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Author Archives: Ilkka Oramo
Jean Sibelius: Pohjola’s Daughter, Op. 49 (1905–06)
“I have found my old self again, musically speaking. Many things are now clear to me: really I am a tone painter and poet. Liszt’s view of music is the one to which I am closest. Hence my interest in … Continue reading
Posted in Liner notes
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Jean Sibelius: Symphony No. 5, Op. 82 (1915–1919)
Sibelius got the first ideas for his Fifth Symphony in the summer of 1914. His sketchbook and diary give a rare opportunity to follow the genesis of this work from July 1914 through the summer of 1916. His compositional process … Continue reading
Posted in Liner notes
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Vom Einfluß der Volksmusik auf die Kunstmusik. Ein unbekannter Aufsatz von Sibelius aus dem Jahre 1896
Als Sibelius im Herbst 1896 sich um das Amt des Exercitiemeisters (Musikdirektors) an der Kaiserlichen Alexander-Universität zu Helsinki bewarb, hielt er eine Probevorlesung, in der er “einige Gesichtspunkte über die Volksmusik und deren Einfluß auf die Tonkunst” zu behandeln trachtete[1]. … Continue reading
Posted in Historical criticism
Tagged Kunstmusik, Sibelius, Volksmusik
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Die notierte, die wahrgenommene und die gedachte Struktur bei Bartók
Posted in Analysis
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Béla Bartók: String Quartet no. 4 (1928)
In his Fourth String Quartet, written between July and September, 1928, Bartók implemented his “bridge form” for the first time. The order of the movements is strictly symmetrical. The slow movement, which is the core of the work, is flanked … Continue reading
Posted in in English, Program notes
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Béla Bartók: String Quartet no. 1 op. 2 (1908–9)
Bartók’s First String quartet is closely related to the First Violin Concerto (op. posth.) written in 1907–8 and its sister work Two Portraits, op. 5. These compositions, as Bartók’s letters show, have a semi-programmatic nature: in them, the composer limns … Continue reading
Posted in in English, Program notes
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Béla Bartók: String Quartet no. 6 (1939)
On August 18, 1939, after he had just completed his Divertimento for string orchestra, Bartók wrote to his son Béla from Saanen, Switzerland, where he was on a composing vacation. “Now I have another commission to fulfill, this time a … Continue reading
Posted in in English, Program notes
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Modale Symmetrie bei Bartók
Posted in Analysis
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Paavo Heininen
Paavo Heininen (b. 1938) studied the theory and composition of music at first privately and subsequently, between 1956 and 1962, at the Sibelius Academy in Helsinki, the College of Music in Cologne and New York’s Juilliard School of Music. Among … Continue reading
Posted in Composer Presentations
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Studies in music and other writings 
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