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Rautavaara: Cantus Arcticus, Etc / Lintu, Mikkola, Et Al
Einojuhani Rautavaara is one of the most original and accessible composers of the second half of the 20th century. His music has a deep romanticism to it, yet he often uses twelve-tone and atonal constructs as an integral part of the process.
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
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Rautavaara: Cantus Arcticus, Etc / Lintu, Mikkola, Et Al
Rautavaara: Cantus Arcticus, Etc / Lintu, Mikkola, Et Al
Einojuhani Rautavaara is one of the most original and accessible composers of the second half of the 20th century. His music has a deep romanticism to it, yet he often uses twelve-tone and atonal constructs as an integral part of the process.
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
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Description
Einojuhani Rautavaara is one of the most original and accessible composers of the second half of the 20th century. His music has a deep romanticism to it, yet he often uses twelve-tone and atonal constructs as an integral part of the process.
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
The First Piano Concerto is a very strong work, and though very original, seems descended from the colors of Debussy, the broadness of Tchaikovsky and the harmonic contours of Sibelius. The piano writing is full, rich and virtuosic, pitting the soloist against the forces of the orchestra. This is a work that truly deserves to be a part of the standard repertory.
The Third Symphony employs much of the same power, but adds the grandeur and religiosity of Bruckner at the opening. At its weakest, some of the orchestral colors and motifs seem borrowed and melodramatic, but it is an immediately accessible work which opposes the formalist academic tradition.
'Cantus Articus' is the strangest work on this recording. Subtitled a "Concerto for birds and orchestra," this work features recorded Arctic birdsong, not just as background, but as the featured element. Unfortunately, anyone who has seen Hitchcock's THE BIRDS recently will find 'Cantus Articus' more than a little creepy!
