trabalhos de guitarra da finlândia

8/16/2019 Trabalhos de Guitarra Da Finlândia

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Finnish Works

for Guitar

Compiled by Ismo Eskelinen

Finnish Music Information Centre (Fimic) 2005


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Contents

1. Works for Solo Guitar and Orchestra 3

2. Works for Solo Guitar 4

3. Chamber Works 11

4. Distributors and Retailers 20

Online version:www.fimic.fi( > Contemporary Music > Music Listings)

The presentations of the works listed here and distributedby Fimic in printed form are followed by their Fimic archivenumber for easy location in the Fimic music library.

Compiled by Ismo Eskelinen, 2005Translation by Susan Sinisalo© Ismo Eskelinen & Fimic

ISBN 952-5076-51-2


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To the reader

A surprising amount of music has been composed for theguitar in Finland. The extensive use of the guitar in chambermusic has, in particular, been astounding, considering thatprofessional guitar playing is still very young in Finland; onlysince the 1960s has the guitar been offered as a subjectfor 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 rolein arousing composers’ interest and actively commissioningnew works. More quality repertoire of the highest interna-tional standard would nevertheless be welcome, and it isthus important to encourage composers to continue writingfor our instrument.

The Finnish Works for Guitar cover a broad stylistic andqualitative spectrum. This list is not therefore based solelyon my personal preferences. Rather, I have tried to give asvaried a picture as possible of the guitar music composed inFinland. I have given a brief, succinct account of each workand avoided complex analyses.

The description of each work is preceded by as muchdetail as possible of the year in which it was composed, theinstruments, the premiere and duration. The works are listedchronologically by composer. ‘Percussion’ in the case ofchamber works always indicates one player unless other-wise stated.

Ismo EskelinenJanuary 5, 2005

Ismo Eskelinen (b. 1971) began his rise to the top of the younggeneration of guitar players winning the international ScandinavianGuitar Festival competition as its youngest participant in 1989.Eskelinen’s extensive repertoire extends from the 16thcentury 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 MusicaleChigiana in Siena, where he received a Diploma di Merito. Priorto his studies abroad, he had studied with Timo Korhonen at theSibelius Academy, also studying chamber music with Ralf Gothóni.

Ismo Eskelinen appears in solo recitals and performing chambermusic all around the world. He has toured extensively inScandinavia, central and southern Europe, the Baltic states andthe USA. Ismo Eskelinen’s first solo disc Magic Circle (2000)contains music by de Falla, José, Mompou and Rodrigo. Hisnewest release (2003), which contains music by Ponce has beenpraised both nationally and internationally. Ismo Eskelinen isartistic director of the Sonkajärvi Soi Music Festival since 1992.


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JALKANEN, PEKKA ( B. 1945)

Concerto for Guitar and Small Orchestra (1988)solo guitar + 2200/0100/12/0, harpsichord, stringsDuration: 18’First performance (broadcast): Jukka Savijoki, guitar, FinnishRadio Symphony Orchestra, cond. Pekka Savijoki, 1990First performance (concert): Jukka Savijoki, guitar, Ostro-bothnian Chamber Orchestra, cond. Ari Rasilainen, Kokkola,December 4, 1990Distributor: Fimic (9799)

The idiom of the concerto by Pekka Jalkanen echoes thepentatonic mode of Latin-American music and its harmonyexpands in places into broad webs of sound drawing onchromatics. The idiomatically-written guitar part consisting

of melodic motifs and virtuoso outbursts loses itself in themass of sound at the great climax. In the cadenza that fol-lows the soloist once again assumes control right through tothe end of the concerto.

KORTEKANGAS, OLLI ( B. 1955)

Arabesken der Nacht (1995)solo guitar + ensemble: clarinet, horn, percussion, violin,viola, cello and double bassDuration: 9’30Commissioned by: Ensemblia Festival

First performance: Timo Korhonen, guitar, Avanti! ChamberOrchestra, cond. John Storgårds, Mönchengladbach(Germany), June 13, 1995Publisher: Jasemusiikki

The work by Olli Kortekangas for guitar and chamber en-semble 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 iscreated by means of finely etched details. The guitar textureis natural in the conventional sense and the balance be-tween the guitar and the chamber ensemble is excellent.

MERILÄINEN, USKO (1930–2004)

Concerto for Guitar and Orchestra (1991)solo guitar + 2121 0110 03 1, harpsichord, stringsDuration: 20’Commissioned by: Finnish Broadcasting Company (YLE)First performance: Timo Korhonen, guitar, Finnish RadioSymphony Orchestra, cond. Leif Segerstam, Helsinki,December 5, 1991

Publisher: Warner/Chappell Music Finland Oy

The guitar concerto by Usko Meriläinen has an excitingtwo-movement structure and represents a carefully-con-sidered modernist idiom. The orchestration is impressiveand the guitar part extremely difficult, even though it doesnot as such really require any special techniques. In thenimble-footed first movement the harp and harpsichord attimes feature as soloists alongside the guitar, thus looselyalluding to the concerto grosso tradition of the Baroque. Thebroad and colourful second movement is meditative andslow, though the rich solo part often proceeds in short notevalues.

NORDGREN, PEHR HENRIK ( B. 1944)

Concerto for Guitar and Chamber

Orchestra op. 126 (2003/2005)solo guitar + chamber orchestra: 1111/1000/00/0,strings (3–3–2–2–1)Duration: 22’Commissioned by: Chamber Orchestra of LaplandFirst performance: Petri Kumela, guitar, Chamber Orchestraof Lapland, cond. John Storgårds, Rovaniemi, April 21, 2004Distributor: Fimic (18060)

The guitar part in this concerto is extremely polyphonic, itsbroad sound the result of innovative and at times difficultharmonics combined with the normal texture. The overallimpression is elegiac, and the sections follow one another ina somewhat rhapsodic way; the lighter, slightly folksy mate-rial ultimately loses out. The work ends dramatically with abrief build-up. The relationship between the small orchestraand the guitar is well balanced. Nordgren produced a newversion of his concerto at the beginning of 2005.

RECHBERGER, HERMANN ( B. 1947)

Golpe de corazón (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 Lamminmäki, Vantaa, February 2, 1993Publisher: Fennica Gehrman

1. Works for Solo Guitar

and Orchestra


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Concierto floral (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 Lamminmäki, Vantaa, February 14, 1997Distributor: Fimic (12903)

Despite his almost collage-like use of different stylistic influ-

ences, Herman Rechberger has, in his guitar concerto, keptsystematically to a style that could almost be described asneoromantic. His long melodic lines draw on devices naturalto the guitar, and the orchestration appeals to the sensesby traditional means. This applies both to Golpe de corazón and to the Concierto floral , the latter continuing the line ofthe former on a larger scale.

BERGMAN, ERIK ( B. 1911)

Suite pour guitare Op. 32 (1949)Duration: 12’Commissioned by: Hermann LeebFirst performance: Hermann Leeb, Zurich 1950Publisher: Warner/Chappell Music Finland Oy

The shamanistic and lavishly dramatic style of Erik Bergmancan already be sensed in this fine early work, the rhythmsand harmonies of which mainly call to mind Hindemith andBartók. The singing, lilting middle movement was inspired bya ride in a Venetian gondola. The brilliant toccata proceedsat speed in fourths chords and with the inventive use ofvarious tremolos and repetitions towards the final E majorchord.

Midnight Op. 83 (1977)Duration: 9’First performance: Jukka Savijoki, London,December 9, 1977Publisher: Warner/Chappell Music Finland Oy

Bergman’s style of the late 1970s and early 80s draws onthe contrasting of various timbral fields, and time values aregiven in seconds. The building blocks include tremolo (withone finger), harmonics, six-string chords (often with openstrings at the bottom), rasqueado and such effects as thescratchy sound produced by superimposed strings and the

use of a spoon to create a glissando.Extase Op. 143 (1999)pour un guitaristeDuration: 10’25’’Commissioned by: Finnish Guitar SocietyFirst performance: Jukka Savijoki, Helsinki,November 5, 2000Publisher: Warner/Chappell Music Finland Oy

Bergman’s most recent work for solo guitar is in fact awork for a guitarist. It combines the ambiance familiar fromMidnight with percussion instruments played by the guitaristand a whistle imitating birdsong that is a salient feature of

the work.

