RAUTAVAARA : Complete Works for Male Choir (YL Male Voice Choir · Talla Vocal Ensemble · Matti & Pasi Hyökki) 2CD (2008) FLAC (tracks+.cue) lossless

Since Einojuhani Rautavaara is still actively composing, it might seem premature to label a collection his Complete Works for Male Chorus, but there is already enough material to fill out two CDs. Rautavaara is an exceptionally prolific composer, and he has been writing for men's voices since early in career; the pieces collected here span more than 50 years. The composer is a master of graceful choral writing; each piece is put together with skill and imagination. It's unfortunate that the pieces aren't presented in chronological order, since it would have been helpful to hear the composer's growth. As it is, this ordering tends to homogenize the impression of Rautavaara's styles, and while his versatility is evident from piece to piece, and individual works are striking, it's easy for a sense of monotony to set in over the course of the nearly 100 minutes of music. The composer favors dense textures and the unrelenting sound of massed a cappella low voices over such a long time tends to dull the ear and makes it easy to miss the felicities of individual works. The pieces with sections for a solo voice stand out dramatically for the textural contrast they provide. The best way to appreciate these works would be to savor a few at a time. The YL Male Voice Choir, led by Matti Hyökki, and the Talla Vocal Ensemble, led by Pasi Hyökki, sing with excellent intonation and blend, and their tone is rounded and full. Ondine's sound is present and warm; it's hard to know whether or not the engineers could have done anything to alleviate the darkness of such bass-heavy repertoire. Stephen Eddins
Tracklist & Credits :

CARL PHILIPP EMANUEL | JOHANN CHRISTIAN | JOHANN SEBASTIAN BACH : Keyboard Concertos (Anastasia Injushina · Hamburger Camerata · Ralf Gothoni) (2013) FLAC (image+.cue) lossless

Carl Philipp Emanuel Bach (1714-1788)
[1]-[3] Concerto in D major, Wq 43/2

Johann Christian Bach (1735-1782)
[4]-[5] Concerto in D major, Op. 7/3
[6]-[8] Concerto in E flat major, Op. 7/5

Johann Sebastian Bach (1685-1750)
[9]-[11] Concerto No. II in E major, BWV 1053

Anastasia Injushina: Piano
Hamburger Camerata
Ralf Gothóni : Conductor

MOZART • WINTER • HUMMEL • ROSSINI : Bassoon Concertos (Jaakko Luoma · Tapiola Sinfonietta · Janne Nisonen) (2019) FLAC (image+.cue) lossless

The material on this release by Finnish bassoonist Jaakko Luoma with the marvelous Tapiola Sinfonietta under Janne Nisonen may seem obscure enough to be aimed at bassoonists only. They will certainly find a valuable repertory here, but the album is of considerably wider interest. The only remotely familiar work is the Bassoon Concerto in B flat major, K. 191, by the young Mozart, an elegant work in the French style that receives a suitably bittersweet performance. The program opens with Hummel's Bassoon Concerto in F major, WoO 23, never published and rarely played since it was first composed. It shows Hummel in an unusually Mozartian mode, revealing its authorship mostly in the expansive first movement. The second half of the program contains the real find. Peter von Winter's single-movement Bassoon Concertino is an attractive, pleasingly operatic work by this Mannheim composer who, among other things, once wrote a sequel to The Magic Flute. The Bassoon Concerto of 1845 here, credited to Rossini, is of uncertain authorship, but it doesn't matter who wrote it: it's a virtuoso showpiece of the first order, and Luoma's clean rendering is worth the price of admission. Ondine gets fine sonic results from the acoustically superb Tapiola Concert Hall. Highly recommended. James Manheim

Johann Nepomuk Hummel (1778–1837)
[1]-[3] Bassoon Concerto in F major, WoO 23

Wolfgang Amadeus Mozart (1756–1791)
[4]-[6] Bassoon Concerto in B flat major, K191

Peter von Winter (1754–1825)
[7] Bassoon Concertino in C minor

Gioacchino Rossini (1792–1868)
[8]-[10] Bassoon Concerto

Credits :
Jaakko Luoma - Bassoon
Tapiola Sinfonietta
Janne Nisonen - Concertmaster

