REVIEW:

The Philadelphia Orchestra’s first two releases for Ondine under Christoph Eschenbach (Bartók and Tchaikovsky) were extremely good, no doubt about it, but this Mahler Sixth is really extraordinary. Part of its success must stem from the fact that the best German conductors usually do misery especially well, finding the dark side of just about everything. If you don’t believe me, check out Kurt Sanderling’s startlingly deep and edgy rendition of Poulenc’s Concert Champêtre on Supraphon. So you can just imagine what can happen with a piece like Mahler’s Sixth. Anyone fortunate enough to have heard Eschenbach’s performances of this work with the NDR Orchestra in Hamburg will know that he has a special feeling for its harrowing intensity and expressionistic instrumental palette. Toss in the collective virtuosity of the Philadelphia Orchestra, and the result is, to put it mildly, pretty special.

As a coupling, the early piano quartet movement is more appropriate than you might at first think. First of all, it shares the same key as the symphony, and second, it’s useful to have it along as part of an all-Mahler program, allowing collectors to round out their collections without having to search for an acceptable all-chamber-music program. The engineering also represents the best in this series so far, with virtually no audience noise, tremendous presence in both stereo and multichannel formats, and extremely natural balances between orchestral sections. I know that Mahler Sixes seem to be a dime a dozen these days, but this one, a first for Philadelphia, belongs among the elite few (Bernstein I and II, Chailly, Levi, T. Sanderling, and Gielen). It’s just bloody thrilling.

— ClassicsToday.com (David Hurwitz)

The series of Brahms recordings on Ondine with the Gavle Symphony Orchestra and their chief conductor Jaime Martín culminate with this recording of works for choir and orchestra together with the prestigious Eric Ericson Chamber Choir. Jaime Martín became the Artistic Director and Principal Conductor of Gavle Symphony Orchestra in 2013. During recent years orchestral engagements have led the rising conductor to collaborate with several prominent orchestras around the world. Brahms’ impressive Schicksalslied was written in 1868. The work delves musically into the duality between the “fate-free,” ideal heavenly life and the existence of “suffering man” on earth articulated in Friedrich Hölderlin’s poem. During the summer of 1881 Brahms composed his Nanie on a poem by Friedrich von Schiller as a song of lament and mourning for the fleetingness of beauty. Eric Ericson’s Chamber Choir was founded in 1945 by then 27-year-old Eric Ericson, and has since taken a central position in the Swedish and international music scene. On the world stage, Eric Ericson’s Chamber Choir is among the very foremost professional ensembles, and through the years it has been awarded many distinctions.

REVIEWS:

A clean and deft approach to Brahms. Darkly-hued choral pieces concerning fate and destiny are balanced by the delicious Liebeslieder Waltzes.

– BBC Music Magazine

The Eric Ericson Chamber Choir is perfectly balanced and sing with impeccable intonation. The conductor, Jaime Martin, obtains a very attractive quality from the excellent Gavle Symphony Orchestra, and if the programme appeals to you, I give it a maximum five star rating in excellent sound quality.

– David's Review Corner

Jon Nordal celebrated his 90th birthday in March 2016. Nordal and the Iceland Symphony joined forces to celebrate his life and his creative works. Three pieces on this recording were written in the height of Nordal's creative years, 1973-1975. This recording is the Ondine debut for conductor Johannes Gustavsson and the Iceland Symphony Orchestra.

Born in 1970, Lotta Wennäkoski’s rich and colorful works often incorporate unconventional playing techniques and noise. In recent years her expressive range has become gradually broader, deeper and more powerful. Soie, a Finnish Radio Symphony commission, is a concertante work for flute and orchestra in three movements. The soloist, Kersten McCall, is the Royal Concertgebouw’s principal flutist. A Tapiola Sinfonietta commission, Hava had its premiere at the orchestra’s 20th anniversary concert. Amor Omnia, a 90 min. silent film score, is Wennäkoski’s most extensive work to date.

Ondine proudly presents a release featuring violist David Aaron Carpenter, “the hottest violist of the 21st century” according to Norman Lebrecht, and “stunningly talented” by The New Yorker, and member of the Berlin Philharmonic Orchestra. Dreamtime features the titular solo viola work by Robert Mann (1920). Frank Bridge (1879–1941) is one of the most outstanding composers for viola. The longest work on the disc is Brahms’s Clarinet Quintet Op. 114 in the version for viola and string quartet.

This album by Finnish duo partners Tuija Hakkila and Sirkka-Liisa Kaakinen-Pilch features Johannes Brahms’ Violin Sonatas played on period instruments. These three sonatas by Brahms form a cornerstone of chamber music repertoire for violin. When Brahms’s Sonata for piano and violin in G major op. 78, ostensibly his first, was published, it was actually the composer’s fourth venture in this genre as far as we know. Brahms began writing Sonata in G major when he had returned from Italy and travelled to the lake district of Pörtschach – a location where “the air is so full of melodies that one has to take care not to step on them.” The major work that Brahms completed that summer was the Violin Concerto. Before completing the manuscript of the Sonata, Brahms’ godson Felix died with tuberculosis. Brahms sent Clara Schumann a letter on the back of which he had copied out the first 25 measures of the Adagio in the Sonata in G major. “If you play this very slowly, you may appreciate more clearly than I could ever express in words the warmth with which I think of you and Felix – even of his violin, which has now fallen silent.” Pianist Tuija Hakkila holds a senior position in piano music at the Sibelius Academy and earned a Doctor of Music degree in 2005. She also taught at the Royal Danish Conservatory in Copenhagen from 2005 through 2008. In 2014 she was appointed Professor of Piano Music at the Sibelius Academy. Kaakinen-Pilch has been active in several orchestras and ensembles, and has also worked for over a decade as leader of the Collegium Vocale. Sirkka-Liisa Kaakinen-Pilch has recorded for Ondine - and solo violin works of the 16th and 17th centuries. Currently Kaakinen-Pilch works as Professor of early music at Cracow Music Academy.

