Trabalhos de Guitarra Da Finlândia

Finnish Works
for Guitar
Compiled by Ismo Eskelinen
Finnish Music Information Centre (Fimic) 2005
Finnish Music Information Centre

Lauttasaarentie 1, FI-00200 Helsinki, Finland
Tel. +358 9 6810 1313, fax +358 9 682 0770
info@mic., www.mic.
Fimic is part of Teosto, the Finnish Composers Copyright Society
Contents
1. Works for Solo Guitar and Orchestra
2. Works for Solo Guitar
3. Chamber Works
11
4. Distributors and Retailers
20
Online version:
www.mic.
( > Contemporary Music > Music Listings)
The presentations of the works listed here and distributed
by Fimic in printed form are followed by their Fimic archive
number for easy location in the Fimic music library.
Compiled by Ismo Eskelinen, 2005

Translation by Susan Sinisalo
Ismo Eskelinen & Fimic
ISBN 952-5076-51-2
To the reader
A surprising amount of music has been composed for the
guitar in Finland. The extensive use of the guitar in chamber
music has, in particular, been astounding, considering that
professional guitar playing is still very young in Finland; only
since the 1960s has the guitar been offered as a subject
for study at the Sibelius Academy, for example. There is,
however, a simple explanation for the sizeable Finnish guitar
literature: the brilliant guitarists who have played a major role
in arousing composers interest and actively commissioning
new works. More quality repertoire of the highest international standard would nevertheless be welcome, and it is
thus important to encourage composers to continue writing
for our instrument.
The Finnish Works for Guitar cover a broad stylistic and
qualitative spectrum. This list is not therefore based solely
on my personal preferences. Rather, I have tried to give as
varied a picture as possible of the guitar music composed in
Finland. I have given a brief, succinct account of each work
and avoided complex analyses.
The description of each work is preceded by as much
detail as possible of the year in which it was composed, the
instruments, the premiere and duration. The works are listed
chronologically by composer. Percussion in the case of
chamber works always indicates one player unless otherwise stated.
Ismo Eskelinen
January 5, 2005
Ismo Eskelinen (b. 1971) began his rise to the top of the young
generation of guitar players winning the international Scandinavian
Guitar Festival competition as its youngest participant in 1989.
Eskelinens extensive repertoire extends from the 16th
century to the very latest contemporary music.
Eskelinen studied with Oscar Ghiglia at the Basel Music Academy,
where he received a soloist diploma, and at the Accademia Musicale
Chigiana in Siena, where he received a Diploma di Merito. Prior
to his studies abroad, he had studied with Timo Korhonen at the
Sibelius Academy, also studying chamber music with Ralf Gothni.
Ismo Eskelinen appears in solo recitals and performing chamber
music all around the world. He has toured extensively in
Scandinavia, central and southern Europe, the Baltic states and
the USA. Ismo Eskelinens rst solo disc Magic Circle (2000)
contains music by de Falla, Jos, Mompou and Rodrigo. His
newest release (2003), which contains music by Ponce has been
praised both nationally and internationally. Ismo Eskelinen is
artistic director of the Sonkajrvi Soi Music Festival since 1992.

and Orchestra
JALKANEN, PEKKA ( B. 1945)
Concerto for Guitar and Small Orchestra (1988)

solo guitar + 2200/0100/12/0, harpsichord, strings
Duration: 18
First performance (broadcast): Jukka Savijoki, guitar, Finnish
Radio Symphony Orchestra, cond. Pekka Savijoki, 1990
First performance (concert): Jukka Savijoki, guitar, Ostrobothnian Chamber Orchestra, cond. Ari Rasilainen, Kokkola,
December 4, 1990
Distributor: Fimic (9799)
The idiom of the concerto by Pekka Jalkanen echoes the
pentatonic mode of Latin-American music and its harmony
expands in places into broad webs of sound drawing on
chromatics. The idiomatically-written guitar part consisting
of melodic motifs and virtuoso outbursts loses itself in the
mass of sound at the great climax. In the cadenza that follows the soloist once again assumes control right through to
the end of the concerto.
KORTEKANGAS, OLLI ( B. 1955)
Arabesken der Nacht (1995)

solo guitar + ensemble: clarinet, horn, percussion, violin,
viola, cello and double bass
Duration: 930
Commissioned by: Ensemblia Festival
First performance: Timo Korhonen, guitar, Avanti! Chamber
Orchestra, cond. John Storgrds, Mnchengladbach
(Germany), June 13, 1995
Publisher: Jasemusiikki
The work by Olli Kortekangas for guitar and chamber ensemble is not really dramatic in the manner of a concerto,
relying instead on intimate, chamber music-like dialogue.
The nocturnal mood of this restrained, modernistic work is
created by means of nely etched details. The guitar texture
is natural in the conventional sense and the balance between the guitar and the chamber ensemble is excellent.
MERILINEN, USKO (19302004)
Concerto for Guitar and Orchestra (1991)

solo guitar + 2121 0110 03 1, harpsichord, strings
Duration: 20
Commissioned by: Finnish Broadcasting Company (YLE)
First performance: Timo Korhonen, guitar, Finnish Radio
Symphony Orchestra, cond. Leif Segerstam, Helsinki,
December 5, 1991
Publisher: Warner/Chappell Music Finland Oy
The guitar concerto by Usko Merilinen has an exciting
two-movement structure and represents a carefully-considered modernist idiom. The orchestration is impressive
and the guitar part extremely difcult, even though it does
not as such really require any special techniques. In the
nimble-footed rst movement the harp and harpsichord at
times feature as soloists alongside the guitar, thus loosely
alluding to the concerto grosso tradition of the Baroque. The
broad and colourful second movement is meditative and
slow, though the rich solo part often proceeds in short note
values.
NORDGREN, PEHR HENRIK ( B. 1944)
Concerto for Guitar and Chamber

Orchestra op. 126 (2003/2005)
solo guitar + chamber orchestra: 1111/1000/00/0,
strings (33221)
Duration: 22
Commissioned by: Chamber Orchestra of Lapland
First performance: Petri Kumela, guitar, Chamber Orchestra
of Lapland, cond. John Storgrds, Rovaniemi, April 21, 2004
The guitar part in this concerto is extremely polyphonic, its
broad sound the result of innovative and at times difcult
harmonics combined with the normal texture. The overall
impression is elegiac, and the sections follow one another in
a somewhat rhapsodic way; the lighter, slightly folksy material ultimately loses out. The work ends dramatically with a
brief build-up. The relationship between the small orchestra
and the guitar is well balanced. Nordgren produced a new
version of his concerto at the beginning of 2005.
RECHBERGER, HERMANN ( B. 1947)
Golpe de corazn (Heart Beat Concerto) (1992)

solo guitar + chamber orchestra: 1111/0000/02,
strings 44321 min.
Duration: 17
First performance: Timo Korhonen, guitar, Vantaa Orchestra,
cond. Juhani Lamminmki, Vantaa, February 2, 1993
Publisher: Fennica Gehrman
Concierto oral (Flower Concerto) (1993)

solo guitar + chamber orchestra: 2211/1200/00/0,
strings (wind players play little bells and imitate bird sounds)
Duration: 27
First performance: Timo Korhonen, guitar, Vantaa Orchestra,
cond. Juhani Lamminmki, Vantaa, February 14, 1997
Despite his almost collage-like use of different stylistic inuences, Herman Rechberger has, in his guitar concerto, kept
systematically to a style that could almost be described as
neoromantic. His long melodic lines draw on devices natural
to the guitar, and the orchestration appeals to the senses
by traditional means. This applies both to Golpe de corazn
and to the Concierto oral, the latter continuing the line of
the former on a larger scale.
BERGMAN, ERIK ( B. 1911)
Suite pour guitare Op. 32 (1949)