2. Works for Solo Guitar


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BJÖRKENHEIM, RAOUL ( B. 1956)

Harvest Dance

Distributor: Fimic (15720)

Raoul Björkenheim’s Harvest Dance is, harmonically andmelodically, a very simple work to be played with a plec-trum. Its basic elements include triple- and quadruple-timerhythms and the establishment of a common inner pulse.

HEININEN, PAAVO ( B. 1938)

Touching op. 40 (1978)Duration: 14’Commissioned by: Association of Finnish SoloistsDedicated to Jukka SavijokiFirst performance: Jukka Savijoki, Helsingborg,February 2, 1979Publisher: 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 Touchinghe unfolds a world of timbre rich in original effects. A com-plex work, it is technically very demanding, and getting themusical idea across to the audience is also a challenge. Thework uses such special effects as playing with a spoon.

Siniloimi (Bluestring) op. 71 bis No. 1 (1996/1997)I Seitti (Cobweb)II Säi (Strand)III Silkki (Silk)IV Siima (Line)Duration: 10’First performance: Jukka Savijoki, Time of Music, Viitasaari,

July 6, 1997Distributor: Fimic (15436)

Unlike Touching, Heininen’s Bluestring concentrates on asimple and even ascetic texture, though structurally the mu-sic is quite the opposite. The guitarist is hard put to observethe unpredictable, rapidly changing dynamic markings thatare, according to the composer, vital to the performance ofthe music, especially in the third movement (Silk).

JÄRNEFELT, ARMAS (1869–1958)see Siirala, Seppo, p. 9

KAIPAINEN, JOUNI ( B. 1956)

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

“Tenebrae is Latin and means ’darkness’ or ’gloom’, but italso refers to the Roman Catholic matins and lauds servicesin Holy Week. These are held as dusk falls, and the idea isthat the sixteen candles that are burning at the beginningof the service are gradually extinguished until, after sixteenprayers, the church is in darkness. The same developmentis carried through in this work, but the timbres towards thebeginning of the work may come as a surprise to the listenerwho, with a knowledge of etymology, may be expecting

gloomy, quiet and meditative music.” The composer’s notewell describes this unusual work the material of which con-sists mainly of minor thirds. It ends with meditative pausesthat get longer and longer towards the end and ever simplergestures that are ultimately reduced to an E minor chord.The motor-like, dramatic middle section is exceptionally dif-ficult due to the steady semiquaver beat and the determinedrush 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, 2002Distributor: Fimic (17613)

This broad Fantasy in darker hues examines a simple basicidea by exploring the timbral potential of the guitar. In writingit, Juha Kangas was inspired by the guitar compositions ofToru Takemitsu (1930–96).

KARLSSON, LARS ( B. 1953)

Introduzione, toccata et aria (1988)

Duration: 9’30’’Commissioned by: Scandinavian Guitar Festival as theobligatory work for its competition in 1988First performance: participants in the Scandinavian GuitarFestival guitar competition, Tammisaari, July 21–26, 1988Distributor: Fimic (9435)

Lars Karlsson’s Introduzione, toccata et aria is a virtuosicwork, its neoclassical rhythms and themes coloured withchromaticism.

KOSKELIN, OLLI ( B. 1955)

Tutte le corde (1988–1989)guitar and tapeDuration: 15’20’’Commissioned by: Finnish Broadcasting Company (YLE)First performance: Timo Korhonen, Time of Music, Viitasaari,July 27, 1988Publisher: Edition Love

Olli Koskelin’s idiom, with its mysterious tones, creates acaptivating entity in a work that is almost like a concerto forguitar and tape. The clear, individual motifs expand in placesinto webs of sound. Some musical gesture emerges


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from the texture from time to time, only to recede again asanother gesture takes its place. The guitar techniques areconventional, simply and finely interpreting the musicalideas. The tape consists of guitar sounds used either assuch 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, 1990Distributor: Fimic

The idiom familiar from Tutte le corde paints a delicate,improvisatory landscape.

KURONEN, JOUNI ( B. 1958)

Three Old Dances op. 5 (1986)Duration: 4’First performance: Ismo Eskelinen, Youth Arts Event,

spring 1986Distributor: Fimic (11135)

Jouni Kuronen’s Three Old Dances make up a brisk andoriginal neoclassical work combining expressive melodywith natural-sounding harmonies. Though relatively clearand simple, it is not all that easy to perform, the last move-ment in particular calling for precise synchronisation of thehands.

KUULA, TOIVO (1883–1918)See Siirala, Seppo, p. 9

KUUSISTO, ILKKA ( B. 1933)

Praeludium and Fughetta (1998)Duration: 4’Commissioned by: Ikaalinen Guitar FestivalFirst performance: Timo Korhonen, July 25, 1998Publisher: Tactus Oy

Ilkka Kuusisto’s Praeludium and Fughetta is a fresh, tonal,good-humoured little piece with jazzy overtones. The po-lyphony of the Fughetta works well, even though it occupiesthe low registers throughout.

LINDBERG, MAGNUS ( B. 1958)

Mano a mano (2004)Duration: 17’Commissioned by: Berliner Festspiele and Turku MusicFestivalFirst performance: Timo Korhonen, Turku Music Festival,Turku, August 16, 2004Publisher: Boosey & Hawkes

Magnus Lindberg’s Mano a mano is written in an idiomati-cally virtuosic style that is gratifying to play. The overall

mood is dramatic and achieves orchestral effects by

building up frenzied tensions one after the other. The har-monies, exploiting the harmonic series in the manner typicalof Lindberg, make use of open-string pentatonics and thenotes of the D flat major scale in between the open strings.

LINJAMA, JYRKI ( B. 1962)

Sonata (1998)

I Introduction – Ricercar II NocturneII FinaleDuration: 16’Commissioned by: Andrzej WilkusFirst performance: Andrzej Wilkus, Helsinki,February 15, 1998Publisher: Finnish Amateur Musicians’ Association (Sulasol)

A serious, expansive modern work. A striking feature of thefirst movement is the very polyphonic texture evocative ofRenaissance lute music. The Nocturne creates a noctur-nal mood complete with creaks and cracks. The Finale is

dominated by a Balkan 3+2+3 rhythm and a medieval Hal-lelujah hymn hidden in the structure, but the mood remainsrestrained and modernistically alienated. Apart from the ef-fects of the middle movement, the work has a very conven-tional texture.

MADETOJA, LEEVI (1887–1947)See Siirala, Seppo, p. 9

MARTTINEN, TAUNO ( B. 1912)

Shamaani op. 206

Duration: 8’Distributor: Fimic (6350)

Chaconne op. 222 (1983)Duration: 8’Distributor: Fimic (7212)

The guitar works by Tauno Marttinen incorporate elementsfrom many sources – archaic modality, fifths harmonies andtonal effects – blended together to form a chromatic, oftenmonophonic, freely progressing idiom. The works are tech-nically very easy.

MERIKANTO, OSKAR (1868–1924)See Siirala, Seppo, p. 9

MURO, JUAN ANTONIO ( B. 1945)

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


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Juan Antonio Muro’s Basic Pieces are a magnificent collec-tion of delightful pieces for beginners. Many of them alsohave words to sing. This imaginative combination of classi-cal forms with the occasional more modern harmony is anall-round means of ear training.

