Finish Works for Guitar

7/28/2019 Finish Works for Guitar

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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 Guitarcover 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.Eskelinens 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 Gothni.

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 Eskelinens first solo disc Magic Circle (2000)contains music by de Falla, Jos, Mompou and Rodrigo. Hisnewest release (2003), which contains music by Ponce has beenpraised both nationally and internationally. Ismo Eskelinen isartistic director of the Sonkajrvi 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: 18First 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: 930Commissioned by: Ensemblia Festival

First performance: Timo Korhonen, guitar, Avanti! ChamberOrchestra, cond. John Storgrds, Mnchengladbach(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.

MERILINEN, USKO (19302004)

Concerto for Guitar and Orchestra (1991)solo guitar + 2121 0110 03 1, harpsichord, stringsDuration: 20Commissioned 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 Merilinen 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 (33221)Duration: 22Commissioned by: Chamber Orchestra of LaplandFirst performance: Petri Kumela, guitar, Chamber Orchestraof Lapland, cond. John Storgrds, 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 corazn (Heart Beat Concerto)(1992)solo guitar + chamber orchestra: 1111/0000/02,strings 44321 min.Duration: 17First performance: Timo Korhonen, guitar, Vantaa Orchestra,cond. Juhani Lamminmki, 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: 27First performance: Timo Korhonen, guitar, Vantaa Orchestra,cond. Juhani Lamminmki, 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 coraznand 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: 12Commissioned 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 andBartk. 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: 9First performance: Jukka Savijoki, London,December 9, 1977Publisher: Warner/Chappell Music Finland Oy

Bergmans 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: 1025Commissioned by: Finnish Guitar SocietyFirst performance: Jukka Savijoki, Helsinki,November 5, 2000Publisher: Warner/Chappell Music Finland Oy

Bergmans most recent work for solo guitar is in fact awork for a guitarist. It combines the ambiance familiar fromMidnightwith 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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BJRKENHEIM, RAOUL (B. 1956)

Harvest Dance

Distributor: Fimic (15720)

Raoul Bjrkenheims 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: 14Commissioned 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 Si(Strand)III Silkki(Silk)IV Siima (Line)Duration: 10First performance: Jukka Savijoki, Time of Music, Viitasaari,

July 6, 1997Distributor: Fimic (15436)

Unlike Touching, Heininens 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).

JRNEFELT, ARMAS (18691958)see Siirala, Seppo, p. 9

KAIPAINEN, JOUNI (B. 1956)

Tenebrae op. 39 (1991)Duration: 15Commissioned 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 composers 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: 15First performance: Rody van Gemert, 15. Nightconcert series, Helsinki, March 15, 2002Distributor: Fimic (17613)

This broad Fantasyin 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 (193096).

KARLSSON, LARS (B. 1953)

Introduzione, toccata et aria (1988)

Duration: 930Commissioned by: Scandinavian Guitar Festival as theobligatory work for its competition in 1988First performance: participants in the Scandinavian GuitarFestival guitar competition, Tammisaari, July 2126, 1988Distributor: Fimic (9435)

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

KOSKELIN, OLLI (B. 1955)

Tutte le corde (19881989)guitar and tapeDuration: 1520Commissioned by: Finnish Broadcasting Company (YLE)First performance: Timo Korhonen, Time of Music, Viitasaari,July 27, 1988Publisher: Edition Love

Olli Koskelins 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: 6Commissioned 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: 4First performance: Ismo Eskelinen, Youth Arts Event,

spring 1986Distributor: Fimic (11135)

Jouni Kuronens 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 (18831918)See Siirala, Seppo, p. 9

KUUSISTO, ILKKA (B. 1933)

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

Ilkka Kuusistos 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: 17Commissioned by: Berliner Festspiele and Turku MusicFestivalFirst performance: Timo Korhonen, Turku Music Festival,Turku, August 16, 2004Publisher: Boosey & Hawkes

Magnus Lindbergs 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 RicercarII NocturneII FinaleDuration: 16Commissioned 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 (18871947)See Siirala, Seppo, p. 9

MARTTINEN, TAUNO (B. 1912)

Shamaani op. 206

Duration: 8Distributor: Fimic (6350)

Chaconne op. 222 (1983)Duration: 8Distributor: 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 (18681924)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 Muros 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: 14First performance: Ismo Eskelinen, Kuhmo Chamber MusicFestival, July 26, 2005Publisher: Schott Musik International

The world of Olli Mustonens brilliant guitar sonata wasinspired by the singer of archaic poetry (runes) Jehkin Iivana(Iivana Shemeikka, 18431911). 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.