Duration: 12
Commissioned by: Hermann Leeb
First performance: Hermann Leeb, Zurich 1950
The shamanistic and lavishly dramatic style of Erik Bergman
can already be sensed in this ne early work, the rhythms
and harmonies of which mainly call to mind Hindemith and
Bartk. The singing, lilting middle movement was inspired by
a ride in a Venetian gondola. The brilliant toccata proceeds
at speed in fourths chords and with the inventive use of
various tremolos and repetitions towards the nal E major
chord.
Midnight Op. 83 (1977)
Duration: 9
First performance: Jukka Savijoki, London,
December 9, 1977
Bergmans style of the late 1970s and early 80s draws on
the contrasting of various timbral elds, and time values are
given in seconds. The building blocks include tremolo (with
one nger), harmonics, six-string chords (often with open
strings at the bottom), rasqueado and such effects as the
scratchy sound produced by superimposed strings and the
use of a spoon to create a glissando.
Extase Op. 143 (1999)
pour un guitariste
Duration: 1025
Commissioned by: Finnish Guitar Society
First performance: Jukka Savijoki, Helsinki,
November 5, 2000
Bergmans most recent work for solo guitar is in fact a
work for a guitarist. It combines the ambiance familiar from
Midnight with percussion instruments played by the guitarist
and a whistle imitating birdsong that is a salient feature of
the work.
BJRKENHEIM, RAOUL ( B. 1956)
Harvest Dance
Raoul Bjrkenheims Harvest Dance is, harmonically and
melodically, a very simple work to be played with a plectrum. Its basic elements include triple- and quadruple-time
rhythms and the establishment of a common inner pulse.
HEININEN, PAAVO ( B. 1938)
Touching op. 40 (1978)

Duration: 14
Commissioned by: Association of Finnish Soloists
Dedicated to Jukka Savijoki
First performance: Jukka Savijoki, Helsingborg,
February 2, 1979
Paavo Heininen, also known as a highly-esteemed teacher
of composition, has, as a standard-bearer of modernism,
made an exhaustive study of guitar techniques. In Touching
he unfolds a world of timbre rich in original effects. A complex work, it is technically very demanding, and getting the
musical idea across to the audience is also a challenge. The
work uses such special effects as playing with a spoon.
Siniloimi (Bluestring) op. 71 bis No. 1 (1996/1997)
I Seitti (Cobweb)
II Si (Strand)
III Silkki (Silk)
IV Siima (Line)
Duration: 10
First performance: Jukka Savijoki, Time of Music, Viitasaari,
July 6, 1997
Unlike Touching, Heininens Bluestring concentrates on a
simple and even ascetic texture, though structurally the music is quite the opposite. The guitarist is hard put to observe
the unpredictable, rapidly changing dynamic markings that
are, according to the composer, vital to the performance of
the music, especially in the third movement (Silk).
Tenebrae is Latin and means darkness or gloom, but it

also refers to the Roman Catholic matins and lauds services
in Holy Week. These are held as dusk falls, and the idea is
that the sixteen candles that are burning at the beginning
of the service are gradually extinguished until, after sixteen
prayers, the church is in darkness. The same development
is carried through in this work, but the timbres towards the
beginning of the work may come as a surprise to the listener
who, with a knowledge of etymology, may be expecting
gloomy, quiet and meditative music. The composers note
well describes this unusual work the material of which consists mainly of minor thirds. It ends with meditative pauses
that get longer and longer towards the end and ever simpler
gestures that are ultimately reduced to an E minor chord.
The motor-like, dramatic middle section is exceptionally difcult due to the steady semiquaver beat and the determined
rush of tricky rasqueado chords.
KANGAS, JUHO ( B. 1976)
Fantasia per chitarra (2002)

Duration: 15
First performance: Rody van Gemert, 15. Night
concert series, Helsinki, March 15, 2002
This broad Fantasy in darker hues examines a simple basic
idea by exploring the timbral potential of the guitar. In writing
it, Juha Kangas was inspired by the guitar compositions of
Toru Takemitsu (193096).
KARLSSON, LARS ( B. 1953)
Introduzione, toccata et aria (1988)

Duration: 930
Commissioned by: Scandinavian Guitar Festival as the
obligatory work for its competition in 1988
First performance: participants in the Scandinavian Guitar
Festival guitar competition, Tammisaari, July 2126, 1988
Lars Karlssons Introduzione, toccata et aria is a virtuosic
work, its neoclassical rhythms and themes coloured with
chromaticism.
JRNEFELT, ARMAS (18691958)
see Siirala, Seppo, p. 9
KAIPAINEN, JOUNI ( B. 1956)
Tenebrae op. 39 (1991)

Duration: 15
Commissioned by: Turku Music Festival
First performance: Timo Korhonen, Turku Music Festival,
Turku, August 13, 1991
Publisher: Edition Wilhelm Hansen
KOSKELIN, OLLI ( B. 1955)
Tutte le corde (19881989)

guitar and tape
Duration: 1520
Commissioned by: Finnish Broadcasting Company (YLE)
First performance: Timo Korhonen, Time of Music, Viitasaari,
July 27, 1988
Publisher: Edition Love
Olli Koskelins idiom, with its mysterious tones, creates a
captivating entity in a work that is almost like a concerto for
guitar and tape. The clear, individual motifs expand in places
into webs of sound. Some musical gesture emerges
from the texture from time to time, only to recede again as

another gesture takes its place. The guitar techniques are
conventional, simply and nely interpreting the musical
ideas. The tape consists of guitar sounds used either as
such or processed in various ways.
building up frenzied tensions one after the other. The harmonies, exploiting the harmonic series in the manner typical
of Lindberg, make use of open-string pentatonics and the
notes of the D at major scale in between the open strings.
...far and near (1989)

Duration: 6
Commissioned by: Society of Finnish Composers
First performance: Timo Korhonen, Tampere Biennale,
Tampere, April 21, 1990
Distributor: Fimic
LINJAMA, JYRKI ( B. 1962)
The idiom familiar from Tutte le corde paints a delicate,

improvisatory landscape.
Sonata (1998)
I Introduction Ricercar
II Nocturne
II Finale
Duration: 16
Commissioned by: Andrzej Wilkus
First performance: Andrzej Wilkus, Helsinki,
February 15, 1998
Publisher: Finnish Amateur Musicians Association (Sulasol)
KURONEN, JOUNI ( B. 1958)
Three Old Dances op. 5 (1986)

Duration: 4
First performance: Ismo Eskelinen, Youth Arts Event,
spring 1986
Jouni Kuronens Three Old Dances make up a brisk and
original neoclassical work combining expressive melody
with natural-sounding harmonies. Though relatively clear
and simple, it is not all that easy to perform, the last movement in particular calling for precise synchronisation of the
hands.
KUULA, TOIVO (18831918)
A serious, expansive modern work. A striking feature of the

rst movement is the very polyphonic texture evocative of
Renaissance lute music. The Nocturne creates a nocturnal mood complete with creaks and cracks. The Finale is
dominated by a Balkan 3+2+3 rhythm and a medieval Hallelujah hymn hidden in the structure, but the mood remains
restrained and modernistically alienated. Apart from the effects of the middle movement, the work has a very conventional texture.
MADETOJA, LEEVI (18871947)
See Siirala, Seppo, p. 9
MARTTINEN, TAUNO ( B. 1912)
KUUSISTO, ILKKA ( B. 1933)
Praeludium and Fughetta (1998)

Duration: 4
Commissioned by: Ikaalinen Guitar Festival
First performance: Timo Korhonen, July 25, 1998
Publisher: Tactus Oy
Ilkka Kuusistos Praeludium and Fughetta is a fresh, tonal,
good-humoured little piece with jazzy overtones. The polyphony of the Fughetta works well, even though it occupies
the low registers throughout.
Shamaani op. 206

Duration: 8
Chaconne op. 222 (1983)
Duration: 8
The guitar works by Tauno Marttinen incorporate elements
from many sources archaic modality, fths harmonies and
tonal effects blended together to form a chromatic, often
monophonic, freely progressing idiom. The works are technically very easy.
MERIKANTO, OSKAR (18681924)

LINDBERG, MAGNUS ( B. 1958)
Mano a mano (2004)

Duration: 17
Commissioned by: Berliner Festspiele and Turku Music
Festival
First performance: Timo Korhonen, Turku Music Festival,
Turku, August 16, 2004
Publisher: Boosey & Hawkes
Magnus Lindbergs Mano a mano is written in an idiomatically virtuosic style that is gratifying to play. The overall
mood is dramatic and achieves orchestral effects by
MURO, JUAN ANTONIO ( B. 1945)
Basic Pieces (2 volumes) (1982/1992)

guitar pieces for teaching purposes
Publisher: Chanterelle/MEL BAY 1996
Juan Antonio Muros Basic Pieces are a magnicent collection of delightful pieces for beginners. Many of them also
have words to sing. This imaginative combination of classical forms with the occasional more modern harmony is an
all-round means of ear training.
Estampes (1997)
Frank Martin in Memoriam
Duration: 7
First performance: Kai Nieminen, Jyvskyl,
September 16, 1997
MUSTONEN, OLLI ( B. 1967)
Himself a guitarist, Kai Nieminen makes expert use of

various guitar sounds and timbres, equipping them with
precise dynamic markings and verbal instructions. The
works are often rhapsodic in construction, each strongly
atmospheric. They also contain melodic and tonal elements
alongside the most modern of expression.
Jehkin Iivana Sonata for Guitar (2004)

