Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement. Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra. This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample”. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl)2-2200-bar-02-str and the orchestral material is available for hire from the publisher. / Date parution : 2022-05-31/ Répertoire / Violoncelle et Piano
SKU: FG.55011-641-2
ISBN 9790550116412.
Kalevi Aho's Piano Concerto No. 2 is scored for a string orchestra comprising just twenty players. The first performance took place at the concluding concert of the 2003 Mantta Music Festival, in Vilppula Church on 29th June. The soloist was Antti Siirala and the strings of the Lahti Symphony Orchestra were conducted by Osmo Vanska. The demanding piano writing is primarily a consequence of Siirala's remarkable command of the 'Beethovenian-Lisztian-Brahmsian' pianistic tradition. At times the piano part is lean and linear, but the work also contains multi-layered, full-toned piano textures and massive rolling octaves. The concerto requires great artistry on the part of the performer. The Second Piano Concerto lasts roughly half an hour and comprises three untitled movements played without a break. The first movement and the finale are extremely fast; these outer movements contain plenty of playful music. The slow second movement is more serious in tone, and its piano texture is very ample. The difficult cadenza at the end of the finale brings more serious emotions to the coda as well.
SKU: FG.55011-591-0
ISBN 9790550115910.
Kalevi Aho's (b. 1949) Flute Concerto (2002) was initially inspired by the magnificent, enigmatic poetry of the Swede Tomas Transtromer, but the vocal ideas nevertheless adapted themselves to the flute. There is lots of singing, lyrical music at the beginning and end of this three-movement work; the second movement, by contrast, is quick and brilliant. The finale follows from the second movement without a break, constituting an epilogue that draws all the threads together and brings the events to a close. This is one of the most beautiful works Aho has ever written. The virtuosic solo part is written for flute and alto flute, and Kari Vehmanen has created the piano reduction in 2019. The orchestral study score (ISMN 9790550096349) is available for sale and the orchestral material for hire.
SKU: FG.55011-642-9
ISBN 9790550116429.
SKU: FG.55011-573-6
ISBN 9790550115736.
Kalevi Aho's (b. 1949) Clarinet concerto (2005) has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio molto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence. The orchestral study score (ISMN 9790550096332) is available for sale and the orchestral material for hire.
SKU: FG.55011-710-5
ISBN 9790550117105.
Kalevi Aho's Concerto for Guitar and Chamber Orchestra (2018) is in seven movements performed without a break and each using the guitar in a different way. The fairly slow introduction-like movement is followed by a virtuosic Allegro molto in which the guitar is also used like a percussion instrument in places as the soloist taps out rhythms on the soundboard. Motifs from the Introduzione reappear in the Interludio, and in the lyrical, singing Andante cantabile that follows. In the Misterioso movement the guitarist plays only flageolet notes. The sixth movement, Presto, is the other virtuoso one in the concerto. The Presto is the concerto's dynamic climax. From then onwards, the music subsides to a slow Epilogue, gradually retreating into silence. Duration: c. 30 minutes. The full score is available for sale (ISMN 9790550117099) and the orchestral material is available for hire from the publisher. The orchestration is 1111-1000-str(43321).
SKU: FG.55011-615-3
ISBN 9790550116153.
Kalevi Aho (b. 1949) composed Violin concerto No. 2 in late summer and early autumn 2015 for the Finnish violinist Elina Vahala. Lasting about 32 minutes, the second concerto is a large-scale virtuoso work dominated by the soloist. The strong-featured first movement (Allegro) begins with a fairly short orchestral introduction that is followed by the soloist's first vigorous statement. Around the middle of the movement is a cadenza, and the movement ends with a quick stretta. The soloist dominates the events in the slow second movement (Adagio) even more than it did in the first. The Adagio begins with the same opening motif for the soloist as the first movement, but this time the motif is more lyrical and singing. Having built up to a dramatic climax, it subsides on flageolet notes and finally sounds that are somewhere between musical notes and noise. The third movement (Vivace, leggiero) is by nature dance-like again and lighter than the previous ones. At the end, the tempo accelerates to a wild, virtuosic prestissimo. Piano reduction (2020) by Kari Vehmanen.
SKU: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
SKU: FG.55009-633-2
ISBN 979-0-55009-633-2.
The concerto has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio, mesto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence.
SKU: FG.55009-676-9
ISBN 979-0-55009-676-9.
SKU: HL.48020658
8.5x11.75x0.245 inches.