LISZT · BRAHMS · LUTOSLAWSKI : Paganini Variations • RACHMANINOV : Paganini Rhapsody (Tzimon Barto · Christoph Eschenbach ) 2xCD (2014) FLAC (image+.cue), lossless

 Tracklist & Credits :

GEORGE ENESCU : Symphonie Concertante; Symphony No.1 (Mørk-Lintu) (2015) FLAC (image+.cue), lossless

GEORGENESCU : Symphony No.2; Chamber Symphony (Hannu Lintu) (2012) FLAC (image+.cue), lossless

George Enescu is best remembered for his evergreen Roumanian Rhapsody No. 1, but most of his music has taken a long time to enter the western repertoire. Because the Symphony No. 2 in A major and the Chamber Symphony for 12 instruments have been treated to a handful of recordings, they are perhaps more familiar to listeners than most of his works, though limited availability still keeps them from a wider audience. That's why Hannu Lintu's recording of these works for Ondine is an important contribution to the catalog, because his clear and cogent readings with the Tampere Philharmonic Orchestra have the potential to establish these pieces outside Romania. Enescu's youthful energy, gift for memorable thems, and lush post-Romantic orchestration in the style of Richard Strauss make the Symphony No. 2 an engaging piece that listeners will immediately appreciate. The Chamber Symphony was Enescu's last composition, left incomplete because of a stroke, so the work was finished by Marcel Mihalovici. It is somewhat less ingratiating because of its serious mood and comparatively thin textures, but its lyrical lines and coherent development make it accessible. Ondine's recording of the symphony is spacious and vibrant, and all the details of the score are presented in gorgeous colors. However, the sound of the Chamber Symphony is dry and close to the instruments, making its sonorities sharp and austere. by Blair Sanderson  
All Tracks & Credits

GEORGE ENESCU : Ouverture de Concert & Symphony No.3 (Hannu Lintu) (2013) FLAC (image+.cue), lossless

RAUTAVAARA : Symphony Nº 6, Cello Concerto (Ylönen, Pommer, Helsinki Philharmonic Orchestra) (1994) APE (image+.cue), lossless

RAUTAVAARA : Vigilia (Timo Nuoranne, Finnish Radio Chamber Choir) (1995) FLAC (tracks+.cue), lossless

RAUTAVAARA : Violin Concerto; Angels and Visitations; Isle of Bliss (Elmar Oliveira, Leif Segerstam) (1997) FLAC (tracks+.cue), lossless

RAUTAVAARA : On the Last Frontier (Leif Segerstam, Patrick Gallois) (1998) FLAC (tracks+.cue), lossless

RAUTAVAARA : String Quintet "Unknown Heavens", String Quartets 1 & 2 (1998) APE (image+.cue), lossless

RAUTAVAARA : The House of the Sun (Mikko Franck) (2003) 2xCD / FLAC (tracks+.cue), lossless

RAUTAVAARA : Before the Icons; A Tapestry of Life (Leif Segerstam) (2010) FLAC (tracks+.cue), lossless

Finnish composer Einojuhani Rautavaara continues to be an astonishingly productive composer, as A Tapestry of Life, written when he was 79, demonstrates. As with so many of his later works, the four-movement orchestral piece is lushly scored, strongly evocative, and has a radiant energy. Written soon after his recovery from a catastrophic illness, the music and the title reflect the composer's assertive optimism. The movements have varied moods, but all are characterized by a sense of wonder and a tone of transcendence. The first, "Stars Swarming," magically depicts the imagery of stars falling to earth and shattering as they land on the lawn. The fourth movement, "The Last Polonaise," despite the finality of the title, ends explosively with an unresolved cadence that leaves the astonished listener with the dawning awareness that the conclusion is entirely open-ended. Rautavaara composed a set of piano pieces, Before the Icons, as a student in 1955, but didn't orchestrate it and fill it out for another 50 years. It has many parallels with Pictures at an Exhibition -- its genesis as a piano suite, its subject matter of visual art (in this case, Orthodox icons), and even interludes, which the composer calls Prayers, that correspond with Mussorgsky's "Promenades." Like the Mussorgsky, this piece doesn't require familiarity with the art to make an impact; each movement is vividly distinctive. It's not Rautavaara's most profound work, but it's immensely attractive. Leif Segerstam leads the Helsinki Philharmonic Orchestra in refined and committed performances. Ondine's sound is clean and atmospheric. by Stephen Eddins

