Tauno Marttinen: Violin & Piano Concertos & Phantasy for Cello & Orchestra

The stylistic range is wide: Marttinen speaks with a modernist-expressionist accent one moment, shamelessly echoes high Romanticism the next...The performances sound perceptive and suitably zestful,... — BBC Music Magazine, September 2014, 4 out of 5 stars More…

Release Date: 24th Feb 2014
Catalogue No: COBRA0041
Label: Cobra
Length: 54 minutes

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Marttinen: Violin Concerto Op. 13, MV 63

Work length22:52

Philippe Graffin
Turku Philharmonic Orchestra
Ari Rasilainen

I. Moderato - Presto - Prestissimo

Track length10:10

II. Lento Misterioso

Track length8:36

III. Allegro Vivace

Track length4:06

Marttinen: First Piano Concerto Op. 154, MV 65

Work length16:59

Ralph van Raat
Turku Philharmonic Orchestra
Ari Rasilainen

I. Allegro

Track length5:37

II. Adagio

Track length6:30

III. Allegro molto

Track length4:52

Marttinen: Phantasy for Cello & Orchestra Op. 154, MV 84

Work length15:07

Marko Ylönen
Tampere Philharmonic Orchestra
Hannu Lintu

I. Adagio - Allegro

Track length6:05

II. Adagio

Track length7:33

III. Allegro molto

Track length1:29

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About

Tauno Marttinen’s life encompassed almost all of the 20th century. Living from 1912 to 2008, he lived to be nearly 96 years old. He was born in Helsinki and studied in Viipuri, which was then one of the most important and vital towns of Finland. As a young man he played the piano in restaurants and places of entertainment; he also wrote and arranged Finnish tangos, a.o. for the Finnish tango-singer Olavi Virta (1915-1972), who would later become very famous.

During the early decades as a composer he wrote in a romantic idiom. In the middle of the 50s he left this behind and became one of the leading composers of Finnish modernism.

“In the early sixties we were all influenced by Schönberg, whether we liked it or not. For many, however, this method of composition became overwhelmingly mathematical and abstract, without feeling, spirituality and freedom,” Marttinen states.

Freedom was of the utmost importance to Tauno Marttinen. He viewed dodecaphonic music as a headlong rush from the rules that govern classical music. In turn, the consequence for him was that this twelve-tone principle should never be allowed to rule music mathematically, because this would rule out freedom.

Reviews

September 2014

The stylistic range is wide: Marttinen speaks with a modernist-expressionist accent one moment, shamelessly echoes high Romanticism the next...The performances sound perceptive and suitably zestful, and the recordings are warm and clear.

Tauno Marttinen: Violin & Piano Concertos & Phantasy for Cello & Orchestra

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