Tauno Marttinen (2012)


Philippe Graffin, Ralph van Raat, Marko Ylonen

Ari Rasilainen, Hannu Lintu

“I have written music from my heart and if performers will perform it from theirs, the performance will be successful” -Tauno Marttinen 

Through the ages music has had a strong emotional effect. This is, in part due to the interpretation of the artist: the way of expression or techniques used can or will play a part, often in relation to the spirit of the time, but for the attentive audience or listener feeling of expression will remain one of the pillars of recognition. 

Tauno Marttinen’s life encompassed almost all of the 20th century. Living from 1912 to 2008, he lived to be nearly 96 years old. He was born in Helsinki and studied in Viipuri, which was then one of the most important and vital towns of Finland. As a young man he played the piano in restaurants and places of entertainment; he also wrote and arranged Finnish tangos, a.o. for the Finnish tango-singer Olavi Virta (1915-1972), who would later become very famous. One’s background never denies itself: during the early decades as a composer he wrote in a romantic idiom. In the middle of the 50s he left this behind for ever and from 1958 on, taken along by his time, he became one of the leading composers of Finnish modernism. He had all different kind of composition techniques at his command like nobody else, but didn’t he still remain a romantic at heart, even as a modern composer? 

“In the early sixties we were all influenced by Schönberg, whether we liked it or not. For many, however, this method of composition became overwhelmingly mathematical and abstract, without feeling, spirituality and freedom,” Marttinen states. 

Freedom was of the utmost importance to Tauno Marttinen. He viewed dodecaphonic music as a headlong rush from the rules that govern classical music. In turn, the consequence for him was that this twelve-tone principle should never be allowed to rule music mathematically, because this would rule out freedom. 

For Marttinen using a row of 7,8,9 or 12 tones was no problem, but this could never serve as the sole starting point. “Dodecaphonic music is a spiritual happening. It provides the freedom to construct music from above. The technique is only a superficial means of keeping the elements together.” So for him technique was never the target, but at most a starting point: it was the universe, the construction of chords and eve- rything else that could make or mar the composition.

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Philippe Graffin

Philippe Graffin has established an indisputable reputation for his interpretations of the French and English repertoire. He has rediscovered original settings of Chausson’s Poème and Ravel’s Tzigane and has championed the concerto of Coleridge-Taylor which he has recorded and performed at the BBC Proms. A number of composers have written works for him including Vytautas Barkauskas, Philippe Hersant, David Matthews, Yves Prin and Rodion Shchedrin.

As concerto soloist, Philippe has performed with orchestras such as The Philharmonia, BBC Symphony, BBC National Orchestra of Wales, Royal Liverpool Philharmonic, Deutsche Radio Philharmonie Saarbrücken, the Residentie Orkest, Gothenburg Symphony, Orchestra di Padova et del Veneto, St Petersburg Philharmonic, and Georges Enesco Philharmonic, Bucharest.

Philippe’s discography includes an early recording with Lord Menuhin and the Royal Philharmonic Orchestra and many world premieres and rarities. He is a highly sought after chamber musician and featured on BBC 4’s documentary ‘Delius: Composer, Lover, Enigma’ in 2012, performing Delius’s ‘Legende’ for violin and piano. 

He is founder and artistic director of the “Consonances” chamber music festival of St Nazaire, France.

He plays a Domenico Busano violin, made in Venice, 1730. He is currently guest professor at the Royal Conservatorium Brussels and at the conservatory in The Hague.

Ralph van Raat

Pianist and musicologist Ralph van Raat (1978) studied the piano with Prof. Ton Hartsuiker and Prof. Willem Brons at the Conservatory of Amsterdam and Musicology at the University of Amsterdam, which he concluded “Cum Laude”. Van Raat also studied with Claude Helffer, Ursula Oppens, and Pierre-Laurent Aimard.

Van Raat appears as a recitalist in Europe, the Middle East and Asia as well as the United States. Besides the traditional classical repertoire, he takes special interest in the performance of contemporary classical music. Many of his concerts have been broadcasted by Dutch as well as foreign radio and television networks. 

Van Raat also performed as a soloist with orchestras including London Sinfonietta, the BBC Symphony Orchestra, the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic Orchestra, the Netherlands Radio Philharmonic Orchestra and Radio Chamber Philharmonic, the Radio Symphony Orchestra of Frankfurt, the Aarhus Symphony Orchestra and the Dortmunder Philharmoniker. He worked closely with conductors Valery Gergiev, JoAnn Falletta, David Robertson, Peter Eötvös, Stefan Asbury, Michel Tabachnik, Tan Dun, Otto Tausk and Susanna Mälki Many composers have written exclusively for Ralph. He recorded a great number of CD’s with complete piano works of contemporary composers, such as Magnus Lindberg.