NORDGREN: VIOLIN CONCERTO NO 4

SYMPHONY NO 6, APOTHEOSIS

1. Ken kuullut on laulua enkelien - Who Hath Heard the Angels Sing 2:11
2. O scholares, voce pares - O Student, with Equal Voices 2:50
3. Ecce novum gaudium - Behold the New Joy 1:50
4. Talviyöhön synkkään - In the Bleak Mid-Winter 4:23
5. Heinillä härkien kaukalon - Oxen and Asses Stand Around 1:52
6. Hiljainen joululaulu - A Quiet Christmas Song 3:38
7. Kun joulu on - When It´s Christmas 2:27
8. Mökit nukkuu lumiset - Cottages Sleep Under Snow 3:08
9. Varpunen jouluaamuna - The Sparrow´s Christmas 4:01
10. Kilisee kilisee kulkunen - Jingling, Jingling Sleigh Bells Ring - Iloinen joululaulu - Happy Christmas Song 1:45
11. Tuo armon valkokyyhky - Lo How a Rose E´er Blooming 2:30
12. Tiernapojat - Star Boys - an Old Finnish Christmas Pageant 12:04
13. Jouluaatto on nyt herttainen - It is Now Sweet Christmas Eve 1:17
14. Kuusen ympärillä - Around the Christmas Tree 1:16
15. Juhla on verraton - Now We Have a Feast 1:11
16. Reippahasti käypi askelet - Rushing Go the Footsteps 1:52
17. Taas kaikki kauniit muistot - All Beautiful Memories 3:12
18. Jo joutuu ilta - It is Growing Dark 2:10
19. Jouluyönä - On Christmas Night 1:26
20. Jouluyö, juhlayö - Silent Night, Holy Night 2:47
21. Maa on niin kaunis - Beauty Around Us 4:02

[ 63:27 ]

Tapiola Choir
Gabriel Suovanen, baritone
Eija Kankaanranta, kantele
Mervi Yli-Vainio, kantele
Kari Ala-Pöllänen, conductor

Includes work(s) by Anton Diabelli. Soloists: Juoko Mansnerus, Petteri Salomaa, Mikael Helasvuo, Jukka Savijoki.

MELARTIN: SYMPHONIES NO 1 & 3

1. Tonttujen joulukuusi (*) 4:51
2. Jing Bells 3:45
3. Petteri Punakuono 2:07
4. Te lapsoset, lapsoset kiiruhtakaa 3:42
5. O Come All Ye Faithful 3:54
6. Kun joulu valkeneepi 1:37
7. Puer natus in Bethlehem 1:02
8. Jouluyö, juhlayö 3:01
9. Joulukranssi kuudella kielellä 8:58
10. Ding Dong! Merrily on High 2:34
11. We Wish You a Merry Christmas 3:11
12. Santa Lucia 4:03
13. O Tannenbaum 2:33
14. Kun joulupukki suukon sai 3:02
15. Joulupukki matkaan jo käy 2:39
16. White Christmas 2:42

[ 61:15 ]

Jorma Hynninen, baritone
Tapiola Choir
Raimo Sirkiä, tenor
Vox Aurea
Monica Groop, mezzosoprano
Sympaatti Youth Choir
Turku Castle Chamber Choir
Savonlinna Opera Festival Chorus
Kalevi Kiviniemi, organ
Matti Salminen, bass

SHOSTAKOVICH, D.: Symphony No. 5 / Chamber Symphony (Helsink

This is the second and final disc in a cycle of Sergei Prokofiev’s (1891–1953) piano concertos with pianist Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu. The Gramophone Magazine wrote regarding the first volume in the series: "How many times have I regretted a shortage of fantasy, flair and fairy-tale imagination in recordings of the Prokofiev piano concertos? Well, here is a disc that takes all those qualities to the top."

Prokofiev’s Piano Concertos are among 20th century masterpieces. He wrote this magical work just before World War I. The original score was destroyed during the Russian revolution, and Prokofiev had to re-write the concerto in 1923.

Pianist Olli Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, New York Philharmonic and The Royal Concertgebouw, partnering conductors such as Ashkenazy, Barenboim, Dutoit, Eschenbach, Harnoncourt, Masur and Nagano. As a recitalist, he plays in all the significant musical capitals, including Mariinsky Theatre St Petersburg, Wigmore Hall, Beethoven-Haus Bonn, Symphony Center Chicago, New York Zankel Hall and Sydney Opera House. His many albums for Ondine include Respighi’s Concerto in modo Misolidio with Sakari Oramo and the Finnish Radio Symphony and a critically acclaimed disc of Scriabin’s solo piano music. The recent recordings by the Finnish Radio Symphony Orchestra under Hannu Lintu on Ondine have been a fruitful collaboration gathering excellent reviews in the international press.

REVIEWS:
American Record Guide (11-12/97, pp.257-58) - "...These songs are well-loved in Finland, and you'll know why when you hear them....Jorma Hynninen could sing the phone book and it would be gorgeous....He doesn't over-inflect; he always sounds natural..."