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Einojuhani Rautavaara: Works for Piano
 
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Einojuhani Rautavaara: Works for Piano

Einojuhani Rautavaara (Composer), Laura Mikkola (Performer)
4.5 out of 5 stars  See all reviews (2 customer reviews) | More about this product
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Samples
Song Title Time Price
listen  1. Etydit (Etudes), Op. 42: Terssit (Thirds) 3:20$0.89 Buy Track
listen  2. Etydit (Etudes), Op. 42: Septimit (Sevenths) 1:05$0.89 Buy Track
listen  3. Etydit (Etudes), Op. 42: Tritonukset (Tritones) 1:52$0.89 Buy Track
listen  4. Etydit (Etudes), Op. 42: Kvartit (Fourths) 1:51$0.89 Buy Track
listen  5. Etydit (Etudes), Op. 42: Sekunnit (Seconds) 3:56$0.89 Buy Track
listen  6. Etydit (Etudes), Op. 42: Kvinitt (Fifths)0:56$0.89 Buy Track
listen  7. Ikonit (Icons), Op. 6: Jumalanaidin kuolema (The Death of the Mother of God) 3:42$0.89 Buy Track
listen  8. Ikonit (Icons), Op. 6: Kaksi maalaipyhimysta (Two Village Saints)0:48$0.89 Buy Track
listen  9. Ikonit (Icons), Op. 6: Blakernajan musta Jumalanaiti (The Black Madonna of Blakernaya) 2:43$0.89 Buy Track
listen10. Ikonit (Icons), Op. 6: Kristuksen kaste (The Baptism of Christ) 2:42$0.89 Buy Track
listen11. Ikonit (Icons), Op. 6: Pyhat naiset haudalla (The Holy Women at the Sepulchre) 2:33$0.89 Buy Track
listen12. Ikonit (Icons), Op. 6: Arkkienkeli Mikael kukistaa Antikristuksen (Archangel Michael Defeats the Antichrist) 1:06$0.89 Buy Track
listen13. Preludes, Op. 7: 1. Kimmoisasti vasaroiden (Elastically Hammering)0:36$0.89 Buy Track
listen14. Preludes, Op. 7: 2. Kyllin hitaasti (Slowly Enough) 2:35$0.89 Buy Track
listen15. Preludes, Op. 7: 3. Hermostuneesti mutta rytmissa (Nervously But in Rhythm)0:44$0.89 Buy Track
listen16. Preludes, Op. 7: 4. Koraali ja muunnelma (Chorale and Variation) 2:59$0.89 Buy Track
listen17. Preludes, Op. 7: 5. Fugato0:49$0.89 Buy Track
listen18. Preludes, Op. 7: 6. Varisten (Shivering) 1:41$0.89 Buy Track
listen19. Preludes, Op. 7: 7. Alla finale 1:22$0.89 Buy Track
listen20. Partita, Op. 34 (arr. for piano): 1. --0:43$0.89 Buy Track
listen21. Partita, Op. 34 (arr. for piano): 2. -- 2:05$0.89 Buy Track
listen22. Partita, Op. 34 (arr. for piano): 3. --0:44$0.89 Buy Track
listen23. Piano Sonata No. 1, Op. 50, "Christus und die Fischer": I. -- 4:22$0.89 Buy Track
listen24. Piano Sonata No. 1, Op. 50, "Christus und die Fischer": II. Attacca 1:41$0.89 Buy Track
listen25. Piano Sonata No. 1, Op. 50, "Christus und die Fischer": III. -- 3:51$0.89 Buy Track
listen26. Piano Sonata No. 2, Op. 64, "The Fire Sermon": I. Motlo allegretto 3:32$0.89 Buy Track
listen27. Piano Sonata No. 2, Op. 64, "The Fire Sermon": II. Andante assai 4:30$0.89 Buy Track
listen28. Piano Sonata No. 2, Op. 64, "The Fire Sermon": III. Allegro brutale 2:21$0.89 Buy Track

Frequently Bought Together

Einojuhani Rautavaara: Works for Piano + Rautavaara: Cantus Articus; Piano Concerto; Symphony No. 3 + Rautavaara: Piano Concertos Nos. 2 and 3
Price For All Three: $26.97

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  • This item: Einojuhani Rautavaara: Works for Piano ~ Einojuhani Rautavaara

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  • Rautavaara: Cantus Articus; Piano Concerto; Symphony No. 3 ~ Einojuhani Rautavaara

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  • Rautavaara: Piano Concertos Nos. 2 and 3 ~ Einojuhani Rautavaara

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Product Details

  • Performer: Laura Mikkola
  • Composer: Einojuhani Rautavaara
  • Audio CD (July 20, 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B00000JMYG
  • In-Print Editions: MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.com Sales Rank: #237,899 in Music (See Bestsellers in Music)

    Popular in this category: (What's this?)

