupa op. 96 (1981) Frhlingsrauschen fr Flte, Altsaxophon, Gitarre und Schlagzeug ute, alto saxophone, guitar and percussion Duration: 17 First performance: Cluster Ensemble (Mikael Helasvuo, ute, Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli Hmlinen, percussion), Helsinki, October 20, 1981 Publisher: Novello

ute and guitar Duration: 10 First performance: Mikael Helasvuo, ute, Jukka Savijoki, guitar, Tampere Biennale, Tampere, February 27, 1992 Publisher: Warner/Chappell Music Finland Oy Paavo Heininen does not give either player or listener an easy time. There are no audible repetitions in the rich pitch material, and the complex, irregular rhythms in the different parts seldom coincide. Heininen has also written a version for solo guitar.

HEINI, MIKKO ( B. 1948)

Suite for Flute and Two Guitars

(16./1974) (1974)

ute and 2 guitars Duration: 15 First performance: Ilari Lehtinen, ute, Rolf Holmberg and Pekka Vesanen, guitar, Helsinki, May 10, 1974 Distributor: Fimic (2089) Champignons lhermneutique
(36./1979) (1979)

Divertimento for ute and guitar Duration: 1630 First performance: Liisa Ruoho, ute, Pekka Vesanen, guitar, Helsinki, December 16, 1980 Publisher: Jasemusiikki Minimba (41./1982) (1982) Canon for 4 or 3 guitars Duration: 730 First performance: Pekka Vesanen, Kari iks, Juan Antonio Muro, Ilmari Hytnen, guitar, Espoo, May 3, 1984 Publisher: Jasemusiikki

12

The postmodern idiom of the works by Mikko Heini is a mixture of an atonal harmonic base, a modernistic world of harmony, numerous different playing techniques, clear rhythmic motifs and echoes of popular music. Heini particularly likes writing for several guitars, and succeeds in achieving timbral effects that are most impressive in Minimba, scored for four guitars and incorporating material steeped in samba and Latin-American pentatonic mode.

Greek Songs III (1980) Settings of ancient Greek poems translated into Finnish by Pentti Saarikoski song cycle for mezzo-soprano and guitar Duration: 1030 First performance (broadcast): Eeva-Liisa Naumanen, mezzo-soprano, Pekka Vesanen, guitar, 1980 Distributor: Fimic (6600) Speira (2004) decacorde (10-string guitar) and bandoneon Duration: 10 Commissioned by: Mari Mntyl Distributor: Fimic (18654)

HYVRINEN, ASKO ( B. 1963)

The Enigma of Jeroen (2002) soprano, ute, mandolin, guitar and harp Text: Bible (Isaiah 5:1114) (in English and French) Composed for the Amsterdam Quintet Duration: 10 First performance: Amsterdam Quintet, Amsterdam, Ocotober 9, 2004 Distributor: Fimic (15610) As material for his music Asko Hyvrinen uses a variety of performing techniques in an uncompromisingly modernistic manner. The devices and notation of the guitar part of this work are also familiar from the works of Helmut Lachenmann (b. 1935).

JOKINEN, ERKKI ( B. 1941)

Aspis (1990) alto ute, accordion, guitar and percussion Duration: 12 First performance: Liisa Ruoho, alto ute, Matti Rantanen, accordion, Pekka Vesanen, guitar, Timothy Ferchen, percussion, Tampere Biennale, Tampere, April 22, 1990 Distributor: Fimic (10755) Erkki Jokinens Aspis relies on the expressive power of modernism and assigns all the instruments an equal role.

HMEENNIEMI, EERO ( B. 1951)

The Chamber Music Book for Flute, Guitar, Alto Saxophone and Percussion (1980) ute, guitar, alto saxophone and percussion Distributor: Fimic (5430) Eero Hmeenniemis Chamber Music Book consists of duos, solo and quartet movements and transitions for various line-ups in between. The music is expressive; the performance marks are very explicit.

