Rautavaara: Angel Of Light / Segerstam, Helsinki Po. Notes and Editorial Reviews. Symphony no 7 'Angel of Light' by Einojuhani Rautavaara. Rautavaara Angel Of Light Program Notes For Classical ConcertsRautavaara: Cantus Arcticus, Op. 61 (Concerto for Birds & Orchestra). 61 (Concerto for Birds & Orchestra). Rautavaara: Angel of Light. One of my surprises is in looking at the program afterward and seeing. PROGRAM NOTES What is it about the. Today’s program focuses on poetry about the lark. Rautavaara experimented with serial techniques early in. CONTEMPORARY MUSIC FESTIVAL. Indiana State University Department of Music Terre Haute, IN 47809. Textsand Program notes on page 14. Rautavaara's own liner notes refer to Rilke's famous. 4.0 out of 5 stars An attractive and in fact rather variegated program from a. Einojuhani Rautavaara Angel of Light (Symphony. Reno Chamber Orchestra » Concerts. Einojuhani Rautavaara (photo by Maarit Kyt. October 9, 1. 92. Helsinki, Finland. While younger Finnish composers like Magnus Lindberg and Kaija Saariaho have achieved international fame in recent years, the nearly eighty- year- old Einojuhani Rautavaara remains the most significant Finnish composer since Sibelius. After beginning his studies in Helsinki, Rautavaara traveled to the United States to work with Aaron Copland, Vincent Persichetti and Roger Sessions. He later served as composition professor at the Sibelius Academy for fifteen years before dedicating himself entirely to composing. Some of Rautavaara’s early works employed modernist techniques, such as the twelve- tone elements of his Third and Fourth Symphonies. But he became famous with more Romantic- sounding, accessible works – which he characterized as “a new homage to beauty” – like his international breakthrough, the Symphony No. Angel of Light” (1. Rautavaara has written in all the major genres, including a series of operas based on historical themes, such as Vincent (1. Gogh) and Rasputin (2. Cantus Arcticus, Op. Composed: 1. 97. 2Duration: 1. In 1. 97. 2, Rautavaara was commissioned by Finland’s University of Oulu to write a piece for its first doctoral degree ceremony. Tradition would have him create a ceremonial festive cantata, but Rautavaara responded instead with the Cantus Arcticus, often referred to as a Concerto for Birds and Orchestra, in which taped bird songs interact with the orchestra. Some of the bird songs were recorded in the vicinity of Oulu, which is nearly 4. Helsinki on the eastern edge of the Gulf of Bothnia, while others originated around the Arctic Circle and the marshlands of Liminka. The first movement, “Suo” (“The Marsh” or “The Bog”), opens with an impressionistic swirl of a melody for two solo flutes, later joined by other woodwinds and a recording of bog birds. A slow, rich melody in the strings is superimposed over the winds and bird songs as the mood mellows, and the movement dies out with a reminiscence of the opening flute melody. The shore lark’s song, lowered by two octaves to turn it into what Rautavaara called a “ghost bird,” opens the second movement, “Melankolia” (“Melancholy”). A quiet and haunting melody in the strings enters tentatively, gaining in intensity as it evolves. The movement ends as it began, with the shore lark. The final movement, “Joutsenet muuttavat” (“Swans Migrating”), opens with the chaotic sound of a large group of swans, combined with string tremolos and bird imitations in the woodwinds. Rautavaara described this complex texture: “I imagined they . The swan sounds increase in volume, and after a climactic cymbal crash and brass calls, the music and the swans’ songs fade into the distance amid the gentle sounds of harp and percussion. Antonio Vivaldib. March 4, 1. 67. 8, Venice, Italyd. July 2. 8, 1. 74. Vienna, Austria. Antonio Vivaldi is remembered as one of the fathers of instrumental music and the master of the concerto for soloist(s) and orchestra – of which he wrote over 5. Colorful and tuneful works like “The Four Seasons” are among the most popular in all of classical music. His operas and religious works also brought him fame during his lifetime. Ordained as a priest in 1. Vivaldi came to be known as “il prete rosso” (“the red priest”). He decided to pursue musical rather than ecclesiastical duties, and became a teacher at the Ospedale della Piet. Meanwhile his concertos and other instrumental works were being published to great acclaim, attracting the admiring attention of famous musicians such as Johann Sebastian Bach. In his later years Vivaldi fell on hard times, and on his death he was buried (as was Mozart five decades later) in a pauper’s grave in Vienna. Violin Concerto in C major, RV 1. Composed: circa 1. Duration: 1. 2 minutes. Violin Concerto in D major, RV 2. Composed: circa 1. Duration: 1. 