Dedicated to Ismo Eskelinen
Duration: 14
First performance: Ismo Eskelinen, Kuhmo Chamber Music
Festival, July 26, 2005
Publisher: Schott Musik International
The world of Olli Mustonens brilliant guitar sonata was

inspired by the singer of archaic poetry (runes) Jehkin Iivana
(Iivana Shemeikka, 18431911). The tension between the
open D and G string ostinato and the melody, reminiscent
of rune-singing, centred on C sharp and G sharp creates a
magic mood that becomes little short of heroic in the quick,
toccata-like second and fourth movements. The middle
section of this sonata of unusually symmetric construction
is a meditative slow movement in which material in C sharp
minor harmonised in the manner of a chorale calls to mind
Russian liturgical singing. The texture is natural but extremely virtuosic.
MYLLRINEN, JYRKI ( B. 1961)
Moa Mirob (2004)

Duration: 12
First performance: Jyrki Myllrinen, Ja kitara soi Festival,
Lappeenranta, September 2004
Distributor: Fimic
Butteries op. 39 (1977)

Duration: 8
First performance (Souls, Fluttering, Autumn): Josef
Holecek, Sydney, October 23, 1977
Publisher: Gehrmans Musikfrlag
Pehr Henrik Nordgrens Butteries was inspired by the stories about butteries in the collection Kwaidan by Lafcadio
Hearn (18501904). The mixing of diverse inuences familiar
in Nordgrens music nds free, original expression in his
works for guitar, as stories tinged with intimate overtones.
The meditative hues of Butteries are contrasted by the
hammering, primitive beat of the Dance movement. The
texture does not incorporate any unusual instrumental techniques and is alternately thin and denser. On the surface,
it may possibly have some Japanese elements such as
the rhythm of the Dance movement or the slight imitation
of an old Buddhist hymn in the Introduction and Fluttering
movements but they are not overpowering, and I dont
think I ever intended to produce something exotic, says
the composer.
Having already established himself as a guitarist, Jyrki Myllrinen made a promising debut as a composer. The rst
two movements of Moa Mirob engage in quasi-improvised
meditation on various aspects of slight, concise material.
This leads to a speedy nale in which the same material
is transformed into a liberating, dance-like ecstasy rich in
guitarist invention.
Come da lontano op. 122 (2003)

Duration: 11
First performance: Petri Kumela, Oulunsalo Soi, Oulunsalo,
August 6, 2003
NIEMINEN, KAI ( B. 1953)
The falling, lament-like melodic lines create an emotionally

extremely forceful meditative mood. Contrasting this is the
relatively short, more dynamic middle section. This otherwise more or less monophonic piece concentrates more on
textural timbre.
Yn akvarelleja (Aquarelles of the Night) (1981)

Duration: 10
First performance: Kai Nieminen, Rome, May 6, 1985
POHJANNORO, HANNU ( B. 1963)
Manaus ja loitsu (Exorcism and Incantation)
kuun kiertoa kohti (towards the orbit of the moon)
(1989)
(1998)
Duration: 5
First performance: Alpertti Rieskjrvi, Jyvskyl,
May 19, 1992
Publisher: Fennica Gehrman (in Three Pieces for Guitar)
Duration: 9
Commissioned by: Jyrki Myllrinen
First performance: Jyrki Myllrinen, Mikkeli,
November 23, 1998
A work that avoids grand gestures and drama, drawing
instead on nely-tuned, lingering characters idiomatically
written for the instrument.
PUUMALA, VELI-MATTI ( B. 1965)
Hailin Drams (1991/1992)

I Uni (Dream). Inquieto (attacca)
II Puusepp Kusakov (Carpenter Kusakov).
Comodo, semplice
III Sinfonia nro 2 (Symphony No. 2). Fluido (attacca)
IV Viisi keskenerist kertomusta (Five Unnished Tales).
Vivace
V Yhteys (Connection). Sostenuto
Duration: 15
First performance: Jyrki Myllrinen, Ung Nordisk Musik,
Reykjavk, September 9, 1992
Veli-Matti Puumalas Hailin Drams is a study of the guitars
vast harmonics reserve and the almost imperceptible merging of normal sounds and noise. The unusual handling of
the guitar produces some delightfully unexpected timbres,
creating an ecstatic, dramatic arch. The work is extremely
difcult, especially for the right hand, which unceasingly
alternates between senza unghia tremolo, rasqueado, topspeed runs and normal texture. Puumalas space-time notation makes great demands of the performer.
RAUTAVAARA, EINOJUHANI ( B. 1928)
Partita (1956/1980)
[incomplete 1956 version lost]
Duration: 4
First performance (nal version): Vladimir Mikulka,
Paris 1980
Publisher: Henry Lemoine
The three short movements of Einojuhani Rautavaaras
Partita were originally written as musical portraits of the
children of friends of his and are different characterisations
of the same theme. The salient features of this work are the
inventive transformation of the simple melody into different
guises and the idiomatic style in which pungent harmonies
built on fourths are contrasted with soft-sounding triads.
Monologues of the Unicorn (1980)

I Monologue with JSB (He gets slightly annoyed with
the beast)
II Monologue with Claude-Achille (Poeticized by the
whiteness)
III Monologue with Ad Schbeg (With occasional remarks by
his son Aba Beg)
IV Monologue with Igor (The horn gets on his nerves)
Duration: 6
Commissioned by: Josef Holecek
First performance: Josef Holecek, Gothenburg,
February 26, 1981
Once again Rautavaaras unicorn adventures in an environment natural to the guitar in which each phrase comes alive.
The composer writes: Their world is the fairytale kingdom
of the Unicorn, the creature of which the great apotheosis
was the cantata True and False Unicorn composed to poems
by James Broughton in 1971. In the serenades the unicorn
operates in a milieu of Antiquity, not the Middle Ages, as
may be deduced from the title of the piece. It is nevertheless a timeless being and appears in the Monologues in the
dreams of masters far removed from each other. Hence, they
react in different ways, one annoyed, the other delighted.
It would preferably appear to speak a universal language,
apart from music: English. And fully intentionally, because
when C.A. is poeticized by the whiteness, the word, an
articial American one, denotes precisely the sentimentality
with which the music has to be played.
RECHBERGER, HERMAN ( B. 1947)
Prludes (1990)
I Nocturne
II Fte des cloches
III Le Chanteur
IV Rendez-vous des cordes
V Le train
Duration: 16
Serenades of the Unicorn (1977)

I A Nervous Promenade and Dance (With His Own
Reection)
II Serenading a Pair of Giggly Nymphs (Drunk of Night)
III Serenading the Beauty Inobtainable (Too Far in Time)
IV Having a Grand Time (With Some Scythian Centaurs)
Duration: 8
Commissioned by: Josef Holecek
First performance: Josef Holecek, Gothenburg 1978
Publisher: G. Schirmer Inc.
Herman Rechbergers own guitarist background is reected

in his guitar works; they sit well under the ngers, and he
makes frequent use of open strings and the potential for
playing the same note on several strings. Various scordaturas, for example, are among the devices used by him.
Stylistically, his works embrace a wide range of elements,
from Renaissance music to aleatory. His most recent works
for the guitar are nevertheless an unbroken melodic line that
is borne along in arpeggios, tremolos, etc.
Serenades of the Unicorn is a real modern Finnish guitar

classic! This unicorn makes ingenious and simply idiomatic
use of the guitars potential in a work that is deliciously
humorous, spirited and even sentimental (when the unicorn
sings a melody that vanishes into the heights to the unattainable beauty). The sound of the giggly nymphs produced with a spoon is an amusing effect and contains a
clear musical idea that motivates the performer to learn the
slightly tricky spoon technique.
RIHL, OSMO TAPIO ( B. 1964)
Dorean Dumble Dorean (2001)