KAIPAINEN, JOUNI ( B. 1956)

Far from Home op. 17 (1981) ute, alto saxophone, guitar and percussion Duration: 10 First performance: Cluster Ensemble, Helsinki, October 20, 1981 Publisher: Edition Wilhelm Hansen The timbres and the structure of Jouni Kaipainens Far from Home are carefully deliberated. This concise and virtuosic work seems to travel further than its fairly brief duration suggests. The timbres are fantastically rich, offering occasional unexpected associations with gamelan or Chinese music.

JALKANEN, PEKKA ( B. 1945)

ELELU (1998) alto ute and guitar Duration: 10 First performance (broadcast): Mikael Helasvuo, alto ute, Jukka Savijoki, guitar, YLE September 16, 2000 Distributor: Fimic (14489) Pekka Jalkanens Elelu draws on such things as folk music and ancient Greek modes. Inspired by a song of praise in Sumerian, it has a range of expression that stretches from meditative listening to a jubilant dance. The textures of the scordatura guitar (strings tuned to d1aadAD) and alto ute ow in a natural, virtuosic stream even in the rhythmically complex passages. Other guitar works by Pekka Jalkanen: Kebab (1972) cor anglais and 2 guitars Duration: 830 First performance: Aale Lindgren, cor anglais, Pekka Vesanen and Rolf Holmberg, guitar, Jyvskyl 1972 Distributor: Fimic (2576)

KARJALAINEN, AHTI (19071986)

Partita per violino, viola & chitarra violin, viola and guitar Distributor: Fimic (19) Ahti Karjalainens Partita is dominated by a preponderance for the Em7 chord and church modes. A musicianly work, it exudes an aura of national romanticism and neoclassicism. Most of the time the guitar plays chords or melody, with no attempt at polyphony.

13

KOHLENBERG, OLIVER ( B. 1957)

LINDBERG, MAGNUS ( B. 1958)

Siciliana Op. 11b (1981) ute and guitar Duration: 7 Distributor: Fimic (7776) Oliver Kohlenbergs Siciliana is mostly an atonal, singing work constructed according to the traditional ABA scheme in which the role of the guitar is to provide a choral accompaniment to the freely owing ute melody.

Linea dombra (1981) ute, clarinet, guitar and percussion (also version for ute, alto saxophone, guitar and percussion) Duration: 15 First performance: Musica nel nostro tempo ensemble, Milan, March 17, 1983 Publisher: Edition Wilhelm Hansen Magnus Lindbergs Linea dombra is, like the other works composed by him in the early 1980s, highly complex. The instrumental parts demand all kinds of techniques and the players are, among other things, required to use their voices. The overall effect is often one of primitive humour. Towards the end of this great dramatic span of a work, as the instrumental effects become human sounds, the mood is quite animal-like. Decorrente (1992) clarinet, guitar, vibraphone, piano and cello Duration: 14 First performance: Toimii ensemble, Stockholm, September 4, 1992 Publisher: Chester Music Lindbergs Decorrente is a quintet version of his Corrente (199192) for chamber orchestra. A sprightly, orchestral-like work, it has a romping closing section in familiar Lindberg style and ends with dramatic fortissimo chords. The guitar for the most part merges with the overall body of sound.

KORTEKANGAS, OLLI ( B. 1955)

Omaggio M. C. Escher (1990) alto ute and guitar Duration: 7 First performance: Mikael Helasvuo, alto ute, Jukka Savijoki, guitar, Time of Music, Viitasaari, July 22, 1990 Publisher: Jasemusiikki Olli Kortekangass Omaggio M. C. Escher is an airy work in which silence also occupies a leading role. The metrical structure consists of recurring, varying times repeated in the same order. At the core are frequently recurring focal pitches.

KOSTIAINEN, PEKKA ( B. 1944)

Guitar Quintet (2001) guitar and string quartet I Allegretto II Adagio III Scherzo Duration: 1330 First performance: Kai Nieminen, guitar, Sotto Voce quartet, Jyvskyl, March 25, 2001 Distributor: Finnish Amateur Musicians Association (Sulasol) Pekka Kostiainens quintet develops simple themes in classical-romantic style but sometimes seasoned with more pungent harmonies.