MUSTONEN, OLLI ( B. 1967)

Jehkin Iivana – Sonata for Guitar (2004)Dedicated to Ismo EskelinenDuration: 14’First performance: Ismo Eskelinen, Kuhmo Chamber MusicFestival, July 26, 2005Publisher: Schott Musik International

The world of Olli Mustonen’s brilliant guitar sonata wasinspired by the singer of archaic poetry (runes) Jehkin Iivana(Iivana Shemeikka, 1843–1911). The tension between theopen D and G string ostinato and the melody, reminiscentof rune-singing, centred on C sharp and G sharp creates amagic mood that becomes little short of heroic in the quick,

toccata-like second and fourth movements. The middlesection of this sonata of unusually symmetric constructionis a meditative slow movement in which material in C sharpminor harmonised in the manner of a chorale calls to mindRussian liturgical singing. The texture is natural but extreme-ly virtuosic.

MYLLÄRINEN, JYRKI ( B. 1961)

Moa Mirob (2004)Duration: 12’First performance: Jyrki Myllärinen, Ja kitara soi Festival,Lappeenranta, September 2004

Distributor: Fimic

Having already established himself as a guitarist, Jyrki Myl-lärinen made a promising debut as a composer. The firsttwo movements of Moa Mirob engage in quasi-improvisedmeditation on various aspects of slight, concise material.This leads to a speedy finale in which the same materialis transformed into a liberating, dance-like ecstasy rich inguitarist invention.

NIEMINEN, KAI ( B. 1953)

Yön akvarelleja (Aquarelles of the Night) (1981)Duration: 10’First performance: Kai Nieminen, Rome, May 6, 1985Publisher: Warner/Chappell Music Finland Oy

Manaus ja loitsu (Exorcism and Incantation)(1989)Duration: 5’First performance: Alpertti Rieskjärvi, Jyväskylä,May 19, 1992Publisher: Fennica Gehrman (in Three Pieces for Guitar )

Estampes (1997)Frank Martin in MemoriamDuration: 7’First performance: Kai Nieminen, Jyväskylä,September 16, 1997Publisher: Warner/Chappell Music Finland Oy

Himself a guitarist, Kai Nieminen makes expert use ofvarious guitar sounds and timbres, equipping them with

precise dynamic markings and verbal instructions. Theworks are often rhapsodic in construction, each stronglyatmospheric. They also contain melodic and tonal elementsalongside the most modern of expression.


Butterflies op. 39 (1977)Duration: 8’First performance (Souls, Fluttering, Autumn): JosefHolecek, Sydney, October 23, 1977Publisher: Gehrmans Musikförlag

Pehr Henrik Nordgren’s Butterflies was inspired by the sto-ries about butterflies in the collection Kwaidan by LafcadioHearn (1850–1904). The mixing of diverse influences familiarin Nordgren’s music finds free, original expression in hisworks for guitar, as stories tinged with intimate overtones.The meditative hues of Butterflies are contrasted by thehammering, primitive beat of the Dance movement. Thetexture does not incorporate any unusual instrumental tech-niques and is alternately thin and denser. “On the surface,it may possibly have some ‘Japanese elements’ – such asthe rhythm of the Dance movement or the slight imitationof an old Buddhist hymn in the Introduction and Flutteringmovements – but they are not overpowering, and I don’t

think I ever intended to produce something ‘exotic’,” saysthe composer.

Come da lontano op. 122 (2003)Duration: 11’First performance: Petri Kumela, Oulunsalo Soi, Oulunsalo, August 6, 2003Distributor: Fimic (17795)

The falling, lament-like melodic lines create an emotionallyextremely forceful meditative mood. Contrasting this is therelatively short, more dynamic middle section. This other-wise more or less monophonic piece concentrates more on

textural timbre.

POHJANNORO, HANNU ( B. 1963)

kuun kiertoa kohti (towards the orbit of the moon)(1998)Duration: 9’Commissioned by: Jyrki MyllärinenFirst performance: Jyrki Myllärinen, Mikkeli,November 23, 1998Distributor: Fimic (14672)

A work that avoids grand gestures and drama, drawing

instead on finely-tuned, lingering characters idiomaticallywritten for the instrument.


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PUUMALA, VELI-MATTI ( B. 1965)

Hailin’ Drams (1991/1992)I Uni (Dream). Inquieto (attacca)II Puuseppä Kusakov (Carpenter Kusakov).Comodo, sempliceIII Sinfonia nro 2 (Symphony No. 2). Fluido (attacca)IV Viisi keskeneräistä kertomusta (Five Unfinished Tales).Vivace

V Yhteys (Connection). SostenutoDuration: 15’First performance: Jyrki Myllärinen, Ung Nordisk Musik,Reykjavík, September 9, 1992Publisher: Fennica Gehrman

Veli-Matti Puumala’s Hailin’ Drams is a study of the guitar’svast harmonics reserve and the almost imperceptible merg-ing of normal sounds and noise. The unusual handling ofthe guitar produces some delightfully unexpected timbres,creating an ecstatic, dramatic arch. The work is extremelydifficult, especially for the right hand, which unceasinglyalternates between senza unghia tremolo, rasqueado, top-

speed runs and normal texture. Puumala’s space-time nota-tion makes great demands of the performer.

RAUTAVAARA, EINOJUHANI ( B. 1928)

Partita (1956/1980)[incomplete 1956 version lost]Duration: 4’First performance (final version): Vladimir Mikulka,Paris 1980Publisher: Henry Lemoine

The three short movements of Einojuhani Rautavaara’sPartita were originally written as musical portraits of thechildren of friends of his and are different characterisationsof the same theme. The salient features of this work are theinventive transformation of the simple melody into differentguises and the idiomatic style in which pungent harmoniesbuilt on fourths are contrasted with soft-sounding triads.

Serenades of the Unicorn (1977)I A Nervous Promenade and Dance (With His OwnReflection)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 HolecekFirst performance: Josef Holecek, Gothenburg 1978Publisher: G. Schirmer Inc.

Serenades of the Unicorn is a real modern Finnish guitarclassic! This unicorn makes ingenious and simply idiomaticuse of the guitar’s potential in a work that is deliciouslyhumorous, spirited and even sentimental (when the unicornsings a melody that vanishes into the heights to the un-attainable beauty). The sound of the giggly nymphs pro-duced with a spoon is an amusing effect and contains aclear musical idea that motivates the performer to learn theslightly tricky spoon technique.

Monologues of the Unicorn (1980)I Monologue with JSB (He gets slightly annoyed withthe beast)II Monologue with Claude-Achille (Poeticized by thewhiteness)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 HolecekFirst performance: Josef Holecek, Gothenburg,February 26, 1981Publisher: Warner/Chappell Music Finland Oy

Once again Rautavaara’s unicorn adventures in an environ-ment natural to the guitar in which each phrase comes alive.The composer writes: “Their world is the fairytale kingdomof the ‘Unicorn’, the creature of which the great apotheosiswas the cantata True and False Unicorn composed to poemsby James Broughton in 1971. In the serenades the unicornoperates in a milieu of Antiquity, not the Middle Ages, asmay be deduced from the title of the piece. It is neverthe-

less a timeless being and appears in the Monologues in thedreams of masters far removed from each other. Hence, theyreact in different ways, one annoyed, the other delighted.It would preferably appear to speak a universal language,apart from music: English. And fully intentionally, becausewhen C.A. is ’poeticized by the whiteness’, the word, anartificial American one, denotes precisely the sentimentalitywith which the music has to be played.”

RECHBERGER, HERMAN ( B. 1947)

Préludes (1990)I Nocturne

II Fête des clochesIII Le Chanteur IV Rendez-vous des cordesV Le trainDuration: 16’Publisher: Warner/Chappell Music Finland Oy

Herman Rechberger’s own guitarist background is reflectedin his guitar works; they sit well under the fingers, and hemakes frequent use of open strings and the potential forplaying the same note on several strings. Various scor-daturas, 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 worksfor the guitar are nevertheless an unbroken melodic line thatis borne along in arpeggios, tremolos, etc.