A Triptych
Duration: 11
Commissioned by: Jyrki Myllrinen
First performance: Jyrki Myllrinen, Tampere, April 22, 2001
Publisher: Uusinta Publishing Company Ltd
A work exuding a jaunty, straightforward rhythm. Giving the

piece its basic character is an Agg sharpd1 motif that
recurs in the nature of a signal. One very amusing effect
in the slow section is plucking between the nger pressed
down in the left hand and the nut.
Harri Suilamo has set out to chart the timbral world of the
guitar by very complicated modernist means. His works for
guitar are rich in juxtaposed detail, an often meditative ow
of precisely notated timbral situations. ANFANGS das
erste Prelim, written for teaching purposes, is shorter, simpler and more concise than the other pieces.
SEGERSTAM, LEIF ( B. 1944)

TIENSUU, JUKKA ( B. 1948)
Episodes Nos. 8 and 11 (1978)

No. 11 dedicated to Jukka Savijoki
Duration: 815
Publisher: Universal Music Publishing AB
Leif Segerstams free-pulsative works are expansive, relying
on free association. The atonal idiom is late-romantically
expressive in spirit.
SIBELIUS, JEAN (18651957)
See Siirala, Seppo
SIIRALA, SEPPO (ARR.) ( B. 1952)
Souvenir Finnish Romantic Miniatures for Guitar

Armas Jrnefelt: Berceuse
Toivo Kuula: Lampaanpolska
Leevi Madetoja: Kansanlaulu op. 14/1; Menuetti op. 14/3;
Pieni satu op. 31/3
Oskar Merikanto: Kesillan idylli op.16/2; Scherzo op. 6/4;
Valse lente
Jean Sibelius: Berceuse op. 40/5; Chanson sans paroles op.
40/2; Etude op. 76/2; Laulu ristilukista op. 27/4; Menuetto
op. 40/4; Rondino op. 68/1; Souvenir op. 99/3; Valsette op.
40/1
A collection of some of the best-loved romantic Finnish
miniatures arranged for the guitar. Many of the pieces were
written for the piano but sound, in these arrangements, like
guitar originals.
SUILAMO, HARRI ( B. 1954)
Noun a fretwork circle (1990)

Duration: 10
First performance: Christoph Jggin, ISCM, Winterthur
(Switzerland), September 18, 1991
Publisher: Edition Hug Musikverlage
ANFANGS... das erste Prelim (1996)
for teaching purposes
Duration: 430
First performance: Misa Jggin, Romanshorn (Switzerland),
November 8, 1996
Publisher: G. Ricordi & Co.
Eidola weiland Gitarrespieler (1999)
Duration: 8
First performance: Christoph Jggin, Time of Music,
Viitasaari, July 9, 1999
preLUDI, LUDI, postLUDI (1974)

Duration: 14
First performance: Pekka Vesanen, Helsinki,
November 8, 1983
A composer with a liberal attitude to stylistic principles,
Jukka Tiensuu has enriched the guitar repertoire with a few
ne works of great originality, the biggest and rst of which
is preLUDI, LUDI, postLUDI. PreLUDI evokes associations
with Baroque preludes. The opening is built on the note
E, grows with the addition of a fth and culminates as the
intervals widen in a dramatic, swinging, busy section on the
bass strings. The LUDI movement creates dense patterns
tinged with micro-intervals produced with natural invention
on adjacent strings. For this movement the B string is tuned
a quarter-tone lower than normal.
Dolce amoroso (1977)
Duration: 4
First performance: Pekka Vesanen, Helsinki 1978
Dolce amoroso is part of Tiensuus chamber work Sinistro.
The guitarist plays dolce music, as the title suggests, but in
Sinistro the Aufschwung played simultaneously on the accordion gradually frustrates the guitar so that its music, too,
becomes ugly and aggressive. (See Tiensuu: Sinistro, p. 18)
Drang (1998)
Duration: 8
Commissioned by: Guitaristival 98
First performance (ofcial): Guitaristival 98 guitar
competition, Tampere, June 7, 1998
The tremendously virtuosic Drang consists of long notes
coloured by faster and slower vibratos. Their utter effect
increases at times to precisely-dened micro-intervals.
Another salient feature of the work is the top-speed scale
outbursts at times evocative of Oriental scales and at times
carrying a suggestion of blues.
TUOMELA, TAPIO ( B. 1958)
Spiral II (1996)
Duration: 6
First performance: Timo Korhonen, Helsinki,
November 17, 1996
Spiral IIB (1997)

Duration: 5
First performance: Rody van Gemert, Helsinki,
March 24, 1998
Sonate Classique (1991)

Duration: 12
First performance: Timo Korhonen, Scandinavian Guitar
Festival, Tammisaari, July 9, 1992
Focal to Tapio Tuomelas modernistic but musicianly spirals

are virtuosic bursts of notes and bitone sounds produced by
hitting the strings hard between the frets.
The exquisitely polished works of Harri Wessman are very

lyrical and often gently persuasive. The widespread use of
softly-dissonant four-note chords creates impressionistic
or jazzy associations, often in dancing, rocking rhythms.
The Sonate Classique is more solemn and virtuosic than the
other guitar works. Wessman writes naturally for the guitar,
and with great originality, thoroughly exploiting the cello-like
melody character of the bass strings.
VILN, ASKO ( B. 1946)
Sonata (1975)
Asko Vilns Sonata is slightly Prokoevian in tone, the
machine-like rhythm and the pungent harmonies with their
hint of tonality contrasting with the enigmatic nale.
VIRTAPERKO, OLLI ( S. 1973)
Klftwerk (2003)
Duration: 7
First performance: Mikko Ikheimo, Espoo,
December 19, 2003
The chromatic-toned runs of this work representing a
owing, moderate brand of modernism sound in places
like a modern jazz solo. The texture sits naturally under the
hand.
VUORI, HARRI ( B. 1957)
Mysticae metamorphoses nocturnae

(1982, 1990, 1994)
Duration: 12
First performance: Kari Jmbck, Helsinki Festival, Helsinki,
July 31, 1990
Harri Vuoris Mysticae metamorphoses nocturnae is a collection of effects in precise rhythmic notation covering a wide
range from wah-wah to knocking, scratching, etc., to create
an entity that seeks out extremes.
WESSMAN, HARRI ( B. 1949)
Four Episodes for Guitar (1979)

Duration: 7
First performance: Seppo Siirala, Helsinki, April 25, 1980
Preludes for guitar (1981)
Duration: 7
10
3. Chamber Works
Three Tangos (1999)

violin, guitar, double bass, accordion and piano
I Tango dolente
II Tango lamentoso
III Tango appassionato
Duration: 11
Commissioned by: InTime Quintet
First performance: InTime Quintet, Tampere Biennale,
Kalevi Aho wrote his Three Tangos as a commission for the
InTime Quintet specialising in the music of Astor Piazzolla
(19211992). The instrumentation is modelled on that of
Piazzollas own quintet. The rst tango is very conventionally
tonal, but the second and third make bolder use of chromatic, atonal progressions. The guitar part is written for electric
guitar but can be performed on an acoustic instrument with
amplier. The guitar texture consists mainly of chords and
has little melodic material.
AHMAS, HARRI ( B. 1957)
Trio (1999)
ute, violin and guitar
I Pllikk Taperahi laulaa (Chief Taperahi sings)
II Intermezzo
III Bossa alea
Duration: 12
Commissioned by: Alea Ensemble
First performance: Alea Ensemble, Kouvola, May 10, 2000
This Trio relies on the melodic power of expression and
natural, unforced, musicianly rhythm but harmonically it is
freshly piquant. The narrative of the rst movement, aspiring
towards mystic intensity, is continued in the stylised, maybe
even ironic bossa nova take-off of the second movement.
Leonid Bashmakov, Hannu Pohjannoro and others have also

written chamber works for the InTime Quintet, some of them
as commissions.
ALMILA, ATSO ( B. 1953)
Of Life and Death... (1989)

ute and guitar
Duration: 730
First performance: Mikael Helasvuo, ute, Jukka Savijoki,
guitar, Helsinki, December 7, 1989
Atso Almilas composition reects minimalist and neoclassical inuences. The narrative is vibrantly descriptive and
the duration of the musical ideas is well balanced with the
content.
AHO, KALEVI ( B. 1949)
Quartet for ute, alto saxophone, guitar and