    #28 in  Music > Classical > Featured Composers, A-Z > ( R ) > Rautavaara, Einojuhani

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On this CD:
  1. Etudes, pieces (6) for piano, Op. 42
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

  2. Ikonit (Icons) for piano, suite for piano, Op. 6
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

  3. Preludes (7) for Piano, Op. 7
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

  4. Partita for Piano (arranged from Partita for Guitar), Op. 34
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

  5. Piano Sonata No.1 ("Christus und die Fischer"), Op. 50
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

  6. Piano Sonata No.2 ("The Fire Sermon"), Op. 64
    Composed by Einojuhani Rautavaara
    with Laura Mikkola

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Customer Reviews

2 Reviews
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 (1)
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Average Customer Review
4.5 out of 5 stars (2 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

 
4 of 4 people found the following review helpful:
5.0 out of 5 stars One of the best etudes ever composed, August 2, 2006
By SRS (Oxford Ohio) - See all my reviews
This is 20th century music, so "Mozart or nothing" fans need not apply. Rautavaara's typical piano style consists of two basic forms: dazzlingly dense and sparse/muted. Both occur in his large pieces. Tveitt, in his later piano concertos, is somewhat similar to Rautavaara in his concertos. Fans of one should check out the other.

The "Thirds" etude alone is worth the price of the disc. It is one of the best pieces of music I've heard. If I were a pianist, it would be part of my debut recital programme. The rest of the etudes are good, particularly the fast ones, but not absolutely perfect like the first one. "Icons" is a scintillating collection that is reminiscent of Satie, albeit with many more notes in fast sections and a greater emphasis on chromaticism. Rautavaara's musical language on this disc is apparent in his piano concertos. The often harsh Preludes are reminiscent of early Ornstein. As with the Etudes, the pieces are arranged so that an energetic, even frenetic, piece is followed by a slow and sparse piece. Partita is a bit reminiscent of Allen Sapp, particularly in the third movement. The first Sonata has a very unusual structure. It's opening movement could be mistaken for a central movement and vice-versa, although the final quarter of the movement has a dense progression of notes like the 2nd concerto or some of the faster etudes. The second movement opens in a rapid expository fashion that one would expect from a first movement and abruptly becomes spare and spacious, space that continues into the brooding third movement, which closes with a bell-like motif. This sonata is very unique among those I've heard, being difficult to recognize as a sonata. I don't yet consider it a strong piece; perhaps further listening will change my mind. The second sonata is absolutely different. It opens with typical sonata expository "pull", albeit with Rautavaarian flurry-of-notes language that you'll find in the concertos. This opening transitions to a lovely and very simple progression of chord, which go from heavenly to dour. The second movement is more abtract, with rather sparse and dour chords in the first third, climaxing with two brilliant "white noise" chords that consist of every note vertically and horizontally in a large space between hit simultaneously, and the flurry-of-notes structure. A somewhat macabre dance comes later, reminiscent of Ornstein and perhaps Stravinsky, while being still thoroughly Rautavaarian. The first movement's chordal progression returns, but it is changed, being more ethereal, as if the notes are moving into plasma (or flame). The second sonata is more accessible, despite its harder edge, because it contains more emotive material than the first. The ending may be a bit anticlimactic, however, since the chordal progression in the first movement and the climax in the middle of the second movement are perhaps more effective, but the ending is rather haunting. Perhaps if the chords were given more space in performance it would be even better...
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5 of 14 people found the following review helpful:
4.0 out of 5 stars Rautavaara Looks Back at Bruckner, October 4, 2000
By Thomas F. Bertonneau (Oswego, NY United States) - See all my reviews
(TOP 1000 REVIEWER)    (REAL NAME)   
Finland (through its Swedish-speaking minority) gave the twentieth century one of its towering symphonic masters, Jean (born Johann) Sibelius. Others, like Leevi Madetoja and Uuno Klami, tended to live in the master's colossal shadow. After Sibelius' death in 1957, Finland's other composers began to emerge, at least as far as the rest of the world was concerned, from undeserved obscurity. The younger generation especially benefited from what one might call a leveled playing-field. By the late 1950s - and at the very latest, by the end of the 1960s - Joonas Kokkonen (recently deceased) and Einojuhani Rautavaara (born 1928) seemed to offer the most striking profiles. Aulis Sallinen and Kalevi Aho had not quite come into their own. Kokkonen maintained steadfast consistency as a composer, cultivating a modified, even a mollified, type of serialism while dealing in quasi-tonal harmonies and clear outlines that made him accessible to a fairly broad audience. Rautavaara, by contrast, showed himself Protean, beginning as a serialist and then, commencing around 1960, returning, via an admiration for Bruckner, to a more conventional idiom. The Naxos disc of Rautavaara contains three works, including the one that indicated his retreat from the earlier avant-garde orientation: The Symphony No. 3, Opus 20. Sharing the program are the Piano Concerto No. 1 (1969) and the Cantus Arcticus (1972), a "Concerto for Birds and Orchestra." The Third Symphony's opening movement comes dangerously close to parodying Bruckner, emerging out of a slow horn-call and developing into climaxes dominated by chorale-like orations in the brass; it is not finally a parody but a reinvention, as one might say, of Brucknerian "Ruhigkeit" in modern terms. The slow movement combines Brucknerian rhetoric with Scriabinesque birdsong-imitations in the woodwind. The scherzo looks again to the Austrian for its model, as does the final movement, with the familiar marking, in German, of "Bewegt" ("With Motion"). The Cantus Arcticus, Rautavaara's most popular work, uses tape-recordings of Northern birds carefully integrated into the orchestral textures. The description sounds corny but the effect is remarkably natural and beautiful. Here Rautavaara is closer than ever to Sibelius. Cantus Arcticus definitely foreshadows Rautavaara's development over the last decade, during which his idiom has become more tonal, lyrical, even mystical. The Piano Concerto serves up thicker fare and shows the composer in his modernist mood, complete with tone-clusters played with the palms smashing down on the keyboard. This is a great introduction to an important contemporary composer.
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