1 minutes. Vivaldi, a great musician and a canny businessman, attained his fame and fortune to a large extent through the publications of his concertos, trio sonatas, and other works. These printings, often with fanciful titles like “Il cimento dell’armonia e dell’inventione (“The contest between harmony and invention,” 1. Europe. Later in his life, though, Vivaldi turned away from such large- scale publications, preferring to offer his manuscripts to individual patrons. Because these works of the 1. Such is the case with the two concertos featured in this concert, which will seem both familiar and surprising to those who have heard “The Four Seasons” and other Vivaldi works. Many of the qualities of Vivaldi’s better- known compositions are still in evidence: memorable tunes, lively dance rhythms, colorful textures, virtuoso display from the soloist, warm and heartfelt slow movements. But there is a newfound complexity and introversion in these later concertos. Transitions are abrupt, harmonies are more wide- ranging, and the moods more mercurial and harder to characterize. The C major Concerto, RV 1. Griselda, and is therefore tentatively dated to the year that opera was first produced, 1. The diversity of Vivaldi’s late style can be heard in the first movement: opening with the pomp and dotted rhythms of the French overture, the music quickly moves to a hint of sentiment before the fiery entrance of the violin soloist. In the second movement, the orchestra and continuo outline the basic harmonies before the soloist enters with its lovely song. Once again the soloist is at the forefront in the restless, impulsive third movement. The D major Concerto, RV 2. A playful first movement, with some surprising detours into the minor mode, is followed by a flowing, melancholy slow movement with lovely decorative lines from the violin soloist. The final movement contrasts a sprightly opening idea with a more laid- back second theme. Pablo de Sarasateb. March 1. 0, 1. 84. Pamplona, Spaind. September 2. 0, 1. Biarritz, France. Pablo Mart. His three decades of concertizing brought him acclaim from Europe to North and South America, and his virtuosity inspired compositions written for him by the likes of Max Bruch, Camille Saint- Sa. Beginning his violin studies at age five, Sarasate made his debut at eight and created a sensation at the court of Queen Isabella II (who gave Sarasate the Stradivarius he played throughout his career). He subsequently attended the Paris Conservatoire, winning its annual first prize, and soon thereafter began his concert career. Praised by George Bernard Shaw as having “left criticism gasping miles behind him,” Sarasate was known as much for his own compositions as for his mastery of the standard repertoire. Though he had largely retired from performing by 1. Zigeunerweisen, Op. Composed: 1. 87. 8Duration: 9 minutes. The legendary violinist and teacher Leopold Auer wrote of Sarasate’s “ease and tonal charm which were peculiar to him, standing like a marble statue, his entire vitality seemingly concentrated in his eyes, often lowered to his fingers, which moved with astonishing dexterity.” While he was known for his brilliant technique and sensuous tone, Sarasate had relatively small hands that made long stretches difficult for him and limited his repertoire (he never played the Brahms Concerto or anything by Paganini, for instance). The many works he wrote for himself, however, took advantage of his particular talents. Perhaps the best known of Sarasate’s sixty or so compositions is Zigeunerweisen (Gypsy Airs), a short fantasy based on gypsy melodies. The opening slow music, which comprises more than two- thirds of the length of the composition, would have been a perfect vehicle for Sarasate’s renowned silvery tone. Beginning with a grand gesture, this music blends sentiment and passion, with a decorative, almost improvisational line from the soloist employing double stops, fast scales, and other virtuoso techniques. The soloist really takes flight, however – with further double stops, harmonics, left hand pizzicati, and more – in the flashy Allegro molto vivace that closes the work. Ludwig van Beethovenb. December 1. 6, 1. Bonnd. March 2. 6, 1. Vienna. One short biographical sketch on Beethoven begins “The events of Beethoven’s life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will.” Those biographical details, however, such as the deafness that plagued his last three decades of life, his stormy love affairs and his famous ill temper, are dwarfed by his artistic output, which is one of the monuments of music history. He literally mastered and transformed all the musical forms of his day, and extended the range and depth of expression available to composers. Beethoven was no Mozart- like prodigy, although even in his teens he was composing and playing in orchestras. But by his twenties – after studies with the likes of Franz Josef Haydn and Mozart’s legendary nemesis Antonio Salieri – both his compositions and piano playing had garnered considerable attention. It was around the age of 3. Beethoven first noticed his encroaching deafness, but soon thereafter began the second, or “middle,” of his creative periods, which included groundbreaking works like the “Eroica” Symphony, the “Appassionata” and “Waldstein” piano sonatas, and the opera “Fidelio.” After a period of relative musical inactivity in the late 1. Ninth Symphony and the late string quartets and piano sonatas, in which his music gained a new, very personal depth and freedom. Symphony No. 9. 2Composed: 1. Duration: 4. 0 minutes. The concert at which Beethoven’s Symphony No. December 8, 1. 81. University of Vienna, was perhaps the composer’s greatest public success – but not because of the symphony.
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