RÄIHÄLÄ, OSMO TAPIO ( B. 1964)

Dorean Dumble Dorean (2001) A TriptychDuration: 11’Commissioned by: Jyrki MyllärinenFirst performance: Jyrki Myllärinen, Tampere, April 22, 2001Publisher: Uusinta Publishing Company Ltd


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A work exuding a jaunty, straightforward rhythm. Giving thepiece its basic character is an A–g–g sharp–d1 motif thatrecurs in the nature of a signal. One very amusing effectin the slow section is plucking between the finger presseddown in the left hand and the nut.

SEGERSTAM, LEIF ( B. 1944)

Episodes Nos. 8 and 11 (1978)No. 11 dedicated to Jukka SavijokiDuration: 8’15’’Publisher: Universal Music Publishing AB

Leif Segerstam’s free-pulsative works are expansive, relyingon free association. The atonal idiom is late-romanticallyexpressive in spirit.

SIBELIUS, JEAN (1865–1957)See Siirala, Seppo

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

Souvenir – Finnish Romantic Miniatures for Guitar

Armas Järnefelt: BerceuseToivo Kuula: LampaanpolskaLeevi Madetoja: Kansanlaulu op. 14/1; Menuetti op. 14/3;Pieni satu op. 31/3Oskar Merikanto: Kesäillan 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; Menuettoop. 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 Finnishminiatures arranged for the guitar. Many of the pieces werewritten for the piano but sound, in these arrangements, likeguitar originals.

SUILAMO, HARRI ( B. 1954)

Noun – a fretwork circle (1990)Duration: 10’First performance: Christoph Jäggin, ISCM, Winterthur

(Switzerland), September 18, 1991Publisher: Edition Hug Musikverlage

ANFANGS... das erste Prelim (1996)for teaching purposesDuration: 4’30’’First performance: Misa Jäggin, Romanshorn (Switzerland),November 8, 1996Publisher: G. Ricordi & Co.

Eidola – weiland Gitarrespieler (1999)Duration: 8’First performance: Christoph Jäggin, Time of Music,Viitasaari, July 9, 1999

Publisher: Edition Love

Harri Suilamo has set out to chart the timbral world of theguitar by very complicated modernist means. His works forguitar are rich in juxtaposed detail, an often meditative flowof precisely notated timbral situations. ANFANGS… daserste Prelim, written for teaching purposes, is shorter, sim-pler and more concise than the other pieces.

TIENSUU, JUKKA ( B. 1948)

preLUDI, LUDI, postLUDI (1974)Duration: 14’First performance: Pekka Vesanen, Helsinki,November 8, 1983Distributor: Fimic (2279)

A composer with a liberal attitude to styl istic principles,Jukka Tiensuu has enriched the guitar repertoire with a fewfine works of great originality, the biggest and first of whichis preLUDI, LUDI, postLUDI. PreLUDI evokes associationswith Baroque preludes. The opening is built on the noteE, grows with the addition of a fifth and culminates as the

intervals widen in a dramatic, swinging, busy section on thebass strings. The LUDI movement creates dense patternstinged with micro-intervals produced with natural inventionon adjacent strings. For this movement the B string is tuneda quarter-tone lower than normal.

Dolce amoroso (1977)Duration: 4’First performance: Pekka Vesanen, Helsinki 1978Distributor: Fimic (6246)

Dolce amoroso is part of Tiensuu’s chamber work Sinistro.The guitarist plays dolce music, as the title suggests, but inSinistro the Aufschwung played simultaneously on the ac-

cordion 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 98First performance (official): Guitaristival 98 guitarcompetition, Tampere, June 7, 1998Distributor: Fimic (14507)

The tremendously virtuosic Drang consists of long notescoloured by faster and slower vibratos. Their flutter effectincreases at times to precisely-defined micro-intervals.

Another salient feature of the work is the top-speed scaleoutbursts at times evocative of Oriental scales and at timescarrying a suggestion of blues.

TUOMELA, TAPIO ( B. 1958)

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


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Spiral IIB (1997)Duration: 5’First performance: Rody van Gemert, Helsinki,March 24, 1998Distributor: Fimic (14412)

Focal to Tapio Tuomela’s modernistic but musicianly ‘spirals’are virtuosic bursts of notes and bitone sounds produced byhitting the strings hard between the frets.

VILÉN, ASKO ( B. 1946)

Sonata (1975)Distributor: Fimic (3056)

Asko Vilén’s Sonata is slightly Prokofievian in tone, themachine-like rhythm and the pungent harmonies with theirhint of tonality contrasting with the enigmatic finale.

VIRTAPERKO, OLLI ( S. 1973)

Klüftwerk (2003)Duration: 7’First performance: Mikko Ikäheimo, Espoo,December 19, 2003Distributor: Fimic (17983) The chromatic-toned runs of this work representing aflowing, ”moderate” brand of modernism sound in placeslike a modern jazz solo. The texture sits naturally under thehand.

VUORI, HARRI ( B. 1957)

Mysticae metamorphoses nocturnae

(1982, 1990, 1994)Duration: 12’First performance: Kari Jämbäck, Helsinki Festival, Helsinki,July 31, 1990

Harri Vuori’s Mysticae metamorphoses nocturnae is a collec-tion of effects in precise rhythmic notation covering a widerange from wah-wah to knocking, scratching, etc., to createan entity that seeks out extremes.

WESSMAN, HARRI ( B. 1949)

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

Preludes for guitar (1981)Duration: 7’Distributor: Fimic (3576)

Sonate Classique (1991)Duration: 12’First performance: Timo Korhonen, Scandinavian GuitarFestival, Tammisaari, July 9, 1992Publisher: Edition Love

The exquisitely polished works of Harri Wessman are verylyrical and often gently persuasive. The widespread use ofsoftly-dissonant four-note chords creates impressionistic

or jazzy associations, often in dancing, rocking rhythms.The Sonate Classique is more solemn and virtuosic than theother guitar works. Wessman writes naturally for the guitar,and with great originality, thoroughly exploiting the cello-likemelody character of the bass strings.


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AHMAS, HARRI ( B. 1957)

Trio (1999)flute, violin and guitarI Päällikkö Taperahi laulaa (Chief Taperahi sings)II IntermezzoIII Bossa aleaDuration: 12’Commissioned by: Alea EnsembleFirst performance: Alea Ensemble, Kouvola, May 10, 2000Distributor: Fimic (15606)

This Trio relies on the melodic power of expression andnatural, unforced, musicianly rhythm but harmonically it isfreshly piquant. The narrative of the first movement, aspiringtowards mystic intensity, is continued in the stylised, maybe

even ironic bossa nova take-off of the second movement.

AHO, KALEVI ( B. 1949)

Quartet for flute, alto saxophone, guitar and

percussion (1982)I [no tempo marking]II [presto]III [no tempo marking]Duration: 22’First performance: Cluster Ensemble (Mikael Helasvuo, flute,Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli

Hämäläinen, percussion), Amsterdam, October 1, 1982Distributor: Fimic (7201)

The Aho quartet is a broad, seriously dramatic work oftenorchestral in sound. Adding a surrealist touch are theShostakovich-like irony and the unusual instrumental tech-niques. The guitar is, among other things, prepared withplastic tabs and played with a bow.

3. Chamber WorksThree Tangos (1999)violin, guitar, double bass, accordion and pianoI Tango dolenteII Tango lamentosoIII Tango appassionatoDuration: 11’Commissioned by: InTime QuintetFirst performance: InTime Quintet, Tampere Biennale,Tampere, April 13, 2000


Kalevi Aho wrote his Three Tangos as a commission for theInTime Quintet specialising in the music of Astor Piazzolla(1921–1992). The instrumentation is modelled on that ofPiazzolla’s own quintet. The first tango is very conventionallytonal, but the second and third make bolder use of chromat-ic, atonal progressions. The guitar part is written for electricguitar but can be performed on an acoustic instrument withamplifier. The guitar texture consists mainly of chords andhas little melodic material.

