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Rautavaara: Cantus Arcticus Piano Concerto No.1 Symphony No. 3

Laura Mikkola (Artist), Hannu Lintu (Conductor), Royal Scottish National Orchestra (Orchestra) Format: Audio CD
4.6 out of 5 stars 55 ratings
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From the manufacturer

About Us

Naxos Records is a leading classical music label as measured by the number of new recordings it releases and the depth and breadth of its catalogue. Naxos was founded in 1987 by Klaus Heymann, a German-born entrepreneur based in Hong Kong. Under his continuing stewardship, Naxos has developed from being known primarily as a budget label focusing on standard repertoire into a global music group comprising a raft of downloading and streaming platforms, a significant catalogue of multimedia products, a vast international logistics network, a recording engineering arm, a publications division, and a licensing department.

Naxos, the record label, has transformed into a virtual encyclopaedia of classical music with a catalogue of unparalleled depth and breadth. Innovative strategies for recording exciting new repertoire with exceptional talent have enabled Naxos Records to develop one of the largest and fastest-growing catalogues of unduplicated repertoire. Some 11,000 titles are currently available at affordable prices, recorded in state-of- the-art sound, both in hard format and on digital platforms. Naxos works with artists of the highest calibre and its recordings have been recognised with numerous GRAMMY awards, Penguin Guide 3-star recommendations, Gramophone Editor’s Choice Awards and many other international honours.

1

Opera

Operas and operettas are basically plays (tragedies, dramas and comedies) set to music. Most feature solo voices and choruses and the whole is accompanied by orchestra.

Track Listings

1 Cantus Arcticus, Op. 61 (Concerto for Birds and Orchestra): Suo (The Marsh)
2 Cantus Arcticus, Op. 61 (Concerto for Birds and Orchestra): Melankolia (Melancholy)
3 Cantus Arcticus, Op. 61 (Concerto for Birds and Orchestra): Joutsenet Muuttavat (Swans Migrating)
4 Piano Concerto No. 1, Op. 45.: Con Grandezza
5 Piano Concerto No. 1, Op. 45.: Andante (Ma Rubato)
6 Piano Concerto No. 1, Op. 45.: Molto Vivace
7 Symphony No. 3, Op. 20.: Langsam, Breit, Ruhig
8 Symphony No. 3, Op. 20.: Langsam, Doch Nicht Schleppend - Laura Mikkola L
9 Symphony No. 3, Op. 20.: Sehr Schnell
10 Symphony No. 3, Op. 20.: Bewegt

Editorial Reviews

CD

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 6.61 x 5.79 x 0.43 inches; 3.39 ounces
  • Manufacturer ‏ : ‎ Naxos
  • Original Release Date ‏ : ‎ 1999
  • Date First Available ‏ : ‎ December 17, 2006
  • Label ‏ : ‎ Naxos
  • ASIN ‏ : ‎ B00000I7RC
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Best Sellers Rank: #124,868 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
  • Customer Reviews:
    4.6 out of 5 stars 55 ratings

Customer reviews

4.6 out of 5 stars
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Customers say

Customers appreciate the music quality of this album, with one noting its thought-provoking nature and another describing it as a superbly-recorded CD. Moreover, the art quality receives positive feedback, with one customer describing it as a haunting work of art. Additionally, customers find the album accessible, with one specifically mentioning that Cantus Articus is very accessible.

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Music qualityArt qualityAccessibility
5 customers mention "Music quality"5 positive0 negative

Customers appreciate the music quality of this album, praising the composer's work, with one customer highlighting its thought-provoking nature and another noting its superb recording.

"First released in 1999, this well-played, superbly-recorded album makes a near-perfect single-disc introduction to the music of Einojuhanni..." Read more

"Rautavaara is my favorite living composer. He explores emotions and states of consciousness that very few other contemporary composers even touch...." Read more

"...CD offering over 73 minutes of readily accessible and mostly thought-provoking music, even if one with a more purist bent may perhaps deem it..." Read more

"...It works. Symphony No. 3 is great...." Read more

4 customers mention "Art quality"4 positive0 negative

Customers appreciate the art quality of the album, with one describing it as a haunting work of art and another noting its well-thought-out composition.

