SACDs - Rautavaara

“The music is full of voluptuous, organic melody, rich textures and a subtle yet surging development. Segerstam's performance shows sensitivity, a seamless evolution and lush sound.” BBC Music Magazine, March 2008 ****

“Rautavaara studied at the Juilliard School in 1955-56 and Manhattan Trilogy (2004) was commissioned to celebrate its centennial. In recalling his youthful sojourn in the Big Apple, the composer deployed the full panoply of his late orchestral manner in a hugely engaging triptych describing his 'hopeful Daydreams', 'sudden Nightmares of doubt' and 'slowly breaking Dawn of the personality'.
Where Segerstam's vivid interpretation, allied to Ondine's sumptuous recording, glows through its 20 minutes, Inkinen provides a beautifully focused reading, nearly two min- utes swifter, with every detail brought out to telling effect.
Not the most gripping of Rautavaara's recent orchestral essays Manhattan Trilogy is nonetheless accomplished. What connects it to the Third Symphony (1959-61) is the treatment of the past. The symphony – one of the finest of the post-war period, serially organised within a vibrant tonal framework – recreates the idiom of Bruckner from a late-1950s sensibility and, ironically, remains the more progressive.
Rautavaara's most recent symphony, the Eighth (1999), was memorably recorded by Segerstam (Ondine). Inkinen once again produces a refined interpretation with crystal-clear detail although Segerstam achieved more grandeur in the peroration. Choice here really will depend on couplings (the Harp Concerto on Ondine). The revision of the Sixth Symphony's finale as a – presumably – stand-alone concert piece shorn of its part for synthesiser works well enough, though it is no substitute for the whole work, for which turn to Max Pommer's bracing account (also with the Helsinki Philharmonic) for Ondine. In context, though, the Naxos programme works most effectively and is a nearperfect introduction to Rautavaara's late manner.
Both discs are highly recommendable; at its price, the Naxos is hard to beat but Ondine has the Third. Buy both!” Gramophone Classical Music Guide, 2010

“Rautavaara's First Symphony, written in 1955 in four movements, was recast in 1988 – not wholly convincingly – as a diptych. In 2003 Rautavaara added a new slow movement based on a song composed in the 1950s. The result is better balanced and Mikko Franck's account has considerable poise.
Rautavaara's euphonious late style is perfectly adapted for visionary slow movements, so it may surprise that Adagio celeste (1997, given here in its 2000 version) is based on a 12-note row.
More relevantly, it is derived from a sensuous romantic poem by Lassi Nummi: it is broadly languorous in tone with a strong undertow.
Wonderfully subtle is an apt description for the four-movement Book of Visions (2003, rev 2005). Running to a full 40 minutes, the work superficially has a Henzian ground plan with its succession of four tales of 'Night', 'Fire', 'Love' and 'Fate'. However, its internal processes, while organic, have goals other than the symphonic and it calls to mind Lutospawski's Livrepour orchestre (however stylistically remote). Its emotional vision is the most intense of the works here, much of it autobiographical in essence. Franck proves a most sympathetic interpreter and draws fine playing from the National Orchestra of Belgium. Excellent sound.” Gramophone Classical Music Guide, 2010

“The performances throughout are superbly played by this fine orchestra and, whether using two or four speakers, the sound is richly opulent, and in the demonstration bracket for its superb recording of the strings.” Penguin Guide, 2011 edition