Leonid Bashmakov, Hannu Pohjannoro and others have also

written chamber works for the InTime Quintet, some of themas commissions.

ALMILA, ATSO ( B. 1953)

Of Life and Death... (1989)flute and guitarDuration: 7’30First performance: Mikael Helasvuo, flute, Jukka Savijoki,guitar, Helsinki, December 7, 1989Distributor: Fimic (10129)

Atso Almila’s composition reflects minimalist and neoclas-

sical influences. The narrative is vibrantly descriptive andthe duration of the musical ideas is well balanced with thecontent.

ARHO, ANNELI ( B. 1951)

Minne (1997)piccolo, guitar, percussion and celloDuration: 8’Distributor: Fimic (14701)

Minne is, in Arho’s own words, an interpretation in music

of the Agnus Dei movement of Guillaume de Machaut’s(c. 1300–1377) Messe de Notre Dame. A meditative work,yet one of lively rhythms, it is sonorous and succeeds increating a soundscape both archaic and modern using thenatural means of each instrument. The guitar texture makesuse of arpeggios, tremolos, harmonics and the playing of thesame note on various strings.


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BASHMAKOV, LEONID ( B. 1927)

TANGOMM (2000)violin, accordion, piano, guitar and bassDuration: 8’Commissioned by: InTime QuintetFirst performance: InTime Quintet, Tampere Biennale,Tampere, April 13, 2000Distributor: Fimic (15144)

Dolado (2000)violin, accordion, piano, guitar and bassDedicated to InTime QuintetDuration: 5’Distributor: Fimic (15475)

Having moved away from his earlier atonal idiom in thedirection of chromaticism, Leonid Bashmakov plays in bothhis works for the InTime Quintet with tango clichés in adramatic and virtuosic style.

BERGMAN, ERIK ( B. 1911)

Dialogue op. 82 (1977)flute and guitarDuration: 11’Commissioned by: Savonlinna Opera FestivalFirst performance: Ilari Lehtinen, flute, Seppo Siirala, guitar,Savonlinna, July 22, 1977Publisher: Warner/Chappell Music Finland Oy

Erik Bergman’s colouristic style of the 1970s–80s is mostconcise in this sizzling work drawing for effect on all sorts ofswishes, swooshes and scratches.

Janus op. 92 (1980)violin and guitarDuration: 21’Commissioned by: Jyväskylä Summer FestivalFirst performance: Erkki Palola, violin, Jukka Savijoki, guitar,Jyväskylä Summer Festival, Jyväskylä, July 2, 1980Publisher: Warner/Chappell Music Finland Oy

Janus, the culmination of Bergman’s music for the guitar, isa long, dramatic piece in which the violin and guitar engagein intensive dialogue in terms familiar from his other guitarworks. The salient elements of this work reaching from oneextreme 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, as-sociated with the fells of Lapland.

Mipejupa op. 96 (1981)Frühlingsrauschen für Flöte, Altsaxophon, Gitarre undSchlagzeugflute, alto saxophone, guitar and percussionDuration: 17’First performance: Cluster Ensemble (Mikael Helasvuo, flute,Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, PauliHämäläinen, percussion), Helsinki, October 20, 1981Publisher: Novello

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

BJÖRKENHEIM, RAOUL ( B. 1956)

Guitar Duo

2 guitars


Raoul Björkenheim is both a brilliant electric guitarist anda ground-breaking composer. The Guitar Duo was inspiredby the jazz pianism of Cecil Taylor (b. 1930). The lyrical firstmovement is followed by a nimble second that puts the gui-tarist’s rhythmic swing and art of timing to the test.

HEININEN, PAAVO ( B. 1938)

Utazawa no e (Short II) op. 61 (1991)

flute and guitarDuration: 10’First performance: Mikael Helasvuo, flute, Jukka Savijoki,guitar, Tampere Biennale, Tampere, February 27, 1992Publisher: Warner/Chappell Music Finland Oy

Paavo Heininen does not give either player or listener aneasy time. There are no audible repetitions in the rich pitchmaterial, and the complex, irregular rhythms in the differentparts seldom coincide. Heininen has also written a versionfor solo guitar.

HEINIÖ, MIKKO ( B. 1948)

Suite for Flute and Two Guitars

(16./1974) (1974)flute and 2 guitarsDuration: 15’First performance: Ilari Lehtinen, flute, Rolf Holmberg andPekka Vesanen, guitar, Helsinki, May 10, 1974Distributor: Fimic (2089)

Champignons à l’herméneutique (36./1979) (1979)Divertimento for flute and guitarDuration: 16’30’’

First performance: Liisa Ruoho, flute, Pekka Vesanen, guitar,Helsinki, December 16, 1980Publisher: Jasemusiikki

Minimba (41./1982) (1982)Canon for 4 or 3 guitarsDuration: 7’30’’First performance: Pekka Vesanen, Kari Äikäs, Juan AntonioMuro, Ilmari Hytönen, guitar, Espoo, May 3, 1984Publisher: Jasemusiikki


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The postmodern idiom of the works by Mikko Heiniö is amixture of an atonal harmonic base, a modernistic worldof harmony, numerous different playing techniques, clearrhythmic motifs and echoes of popular music. Heiniöparticularly likes writing for several guitars, and succeedsin achieving timbral effects that are most impressive inMinimba, scored for four guitars and incorporating materialsteeped in samba and Latin-American pentatonic mode.

HYVÄRINEN, ASKO ( B. 1963)

The Enigma of Jeroen (2002)soprano, flute, mandolin, guitar and harpText: Bible (Isaiah 5:11–14) (in English and French)Composed for the Amsterdam QuintetDuration: 10’First performance: Amsterdam Quintet, Amsterdam,Ocotober 9, 2004Distributor: Fimic (15610)

As material for his music Asko Hyvärinen uses a variety of

performing techniques in an uncompromisingly modernisticmanner. The devices and notation of the guitar part of thiswork are also familiar from the works of Helmut Lachenmann(b. 1935).

HÄMEENNIEMI, EERO ( B. 1951)

The Chamber Music Book for Flute, Guitar,

Alto Saxophone and Percussion (1980)flute, guitar, alto saxophone and percussionDistributor: Fimic (5430)

Eero Hämeenniemi’s Chamber Music Book consists of duos,

solo and quartet movements and “transitions” for variousline-ups in between. The music is expressive; the perform-ance marks are very explicit.

JALKANEN, PEKKA ( B. 1945)

ELELU (1998)alto flute and guitarDuration: 10’First performance (broadcast): Mikael Helasvuo, alto flute,Jukka Savijoki, guitar, YLE September 16, 2000Distributor: Fimic (14489)

Pekka Jalkanen’s Elelu draws on such things as folk musicand ancient Greek modes. Inspired by a song of praise inSumerian, it has a range of expression that stretches frommeditative listening to a jubilant dance. The textures of thescordatura guitar (strings tuned to d1–a–a–d–A–D) and altoflute flow in a natural, virtuosic stream even in the rhythmi-cally complex passages.

Other guitar works by Pekka Jalkanen:Kebab ( 1972)cor anglais and 2 guitarsDuration: 8’30’’First performance: Aale Lindgren, cor anglais, Pekka

Vesanen and Rolf Holmberg, guitar, Jyväskylä 1972Distributor: Fimic (2576)

Greek Songs I–II (1980)Settings of ancient Greek poemstranslated into Finnish by Pentti Saarikoskisong cycle for mezzo-soprano and guitarDuration: 10’30’’First performance (broadcast): Eeva-Liisa Naumanen,mezzo-soprano, Pekka Vesanen, guitar, 1980Distributor: Fimic (6600)

Speira (2004)decacorde (10-string guitar) and bandoneonDuration: 10’Commissioned by: Mari MäntyläDistributor: Fimic (18654)

JOKINEN, ERKKI ( B. 1941)

Aspis (1990)alto flute, accordion, guitar and percussionDuration: 12’First performance: Liisa Ruoho, alto flute, Matti Rantanen,

accordion, Pekka Vesanen, guitar, Timothy Ferchen, percus-sion, Tampere Biennale, Tampere, April 22, 1990Distributor: Fimic (10755)

Erkki Jokinen’s Aspis relies on the expressive power of mod-ernism and assigns all the instruments an equal role.

