Finnish Radio Symphony Orchestra

Ismo Eskelinen

Hannu Lintu

Sebastian Fagerlund has been described as ‘a composer who commandingly bridges tradition and modernity’ (Klassik-Heute.de) while his music is ‘modern and unorthodox, opulent and strange, masterfully composed and orchestrated’ (MusicWeb-International). Previous acclaimed recordings on BIS include the chamber opera Döbeln, as well as orchestral works and concertos for clarinet, violin and bassoon respectively. Another concertante work froms part of the present programme: Transit for guitar and orchestra, written for Ismo Eskelinen who also performs it here. He is partnered by the Finnish Radio Symphony Orchestra and Hannu Lintu who have previously championed Fagerlund’s music: the orchestra has commissioned several works, including the guitar concerto as well as Drifts, the opening work here. The disc takes its title from the third composition, Stonework, named after those man-made stone structures that are found all over the world, serving a range of purposes, from landmarks and navigational aids to burial monuments.

Sebastian Fagerlund: Drifts, Stonework & Guitar Concerto "Transit"

Drifts

Stonework

I. Moderato con anima

II. Intenso, liberamente

III. Espressivo

IV. Ritmico

V. Brillante

VI. Intenso

Gerald Finley

Xavier de Maistre

Kaija Saariaho

Kaija Saariaho: True Fire, Ciel d'hiver & Trans (Live)

Jukka-Pekka Saraste

Esa-Pekka Salonen

Leif Segerstam

Society of Finnish Composers 50th Anniversary 1995, Vol. 3

Witold Lutoslawski is one of 20th Century’s greatest composers. He is also a remarkable symphonist. The three works on the present release performed by the Finnish Radio Symphony Orchestra and conducted by Hannu Lintu, represent three important stages in Lutoslawski’s career: his 1st Symphony, one of his earliest significant works; Jeux vénitiens was the first work in his best-known stylistic phase; and his 4th Symphony remained his last extensive work. Lutoslawski began his First Symphony in difficult times, during the Nazi occupation of Poland. At the time, he was making a living playing piano duos with composer colleague Andrzej Panufnik in the cafés of Warsaw. It is firmly rooted in Neo-Classicism but has none of the irony or stylization commonly associated with that style. Also, it makes no use of folk music elements, which frequently appear in many of Lutoslawski’s post-war works. The title of Jeux vénitiens alludes to the fact that the work was meant to be premiered at the Venice Biennale. In the end, only three movements were performed there in April 1961, and the final four-movement version of the work was premiered in Warsaw in September in the same year. Secondarily, the title alludes to the game-like nature of its aleatoric writing. The Fourth Symphony is a product of Lutoslawski’s late period at its most refined, characterized by a more nuanced and translucent harmonic approach than before, greater rhythmic clarity, a more straightforward approach and an expanded role for expressive melodic writing. These features stemmed in part from the fact that the importance of aleatoric sections was decreasing. In the Fourth Symphony, aleatoric counterpoint only accounts for about one fifth of the duration of the work. Conductor Hannu Lintu is an excellent advocate of Lutoslawski’s music. Hannu Lintu recently won the Gramophone Award for his recording of the Bartók Violin Concertos together with Christian Tetzlaff and the Finnish Radio Symphony Orchestra.

Sebastian Fagerlund: Drifts, Stonework & Guitar Concerto "Transit"

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Sebastian Fagerlund: Drifts, Stonework & Guitar Concerto "Transit"

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