LINDHOLM, HERBERT ( B. 1946)

Theba, the City of the Pharaoh (1986) alto ute and guitar Duration: 730 Publisher: Helin-Sons Oy Also known as a autist, Herbert Lindholm paints delicate mood pictures tinged with mysticism. His works are instrumentally rewarding. Among his other works including a guitar are the Concert Piece (1987; ute and guitar) and Nine Moments in St. Petersburg (1994; ute, oboe and guitar).

KRKKINEN, TOMMI ( B. 1969)

Fragilia (2003) guitar and string quartet Duration: 8 Commissioned by: Janne Malinen First performance: Janne Malinen, string quartet, Helsinki, December 1, 2004 Publisher: Fennica Gehrman Tommi Krkkinens Fragilia is for the most part almost the opposite of what its title suggests. For the guitar is assigned manic, idiomatically constructed torrents that, despite their chromaticism, may carry hints of rock guitar. The string quartet mainly comments on the guitar, providing a timbral background.

LINJAMA, JYRKI ( B. 1962)

Partita for guitar and string quartet

(1996)

I Introduzione II Intrada III Capriccio IV Intermezzo V Sarabande elegiaco VI Danza rusticale Duration: 26 Commissioned by: West Helsinki Music Institute and Finnish Guitar Society First performance: Andrzej Wilkus, guitar, Alle Quartet (Ilona Turunen, violin I, Maija Linkola, violin II, Lotta Poijrvi, viola, Markus Hohti, cello), Helsinki, November 17, 1996 Distributor: Fimic (14165)

14

Jyrki Linjamas Partita is a blend of French overture style, the Balkan rhythms of a grape harvest dance, and uncompromisingly modern harmony and melody. The guitar texture is uncomplicatedly natural, and all the players are assigned solos of their own.

Tauno Marttinen has been a prolic composer of chamber music. Harlequin is scored for a rare combination of instruments. Its free-roaming fantasy is rhythmically brought to heel from time to time and together with the unusual instrumentation creates a jolly, harlequin-like mood. Other works by Marttinen incorporating a guitar include Isis (1986; violin/cello and guitar) and Osiris (1986; violin and guitar).

LINTINEN, KIRMO ( B. 1967)

Sonata classica (19921999) ute and guitar I Moderato II Adagio lontano III Scherzo. Allegro IV Allegro grazioso Duration: 17 First performance: Tommi Koivuniemi, ute, Osmo Palmu, guitar, Helsinki, March 21, 2000 Distributor: Fimic (15248) Kirmo Lintinens Sonata is, as its name suggests, a work elegantly playing with the generic conventions. In addition to its scherzo-like humour it has deep, velvety sentiment in its slow movement. In the nale the minor-third motif alluding to Prokoevs 7th piano sonata brings the piece to an end tongue in cheek. Abracadabra (2002) ute, bass clarinet, guitar and percussion Duration: 6 First performance: Tommi Koivuniemi, ute, Mikko Kauppinen, bass clarinet, Osmo Palmu, guitar, Tuomo Lassila, percussion, SOI! festival, Jyvskyl, March 16, 2002 Distributor: Fimic (15389) Neoclassical, jazzy and Oriental elements appear side by side in a modernist-oriented frame of reference in this roguish work.

MERILINEN, USKO (19302004)

Simultus for Four (1979) ute, alto saxophone, guitar and percussion Duration: 16 First performance: Cluster Quartet (Mikael Helasvuo, ute, Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Timothy Ferchen, percussion), Hmeenlinna, October 14, 1979 Distributor: Warner/Chappell Music Finland Oy Usko Merilinens markedly modernistic Simultus for Four rests on a carefully-polished character technique of his own invention. The ear may detect in the texture, which also includes ostinatos, fragile gestures, forceful bursts of notes and single sounds. The work was the rst to be commissioned for the unusual instrumental line-up of the Cluster Quartet.