RAUTAVAARA : The 8 Symphonies (2009) 4xCD / FLAC (tracks+.cue), lossless

This four-disc set collects Ondine's recordings of the eight symphonies of Finnish composer Einojuhani Rautavaara. The symphonies themselves fall into two groups. The First through Fourth were written from 1955 through 1962 and trace the young composer's growth from neo-classical modernism through neo-expressionism, post-romanticism, and flat-out serialism, while the Fifth through Eighth were written from 1986 though 1999 and are more stylistic homogenous and more all-stops-out ecstatic. The performances range from the merely utilitarian First with Mikko Franck leading the National Orchestra of Belgium through the more acceptable Second through Sixth with Max Pommer directing the Leipzig Radio Symphony Orchestra to the altogether magnificent Seventh and Eighth with Leif Segerstam heading up the Helsinki Philharmonic Orchestra. For a taste of the journeyman composer, try the sweeping, searing Third Symphony. But for a taste of Rautavaara at his best, try the Seventh "Angel of Light" Symphony that fairly radiates incandescent excitement in its towering waves of sound. Throughout, Ondine's digital sound is clear and deep, though the later recordings are clearer and deeper than the earlier recordings. by James Leonard  All tracks

RAUTAVAARA : Kaivos (The Mine) (Hannu Lintu) (2011) FLAC (image+.cue), lossless

When this recording of Einojuhani Rautavaara's 1962 opera Kaivos (The Mine) was released commercially for the first time in 2011, the composer wrote that it is "perhaps the best opera I have ever written." One hesitates to argue with a composer's judgement, but as a purely audio experience the opera doesn't make quite as strong an impression in its musical content and dramatic punch as Rautavaara's more characteristically lyrical later works like Thomas (1982-1985) and Aleksis Kivi (1995-1960). Rautavaara wrote The Mine, his first opera, during his early serial period, so it is a craggier and less immediately approachable work. His commitment to serialism was not absolute and it was influenced by Berg, so the music is tempered by the incorporation of popular and folk elements and broadly Romantic gestures that become more emotionally expressive as the action progresses. The opera packs a densely complex (and often confusing) narrative into three short acts lasting just an hour and a quarter. Rautavaara wrote the libretto based on a very recent uprising of mine workers in Hungary. Because of the Soviet Union's heavy influence in Finland at the time, the opera was never staged but it was broadcast on Finnish television in 1963 with its more incendiary political themes toned down. It's a recording of that broadcast that's released here. Bass-baritone Jorma Hynninen, who has gone on to star in many other Rautavaara operas, is superb in the central role of the Commissar. The other soloists are not at his level, but they are never less than very fine and the performers all seem to be deeply invested in the opera. Hannu Lintu draws excellent playing and singing from the Tampere Philharmonic Orchestra and the Kaivos Chorus. Ondine's sound is clean, warmly atmospheric, and well balanced. The Mine should be of interest to anyone who loves Rautavaara, and to fans of new opera. by Stephen Eddins 

RAUTAVAARA - Summer Thoughts : Works for Violin and Piano (Kuusisto, Jumppanen) (2011) FLAC (image+.cue), lossless