"...and calls are accompanied by an orchestra, this is a powerful, haunting work of art, in which Rautavaara achieves a kind of mystical polyphonic..." Read more

"...effect is that it is so close to romantic tonality as to be recognizably beautiful, but off-key and dissonant enough to be modern. It works...." Read more

"...fond of the piano work in this recording, the other two are wonderful representations of what Finnish composers are producing...." Read more

"...These pieces are so great you really owe it to yourself to have the best recording available...." Read more

3 customers mention "Accessibility"3 positive0 negative

Customers find the music accessible.

"...20 with its echoes of Bruckner and Sibelius is another highly accessible work, yet probing, mature, and sufficiently serious to be more than a mere '..." Read more

"...most substantive conclusion to a CD offering over 73 minutes of readily accessible and mostly thought-provoking music, even if one with a more..." Read more

"...It's still my favorite, though. The Cantus Articus is very accessible; the Piano Concerto #1 took me a few listenings to digest but has become one..." Read more

Top reviews from the United States

  • Terrance Aldon Shaw
    5.0 out of 5 stars An ideal introduction to the "greatest composer you never heard of"
    Reviewed in the United States on October 14, 2016
    Verified Purchase
    First released in 1999, this well-played, superbly-recorded album makes a near-perfect single-disc introduction to the music of Einojuhanni Rautavaara (1928-2016), not only the most significant Finnish composer after Sibelius, but very probably among the finest of all later-twentieth century masters. Rautavaara is undoubtedly the greatest composer most people have never heard of, and that's a shame, though, one might hope, records such as this will go some way towards remedying so glaring an injustice.

    Stylistically, through the course of his long career, Rautavaara was all over the map, from the arid, pointillist soundscapes of modish 50s-era serialism, to the highly accessible, lushly consonant tone-paintings of 21st-century neo-romanticism, and, seemingly, everywhere in between. The 'Cantus Arcticus' (Concerto for Birds and Orchestra), Op. 61 falls squarely in this latter category. So much more than a mere experimental piece in which tape of diverse bird songs and calls are accompanied by an orchestra, this is a powerful, haunting work of art, in which Rautavaara achieves a kind of mystical polyphonic synergy between the sounds of nature and the instruments of the orchestra, with moments so poignant and achingly beautiful as to bring the listener close to tears. Hanu Lintu and the Scottish National Orchestra turn in a lovely reading with just the right balance of understated power, awe and exultation.

    The earlier Symphony #3, Op. 20 with its echoes of Bruckner and Sibelius is another highly accessible work, yet probing, mature, and sufficiently serious to be more than a mere 'showpiece', while the Piano Concerto #1 Op. 45 is intentionally just that, breezy, frenetic, highly entertaining, albeit a bit more aggressively dissonant with its piled-up parallel seconds and ninths (part of Rautavaara's 'signature sound'). The concerto is here played with more than adequate aplomb by soloist Laura Mikkola to Lintu's aptly energetic accompaniment.

    With this well-thought-out and wonderfully entertaining program, Naxos gives listeners the musical equivalent of the perfect apéritif. Those who find their appetites sufficiently whetted may want to check out the series of 4-disc boxed sets compiled by the Finnish Ondine label in 2009: 'The 8 Symphonies' (Ondine ODE 1145-2Q), and the twelve (of the composer's fourteen) concertos, including 'Cantus Arcticus' (Ondine ODE 1156-2Q), as well as a generous sampling of choral works (Ondine ODE 1186-2Q (2012)).