MURO, JUAN ANTONIO ( B. 1945)

Aubade (1987) 2 guitars Duration: 8 First performance: Ana Kertesz and Lszl Papp, Esztergom (Hungary) 1987 Special prize in the composition competition of the Esztergom 8th guitar festival and seminar 1987 Distributor: Fimic (10213) Di pensier in pensier (1989) 2 guitars and percussions I La vita fugge e non sarresta una ora II Pien di quella ineffabile dolcezza III Quando la sera scaccia il chiaro giorno IV Che fai alma? che pensi? avrem mai pace? Duration: 14 First performance: Members of the InTime Quintet Jorma Salmela and Hannu Siiskonen, Tampere 1989 Publisher: Otto Murentini Ky The works of Juan Antonio Muro, nowadays thought of as a guitar composer, cover a wide stylistic range. Among the most impressive are perhaps the guitar duos. Aubade employs relatively simple material, and clouds, showers of rain and bells are evoked by ne, simple guitarist means. In Di pensier in pensier the percussion instruments (played by the guitarists) add to the multi-style guitar soundscape.

LUOLAJAN-MIKKOLA, VILHO ( B. 1911)

Suvella (Summertime) (1981) ute and guitar (or piano) I Pilviperho (Cloud Buttery) II Sudenkorennot (Dragonies) III Vanessa antiopia (Camberwell Beauty) Duration: 14 Distributor: Fimic (5741) Vilho Luolajan-Mikkolas Suvella is tonal music nostalgically picturing the moods of an idyllic summers day.

MARTTINEN, TAUNO ( B. 1912)

Harlekiini (Harlequin) op. 270b (1985) bassoon and guitar Duration: 5 Distributor: Fimic (14864)

15

NIEMINEN, KAI ( B. 1953)

Sea Poems and a Postludium (1979) voice and guitar Text: Tommi Hautaniemi (in Finnish) Duration: 10 First performance: Sirpa Kovanen, mezzo-soprano, Kai Nieminen, guitar, Jyvskyl, February 25, 1988 Publisher: Fennica Gehrman The chamber music of Kai Nieminen is characterised by the same stylistic features and devices as his solo output. The listener may sense nature moods and elegiac, melodic material Finnish in tone. The guitar parts, particularly, contain carefully thought-out timbral fantasies.

aava (expanse) (1999) ute, violin, guitar and percussion Duration: 10 Commissioned by: Alea Ensemble First performance: Alea Ensemble, Kouvola, May 6, 2001 Distributor: Fimic (15164) The nely-tuned works by Hannu Pohjannoro aspiring towards the poetry of their titles deal in small gestures and details equipped with precise dynamics. Pohjannoro has also written hehku for the InTime Quintet (2000) (see Aho, Kalevi: Three Tangos, p. 11).

PUUMALA, VELI-MATTI ( B. 1965) NORDGREN, PEHR HENRIK ( B. 1944)

Quintet for guitar and string quartet op. 119

(2003)

Duettino (1988) violin and guitar Duration: 3 Distributor: Fimic (10462) Though avoiding tunes in the traditional sense, Veli-Matti Puumalas Duettino is calmly melodic and, being relatively uncomplicated, easy to digest. Verso (1990/1991) clarinet (and bass clarinet), guitar, violin, viola and cello Duration: 5 First performance (1st version): Avanti!, cond. Olli Pohjola, Ung Nordisk Musik, Copenhagen November 12, 1991 First performance (2nd version): Avanti!, cond. Olli Pohjola, Milan, December 16, 1991 Publisher: Warner/Chappell Music Finland Oy Verso, with its complex, uncompromisingly modernist and always carefully thought-out music, is a challenge for the performer. A concise work, it contains both quick passages and long, sonorous sounds.