KAIPAINEN, JOUNI ( B. 1956)

Far from Home op. 17 (1981) flute, alto saxophone, guitar and percussionDuration: 10’First performance: Cluster Ensemble, Helsinki,

October 20, 1981Publisher: Edition Wilhelm Hansen

The timbres and the structure of Jouni Kaipainen’s Far fromHome are carefully deliberated. This concise and virtuosicwork seems to travel further than its fairly brief duration sug-gests. The timbres are fantastically rich, offering occasionalunexpected associations with gamelan or Chinese music.

KARJALAINEN, AHTI (1907–1986)

Partita per violino, viola & chitarra

violin, viola and guitarDistributor: Fimic (19)

Ahti Karjalainen’s Partita is dominated by a preponderancefor the Em7 chord and church modes. A musicianly work, itexudes an aura of national romanticism and neoclassicism.Most of the time the guitar plays chords or melody, with noattempt at polyphony.


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KOHLENBERG, OLIVER ( B. 1957)

Siciliana Op. 11b (1981)flute and guitarDuration: 7’Distributor: Fimic (7776)

Oliver Kohlenberg’s Siciliana is mostly an atonal, singingwork constructed according to the traditional ABA scheme

in which the role of the guitar is to provide a choral accom-paniment to the freely flowing flute melody.

KORTEKANGAS, OLLI ( B. 1955)

Omaggio à M. C. Escher (1990)alto flute and guitarDuration: 7’First performance: Mikael Helasvuo, alto flute, JukkaSavijoki, guitar, Time of Music, Viitasaari, July 22, 1990Publisher: Jasemusiikki

Olli Kortekangas’s Omaggio à M. C. Escher is an airy workin which silence also occupies a leading role. The metricalstructure consists of recurring, varying times repeated inthe same order. At the core are frequently recurring focalpitches.

KOSTIAINEN, PEKKA ( B. 1944)

Guitar Quintet (2001)guitar and string quartetI AllegrettoII AdagioIII Scherzo

Duration: 13’30’’First performance: Kai Nieminen, guitar, Sotto Voce quartet,Jyväskylä, March 25, 2001Distributor: Finnish Amateur Musicians’ Association (Sulasol)

Pekka Kostiainen’s quintet develops simple themes in clas-sical-romantic style but sometimes seasoned with morepungent harmonies.

KÄRKKÄINEN, TOMMI ( B. 1969)

Fragilia (2003)

guitar and string quartetDuration: 8’Commissioned by: Janne MalinenFirst performance: Janne Malinen, string quartet, Helsinki,December 1, 2004Publisher: Fennica Gehrman

Tommi Kärkkäinen’s Fragilia is for the most part almost theopposite of what its title suggests. For the guitar isassigned manic, idiomatically constructed torrents that,despite their chromaticism, may carry hints of rock guitar.The string quartet mainly comments on the guitar, providinga timbral background.

LINDBERG, MAGNUS ( B. 1958)

Linea d’ombra (1981)flute, clarinet, guitar and percussion(also version for flute, alto saxophone, guitar andpercussion)Duration: 15’First performance: Musica nel nostro tempo ensemble,Milan, March 17, 1983

Publisher: Edition Wilhelm Hansen

Magnus Lindberg’s Linea d’ombra is, like the other workscomposed by him in the early 1980s, highly complex. Theinstrumental parts demand all kinds of techniques and theplayers are, among other things, required to use their voices.The overall effect is often one of primitive humour. Towardsthe end of this great dramatic span of a work, as the instru-mental effects become human sounds, the mood is quiteanimal-like.

Decorrente (1992)clarinet, guitar, vibraphone, piano and cello

Duration: 14’First performance: Toimii ensemble, Stockholm,September 4, 1992Publisher: Chester Music

Lindberg’s Decorrente is a quintet version of his Corrente (1991–92) for chamber orchestra. A sprightly, orchestral-likework, it has a romping closing section in familiar Lindbergstyle and ends with dramatic fortissimo chords. The guitarfor the most part merges with the overall body of sound.

LINDHOLM, HERBERT ( B. 1946)

Theba, the City of the Pharaoh (1986)alto flute and guitarDuration: 7’30’’Publisher: Helin-Sons Oy

Also known as a flautist, Herbert Lindholm paints delicatemood pictures tinged with mysticism. His works are in-strumentally rewarding. Among his other works including aguitar are the Concert Piece (1987; flute and guitar) and NineMoments in St. Petersburg (1994; flute, oboe and guitar).

LINJAMA, JYRKI ( B. 1962)

Partita for guitar and string quartet

(1996)I IntroduzioneII IntradaIII CapriccioIV IntermezzoV Sarabande elegiacoVI Danza rusticaleDuration: 26’Commissioned by: West Helsinki Music Institute andFinnish Guitar SocietyFirst performance: Andrzej Wilkus, guitar, Allée Quartet(Ilona Turunen, violin I, Maija Linkola, violin II, Lotta Poijärvi,

viola, Markus Hohti, cello), Helsinki, November 17, 1996Distributor: Fimic (14165)


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Jyrki Linjama’s Partita is a blend of French overture style,the Balkan rhythms of a grape harvest dance, and uncom-promisingly modern harmony and melody. The guitar textureis uncomplicatedly natural, and all the players are assignedsolos of their own.

LINTINEN, KIRMO ( B. 1967)

Sonata classica (1992–1999)flute and guitarI ModeratoII Adagio lontanoIII Scherzo. AllegroIV Allegro graziosoDuration: 17’First performance: Tommi Koivuniemi, flute, Osmo Palmu,guitar, Helsinki, March 21, 2000Distributor: Fimic (15248)

Kirmo Lintinen’s Sonata is, as its name suggests, a workelegantly playing with the generic conventions. In addition to

its scherzo-like humour it has deep, velvety sentiment in itsslow movement. In the finale the minor-third motif alludingto Prokofiev’s 7th piano sonata brings the piece to an end“tongue in cheek”.

Abracadabra (2002)flute, bass clarinet, guitar and percussionDuration: 6’First performance: Tommi Koivuniemi, flute, MikkoKauppinen, bass clarinet, Osmo Palmu, guitar, TuomoLassila, percussion, SOI! festival, Jyväskylä, March 16, 2002Distributor: Fimic (15389)

Neoclassical, jazzy and Oriental elements appear side by

side in a modernist-oriented frame of reference in this rogu-ish work.

LUOLAJAN-MIKKOLA, VILHO ( B. 1911)

Suvella (Summertime) (1981)flute and guitar (or piano)I Pilviperho (Cloud Butterfly)II Sudenkorennot (Dragonflies)III Vanessa antiopia (Camberwell Beauty)Duration: 14’Distributor: Fimic (5741)

Vilho Luolajan-Mikkola’s Suvella is tonal music nostalgicallypicturing the moods of an idyllic summer’s day.

MARTTINEN, TAUNO ( B. 1912)

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

Tauno Marttinen has been a prolific composer of chambermusic. Harlequin is scored for a rare combination of instru-ments. Its free-roaming fantasy is rhythmically broughtto heel from time to time and together with the unusualinstrumentation creates a jolly, harlequin-like mood. Otherworks by Marttinen incorporating a guitar include Isis (1986;violin/cello and guitar) and Osiris (1986; violin and guitar).