percussion (1982)
I [no tempo marking]
II [presto]
III [no tempo marking]
Duration: 22
First performance: Cluster Ensemble (Mikael Helasvuo, ute,
Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli
Hmlinen, percussion), Amsterdam, October 1, 1982
The Aho quartet is a broad, seriously dramatic work often
orchestral in sound. Adding a surrealist touch are the
Shostakovich-like irony and the unusual instrumental techniques. The guitar is, among other things, prepared with
plastic tabs and played with a bow.
ARHO, ANNELI ( B. 1951)
Minne (1997)
piccolo, guitar, percussion and cello
Duration: 8
Minne is, in Arhos own words, an interpretation in music
of the Agnus Dei movement of Guillaume de Machauts
(c. 13001377) Messe de Notre Dame. A meditative work,
yet one of lively rhythms, it is sonorous and succeeds in
creating a soundscape both archaic and modern using the
natural means of each instrument. The guitar texture makes
use of arpeggios, tremolos, harmonics and the playing of the
same note on various strings.
11
BASHMAKOV, LEONID ( B. 1927)
TANGOMM (2000)
violin, accordion, piano, guitar and bass
Duration: 8
Commissioned by: InTime Quintet
First performance: InTime Quintet, Tampere Biennale,
Dolado (2000)
violin, accordion, piano, guitar and bass
Dedicated to InTime Quintet
Duration: 5
Having moved away from his earlier atonal idiom in the
direction of chromaticism, Leonid Bashmakov plays in both
his works for the InTime Quintet with tango clichs in a
dramatic and virtuosic style.
The music of Bergman has always been marked by a boyish

desire for experiment, and the shamanistic approach in this
work again culminates in a show of aggressive heroism.
BJRKENHEIM, RAOUL ( B. 1956)
Guitar Duo
2 guitars
Raoul Bjrkenheim is both a brilliant electric guitarist and
a ground-breaking composer. The Guitar Duo was inspired
by the jazz pianism of Cecil Taylor (b. 1930). The lyrical rst
movement is followed by a nimble second that puts the guitarists rhythmic swing and art of timing to the test.
HEININEN, PAAVO ( B. 1938)
Utazawa no e (Short II) op. 61

(1991)
BERGMAN, ERIK ( B. 1911)
Dialogue op. 82 (1977)

ute and guitar
Duration: 11
Commissioned by: Savonlinna Opera Festival
First performance: Ilari Lehtinen, ute, Seppo Siirala, guitar,
Savonlinna, July 22, 1977
Erik Bergmans colouristic style of the 1970s80s is most
concise in this sizzling work drawing for effect on all sorts of
swishes, swooshes and scratches.
ute and guitar

Duration: 10
First performance: Mikael Helasvuo, ute, Jukka Savijoki,
guitar, Tampere Biennale, Tampere, February 27, 1992
Paavo Heininen does not give either player or listener an
easy time. There are no audible repetitions in the rich pitch
material, and the complex, irregular rhythms in the different
parts seldom coincide. Heininen has also written a version
for solo guitar.
HEINI, MIKKO ( B. 1948)
Janus op. 92 (1980)

violin and guitar
Duration: 21
Commissioned by: Jyvskyl Summer Festival
First performance: Erkki Palola, violin, Jukka Savijoki, guitar,
Jyvskyl Summer Festival, Jyvskyl, July 2, 1980
Janus, the culmination of Bergmans music for the guitar, is
a long, dramatic piece in which the violin and guitar engage
in intensive dialogue in terms familiar from his other guitar
works. The salient elements of this work reaching from one
extreme to another are wild rasqueado passages, a sound
evocative of a snare drum produced by crossing the strings,
yet also quiet, delicate sections, even with harmonics, associated with the fells of Lapland.
Mipejupa op. 96 (1981)
Frhlingsrauschen fr Flte, Altsaxophon, Gitarre und
Schlagzeug
ute, alto saxophone, guitar and percussion
Duration: 17
First performance: Cluster Ensemble (Mikael Helasvuo, ute,
Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar, Pauli
Hmlinen, percussion), Helsinki, October 20, 1981
Publisher: Novello
12
Suite for Flute and Two Guitars

(16./1974) (1974)
ute and 2 guitars

Duration: 15
First performance: Ilari Lehtinen, ute, Rolf Holmberg and
Pekka Vesanen, guitar, Helsinki, May 10, 1974
Champignons lhermneutique
(36./1979) (1979)
Divertimento for ute and guitar

Duration: 1630
First performance: Liisa Ruoho, ute, Pekka Vesanen, guitar,
Helsinki, December 16, 1980
Minimba (41./1982) (1982)
Canon for 4 or 3 guitars
Duration: 730
First performance: Pekka Vesanen, Kari iks, Juan Antonio
Muro, Ilmari Hytnen, guitar, Espoo, May 3, 1984
The postmodern idiom of the works by Mikko Heini is a

mixture of an atonal harmonic base, a modernistic world
of harmony, numerous different playing techniques, clear
rhythmic motifs and echoes of popular music. Heini
particularly likes writing for several guitars, and succeeds
in achieving timbral effects that are most impressive in
Minimba, scored for four guitars and incorporating material
steeped in samba and Latin-American pentatonic mode.
HYVRINEN, ASKO ( B. 1963)
The Enigma of Jeroen (2002)

soprano, ute, mandolin, guitar and harp
Text: Bible (Isaiah 5:1114) (in English and French)
Composed for the Amsterdam Quintet
Duration: 10
First performance: Amsterdam Quintet, Amsterdam,
Ocotober 9, 2004
As material for his music Asko Hyvrinen uses a variety of
performing techniques in an uncompromisingly modernistic
manner. The devices and notation of the guitar part of this
work are also familiar from the works of Helmut Lachenmann
(b. 1935).
Greek Songs III (1980)

Settings of ancient Greek poems
translated into Finnish by Pentti Saarikoski
song cycle for mezzo-soprano and guitar
Duration: 1030
First performance (broadcast): Eeva-Liisa Naumanen,
mezzo-soprano, Pekka Vesanen, guitar, 1980
Speira (2004)
decacorde (10-string guitar) and bandoneon
Duration: 10
Commissioned by: Mari Mntyl
JOKINEN, ERKKI ( B. 1941)
Aspis (1990)
alto ute, accordion, guitar and percussion
Duration: 12
First performance: Liisa Ruoho, alto ute, Matti Rantanen,
accordion, Pekka Vesanen, guitar, Timothy Ferchen, percussion, Tampere Biennale, Tampere, April 22, 1990
Erkki Jokinens Aspis relies on the expressive power of modernism and assigns all the instruments an equal role.
HMEENNIEMI, EERO ( B. 1951)
The Chamber Music Book for Flute, Guitar,

Alto Saxophone and Percussion (1980)
ute, guitar, alto saxophone and percussion
Eero Hmeenniemis Chamber Music Book consists of duos,
solo and quartet movements and transitions for various
line-ups in between. The music is expressive; the performance marks are very explicit.
JALKANEN, PEKKA ( B. 1945)
ELELU (1998)
alto ute and guitar
Duration: 10
First performance (broadcast): Mikael Helasvuo, alto ute,
Jukka Savijoki, guitar, YLE September 16, 2000
Pekka Jalkanens Elelu draws on such things as folk music
and ancient Greek modes. Inspired by a song of praise in
Sumerian, it has a range of expression that stretches from
meditative listening to a jubilant dance. The textures of the
scordatura guitar (strings tuned to d1aadAD) and alto
ute ow in a natural, virtuosic stream even in the rhythmically complex passages.
KAIPAINEN, JOUNI ( B. 1956)
Far from Home op. 17 (1981)

Duration: 10
First performance: Cluster Ensemble, Helsinki,
October 20, 1981
The timbres and the structure of Jouni Kaipainens Far from
Home are carefully deliberated. This concise and virtuosic
work seems to travel further than its fairly brief duration suggests. The timbres are fantastically rich, offering occasional
unexpected associations with gamelan or Chinese music.
KARJALAINEN, AHTI (19071986)
Partita per violino, viola & chitarra

violin, viola and guitar
Ahti Karjalainens Partita is dominated by a preponderance
for the Em7 chord and church modes. A musicianly work, it
exudes an aura of national romanticism and neoclassicism.
Most of the time the guitar plays chords or melody, with no
attempt at polyphony.
Other guitar works by Pekka Jalkanen:

Kebab (1972)
cor anglais and 2 guitars
Duration: 830
First performance: Aale Lindgren, cor anglais, Pekka
Vesanen and Rolf Holmberg, guitar, Jyvskyl 1972
13
KOHLENBERG, OLIVER ( B. 1957)
LINDBERG, MAGNUS ( B. 1958)
Siciliana Op. 11b (1981)

ute and guitar
Duration: 7
Linea dombra (1981)

ute, clarinet, guitar and percussion
(also version for ute, alto saxophone, guitar and
percussion)
Duration: 15
First performance: Musica nel nostro tempo ensemble,
Milan, March 17, 1983
Oliver Kohlenbergs Siciliana is mostly an atonal, singing

work constructed according to the traditional ABA scheme
in which the role of the guitar is to provide a choral accompaniment to the freely owing ute melody.
KORTEKANGAS, OLLI ( B. 1955)
Omaggio M. C. Escher (1990)

alto ute and guitar
Duration: 7
First performance: Mikael Helasvuo, alto ute, Jukka
Savijoki, guitar, Time of Music, Viitasaari, July 22, 1990
Olli Kortekangass Omaggio M. C. Escher is an airy work
in which silence also occupies a leading role. The metrical
structure consists of recurring, varying times repeated in
the same order. At the core are frequently recurring focal
pitches.
KOSTIAINEN, PEKKA ( B. 1944)
Guitar Quintet (2001)

guitar and string quartet
I Allegretto
II Adagio
III Scherzo
Duration: 1330
First performance: Kai Nieminen, guitar, Sotto Voce quartet,
Jyvskyl, March 25, 2001
Distributor: Finnish Amateur Musicians Association (Sulasol)
Pekka Kostiainens quintet develops simple themes in classical-romantic style but sometimes seasoned with more
pungent harmonies.
Magnus Lindbergs Linea dombra is, like the other works

composed by him in the early 1980s, highly complex. The
instrumental parts demand all kinds of techniques and the
players are, among other things, required to use their voices.
The overall effect is often one of primitive humour. Towards
the end of this great dramatic span of a work, as the instrumental effects become human sounds, the mood is quite
animal-like.
Decorrente (1992)
clarinet, guitar, vibraphone, piano and cello
Duration: 14
First performance: Toimii ensemble, Stockholm,
September 4, 1992
Publisher: Chester Music
Lindbergs Decorrente is a quintet version of his Corrente
(199192) for chamber orchestra. A sprightly, orchestral-like
work, it has a romping closing section in familiar Lindberg
style and ends with dramatic fortissimo chords. The guitar
for the most part merges with the overall body of sound.
LINDHOLM, HERBERT ( B. 1946)
Theba, the City of the Pharaoh (1986)

alto ute and guitar
Duration: 730
Publisher: Helin-Sons Oy
Also known as a autist, Herbert Lindholm paints delicate
mood pictures tinged with mysticism. His works are instrumentally rewarding. Among his other works including a
guitar are the Concert Piece (1987; ute and guitar) and Nine
Moments in St. Petersburg (1994; ute, oboe and guitar).
KRKKINEN, TOMMI ( B. 1969)
Fragilia (2003)
Duration: 8
Commissioned by: Janne Malinen
First performance: Janne Malinen, string quartet, Helsinki,
December 1, 2004
Tommi Krkkinens Fragilia is for the most part almost the
opposite of what its title suggests. For the guitar is
assigned manic, idiomatically constructed torrents that,
despite their chromaticism, may carry hints of rock guitar.
The string quartet mainly comments on the guitar, providing
a timbral background.
14
LINJAMA, JYRKI ( B. 1962)
Partita for guitar and string quartet

(1996)
I Introduzione
II Intrada
III Capriccio
IV Intermezzo
V Sarabande elegiaco
VI Danza rusticale
Duration: 26
Commissioned by: West Helsinki Music Institute and
Finnish Guitar Society
First performance: Andrzej Wilkus, guitar, Alle Quartet
(Ilona Turunen, violin I, Maija Linkola, violin II, Lotta Poijrvi,
viola, Markus Hohti, cello), Helsinki, November 17, 1996
Jyrki Linjamas Partita is a blend of French overture style,

the Balkan rhythms of a grape harvest dance, and uncompromisingly modern harmony and melody. The guitar texture
is uncomplicatedly natural, and all the players are assigned
solos of their own.
Tauno Marttinen has been a prolic composer of chamber

music. Harlequin is scored for a rare combination of instruments. Its free-roaming fantasy is rhythmically brought
to heel from time to time and together with the unusual
instrumentation creates a jolly, harlequin-like mood. Other
works by Marttinen incorporating a guitar include Isis (1986;
violin/cello and guitar) and Osiris (1986; violin and guitar).
LINTINEN, KIRMO ( B. 1967)
Sonata classica (19921999)

ute and guitar
I Moderato
II Adagio lontano
III Scherzo. Allegro
IV Allegro grazioso
Duration: 17
First performance: Tommi Koivuniemi, ute, Osmo Palmu,
guitar, Helsinki, March 21, 2000
MERILINEN, USKO (19302004)
Kirmo Lintinens Sonata is, as its name suggests, a work

elegantly playing with the generic conventions. In addition to
its scherzo-like humour it has deep, velvety sentiment in its
slow movement. In the nale the minor-third motif alluding
to Prokoevs 7th piano sonata brings the piece to an end
tongue in cheek.
Usko Merilinens markedly modernistic Simultus for Four

rests on a carefully-polished character technique of his own
invention. The ear may detect in the texture, which also
includes ostinatos, fragile gestures, forceful bursts of notes
and single sounds. The work was the rst to be commissioned for the unusual instrumental line-up of the Cluster
Quartet.
Abracadabra (2002)
ute, bass clarinet, guitar and percussion
Duration: 6
First performance: Tommi Koivuniemi, ute, Mikko
Kauppinen, bass clarinet, Osmo Palmu, guitar, Tuomo
Lassila, percussion, SOI! festival, Jyvskyl, March 16, 2002
Neoclassical, jazzy and Oriental elements appear side by
side in a modernist-oriented frame of reference in this roguish work.
LUOLAJAN-MIKKOLA, VILHO ( B. 1911)
Suvella (Summertime) (1981)

ute and guitar (or piano)
I Pilviperho (Cloud Buttery)
II Sudenkorennot (Dragonies)
III Vanessa antiopia (Camberwell Beauty)
Duration: 14
Vilho Luolajan-Mikkolas Suvella is tonal music nostalgically
picturing the moods of an idyllic summers day.
MARTTINEN, TAUNO ( B. 1912)
Harlekiini (Harlequin) op. 270b (1985)

bassoon and guitar
Duration: 5
Simultus for Four (1979)

Duration: 16
First performance: Cluster Quartet (Mikael Helasvuo, ute,
Pekka Savijoki, alto saxophone, Jukka Savijoki, guitar,
Timothy Ferchen, percussion), Hmeenlinna,
October 14, 1979
Distributor: Warner/Chappell Music Finland Oy
MURO, JUAN ANTONIO ( B. 1945)
Aubade (1987)
2 guitars
Duration: 8
First performance: Ana Kertesz and Lszl Papp, Esztergom
(Hungary) 1987
Special prize in the composition competition of the Esztergom 8th guitar festival and seminar 1987
Di pensier in pensier (1989)
2 guitars and percussions
I La vita fugge e non sarresta una ora
II Pien di quella ineffabile dolcezza
III Quando la sera scaccia il chiaro giorno
IV Che fai alma? che pensi? avrem mai pace?
Duration: 14
First performance: Members of the InTime Quintet Jorma
Salmela and Hannu Siiskonen, Tampere 1989
Publisher: Otto Murentini Ky
The works of Juan Antonio Muro, nowadays thought of as
a guitar composer, cover a wide stylistic range. Among the
most impressive are perhaps the guitar duos. Aubade employs relatively simple material, and clouds, showers of rain
and bells are evoked by ne, simple guitarist means. In
Di pensier in pensier the percussion instruments (played by
the guitarists) add to the multi-style guitar soundscape.
15
NIEMINEN, KAI ( B. 1953)
Sea Poems and a Postludium (1979)

voice and guitar
Text: Tommi Hautaniemi (in Finnish)
Duration: 10
First performance: Sirpa Kovanen, mezzo-soprano,
Kai Nieminen, guitar, Jyvskyl, February 25, 1988
The chamber music of Kai Nieminen is characterised by the
same stylistic features and devices as his solo output. The
listener may sense nature moods and elegiac, melodic material Finnish in tone. The guitar parts, particularly, contain
carefully thought-out timbral fantasies.
aava (expanse) (1999)

ute, violin, guitar and percussion
Duration: 10
Commissioned by: Alea Ensemble
First performance: Alea Ensemble, Kouvola,
May 6, 2001
The nely-tuned works by Hannu Pohjannoro aspiring
towards the poetry of their titles deal in small gestures and
details equipped with precise dynamics. Pohjannoro has
also written hehku for the InTime Quintet (2000) (see Aho,
Kalevi: Three Tangos, p. 11).
PUUMALA, VELI-MATTI ( B. 1965)

