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Record Reviews

Published online by Cambridge University Press:  04 February 2010


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Record Reviews
Copyright © Cambridge University Press 1991

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page 58 note 1 Although Walter Zimmermann suggests in Morton Felttman Essays (ed. Zimmermann, W., Beginner Press, 1985)Google Scholar that these double sharps and flats should not be interpreted microtonally but rather understood as a purely notational device to take pitch to ‘the edge of its identity’.

page 61 note 1 Ondine will be issuing Aho's Fifth and Seventh Symphonies on CD during 1991 (as well as Rautavaara's two piano concerti), while Englund's Seventh (1988) was premièred in Helsinki in January of this year.

page 61 note 2 Although becoming eventually more graphic, the initially jaunty character of this scherzo places it in direct line with some of Sibelius' oddly un-warlike scores, such as Kullervo goes to War, Tiera and the cantata Sandels.

page 61 note 3 There is a link between Englund and this work, as I discovered during a meeting with Englund in the Citée des Arts in Paris in February this year. Aho studied orchestration with Englund in 1969 and was set some exercises (piano pieces by Chopin, Debussy, etc.) to which he responded only averagely. Englund had tried to draw Aho out on his own compositions but to no avail, and by the end of the course, only felt able to mark Aho's efforts at 2 or 3 (out of 5). At the final tutorial, Aho produced the finished score of the Symphony (which, incidentally, had been re-cast in this form on the advice of Rautavaara). Englund was amazed: ‘There was only one possible mark - 5 out of 5!’ Aho's fine orchestration of Mussorgsky's Songs and Dances Of Death is available on BIS-CD-325, coupled with Funtek's marvellous arrangement of Pictures at an Exhibition.

page 63 note 4 For instance, in the nervoso section in movt. 2 starting 2 bars before fig. 55 (page 33 of the Editions Pan score).

page 63 note 5 Not least in the work's peroration. There seems to be a discrepancy between the Leipzig performance and the score as published by Editions Pan. The three bars on page 152 and the first on page 153 constitute the final climax with no timpani part printed, but they are clearly audible. I have ascertained from the composer that the score is incorrect.