Van Raat teaches contemporary piano music interpretation at the Conservatory of Amsterdam. He regularly gives masterclasses, lectures and workshops also abroad. 

Since 2003, Van Raat is a Steinway Artist.

Marko Ylonen

Marko Ylönen has performed in as many different roles as almost any other cellist from his generation: soloist, orchestral player and principal, string quartet member, freelance player in duos and trios, and teacher. His repertory is broad, taking in a range of works by C.P.E. Bach, Boccherini, Vivaldi, Haydn, Chopin, Rachmaninov, Sibelius, Piazolla, and especially contemporary Finnish composers like Rautavaara, Kokkonen, Kaipainen and many others. 

Marko Ylönen was born in Rantasalmi, Finland, on June 11, 1966. He was a student of Czaba Szilvay at the East Helsinki Music Institute and of Heikki Rautasalo and Erkki Rautio at the Helsinki-based Sibelius Academy. From 1985-1989 Ylönen had further studies in Basel, Switzerland, with cello virtuoso Heinrich Schiff.

1990 was a breakthrough year for Ylönen: he captured second prize at the Turku Scandinavian Cello Competition and was a prizewinner at the Moscow-based Tchaikovsky International Competition. That same year he began a season-long stint as principal cellist for the Tapiola Sinfonietta

Ylönen became a tenured teacher at the Sibelius Academy in 2000 and would go on to become a professor there in 2009. In 2003, the busy Ylönen appeared with the Finnish Radio Symphony Orchestra for the premiere of a work he had commissioned, Jouni Kaipainen’s Cello Concerto. 

Ylönen served as artistic director of the Korsholm Music Festival in Western Finland. (2004, 2008, 2010, 2011). one of his most successful recordings is his 2010 Alba CD of Sonatas by Chopin and Rachmaninov, with pianist Arto Satukangas.

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Tauno Marttinen (2012)


Philippe Graffin, Ralph van Raat, Marko Ylonen

    Finnish Music Quarterly (1:2014)

Marttinen's spontaneous mastery In these communicative performances it's clear that all three works are strong enough for an independent life in the concert hall.

    BBC music magazine sept 2014 -

"The Violin Concerto in particular is delightfully unpredictable, with an atmospheric slow movement - perhaps not quit 'like the breath of God', as Marttinen puts it, but certainly otherworldly."

Stephen Johnson

    Gramophone july 2014

This is a fascinating, entertaining release, well documented cd and worth investigating. Hopefully Cobra will go on to issue some of the Marttinen syrnphonies.

Guy Rickards

    Klassieke Zaken (apr 2014)

Vergelijkingsmateriaal is er voorlopig niet, maar het lijkt mij dat zijn expressieve muziek hier ideale verklankers gevonden heeft.

Gerard Scheltens[read full review]

    Opus Klassiek april 2014

Marttinen schreef muziek die het meer dan waard is geëngageerd en met alle denkbare technische middelen te worden uitgevoerd. Daar is hier geen enkel gebrek aan: solisten, orkest en dirigent blijken voor deze drie concerten de best denkbare pleitbezorgers. De opname mag er ook zijn, met bovendien zeer indrukwekkend laag.

Aart van der Wal

Tauno Marttinen (2012)


Philippe Graffin, Ralph van Raat, Marko Ylonen

Digital Converters: DCS 904 AD & DCS 954 DA
Mastering Engineer: Tom Peeters
Mastering Equipment: KEF Reference series 107
Microphones: B&K 4003, Neumann, Schoeps modified by Rens Heijnis
Mixing Board: Rens Heijnis custom made
Producer: Tom Peeters
Recording Engineer: Tom Peeters
Recording location: Tampere Hall, Finland - Turku Halll, Finland
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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COBRA0041: Tauno Marttinen
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Violin Concerto op. 13, MV 63 - Moderato
00:10:00   N/A
Violin Concerto op. 13, MV 63 - Lento Misterioso
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Violin Concerto op. 13, MV 63 - Allegro Vivace
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First Piano Concerto op. 154, MV 65 - Allegro
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First Piano Concerto op. 154, MV 65 - Adagio
00:06:00   N/A
First Piano Concerto op. 154, MV 65 - Allegro molto
00:04:00   N/A
Phantasy for Cello & Orchestra op 154, MV 84 - Adagio (-allegro)
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Phantasy for Cello & Orchestra op 154, MV 84 - Adagio
00:07:00   N/A
Phantasy for Cello & Orchestra op 154, MV 84 - Allegro molto
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