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JOUKO HARJANNE, RADION SINFONIAORKESTERI
CONCERTOS for TRUMPET and ORCHESTRA



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JOHN WILLIAMS ARTTU SIPILÄ
CONCERTOS for TRUMPET and ORCHESTRA

JJVCD-118
FIJJV1300081-86
EAN 6420617451226

Jouko Harjanne, trumpet
The Finnish Radio Symphony Orchestra
Conductors Eva Ollikainen and Dima Slobodeniouk

Jouko Harjanne trumpet

John Williams: CONCERTO for TRUMPET and ORCHESTRA
RSO, Conductor Dima Slobodeniouk
1. Maestoso 6,54
2. Slowly 7,41
3. Allegro deciso 5,52

Recording date: 5.-6.11.2009
Recording place: Helsingin Kulttuuritalo
Producer: Laura Heikinheimo
Recording, editing and mixing: Antti Pohjola

Arttu Sipilä: CONCERTO for TRUMPET and ORCHESTRA nro 1
RSO, Conductor Eva Ollikainen
4. Introduzione – Humoresque 12,44
5. Elegy 9,01
6. Finale 12,27

Recording date: 28.-29.10.2010
Recording place: Helsingin Kulttuuritalo
Producer: Laura Heikinheimo
Recording, editing and mixing: Antti Pohjola

Total Time 54,33


John Williams

As a youngster growing up in the 1940s, I was not unaware of the enormous influence that the brass players of the great swing bands had on the young people of our country. Beginning with Louis Amstrong, whose contribution inspired generations of trumpeters, these artists extended the expressive capabilities of their instruments and can certainly be credited with developing a school of brass playing, the influence of which can still be felt in nearly every musical ensemble that employs brass.

In my teen years, I too wanted to join in the fun. My fathers agreed that if I continued with piano studies, I could have a trombone; and he arranged for me to take lessons. I also taught myself to play little on the trumpet, but I was never very comfortable switching mouthpiece size, so my brass playing-always amateur level to be sure-was pretty much restricted to the trombone.

Given this background and after writing so much brass music for films and for ceremonial pieces, you can imagine my pleasure when the Cleveland Orchestra asked me to write concerto for their newly appointed principal trumpeter, Michael Sachs. Not only did this commission offer me an promised the privilege of having the piece performed by on of the world´s greatest orchestra and featuring one of the world´s most elegant trumpeters.

The premier performances were brilliantly conducted by the orchestra´s music director Christoph von Dohnanyi in October 1996 with Michael Sachs as soloist. Mr Sachs has also very successfully performed this version for trumpet and piano.

Wether the influences mentioned above can felt at any level of this piece, I cannot say, but I nevertheless hope that interested students and professionals might find a fraction of the pleasure that I have found in writing this concerto and having it performed by these wonderful artists.

John Williams


Arttu Sipilä

CONCERTO for TRUMPET and ORCHESTRA nro 1
I composed the Trumpet Concerto No. 1 for the most part during the winter 2009. The source of inspiration for composing this piece had been for me a previous meeting with Jouko Harjanne. I wanted a make an
ambitious piece with showman-like qualities for this instrument and after some devising the idea of a concerto was born. I composed the concerto especially with Mr. Harjanne in mind, to whom the concerto is
also dedicated. The concerto is one longest pieces written for solo trumpet, over 30 minutes. It is also an homage to two great composers, Dmitri Shostakovich and Gustav Mahler. To show for this, minor citations
can be found all along the length of the score.

The first movement (-) begins with a slow introduction, which is in turn followed by a cheerful allegretto. The allegretto is basically a dialogue between the soloist and the orchestra. The second movement is a
beautiful elegy, in which the soloist can present the singing capabilities of the trumpet. After the last half of the elegy we are however faced with a dramatic turn of events with an immediate follow-up
to the third movement. The finale is a brisk movement with calmer moments balancing out the displays of virtuosity and earlier themes and ideas resurfacing. Quite near the finish line, a \"deus ex machina\"
appears. The cadenza we hear is not a tradional one but is based on the material of the introduction in the first movement. The concerto ends in silence.



Takaisin