    In the meantime, this disc is wholeheartedly recommended.
    13 people found this helpful
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  • David Saemann
    5.0 out of 5 stars Epochal
    Reviewed in the United States on December 2, 2008
    Verified Purchase
    Rautavaara is my favorite living composer. He explores emotions and states of consciousness that very few other contemporary composers even touch. Nothing in his music is obvious or blatant. This is an excellent CD of his music. The Cantus Arcticus and Fifth Symphony are licensed from Ondine, and these two recordings live up to the high standards of that label. One might not expect a German ensemble to deliver the goods in such idiosyncratic Finnish music, but Max Pommer and the now defunct Leipzig Radio Symphony deliver spot on performances. The Cantus Arcticus has a sweep and nobility all its own here. The inclusion of taped bird calls seems perfectly natural, more so than all the bird call music of Messiaen. I guess the prime inspiration is the recorded bird calls in Respighi's Pines of Rome. The Fifth Symphony is a titanic work, an exploration of exhaltation, illumination, and even isolation, all existing as one. As for the Fourth Quartet, recorded for this CD by the very good Sirius String Quartet, it is a record of an interior monologue. There are no flashy moments. Rather, the ensemble poses questions and answers them discursively. I can think of very few CDs of contemporary classical music that are as rewarding as this one.
    One person found this helpful
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  • Moldyoldie
    4.0 out of 5 stars I Can Understand Why This Composer Is Supposedly "Popular"
    Reviewed in the United States on October 28, 2008
    Verified Purchase
    This is my second excursion into the world of contemporary Finnish composer Einojuhani Rautavaara (love that name!). Cantus Arcticus from 1972, a "concerto for birds and orchestra", agreeingly melds the pre-taped sounds of Arctic fowl with light complementary orchestration in three mostly disparate movements. While the use of taped birdsong isn't necessarily unique in serious music, here the combination sounds more of a piece with one's personal contemplation of nature than with the concert hall and its more serious-minded patrons. It's a pleasant enough confection, I suppose. I found the final movement titled "Swans Migrating" to be the most aurally compelling.

    The first movement of the Piano Concerto No. 1 (1969) is marked throughout by recurring hard staccato dissonant chords banged out against rolling alternate-hand arpeggios and dramatic orchestration. I have to confess that the purposeful piano dissonances, while certainly ear-catching, are somewhat off-putting and ultimately unconvincing in their musical context here, even after repeat listening. I found the concluding two movements to be more compelling as soloist Mikkola explores both the work's introspective and outwardly modernist expressions often evocative of Prokofiev. At one point during the finale, I actually imagined Keith Jarrett in one of his memorable pseudo-improvisations from shortly after the time of this work.