Quintet for guitar and string quartet op. 119

(2003)

Duration: 20
Commissioned by: Petri Kumela
First performance: Petri Kumela, guitar, Tempera Quartet,
Helsinki, March 29, 2003
The guitar quintet by Pehr Henrik Nordgren could be called
a Concerto for guitar and string quartet, for the guitar part
dominates and the string quartet mostly remains in the
background, commenting on the guitar monologue. The
basic mood is of intimate lyricism. The harmonically
enchanting structure derives from the tension between the
harmonic worlds of the guitar and the string quartet. The
often repeated chorale-like and almost tonal passage seems
to exude the mournful beauty of the plains of Ostrobothnia.
Other works by Pehr Henrik Nordgren for the guitar:
Klippgrund (Reefs) op. 128 (2004)
cello and guitar
Duration: 13
First performance: Erkki Rautio, cello, Petri Kumela, guitar,
Konsertserie Katrina, Ecker (land), August 11, 2004
POHJANNORO, HANNU ( B. 1963)
valon jlki net (sounds, traces of light)

(1996)
ute, clarinet, guitar and cello

Duration: 5
Commissioned by: Association of Finnish Music Schools
Publisher: Association of Finnish Music Schools
kivenpiirto (stone-draw) (1999)
guitar quartet
Duration: 11
Commissioned by: Corona Guitar Quartet, Denmark
First performance: Corona Guitar Quartet, NUMUS 2000,
Aarhus (Denmark), April 28, 2000
16
Duettino (1988)
violin and guitar
Duration: 3
Though avoiding tunes in the traditional sense, Veli-Matti
Puumalas Duettino is calmly melodic and, being relatively
uncomplicated, easy to digest.
Verso (1990/1991)
clarinet (and bass clarinet), guitar, violin, viola and cello
Duration: 5
First performance (1st version): Avanti!, cond. Olli Pohjola,
Ung Nordisk Musik, Copenhagen November 12, 1991
First performance (2nd version): Avanti!, cond. Olli Pohjola,
Milan, December 16, 1991
Verso, with its complex, uncompromisingly modernist and
always carefully thought-out music, is a challenge for the
performer. A concise work, it contains both quick passages
and long, sonorous sounds.
RAUTAVAARA, EINOJUHANI ( B. 1928)
Sonata per auto e chitarra (1975)

utes (1 player) and guitar
Duration: 7
First performance: Gunilla von Bahr, utes, Diego Blanco,
guitar, Stockholm, June 1976
Einojuhani Rautavaaras masterly, relatively short and
concise Sonata keeps all the members of the ute family
busy, from bass to piccolo. Despite its wealth of timbres,
the music has a classical quality that ranges from dancing
playfulness to archaic modality and mystic moods, but the
structure is strictly consistent. As in the other Rautavaara
works for the guitar, the texture is notably idiomatic but it
calls for extremely precise articulation.
RISNEN, TOMI ( B. 1976)
SALONEN, ESA-PEKKA ( B. 1958)
Omenapuun alla (Under the Apple Tree) (2001)

version F: 4 pieces for guitar duo
(arr. Kimmo Rahunen 20022003)
I Miron
II Valkea kuulas
III Nalif
IV Oranie
Duration: 830
First performance: Kimmo Rahunen and Otto-Ville
Nyyssnen, Turku, March 11, 2003
Goodbye (1979, revised 1980)

violin and guitar
Duration: 11
First performance (original version): Mikko-Ville LuolajanMikkola, violin, Heikki Hernberg, guitar, Helsinki Summer
Weeks, Helsinki 1979
First performance (revised version): Hannele Segerstam,
violin, Jukka Savijoki, guitar, ISCM World Music Days,
Helsinki, January 27, 1981
Kimmo Rahunen has arranged this version of a work

originally composed by Tomi Risnen for piano that works
extremely well on two guitars. Slightly Prokoevian in style,
it assigns each apple variety a tting soft or sour character.
The guitarist tosses off a postcard, the violinist occasionally

snatches the guitar from the guitarist and plays it with a bow
Esa-Pekka Salonens Goodbye features theatrical
elements, though assigning them only a minor role. Most
of the piece is played using conventional techniques and
gestures, and the idiom is post-serial modernist. The closing
adagio is beautiful, singing music.
SAARIAHO, KAIJA ( B. 1952)
Adj (1982, revised 1985)

(original name: Ju lgre solen)
soprano, ute and guitar
Text: Solveig von Schoultz (in Swedish)
Duration: 10
Commissioned by: Jeremy Parsons
First performance (original version): Nina Almark, soprano,
Anne Raitio, ute, Jol Bons, guitar, Freiburg, March 1, 1983
First performance (revised version): Anu Komsi, soprano, Olli
Pohjola, ute, Esko Virtanen, guitar, Helsinki, April 27, 1987
SERMIL, JARMO ( B. 1939)
Kaija Saariahos Adj is a journey in sensitive, delicate hues

from angst to more relaxed emotions. This is manifest in, for
example, the transformation of the voice from the effects of
the opening towards more conventional singing. The instruments create an astonishingly rich world of sound in which
each detail is carefully considered.
Chromatic and diatonic writing alternate in Jarmo Sermils

Dragony Day, a work playing with jazz and Baroque
inuences.
SALMENHAARA, ERKKI (19412002)
Sonatina per auto e chitarra (1981)

ute and guitar
Duration: 10
First performance: Tapio Jalas, ute, Kari iks, guitar,
Helsinki, May 26, 1986
Among the dominant features of the music of Erkki Salmenhaara sometimes described as neo-simplistic are triads
and recurring gures, somewhat in the manner of
minimalism. The Sonatina also has so much melody that the
music is almost classical-romantic in spirit and in places
even Sibelian.
Dragony Day (1995)

recorder/ute, guitar, violin and cello
Duration: 12
Commissioned by: Euterpe Ensemble
First performance: Euterpe Ensemble (Helle Kristensen,
recorder, Curt Kollavik-Jensen, guitar, Ricardo Odriozola,
violin, Jane Odriozola, cello), Aalborg (Denmark),
January 20, 1996
SIBELIUS, JEAN (18651957)
Two songs for voice and guitar from the play

Twelfth Night op. 60 (latest 1909)
voice and guitar
I Kom nu hit, dd!
II Hllil, uti storm och i regn
Text: William Shakespeare (translated into Swedish by Carl
August Hagberg)
Duration: 4
First performance: Svenska Teatern, Helsinki,
November 12, 1909
Publisher: Breitkopf & Hrtel
The guitar parts of the only works by Jean Sibelius for guitar
are simple while making ingenious use of their scant
resources. In Kom nu hit, dd!, in particular, the attention is
caught by the broad, succulent, sharp transition from an E
minor chord to a bleak G sharp minor chord.
17
SUILAMO, HARRI ( B. 1954)
VUORI, HARRI ( B. 1957)
FEROCE von tiefblauem Klang (1996)