guitar and string quartet Duration: 20 Commissioned by: Petri Kumela First performance: Petri Kumela, guitar, Tempera Quartet, Helsinki, March 29, 2003 Distributor: Fimic (17694) The guitar quintet by Pehr Henrik Nordgren could be called a Concerto for guitar and string quartet, for the guitar part dominates and the string quartet mostly remains in the background, commenting on the guitar monologue. The basic mood is of intimate lyricism. The harmonically enchanting structure derives from the tension between the harmonic worlds of the guitar and the string quartet. The often repeated chorale-like and almost tonal passage seems to exude the mournful beauty of the plains of Ostrobothnia. Other works by Pehr Henrik Nordgren for the guitar: Klippgrund (Reefs) op. 128 (2004) cello and guitar Duration: 13 First performance: Erkki Rautio, cello, Petri Kumela, guitar, Konsertserie Katrina, Ecker (land), August 11, 2004 Distributor: Fimic (18147)

RAUTAVAARA, EINOJUHANI ( B. 1928)

POHJANNORO, HANNU ( B. 1963)

Sonata per auto e chitarra (1975) utes (1 player) and guitar Duration: 7 First performance: Gunilla von Bahr, utes, Diego Blanco, guitar, Stockholm, June 1976 Publisher: Warner/Chappell Music Finland Oy Einojuhani Rautavaaras masterly, relatively short and concise Sonata keeps all the members of the ute family busy, from bass to piccolo. Despite its wealth of timbres, the music has a classical quality that ranges from dancing playfulness to archaic modality and mystic moods, but the structure is strictly consistent. As in the other Rautavaara works for the guitar, the texture is notably idiomatic but it calls for extremely precise articulation.

valon jlki net (sounds, traces of light)

(1996)

ute, clarinet, guitar and cello Duration: 5 Commissioned by: Association of Finnish Music Schools Publisher: Association of Finnish Music Schools kivenpiirto (stone-draw) (1999) guitar quartet Duration: 11 Commissioned by: Corona Guitar Quartet, Denmark First performance: Corona Guitar Quartet, NUMUS 2000, Aarhus (Denmark), April 28, 2000 Distributor: Fimic (15163)

16

RISNEN, TOMI ( B. 1976)

SALONEN, ESA-PEKKA ( B. 1958)

Omenapuun alla (Under the Apple Tree) (2001) version F: 4 pieces for guitar duo (arr. Kimmo Rahunen 20022003) I Miron II Valkea kuulas III Nalif IV Oranie Duration: 830 First performance: Kimmo Rahunen and Otto-Ville Nyyssnen, Turku, March 11, 2003 Distributor: Fimic (17662) Kimmo Rahunen has arranged this version of a work originally composed by Tomi Risnen for piano that works extremely well on two guitars. Slightly Prokoevian in style, it assigns each apple variety a tting soft or sour character.

Goodbye (1979, revised 1980) violin and guitar Duration: 11 First performance (original version): Mikko-Ville LuolajanMikkola, violin, Heikki Hernberg, guitar, Helsinki Summer Weeks, Helsinki 1979 First performance (revised version): Hannele Segerstam, violin, Jukka Savijoki, guitar, ISCM World Music Days, Helsinki, January 27, 1981 Publisher: Jasemusiikki The guitarist tosses off a postcard, the violinist occasionally snatches the guitar from the guitarist and plays it with a bow Esa-Pekka Salonens Goodbye features theatrical elements, though assigning them only a minor role. Most of the piece is played using conventional techniques and gestures, and the idiom is post-serial modernist. The closing adagio is beautiful, singing music.

SAARIAHO, KAIJA ( B. 1952)

Adj (1982, revised 1985) (original name: Ju lgre solen) soprano, ute and guitar Text: Solveig von Schoultz (in Swedish) Duration: 10 Commissioned by: Jeremy Parsons First performance (original version): Nina Almark, soprano, Anne Raitio, ute, Jol Bons, guitar, Freiburg, March 1, 1983 First performance (revised version): Anu Komsi, soprano, Olli Pohjola, ute, Esko Virtanen, guitar, Helsinki, April 27, 1987 Distributor: Fimic (8085) Kaija Saariahos Adj is a journey in sensitive, delicate hues from angst to more relaxed emotions. This is manifest in, for example, the transformation of the voice from the effects of the opening towards more conventional singing. The instruments create an astonishingly rich world of sound in which each detail is carefully considered.

