Matti Friedann

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.

This Forgotten Land offers a deeply atmospheric, affecting experience, seeped in nostalgia and yet thrillingly contemporary. Peculiarly otherworldly, serenely haunting, and utterly unforgettable, it lingers long after its conclusion, its atmosphere a magical mist that can never quite be apprehended. Out of time, but just in time, it confirms Matti Bye as a vital composer of visionary, cinematic scope. It will endure, in fact, because it sounds like it’s always been among us.

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.

Mieskuoromusiikki on ollut satavuotiaan isänmaamme kohtalonhetkissä vahvasti läsnä. Laulu-Miehet on usein ollut näiden historiallisten taitekohtien musiikin ensimmäinen esittäjä. Itsenäistymisemme kynnyksellä Jääkärien Marssi – runo salakuljetettiin värikkäiden vaiheiden saattelemana Saksasta säveltäjämestari Jean Sibeliukselle. Sibeliuksen käsissä runo sai nykyisin tuntemamme sävelasun. V.A. Koskenniemi puolestaan kirjoitti sanoituksen Jean Sibeliuksen Finlandia-hymniin. Molempien laulujen kantaesittäjä oli Laulu-Miehet.