guitar, violin, viola and cello
Duration: 8
Commissioned by: Ensemble TaG
First performance: Ensemble TaG (Christoph Jggin, guitar,
Urs Walker, violin, Matthijs Bunschoten, viola, Hans-Ulrich
Munzinger, cello), Winterthur (Switzerland),
November 28, 1996
Quartetto (1981)
ute, guitar, cello and piano
Duration: 10
First performance: Eva Hibay, ute, Kari Jmbck, guitar,
Risto Poutanen, cello, Ari Vakkilainen, piano, cond. Timo
Pulakka, Kokkola, May 15, 1981
1st prize in the Youth Arts event 1981
Harri Suilamos Feroce is a stream of complex sonorous situations in which the guitar part ties closely studied ageolet
sounds with the rest of the texture. It is an attempt to nd a
positive solution to the conict between repetition (=similarity) and continuous regeneration (=dissimilarity), says the
composer in speaking of the structure.
TIENSUU, JUKKA ( B. 1948)
Sinistro (1977)
accordion and guitar
Duration: 14
Commissioned by: Association of Finnish Soloists
First performance: Matti Rantanen, accordion, Pekka
Vesanen, guitar, Helsinki, October 17, 1977
Jukka Tiensuus Sinistro contains theatrical elements. It
consists of two independent solo pieces (Dolce amoroso
and Aufschwung), ordinary coordinated ensemble playing
and aleatoric passages requiring improvisation. Despite
the at times random-seeming nature of the pitch levels, the
dramatic span is clearly manifest.
TUOMELA, TAPIO ( B. 1958)
Aufschwung (1994)
ute and guitar
Duration: 6
First performance: February16, 1995
Tapio Tuomelas Aufschwung represents moderate modernism seasoned with elements of jazz and minimalism. It is a
virtuoso musical romp that is constantly on the move apart
from a brief, slow episode in around the middle of the piece.
The bitone sounds on the guitar work well, and the piece is
a good example of a complex but easy-to-fathom rhythmic
world.
Axis Mundi (1998)

3 guitars
Duration: 11
Commissioned by: Kari Jmbeck
First performance: Kari Jmbeck, Jyrki Myllrinen and Timo
Suominen, guitar, Raahe, March 24, 1999
As in his other works, the chamber music of Harri Vuori
concentrates on the search for as wide a timbral range as
possible and uninhibited, frenzied drama.
WENNKOSKI, LOTTA ( B. 1970)
Dans le conte cest ma voix (1998)

guitar, percussion and tape
Duration: 1020
First performance: Mats Scheidegger, guitar, Christoph
Brunner, percussion, Baden (Switzerland), June 13, 1998
In this work by Lotta Wennkoski the guitar and percussion engage in dialogue with the tape, the chief elements
of which are lapping water and sounds of a womans voice
comparable to, among other things, sibilant sounds
produced by the instruments. The guitarist momentarily
plays a drinking glass that, when wet, yields a long sound.
Veno (2000)
alto ute (and ute), tenor saxophone/bass clarinet, guitar
(amplied), percussion and viola
Duration: 830
First performance: Cattrall Ensemble, Zurich (Switzerland),
June 11, 2000
Publisher: Uusinta Publishing Company Ltd
In composing Veno Wennkoski says she was thinking of the
sound of water lapping against the side of a boat. The piece
proceeds as an uninterrupted, lyrical rippling produced by
softly modernistic means of rhythm and pitch. The
performing techniques are mostly traditional.
VILN, ASKO ( B. 1946)
WESSMAN, HARRI ( B. 1949)
Uno Pezzo (1974)

ute and guitar
Publisher: Edition Pine
Yt kohti (Towards the Night) (1978)

ute and guitar
Duration: 3
Lahti, August 11, 1979
The recitative-like adagio of Asko Vilns Uno pezzo, proceeding in giant intervals, at times works up to an allegro
dominated by relatively simple, dance-like rhythms.
18
Pan and the Nymph Pitys (1979)

ute and guitar
Duration: 4
Helsinki, April 25, 1980
Suite for Two Guitars (1989)
2 guitars
I Prelude
II No Minuet
III Air
IV Tango
V Gigue
Duration: 10
Commissioned by: Fredrikinkatu 59 Residents Association
First performance: Pentti Hildn and Janne Lehtinen,
Helsinki, October 23, 1989
Sonatina for ute and guitar (1992)
Duration: 530
First performance: Tapio Jalas, ute, Kari iks, guitar,
Helsinki, February 9, 1993
Harri Wessman has been a pioneer in composing music for
the guitar. Remaining faithful to his style, he has observed
a high standard of craftsmanship. His lyrically sensitive
works, often depicting atmospheres (such as Towards the
Night and Pan and the Nymph Pitys) of the 1970s and 80s
acquired a more mobile, serious and maybe even classical
character in the 90s; this is also reected in the names of his
pieces: Sonatina, Sonata, and even a Dance Suite.
19
4. Distributors and Retailers
Both published and unpublished works can be

ordered at the following retail outlets in Finland:
F-Musiikki Oy
Kaisaniemenkatu 7
FIN-00100 Helsinki
Finland
Tel. +358 9 618 511
nuotit@f-music.com
www.f-music.com
Ostinato Oy
Tykistnkatu 7
FIN-00260 Helsinki
Finland
Tel. +358 9 443 116
Fax +358 9 441 305
ostinato@ostinato.
www.ostinato.
Sulasol (Finnish Amateur Musicians Association)
Fredrikinkatu 5153 B
FIN-00100 Helsinki
Finland
Tel. +358 9 4136 1100
Fax +358 9 4136 1122
sales@sulasol.
www.sulasol.
Unpublished works can be ordered from Fimic:

Finnish Music Information Centre
(Fimic)
Lauttasaarentie 1
FIN-00200 Helsinki
Finland
Tel. +358 9 6810 1311 (Music Library)
Fax +358 9 682 0770
info@mic.
www.mic.
20

Trabalhos de Guitarra Da Finlândia

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Trabalhos de Guitarra Da Finlândia

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Finnish Works

Finnish Music Information Centre

1. Works for Solo Guitar and Orchestra

2. Works for Solo Guitar

4. Distributors and Retailers

Compiled by Ismo Eskelinen, 2005

1. Works for Solo Guitar

JALKANEN, PEKKA ( B. 1945)

Concerto for Guitar and Small Orchestra (1988)

KORTEKANGAS, OLLI ( B. 1955)

Arabesken der Nacht (1995)

MERILINEN, USKO (19302004)

Concerto for Guitar and Orchestra (1991)

NORDGREN, PEHR HENRIK ( B. 1944)

Concerto for Guitar and Chamber

RECHBERGER, HERMANN ( B. 1947)

Golpe de corazn (Heart Beat Concerto) (1992)

Concierto oral (Flower Concerto) (1993)

2. Works for Solo Guitar

BERGMAN, ERIK ( B. 1911)

Suite pour guitare Op. 32 (1949)

BJRKENHEIM, RAOUL ( B. 1956)

HEININEN, PAAVO ( B. 1938)

Touching op. 40 (1978)

Tenebrae is Latin and means darkness or gloom, but it

KANGAS, JUHO ( B. 1976)

Fantasia per chitarra (2002)

KARLSSON, LARS ( B. 1953)

Introduzione, toccata et aria (1988)

JRNEFELT, ARMAS (18691958)

see Siirala, Seppo, p. 9

KAIPAINEN, JOUNI ( B. 1956)

Tenebrae op. 39 (1991)

KOSKELIN, OLLI ( B. 1955)

Tutte le corde (19881989)

from the texture from time to time, only to recede again as

...far and near (1989)

LINJAMA, JYRKI ( B. 1962)

The idiom familiar from Tutte le corde paints a delicate,

KURONEN, JOUNI ( B. 1958)

Three Old Dances op. 5 (1986)

KUULA, TOIVO (18831918)

A serious, expansive modern work. A striking feature of the

MADETOJA, LEEVI (18871947)

See Siirala, Seppo, p. 9

MARTTINEN, TAUNO ( B. 1912)

See Siirala, Seppo, p. 9

KUUSISTO, ILKKA ( B. 1933)

Praeludium and Fughetta (1998)

Shamaani op. 206

MERIKANTO, OSKAR (18681924)

Mano a mano (2004)

See Siirala, Seppo, p. 9

MURO, JUAN ANTONIO ( B. 1945)

Basic Pieces (2 volumes) (1982/1992)

MUSTONEN, OLLI ( B. 1967)

Himself a guitarist, Kai Nieminen makes expert use of

Jehkin Iivana Sonata for Guitar (2004)

NORDGREN, PEHR HENRIK ( B. 1944)

The world of Olli Mustonens brilliant guitar sonata was

MYLLRINEN, JYRKI ( B. 1961)

Moa Mirob (2004)

Butteries op. 39 (1977)

Come da lontano op. 122 (2003)