MYLLRINEN, JYRKI (B. 1961)

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

Distributor: Fimic

Having already established himself as a guitarist, Jyrki Myl-lrinen 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)

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

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

Estampes (1997)Frank Martin in MemoriamDuration: 7First performance: Kai Nieminen, Jyvskyl,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: 8First performance (Souls, Fluttering, Autumn): JosefHolecek, Sydney, October 23, 1977Publisher: Gehrmans Musikfrlag

Pehr Henrik Nordgrens Butterflies was inspired by the sto-ries about butterflies in the collection Kwaidan by LafcadioHearn (18501904). The mixing of diverse influences familiarin Nordgrens 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 dont

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

Come da lontano op. 122 (2003)Duration: 11First 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: 9Commissioned by: Jyrki MyllrinenFirst performance: Jyrki Myllrinen, 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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A work exuding a jaunty, straightforward rhythm. Giving thepiece its basic character is an Agg sharpd1 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: 815Publisher: Universal Music Publishing AB

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

SIBELIUS, JEAN (18651957)See Siirala, Seppo

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

Souvenir Finnish Romantic Miniatures for Guitar

Armas Jrnefelt: BerceuseToivo Kuula: LampaanpolskaLeevi Madetoja: Kansanlaulu op. 14/1; Menuetti op. 14/3;Pieni satu op. 31/3Oskar Merikanto: Kesillan idylli op.16/2; Scherzo op. 6/4;Valse lenteJean 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: 10First performance: Christoph Jggin, ISCM, Winterthur

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

ANFANGS... das erste Prelim (1996)for teaching purposesDuration: 430First performance: Misa Jggin, Romanshorn (Switzerland),November 8, 1996Publisher: G. Ricordi & Co.

Eidola weiland Gitarrespieler (1999)Duration: 8First performance: Christoph Jggin, 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: 14First 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 whichispreLUDI, 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: 4First performance: Pekka Vesanen, Helsinki 1978Distributor: Fimic (6246)

Dolce amoroso is part of Tiensuus chamber work Sinistro.The guitarist plays dolce music, as the title suggests, but inSinistro theAufschwung 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: 8Commissioned 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: 6First performance: Timo Korhonen, Helsinki,November 17, 1996Distributor: Fimic (15477)


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

Focal to Tapio Tuomelas modernistic but musicianly spiralsare virtuosic bursts of notes and bitone sounds produced byhitting the strings hard between the frets.

VILN, ASKO (B. 1946)

Sonata (1975)Distributor: Fimic (3056)

Asko Vilns 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)

Klftwerk(2003)Duration: 7First performance: Mikko Ikheimo, 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: 12First performance: Kari Jmbck, Helsinki Festival, Helsinki,July 31, 1990

Harri Vuoris 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: 7First performance: Seppo Siirala, Helsinki, April 25, 1980Distributor: Fimic (4020)

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

Sonate Classique (1991)Duration: 12First 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 Pllikk Taperahi laulaa (Chief Taperahi sings)II IntermezzoIII Bossa aleaDuration: 12Commissioned 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: 22First performance: Cluster Ensemble (Mikael Helasvuo, flute,Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli

Hmlinen, 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: 11Commissioned 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(19211992). The instrumentation is modelled on that ofPiazzollas 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: 730First performance: Mikael Helasvuo, flute, Jukka Savijoki,guitar, Helsinki, December 7, 1989Distributor: Fimic (10129)

Atso Almilas 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: 8Distributor: 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 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: 8Commissioned 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: 5Distributor: 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 clichs in adramatic and virtuosic style.

BERGMAN, ERIK (B. 1911)

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

Erik Bergmans colouristic style of the 1970s80s is mostconcise in this sizzling work drawing for effect on all sorts ofswishes, swooshes and scratches.

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

Janus, the culmination of Bergmans 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)Frhlingsrauschen fr Flte, Altsaxophon, Gitarre undSchlagzeugflute, alto saxophone, guitar and percussionDuration: 17First performance: Cluster Ensemble (Mikael Helasvuo, flute,Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, PauliHmlinen, 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.

BJRKENHEIM, RAOUL (B. 1956)

Guitar Duo

2 guitars


Raoul Bjrkenheim 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-tarists rhythmic swing and art of timing to the test.