SERMIL, JARMO ( B. 1939)

Dragony Day (1995) recorder/ute, guitar, violin and cello Duration: 12 Commissioned by: Euterpe Ensemble First performance: Euterpe Ensemble (Helle Kristensen, recorder, Curt Kollavik-Jensen, guitar, Ricardo Odriozola, violin, Jane Odriozola, cello), Aalborg (Denmark), January 20, 1996 Distributor: Fimic (13722) Chromatic and diatonic writing alternate in Jarmo Sermils Dragony Day, a work playing with jazz and Baroque inuences.

SIBELIUS, JEAN (18651957)

SALMENHAARA, ERKKI (19412002)

Sonatina per auto e chitarra (1981) ute and guitar Duration: 10 First performance: Tapio Jalas, ute, Kari iks, guitar, Helsinki, May 26, 1986 Distributor: Fimic (7000) Among the dominant features of the music of Erkki Salmenhaara sometimes described as neo-simplistic are triads and recurring gures, somewhat in the manner of minimalism. The Sonatina also has so much melody that the music is almost classical-romantic in spirit and in places even Sibelian.

Two songs for voice and guitar from the play Twelfth Night op. 60 (latest 1909) voice and guitar I Kom nu hit, dd! II Hllil, uti storm och i regn Text: William Shakespeare (translated into Swedish by Carl August Hagberg) Duration: 4 First performance: Svenska Teatern, Helsinki, November 12, 1909 Publisher: Breitkopf & Hrtel The guitar parts of the only works by Jean Sibelius for guitar are simple while making ingenious use of their scant resources. In Kom nu hit, dd!, in particular, the attention is caught by the broad, succulent, sharp transition from an E minor chord to a bleak G sharp minor chord.

17

SUILAMO, HARRI ( B. 1954)

VUORI, HARRI ( B. 1957)

FEROCE von tiefblauem Klang (1996) guitar, violin, viola and cello Duration: 8 Commissioned by: Ensemble TaG First performance: Ensemble TaG (Christoph Jggin, guitar, Urs Walker, violin, Matthijs Bunschoten, viola, Hans-Ulrich Munzinger, cello), Winterthur (Switzerland), November 28, 1996 Distributor: Fimic (14192) Harri Suilamos Feroce is a stream of complex sonorous situations in which the guitar part ties closely studied ageolet sounds with the rest of the texture. It is an attempt to nd a positive solution to the conict between repetition (=similarity) and continuous regeneration (=dissimilarity), says the composer in speaking of the structure.

Quartetto (1981) ute, guitar, cello and piano Duration: 10 First performance: Eva Hibay, ute, Kari Jmbck, guitar, Risto Poutanen, cello, Ari Vakkilainen, piano, cond. Timo Pulakka, Kokkola, May 15, 1981 1st prize in the Youth Arts event 1981 Distributor: Fimic (6978) Axis Mundi (1998) 3 guitars Duration: 11 Commissioned by: Kari Jmbeck First performance: Kari Jmbeck, Jyrki Myllrinen and Timo Suominen, guitar, Raahe, March 24, 1999 Publisher: Edition Love As in his other works, the chamber music of Harri Vuori concentrates on the search for as wide a timbral range as possible and uninhibited, frenzied drama.

TIENSUU, JUKKA ( B. 1948)

Sinistro (1977) accordion and guitar Duration: 14 Commissioned by: Association of Finnish Soloists First performance: Matti Rantanen, accordion, Pekka Vesanen, guitar, Helsinki, October 17, 1977 Distributor: Fimic (6247) Jukka Tiensuus Sinistro contains theatrical elements. It consists of two independent solo pieces ( Dolce amoroso and Aufschwung), ordinary coordinated ensemble playing and aleatoric passages requiring improvisation. Despite the at times random-seeming nature of the pitch levels, the dramatic span is clearly manifest.

