Englund

Englund is primarily regarded as a symphonic composer. His seven symphonies and his concertos are the backbone of a substantial output. The majority of his chamber works were composed fairly late, after he returned to composition following a ten-year period of silence. The exception, however, is the Piano Quartet composed in 1941 and slightly revised in the early 1970s.

Though he was born on the Swedish island of Gotland, Englund settled in Helsinki, where he studied and later, after a spell of study in Tanglewood with Copland, taught. On returning home after his service on the front in 1945, he burned all his wartime manuscripts and sketches, and wrote this symphony, his first orchestral piece—and a remarkably accomplished piece it is! It became known in his native country as the War Symphony, though the composer characterized it as an expression of ''a euphoric joy at having—by a sheer miracle—come through four years of hell during the Second World War alive''. The musical language has more in common with Shostakovich than any other modern composer, but it is far from derivative. The idiom is accessible and there are memorable melodic ideas.

Einar Englund is one of the greatest composers–besides Jean Sibelius–the 20th century has produced. Englund's range of work, especially as seen in his symphonies, has evolved enormously since the end of the Second World War. His later symphonies–the ones on this disc–show the introduction of modern elements into his orchestral pieces. This is evident in Symphony No. 3 (1971) with its mild atonality–the same kind Shostakovich used–that never quite lets go of its Finnish roots, again, like Shostakovich. The Symphony No. 7 (1988) is a stark work about as far from Sibelius as you can get. Recommended highly.

It’s simply astonishing that Einar Englund’s Piano Concertos have not become firm staples of the repertoire. Each possesses the crowd-pleasing elements of concertos by Shostakovich, Prokofiev, Bartók, and Ravel, but are wholly original rhythmic and harmonic tours de force with nary a note wasted in the process. For some time, collectors have been content to rely on Naxos’ estimable recording of the First Piano Concerto, but this new version from Ondine blows it away and quickly establishes itself as the reference against which all others (if there are any) will be judged. Matti Raekallio’s incredibly sure-footed playing blends seamlessly with the Tampere Philharmonic’s enthusiastic and feisty accompaniment, and the recorded sound comes through with a beguilingly natural presence, especially in the renderings of the piano’s timbre and the silky sheen of the violins.

Einar Englund passed away in 1999 at the age of 83. One of Finland’s main symphonists from the post-Sibelius era, he left seven symphonies and six concertos for various solo instruments. The Cello Concerto was written in 1954. It’s a brilliant work whose melodic and rhythmic patterns bear the unequivocal imprint of Bartók. The latter’s presence is so strong in every detail that one could easily take the piece for a recently rediscovered posthumous concerto by the Hungarian composer! Some kind of achievement in itself… Subtitled “Aphorisms”, the 6th Symphony was composed exactly 30 years later, and shows a much more personal style.

Einar Englund’s incidental music to The Great Wall of China will delight and astonish music lovers looking for a refreshing new experience. .. Not only do Eri Klas and the Tampere Philharmonic offer performances as gripping, cogent, and virtuosic as the music ideally demands (and make no mistake, Englund was one of the 20th century’s masters at writing for orchestra), Ondine has captured them in stunningly realistic, impactful sound. Don’t miss this extraordinary recording by any means!

Einar Englund (1916-1999) was not only one of Finland's major symphonists; he was also one of his country's most important pianists. He was destined for a virtuoso career until he damaged a finger as a soldier in the Battle of Bengtskjar in the ''Finnish Continuation War'' in 1941 - but when he later discovered the bullet holes in his beret, he realized he had a lucky escape! Englund wrote surprisingly little for his own instrument, but the works he did produce glitter with a Prokofievan steely strength and textural clarity.