HEININEN, PAAVO (B. 1938)

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

flute and guitarDuration: 10First 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.

HEINI, MIKKO (B. 1948)

Suite for Flute and Two Guitars

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

Champignons lhermneutique(36./1979) (1979)Divertimento for flute and guitarDuration: 1630

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

Minimba (41./1982) (1982)Canon for 4 or 3 guitarsDuration: 730First performance: Pekka Vesanen, Kari iks, Juan AntonioMuro, Ilmari Hytnen, guitar, Espoo, May 3, 1984Publisher: Jasemusiikki


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The postmodern idiom of the works by Mikko Heini is amixture of an atonal harmonic base, a modernistic worldof harmony, numerous different playing techniques, clearrhythmic motifs and echoes of popular music. Heiniparticularly 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.

HYVRINEN, ASKO (B. 1963)

The Enigma of Jeroen (2002)soprano, flute, mandolin, guitar and harpText: Bible (Isaiah 5:1114) (in English and French)Composed for the Amsterdam QuintetDuration: 10First performance: Amsterdam Quintet, Amsterdam,Ocotober 9, 2004Distributor: Fimic (15610)

As material for his music Asko Hyvrinen 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).

HMEENNIEMI, EERO (B. 1951)

The Chamber Music Book for Flute, Guitar,

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

Eero Hmeenniemis Chamber Music Bookconsists 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: 10First performance (broadcast): Mikael Helasvuo, alto flute,Jukka Savijoki, guitar, YLE September 16, 2000Distributor: Fimic (14489)

Pekka Jalkanens 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 d1aadAD) 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: 830First performance: Aale Lindgren, cor anglais, Pekka

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

Greek Songs III (1980)Settings of ancient Greek poemstranslated into Finnish by Pentti Saarikoskisong cycle for mezzo-soprano and guitarDuration: 1030First performance (broadcast): Eeva-Liisa Naumanen,mezzo-soprano, Pekka Vesanen, guitar, 1980Distributor: Fimic (6600)

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

JOKINEN, ERKKI (B. 1941)

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

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

Erkki JokinensAspis 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: 10First performance: Cluster Ensemble, Helsinki,

October 20, 1981Publisher: Edition Wilhelm Hansen

The timbres and the structure of Jouni Kaipainens 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 (19071986)

Partita per violino, viola & chitarra

violin, viola and guitarDistributor: Fimic (19)

Ahti Karjalainens 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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Jyrki Linjamas 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 (19921999)flute and guitarI ModeratoII Adagio lontanoIII Scherzo. AllegroIV Allegro graziosoDuration: 17First performance: Tommi Koivuniemi, flute, Osmo Palmu,guitar, Helsinki, March 21, 2000Distributor: Fimic (15248)

Kirmo Lintinens 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 Prokofievs 7th piano sonata brings the piece to an endtongue in cheek.

Abracadabra (2002)flute, bass clarinet, guitar and percussionDuration: 6First performance: Tommi Koivuniemi, flute, MikkoKauppinen, bass clarinet, Osmo Palmu, guitar, TuomoLassila, percussion, SOI! festival, Jyvskyl, 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: 14Distributor: Fimic (5741)

Vilho Luolajan-Mikkolas Suvella is tonal music nostalgicallypicturing the moods of an idyllic summers day.

MARTTINEN, TAUNO (B. 1912)

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

MERILINEN, USKO (19302004)

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

Usko Merilinens 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: 8First performance: Ana Kertesz and Lszl 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 sarresta una oraII Pien di quella ineffabile dolcezzaIII Quando la sera scaccia il chiaro giornoIV Che fai alma? che pensi? avrem mai pace?Duration: 14First 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 pensierthe 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: 10First performance: Sirpa Kovanen, mezzo-soprano,Kai Nieminen, guitar, Jyvskyl, 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: 20Commissioned 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: 13First performance: Erkki Rautio, cello, Petri Kumela, guitar,Konsertserie Katrina, Ecker (land), August 11, 2004Distributor: Fimic (18147)

POHJANNORO, HANNU (B. 1963)

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

kivenpiirto (stone-draw)(1999)guitar quartetDuration: 11Commissioned 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: 10Commissioned 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 writtenhehku for the InTime Quintet (2000) (see Aho,Kalevi: Three Tangos, p. 11).