    The opening of Symphony No. 3 (1959-60) is nothing if not reminiscent of Bruckner's Fourth Symphony with its solo French horn call, so much so that it sounds obvious! As the symphony progresses over four movements, we hear this recurring motif in a variety of orchestral statements, usually complemented with flourishes from an ever-present flute, a clarinet, and often a bassoon and what sounds like a cor anglais. The symphony is hardly Brucknerian in scale at just over a half-hour, but the familiar architectural building blocks are there, even if the work culminates in a soft-spoken hush and not a Brucknerian rush. The composer talks about his method in the accompanying notes, but in terms mostly foreign to this lay listener. However, he does make mention of "almost Brucknerian arcs" while discussing the fourth movement. In any case, I certainly enjoyed the Symphony No. 3 as I would any fine symphony; it makes a most substantive conclusion to a CD offering over 73 minutes of readily accessible and mostly thought-provoking music, even if one with a more purist bent may perhaps deem it somewhat derivative.
    5 people found this helpful
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  • M. Pierre V.
    5.0 out of 5 stars Enchanteur
    Reviewed in France on July 27, 2015
    Verified Purchase
    La musique de Rautavaara est véritablement à découvrir : à la fois narrative et pleine de dissonances, elle ouvre sur un monde musical à rebours des clichés d'une certaine musique contemporaine ennuyeuse. On peut aussi prendre le pari avec cette œuvre à la mélodie envoûtante, composée autour du chants d'oiseaux (les grues) d'initier les enfants aux musiques actuelles.
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  • Minoru
    5.0 out of 5 stars 対応の良さ
    Reviewed in Japan on December 28, 2020
    Verified Purchase
    今回の送付商品は残念ながら、当方の希望したCDと違いましたが（ジャケットが同一、タイトルも似ていて紛らわしかった）返金等の処理が素早く丁寧だった。
    今後も取引を継続したいと思います。
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  • Frau mit Klasse
    5.0 out of 5 stars Neue Musik
    Reviewed in Germany on February 5, 2020
    Verified Purchase
    Einojuhani Rautavaara war ein Komponist, der im 20. Jahrhundert in Finnland aufwuchs, studierte und einen Lehrauftrag bekam. Er war bereits zu Lebzeiten bekannt. Deshalb erhielt er auch den Auftrag, zur Eröffnung der technischen Universität von Oulu, der nördlichsten Stadt Europas, ein Werk zu schreiben. Dabei entstand "Cantus arcticus", das "Konzert für Vogelstimmen und Orchester", welches sich hier als erstes auf der CD befindet. Die Solostimme wird von Vögeln (Ohrenlerchen, Schwänen) vom Tonband abgespielt, das Orchester spielt dazu.
    Und wie es so ist, wenn der Sommer endet, die Tage kürzer werden, der Winter naht und die Vögel sich zum Flug in den Süden sammeln, klingt die Musik elegisch bis traurig.
    Diese Musik ist für uns im ersten Moment sehr ungewohnt, man muss sich auf etwas Neues einlassen. Mir persönlich gefällt sie sehr gut und so vermittle ich sie in Ausschnitten meinen Grundschülern.
    (Informationen aus diesem Text sind vor allem dem Wikipedia-Artikel entnommen.)
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  • Pen Name
    5.0 out of 5 stars My favourite
    Reviewed in the United Kingdom on February 22, 2025
    Verified Purchase
    The bird song echoing over the snowy landscapes
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  • John Ferngrove
    5.0 out of 5 stars Possibly the best place to start with Rautavarra
    Reviewed in the United Kingdom on July 19, 2009
    Verified Purchase
    Not wishing to repeat anything from the superb initial review by Bob Zeidler I would simply add the following:

    The music of the Cantus Arcticus is simpler in texture than is typical for Rautavaara. It really is as though he is making space for the bird song in the manner of a concerto, rather than as a mere special effect as was done say by Respighi in the Fountains (or was it the Pines?) You are intended to listen to the bird song rather than be simply soothed by the notion of it. The overall effect is to evoke big skies over silver seas, ruffled by fresh and cleansing winds, in landscapes large enough for humans to be refreshingly small in an overcrowded age. I am grateful to the initial reviewer for his recommendation of an alternate version of this work with a better birdsong tape, not that I find the present one in any way unsuccessful.

    The first Piano Concerto is clearly a masterpiece showing Rautavarra at his very best in several respects. The work is of a grand Romantic sweep and structure, but with enough modernist inflections to make it clear that you are hearing something by someone really not quite like anybody else, but expressed with pianism of the highest order. I find myself thinking of Rachmaninov, and wondering if he had allowed his modernist impulses a bit more reign, or just been born twenty years later, he would have written piano music somewhat like this. I can also just hear Rachmaninov playing this, he would know how to make the fireworks build, not that this is not itself a fine performance.

    The third symphony I am familiar with from elsewhere, Rautavaara: The 8 Symphonies - Limited Edition Box, but it continues to grow with me on each listening, and I would have to confess to finding this the more impressive performance of the two, more tight and intense. Thanks to Naxos as ever. I tend to think of Rautavaara's symphonies, pre No.5 as easily being seen as derivative and part of his quest for his authentic voice. Nonetheless, this performance of No.3 has the hairs on my neck standing up in places.

    I am about to surprise my mother with this disc. Her tastes in classical music were formed largely a long while ago, and run narrow but deep. She certainly doesn't have ears for anything overtly modernistic, but I've just got a feeling that she's going to connect with this one. Let's see shall we?
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