Author Archives: Ilkka Oramo

Unknown's avatar

About Ilkka Oramo

Professor of Music Theory, emeritus

Englund, Einar

Posted on 01/20/2001 by Ilkka Oramo

Published in print: 20 January 2001, Published online: 2001; updated, 31 January 2014 (b Ljugarn, Gotland, Sweden, June 17, 1916; d Ljugarn, June 27, 1999). Finnish composer. From 1932 to 1941 he studied with Bengt Carlson (composition), Leo Funtek (orchestration) and Martti Paavola (piano) at the Helsinki Conservatory (from 1939 the Sibelius … Continue reading →

Posted in The New Grove | Comments Off on Englund, Einar

Pacius, Fredrik

Posted on 01/20/2001 by Ilkka Oramo

Published in print: 20 January 2001, Published online: 2001; updated, 31 January 2014 (b Hamburg, March 19, 1809; d Helsinki, Jan 8, 1891). Finnish composer of German birth. He studied the violin under Spohr and composition under Hauptmann at Kassel. From 1828 to 1834 he was violinist in the court orchestra in … Continue reading →

Posted in The New Grove | Comments Off on Pacius, Fredrik

Nummi, Seppo

Posted on 01/20/2001 by Ilkka Oramo

Published in print: 20 January 2001, Published online: 2001; updated, 31 January 2014 (b Oulu, May 30, 1932; d Tampere, Aug 1, 1981). Finnish composer, critic and music administrator . He studied composition with Kilpinen (1949–54) and made several study trips abroad (e.g. to China, Italy, France and Germany). He was librarian of … Continue reading →

Posted in The New Grove | Comments Off on Nummi, Seppo

Tulindberg, Erik

Posted on 01/20/2001 by Ilkka Oramo

Published in print: 20 January 2001, Published online: 2001; updated, 31 January 2014 (b Vähäkyrö, Feb 22, 1761; d Åbo [now Turku], Sept 1, 1814). Finnish composer. He studied at the Åbo Akademi and took the master’s degree in 1782; he worked there as a librarian until 1784, when … Continue reading →

Posted in The New Grove | Comments Off on Tulindberg, Erik

Raitio, Väinö

Posted on 01/20/2001 by Ilkka Oramo

(b Sortavala, April 15, 1891; d Helsinki, Sept 10, 1945). Finnish composer. He studied at the Helsinki Conservatory (1911–16), in Moscow (1916–17), in Berlin (1921) and in Paris (1925–6). After a period of teaching at the Viipuri Music Institute (1926–32) he lived as a freelance composer in … Continue reading →

Posted in Encyclopedic, The New Grove | Comments Off on Raitio, Väinö

Culture as natural resource

Posted on 06/01/2000 by Ilkka Oramo

Arnold Schoenberg wrote in 1947: Piece after the First World War granted political independence to nations which culturally were far from ready for it. Nevertheless even small nations of six to ten million people expected to be regarded as cultural … Continue reading →

Posted in Talks | Comments Off on Culture as natural resource

Zur Rezeption der Musik von Jean Sibelius (1865–1957) in der deutschen Fachliteratur seit 1945

Posted on 05/01/1999 by Ilkka Oramo

Wenige Aufsätze über einen Komponisten dürften in destruktiver Wirkung Theodor W. Adornos Glosse über Sibelius übertreffen. Ursprünglich war die Schrift im Jahre 1938, ohne Titel, als Rezension des Buches Sibelius: a close-up (London 1937) von Bengt von Törne in der … Continue reading →

Posted in Historical criticism | Comments Off on Zur Rezeption der Musik von Jean Sibelius (1865–1957) in der deutschen Fachliteratur seit 1945

Béla Bartók: Bluebeard’s Castle

Posted on 09/06/1998 by Ilkka Oramo

The best-known modern variation on the Bluebeard theme based on an ancient legend is no doubt Chaplin’s film Monsieur Verdoux (1947). Monsieur Verdoux is a bank clerk who loses his job during the great depression of the 1930s. He, therefore, … Continue reading →

Posted in in English, Program notes | Comments Off on Béla Bartók: Bluebeard’s Castle

Bartók’s String Quartets

Posted on 08/21/1998 by Ilkka Oramo

Bartók’s six string quartets constitute one of the greatest cycles in the genre in the history of music. In terms of volume, he falls far short of the Viennese Classics Haydn with 80 quartets, Mozart with 26 and Beethoven with … Continue reading →

Posted in in English, Program notes | Comments Off on Bartók’s String Quartets

Some Aspects of Bartók’s Notation

Posted on 03/01/1996 by Ilkka Oramo

Schoenberg’s annotations from June 26, 1923, include two machine-typed sheets entitled ’Zur Notenschrift’ (On Notation). The composer here sketches his ideas about a new notation for atonal music and remarks in passing: Bartók’s and Krenek’s procedures are inadequate and pedantic. … Continue reading →

Posted in Analysis | Comments Off on Some Aspects of Bartók’s Notation