MERILÄINEN, USKO (1930–2004)

Simultus for Four ( 1979)flute, alto saxophone, guitar and percussionDuration: 16’First performance: Cluster Quartet (Mikael Helasvuo, flute,Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar,Timothy Ferchen, percussion), Hämeenlinna,October 14, 1979Distributor: Warner/Chappell Music Finland Oy

Usko Meriläinen’s markedly modernistic Simultus for Fourrests on a carefully-polished character technique of his own

invention. The ear may detect in the texture, which alsoincludes ostinatos, fragile gestures, forceful bursts of notesand single sounds. The work was the first to be commis-sioned for the unusual instrumental line-up of the ClusterQuartet.

MURO, JUAN ANTONIO ( B. 1945)

Aubade (1987)2 guitarsDuration: 8’First performance: Ana Kertesz and László Papp, Esztergom(Hungary) 1987

Special prize in the composition competition of the Eszter-gom 8th guitar festival and seminar 1987Distributor: Fimic (10213)

Di pensier in pensier (1989)2 guitars and percussionsI La vita fugge e non s’arresta una oraII Pien di quella ineffabile dolcezzaIII Quando la sera scaccia il chiaro giornoIV Che fai alma? che pensi? avrem mai pace?Duration: 14’First performance: Members of the InTime Quintet JormaSalmela and Hannu Siiskonen, Tampere 1989

Publisher: Otto Murentini KyThe works of Juan Antonio Muro, nowadays thought of asa guitar composer, cover a wide stylistic range. Among themost impressive are perhaps the guitar duos. Aubade em-ploys relatively simple material, and clouds, showers of rainand bells are evoked by fine, simple guitarist means. InDi pensier in pensier the percussion instruments (played bythe guitarists) add to the multi-style guitar soundscape.


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NIEMINEN, KAI ( B. 1953)

Sea Poems and a Postludium (1979)voice and guitarText: Tommi Hautaniemi (in Finnish)Duration: 10’First performance: Sirpa Kovanen, mezzo-soprano,Kai Nieminen, guitar, Jyväskylä, February 25, 1988Publisher: Fennica Gehrman

The chamber music of Kai Nieminen is characterised by thesame stylistic features and devices as his solo output. Thelistener may sense nature moods and elegiac, melodic ma-terial Finnish in tone. The guitar parts, particularly, containcarefully thought-out timbral fantasies.


Quintet for guitar and string quartet op. 119

(2003)guitar and string quartet

Duration: 20’Commissioned by: Petri KumelaFirst performance: Petri Kumela, guitar, Tempera Quartet,Helsinki, March 29, 2003Distributor: Fimic (17694)

The guitar quintet by Pehr Henrik Nordgren could be calleda Concerto for guitar and string quartet, for the guitar partdominates and the string quartet mostly remains in thebackground, commenting on the guitar monologue. Thebasic mood is of intimate lyricism. The harmonicallyenchanting structure derives from the tension between theharmonic worlds of the guitar and the string quartet. Theoften 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 guitarDuration: 13’First performance: Erkki Rautio, cello, Petri Kumela, guitar,Konsertserie Katrina, Eckerö (Åland), August 11, 2004Distributor: Fimic (18147)

POHJANNORO, HANNU ( B. 1963)

valon jälkiä äänet (sounds, traces of light)(1996)flute, clarinet, guitar and celloDuration: 5’Commissioned by: Association of Finnish Music SchoolsPublisher: Association of Finnish Music Schools

kivenpiirto (stone-draw) (1999)guitar quartetDuration: 11’Commissioned by: Corona Guitar Quartet, DenmarkFirst performance: Corona Guitar Quartet, NUMUS 2000, Aarhus (Denmark), Apri l 28, 2000


aava (expanse) (1999)flute, violin, guitar and percussionDuration: 10’Commissioned by: Alea EnsembleFirst performance: Alea Ensemble, Kouvola,May 6, 2001Distributor: Fimic (15164)

The finely-tuned works by Hannu Pohjannoro aspiring

towards the poetry of their titles deal in small gestures anddetails equipped with precise dynamics. Pohjannoro hasalso written hehku for the InTime Quintet (2000) (see Aho,Kalevi: Three Tangos, p. 11).

PUUMALA, VELI-MATTI ( B. 1965)

Duettino (1988)violin and guitarDuration: 3’Distributor: Fimic (10462)

Though avoiding tunes in the traditional sense, Veli-MattiPuumala’s Duettino is calmly melodic and, being relativelyuncomplicated, easy to digest.

Verso (1990/1991)clarinet (and bass clarinet), guitar, violin, viola and celloDuration: 5’First performance (1st version): Avanti!, cond. Olli Pohjola,Ung Nordisk Musik, Copenhagen November 12, 1991First performance (2nd version): Avanti!, cond. Olli Pohjola,Milan, December 16, 1991Publisher: Warner/Chappell Music Finland Oy

Verso, with its complex, uncompromisingly modernist and

always carefully thought-out music, is a challenge for theperformer. A concise work, it contains both quick passagesand long, sonorous sounds.

RAUTAVAARA, EINOJUHANI ( B. 1928)

Sonata per flauto e chitarra (1975)flutes (1 player) and guitarDuration: 7’First performance: Gunilla von Bahr, flutes, Diego Blanco,guitar, Stockholm, June 1976Publisher: Warner/Chappell Music Finland Oy

Einojuhani Rautavaara’s masterly, relatively short andconcise Sonata keeps all the members of the flute familybusy, from bass to piccolo. Despite its wealth of timbres,the music has a classical quality that ranges from dancingplayfulness to archaic modality and mystic moods, but thestructure is strictly consistent. As in the other Rautavaaraworks for the guitar, the texture is notably idiomatic but itcalls for extremely precise articulation.


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RÄISÄNEN, TOMI ( B. 1976)

Omenapuun alla (Under the Apple Tree) (2001)version F: 4 pieces for guitar duo(arr. Kimmo Rahunen 2002–2003)I MironII Valkea kuulasIII Nalif IV Oranie

Duration: 8’30’’First performance: Kimmo Rahunen and Otto-VilleNyyssönen, Turku, March 11, 2003Distributor: Fimic (17662)

Kimmo Rahunen has arranged this version of a workoriginally composed by Tomi Räisänen for piano that worksextremely well on two guitars. Slightly Prokofievian in style,it assigns each apple variety a fitting soft or sour character.

SAARIAHO, KAIJA ( B. 1952)

Adjö (1982, revised 1985)(original name: Ju lägre solen)soprano, flute and guitarText: Solveig von Schoultz (in Swedish)Duration: 10’Commissioned by: Jeremy ParsonsFirst performance (original version): Nina Almark, soprano, Anne Raitio, flute, Joël Bons, guitar, Freiburg, March 1, 1983First performance (revised version): Anu Komsi, soprano, OlliPohjola, flute, Esko Virtanen, guitar, Helsinki, April 27, 1987Distributor: Fimic (8085)

Kaija Saariaho’s Adjö is a journey in sensitive, delicate huesfrom angst to more relaxed emotions. This is manifest in, for

example, the transformation of the voice from the effects ofthe opening towards more conventional singing. The instru-ments create an astonishingly rich world of sound in whicheach detail is carefully considered.

SALMENHAARA, ERKKI (1941–2002)

Sonatina per flauto e chitarra (1981)flute and guitarDuration: 10’First performance: Tapio Jalas, flute, Kari Äikäs, guitar,Helsinki, May 26, 1986

Distributor: Fimic (7000) Among the dominant features of the music of Erkki Salmen-haara sometimes described as “neo-simplistic” are triadsand recurring figures, somewhat in the manner ofminimalism. The Sonatina also has so much melody that themusic is almost classical-romantic in spirit and in placeseven Sibelian.