PUUMALA, VELI-MATTI (B. 1965)

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

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

Verso (1990/1991)clarinet (and bass clarinet), guitar, violin, viola and celloDuration: 5First 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: 7First performance: Gunilla von Bahr, flutes, Diego Blanco,guitar, Stockholm, June 1976Publisher: Warner/Chappell Music Finland Oy

Einojuhani Rautavaaras 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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RISNEN, TOMI (B. 1976)

Omenapuun alla (Under the Apple Tree) (2001)version F: 4 pieces for guitar duo(arr. Kimmo Rahunen 20022003)I MironII Valkea kuulasIII NalifIV Oranie

Duration: 830First performance: Kimmo Rahunen and Otto-VilleNyyssnen, Turku, March 11, 2003Distributor: Fimic (17662)

Kimmo Rahunen has arranged this version of a workoriginally composed by Tomi Risnen 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)

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

Kaija SaariahosAdj 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 (19412002)

Sonatina per flauto e chitarra (1981)flute and guitarDuration: 10First performance: Tapio Jalas, flute, Kari iks, 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: 11First 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: JasemusiikkiThe guitarist tosses off a postcard, the violinist occasionallysnatches the guitar from the guitarist and plays it with a bow Esa-Pekka Salonens 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.

SERMIL, JARMO (B. 1939)

Dragonfly Day(1995)recorder/flute, guitar, violin and celloDuration: 12Commissioned 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 SermilsDragonfly Day, a work playing with jazz and Baroque

influences.

SIBELIUS, JEAN (18651957)

Two songs for voice and guitar from the play

Twelfth Night op. 60 (latest 1909)voice and guitarI Kom nu hit, dd!II Hllil, uti storm och i regnText: William Shakespeare (translated into Swedish by CarlAugust Hagberg)Duration: 4

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

The guitar parts of the only works by Jean Sibelius for guitarare simple while making ingenious use of their scantresources. In Kom nu hit, dd!, 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: 8Commissioned by: Ensemble TaGFirst performance: Ensemble TaG (Christoph Jggin, guitar,Urs Walker, violin, Matthijs Bunschoten, viola, Hans-UlrichMunzinger, cello), Winterthur (Switzerland),

November 28, 1996Distributor: Fimic (14192)

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

Jukka Tiensuus Sinistro contains theatrical elements. Itconsists of two independent solo pieces (Dolce amorosoandAufschwung), 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: 6First performance: February16, 1995Distributor: Fimic (13273)

Tapio TuomelasAufschwung 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.

VILN, ASKO (B. 1946)

Uno Pezzo (1974)flute and guitarPublisher: Edition Pine

The recitative-like adagio of Asko Vilns 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: 10First performance: Eva Hibay, flute, Kari Jmbck, 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: 11Commissioned by: Kari JmbeckFirst performance: Kari Jmbeck, Jyrki Myllrinen 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.

WENNKOSKI, LOTTA (B. 1970)

Dans le conte cest ma voix(1998)guitar, percussion and tapeDuration: 1020First performance: Mats Scheidegger, guitar, ChristophBrunner, percussion, Baden (Switzerland), June 13, 1998Distributor: Fimic (14375)

In this work by Lotta Wennkoski the guitar and percus-sion engage in dialogue with the tape, the chief elementsof which are lapping water and sounds of a womans 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: 830First performance: Cattrall Ensemble, Zurich (Switzerland),June 11, 2000Publisher: 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 pieceproceeds as an uninterrupted, lyrical rippling produced bysoftly modernistic means of rhythm and pitch. Theperforming techniques are mostly traditional.

WESSMAN, HARRI (B. 1949)

Yt kohti (Towards the Night) (1978)flute and guitarDuration: 3First 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: 4First performance: Ilari Lehtinen, flute, Seppo Siirala, guitar,Helsinki, April 25, 1980Distributor: Fimic (4337)

Suite for Two Guitars (1989)2 guitarsI PreludeII No MinuetIII AirIV TangoV GigueDuration: 10Commissioned by: Fredrikinkatu 59 Residents AssociationFirst performance: Pentti Hildn and Janne Lehtinen,Helsinki, October 23, 1989Distributor: Fimic (10200)

Sonatina for flute and guitar (1992)Duration: 530

First performance: Tapio Jalas, flute, Kari iks, 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 theNightand 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

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

Fax +358 9 441 [email protected]

Sulasol (Finnish Amateur Musicians Association)

Fredrikinkatu 5153 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]

Documents

Finish Works for Guitar