This release on Finnish label Ondine offers Einojuhani Rautavaara's complete works for violin and piano. This isn't a large group, and even the composer's chamber works in general are not numerous. Accordingly the collection of music here is something of a miscellany, and the buyer new to Rautavaara will probably find that his genius reveals itself better in larger genres. This said, fans of the composer will find much of interest here. Among the highlights is Rautavaara's very first published work, Pelimannit (The Fiddlers), a suite for piano from 1952. The work consists of variations, one each, on six traditional Finnish fiddle tunes, and violinist Pekka Kuusisto here had the inspired idea to pair the variations with the fiddle tunes themselves. For listeners may not have the sound of Finnish folk music in their heads, this brings out the imagination of these little pieces, whose luminous tone took them far beyond the world of Bartók in which they were probably based. Lost Landscapes, composed in 2005 for violinist Midori, comes from the other end of Rautavaara's career; it fits depictions of four of Rautavaara's temporary homes -- Tanglewood in Massachusetts, Ascona (Switzerland), Vienna, and New York City -- into his winding, contrapuntal style. In between are a variety of short pieces, several of them written for competition settings; they boil Rautavaara's spacious style down to the simple dimensions of the violin-and-piano duet. Kuusisto's playing is a major attraction here; he cultivates a wiry yet attractive tone that seems tailor-made for Rautavaara. Ondine's engineering is at its usual high level. by James Manheim 

RAUTAVAARA : Marjatta (Tapiola Children's Choir) (2011) FLAC (image+.cue), lossless

Einojuhani Rautavaara has produced an astonishing body of works -- symphonies, concertos, operas, chamber music, and choral works -- the fruit of an apparently inexhaustible imagination. The composer's works for children's chorus alone make up this attractive Ondine release. The largest piece, Marjatta, the Lowly Maiden, with texts from the Kalevala, is described as a Finnish mystery play in one act, in which the story of the Annunciation and Jesus' birth is transported to the northern forests. It is accompanied with great restraint and austerity by flute, bongos, anvil, and string quartet. The piece beautifully illustrates Rautavaara's ability to conjure up aural images of mystery and transcendence using very simple materials; the haunting music is often very strange, but it is never complicated. All of the pieces on the album, in fact, demonstrate the composer's gift for artless, memorable melody deployed with such inventiveness that it is never hackneyed or predictable. This may be music written for children to perform and enjoy, but its substance and depth give it plenty to offer adult sensibilities. The pieces were written between the early 1970s and mid-'90s. The Tapiola Choir, led by Pasi Hyökki, sings with purity, sweetness, and mature musicality. The soloists are all superb, particularly soprano Tuuli Lindeberg in the title role in Marjatta. Ondine's sound is clean, clear, and balanced. by Stephen Eddins

RAUTAVAARA : Modificata; Incantations; Toward the Horizon (Colin Currie, Truls Mørk, John Storgårds) (2012) FLAC (tracks+.cue), lossless

The works on this CD span over 50 years of Einojuhani Rautavaara's career, the earliest, Modificata from 1957, and the latest, Percussion Concerto, "Incantations," from 2008-2009. The album is filled out by another late piece, Cello Concerto No. 2, "Towards the Horizon," from 2008. It's intriguing to hear how much has changed and how much has held steady in his musical expression. "Prævariata," the first movement of Modificata, was the first Finnish serial work. The pitch choices may have been determined serially, but instead of the edgy angularity of much serial music of the era, this piece is full of the Romantic, sweeping lines that characterize Rautavaara's most familiar style; in a game of Guess the Composer, an astute listener might easily suggest Rautavaara, based on the use of the kinds of grand, lyrical gestures that have persisted throughout his career. With the two concertos, fans of the composer are in more familiar territory. Both pieces have evocative titles that suggest mystery and the unknown, and are essentially lyrical and strongly melodic. In the Percussion Concerto that means ample use of marimba and vibraphone. In both works Rautavaara conjures up images of mysterious wind-swept landscapes with a signature device: passages of swirling activity, often in the woodwinds, coursing over a slow-moving bass and under a soaring, lyrical melody. John Storgårds leads the Helsinki Philharmonic Orchestra in atmospheric and energetic reading of the scores. The concertos feature the soloists for whom they were written. Cellist Truls Mørk plays with a sweet, singing, intense tone that suits the character of the concerto well. Scottish percussionist Colin Currie manages the composer's demanding score with ease and panache. Ondine, sound is clean, detailed, and nicely ambient. by Stephen Eddins  
All Tracks & Creditas

RAUTAVAARA : Missa a Cappella (Latvian Radio Choir, Sigvards Klava) (2013) FLAC (tracks), lossless