SALONEN, ESA-PEKKA ( B. 1958)

Goodbye (1979, revised 1980)violin and guitarDuration: 11’First performance (original version): Mikko-Ville Luolajan-Mikkola, violin, Heikki Hernberg, guitar, Helsinki SummerWeeks, Helsinki 1979First performance (revised version): Hannele Segerstam,

violin, Jukka Savijoki, guitar, ISCM World Music Days,Helsinki, January 27, 1981Publisher: Jasemusiikki The guitarist tosses off a postcard, the violinist occasionallysnatches the guitar from the guitarist and plays it with a bow– Esa-Pekka Salonen’s Goodbye features theatricalelements, though assigning them only a minor role. Mostof the piece is played using conventional techniques andgestures, and the idiom is post-serial modernist. The closingadagio is beautiful, singing music.

SERMILÄ, JARMO ( B. 1939)

Dragonfly Day (1995)recorder/flute, guitar, violin and celloDuration: 12’Commissioned by: Euterpe EnsembleFirst performance: Euterpe Ensemble (Helle Kristensen,recorder, Curt Kollavik-Jensen, guitar, Ricardo Odriozola,violin, Jane Odriozola, cello), Aalborg (Denmark),January 20, 1996Distributor: Fimic (13722)

Chromatic and diatonic writing alternate in Jarmo Sermilä’sDragonfly Day , a work playing with jazz and Baroque

influences.

SIBELIUS, JEAN (1865–1957)

Two songs for voice and guitar from the play

“Twelfth Night” op. 60 (latest 1909)voice and guitarI Kom nu hit, död!II Hållilå, uti storm och i regnText: William Shakespeare (translated into Swedish by Carl August Hagberg)Duration: 4’

First performance: Svenska Teatern, Helsinki,November 12, 1909Publisher: Breitkopf & Härtel

The guitar parts of the only works by Jean Sibelius for guitarare simple while making ingenious use of their scantresources. In Kom nu hit, död!, in particular, the attention iscaught by the broad, succulent, sharp transition from an Eminor chord to a bleak G sharp minor chord.


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SUILAMO, HARRI ( B. 1954)

FEROCE – von tiefblauem Klang (1996)guitar, violin, viola and celloDuration: 8’Commissioned by: Ensemble TaGFirst performance: Ensemble TaG (Christoph Jäggin, guitar,Urs Walker, violin, Matthijs Bunschoten, viola, Hans-UlrichMunzinger, cello), Winterthur (Switzerland),

November 28, 1996Distributor: Fimic (14192)

Harri Suilamo’s Feroce is a stream of complex sonorous sit-uations in which the guitar part ties closely studied flageoletsounds with the rest of the texture. “It is an attempt to find apositive solution to the conflict between repetition (=similar-ity) and continuous regeneration (=dissimilarity),” says thecomposer in speaking of the structure.

TIENSUU, JUKKA ( B. 1948)

Sinistro (1977)accordion and guitarDuration: 14’Commissioned by: Association of Finnish SoloistsFirst performance: Matti Rantanen, accordion, PekkaVesanen, guitar, Helsinki, October 17, 1977Distributor: Fimic (6247)

Jukka Tiensuu’s Sinistro contains theatrical elements. Itconsists of two independent solo pieces ( Dolce amoroso and Aufschwung ), ordinary coordinated ensemble playingand aleatoric passages requiring improvisation. Despitethe at times random-seeming nature of the pitch levels, thedramatic span is clearly manifest.

TUOMELA, TAPIO ( B. 1958)

Aufschwung (1994)flute and guitarDuration: 6’First performance: February16, 1995Distributor: Fimic (13273)

Tapio Tuomela’s Aufschwung represents moderate modern-ism seasoned with elements of jazz and minimalism. It is avirtuoso 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 isa good example of a complex but easy-to-fathom rhythmicworld.

VILÉN, ASKO ( B. 1946)

Uno Pezzo (1974)flute and guitarPublisher: Edition Pine

The recitative-like adagio of Asko Vilén’s Uno pezzo, pro-ceeding in giant intervals, at times works up to an allegro

dominated by relatively simple, dance-like rhythms.

VUORI, HARRI ( B. 1957)

Quartetto (1981)flute, guitar, cello and pianoDuration: 10’First performance: Eva Hibay, flute, Kari Jämbäck, guitar,Risto Poutanen, cello, Ari Vakkilainen, piano, cond. TimoPulakka, Kokkola, May 15, 19811st prize in the Youth Arts event 1981


Axis Mundi (1998)3 guitarsDuration: 11’Commissioned by: Kari JämbeckFirst performance: Kari Jämbeck, Jyrki Myllärinen and TimoSuominen, guitar, Raahe, March 24, 1999Publisher: Edition Love

As in his other works, the chamber music of Harri Vuoriconcentrates on the search for as wide a timbral range aspossible and uninhibited, frenzied drama.

WENNÄKOSKI, LOTTA ( B. 1970)

Dans le conte c’est ma voix (1998)guitar, percussion and tapeDuration: 10’20’’First performance: Mats Scheidegger, guitar, ChristophBrunner, percussion, Baden (Switzerland), June 13, 1998Distributor: Fimic (14375)

In this work by Lotta Wennäkoski the guitar and percus-sion engage in dialogue with the tape, the chief elementsof which are lapping water and sounds of a woman’s voice

comparable to, among other things, sibilant soundsproduced by the instruments. The guitarist momentarilyplays a drinking glass that, when wet, yields a long sound.

Veno (2000)alto flute (and flute), tenor saxophone/bass clarinet, guitar(amplified), percussion and violaDuration: 8’30’’First performance: Cattrall Ensemble, Zurich (Switzerland),June 11, 2000Publisher: Uusinta Publishing Company Ltd

In composing Veno Wennäkoski says she was thinking of the

sound of water lapping against the side of a boat. The pieceproceeds as an uninterrupted, lyrical rippling produced bysoftly modernistic means of rhythm and pitch. Theperforming techniques are mostly traditional.

WESSMAN, HARRI ( B. 1949)

Yötä kohti (Towards the Night) (1978)flute and guitarDuration: 3’First performance: Ilari Lehtinen, flute, Seppo Siirala, guitar,Lahti, August 11, 1979Distributor: Fimic (3574)


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Pan and the Nymph Pitys (1979)flute and guitarDuration: 4’First performance: Ilari Lehtinen, flute, Seppo Siirala, guitar,Helsinki, April 25, 1980Distributor: Fimic (4337)

Suite for Two Guitars (1989)2 guitarsI PreludeII No Minuet III Air IV TangoV GigueDuration: 10’Commissioned by: Fredrikinkatu 59 Residents’ AssociationFirst performance: Pentti Hildén and Janne Lehtinen,Helsinki, October 23, 1989Distributor: Fimic (10200)

Sonatina for flute and guitar (1992)Duration: 5’30’’

First performance: Tapio Jalas, flute, Kari Äikäs, guitar,Helsinki, February 9, 1993Distributor: Fimic (12483)

Harri Wessman has been a pioneer in composing music forthe guitar. Remaining faithful to his style, he has observeda high standard of craftsmanship. His lyrically sensitiveworks, often depicting atmospheres (such as Towards theNight and Pan and the Nymph Pitys ) of the 1970s and 80sacquired a more mobile, serious and maybe even classicalcharacter in the 90s; this is also reflected in the names of hispieces: 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 7FIN-00100 HelsinkiFinlandTel. +358 9 618 [email protected]

Ostinato Oy

Tykistönkatu 7FIN-00260 HelsinkiFinlandTel. +358 9 443 116

Fax +358 9 441 [email protected]

Sulasol (Finnish Amateur Musicians’ Association)

Fredrikinkatu 51–53 BFIN-00100 HelsinkiFinlandTel. +358 9 4136 1100Fax +358 9 4136 [email protected]

Unpublished works can be ordered from Fimic:

Finnish Music Information Centre

(Fimic)

Lauttasaarentie 1FIN-00200 HelsinkiFinlandTel. +358 9 6810 1311 (Music Library)Fax +358 9 682 [email protected]

trabalhos de guitarra da finlândia

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