WENNKOSKI, LOTTA ( B. 1970)

Dans le conte cest ma voix (1998) guitar, percussion and tape Duration: 1020 First performance: Mats Scheidegger, guitar, Christoph Brunner, percussion, Baden (Switzerland), June 13, 1998 Distributor: Fimic (14375) In this work by Lotta Wennkoski the guitar and percussion engage in dialogue with the tape, the chief elements of which are lapping water and sounds of a womans voice comparable to, among other things, sibilant sounds produced by the instruments. The guitarist momentarily plays a drinking glass that, when wet, yields a long sound. Veno (2000) alto ute (and ute), tenor saxophone/bass clarinet, guitar (amplied), percussion and viola Duration: 830 First performance: Cattrall Ensemble, Zurich (Switzerland), June 11, 2000 Publisher: Uusinta Publishing Company Ltd In composing Veno Wennkoski says she was thinking of the sound of water lapping against the side of a boat. The piece proceeds as an uninterrupted, lyrical rippling produced by softly modernistic means of rhythm and pitch. The performing techniques are mostly traditional.

TUOMELA, TAPIO ( B. 1958)

Aufschwung (1994) ute and guitar Duration: 6 First performance: February16, 1995 Distributor: Fimic (13273) Tapio Tuomelas Aufschwung represents moderate modernism seasoned with elements of jazz and minimalism. It is a virtuoso musical romp that is constantly on the move apart from a brief, slow episode in around the middle of the piece. The bitone sounds on the guitar work well, and the piece is a good example of a complex but easy-to-fathom rhythmic world.

VILN, ASKO ( B. 1946)

WESSMAN, HARRI ( B. 1949)

Uno Pezzo (1974) ute and guitar Publisher: Edition Pine The recitative-like adagio of Asko Vilns Uno pezzo, proceeding in giant intervals, at times works up to an allegro dominated by relatively simple, dance-like rhythms.

Yt kohti (Towards the Night) (1978) ute and guitar Duration: 3 First performance: Ilari Lehtinen, ute, Seppo Siirala, guitar, Lahti, August 11, 1979 Distributor: Fimic (3574)

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Pan and the Nymph Pitys (1979) ute and guitar Duration: 4 First performance: Ilari Lehtinen, ute, Seppo Siirala, guitar, Helsinki, April 25, 1980 Distributor: Fimic (4337) Suite for Two Guitars (1989) 2 guitars I Prelude II No Minuet III Air IV Tango V Gigue Duration: 10 Commissioned by: Fredrikinkatu 59 Residents Association First performance: Pentti Hildn and Janne Lehtinen, Helsinki, October 23, 1989 Distributor: Fimic (10200) Sonatina for ute and guitar (1992) Duration: 530 First performance: Tapio Jalas, ute, Kari iks, guitar, Helsinki, February 9, 1993 Distributor: Fimic (12483) Harri Wessman has been a pioneer in composing music for the guitar. Remaining faithful to his style, he has observed a high standard of craftsmanship. His lyrically sensitive works, often depicting atmospheres (such as Towards the Night and Pan and the Nymph Pitys) of the 1970s and 80s acquired a more mobile, serious and maybe even classical character in the 90s; this is also reected in the names of his pieces: Sonatina, Sonata, and even a Dance Suite.

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4. Distributors and Retailers

Both published and unpublished works can be ordered at the following retail outlets in Finland: F-Musiikki Oy Kaisaniemenkatu 7 FIN-00100 Helsinki Finland Tel. +358 9 618 511 nuotit@f-music.com www.f-music.com Ostinato Oy Tykistnkatu 7 FIN-00260 Helsinki Finland Tel. +358 9 443 116 Fax +358 9 441 305 ostinato@ostinato. www.ostinato. Sulasol (Finnish Amateur Musicians Association) Fredrikinkatu 5153 B FIN-00100 Helsinki Finland Tel. +358 9 4136 1100 Fax +358 9 4136 1122 sales@sulasol. www.sulasol.

Unpublished works can be ordered from Fimic: Finnish Music Information Centre (Fimic) Lauttasaarentie 1 FIN-00200 Helsinki Finland Tel. +358 9 6810 1311 (Music Library) Fax +358 9 682 0770 info@mic. www.mic.

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