The 8 Symphonies

4-CD Boxed Set!

"Rautavaara's First Symphony has often been revised, from a four-movement original, down to two movements, and back up to the present three, which, as the composer notes, provides a more balanced sequence than previously. It was written when Prokofiev and Shostakovich were major influences, but with the passing of time the lyricism of the first movement now seems fully characteristic of Rautavaara. Adagio Celeste is yet another example (there are many in Rautavaara) of how music based on a 12-note theme can still be very beautiful and approachable. In this regard he recalls Swiss composer Frank Martin. It's a lovely work scored for small orchestra (the "string orchestra" designation on the tray card is incorrect). Once again the performances of this work and the symphony are all that anyone could ask, and the sonics, whether in stereo or multichannel formats, are fully up to the quality of the interpretations. A knockout, not to be missed!"

-- David Hurwitz, ClassicsToday.com
Review of original release, Ondine 1064

"The Seventh Symphony’s opening Tranquillo evokes a calm though powerful atmosphere, with many Sibelian points of reference – most especially in terms of the flute writing at 5'45'' and, a little later, in recognizable echoes of the Largo fourth movement from Sibelius’s Fourth Symphony. The disruptive second movement leads to a Come un sogno third that suggests, at least initially, Cantus arcticus without the birds, whereas the closing Pesante-cantabile is more in line with the symphonic world of Alan Hovhaness, especially in its opening moments. The Angel idea originates in a series that already includes a number of other works (Angels and Visitations and Angel of Dusk, for instance), the reference being (as the composer himself explains) to “an archetype, one of mankind’s oldest traditions and perennial companions”. This Jungian axis is reflected in monolithic chords, ethereal harmonic computations (invariably broad and high-reaching) and an unselfconscious mode of musical development. Readers schooled in the more contemplative works of Gorecki, Part and Tavener will likely respond to this spatially generous essay, though Rautavaara’s language is more a celebration of nature and her works than of any specific religious ritual."

-- Gramophone, 6/1996
Review of original release, Ondine 869

Notes: Composition written: Finland (1956).
Composition revised: Finland (1988).
Composition revised: Finland (2003).

2. Symphony no 2 by Einojuhani Rautavaara
Conductor: Max Pommer
Orchestra/Ensemble: Leipzig Radio Symphony Orchestra
Period: 20th Century
Written: 1957/1984; Finland

3. Symphony no 3, Op. 20 by Einojuhani Rautavaara
Conductor: Max Pommer
Orchestra/Ensemble: Leipzig Radio Symphony Orchestra
Period: 20th Century
Written: 1961; Finland

4. Symphony no 4 "Arabescata" by Einojuhani Rautavaara
Conductor: Max Pommer
Orchestra/Ensemble: Leipzig Radio Symphony Orchestra
Period: 20th Century
Written: 1964; Finland

5. Symphony no 5 by Einojuhani Rautavaara
Conductor: Max Pommer
Orchestra/Ensemble: Leipzig Radio Symphony Orchestra
Period: 20th Century
Written: 1985; Finland

6. Symphony no 6 "Vincentiana" by Einojuhani Rautavaara
Conductor: Max Pommer
Orchestra/Ensemble: Helsinki Philharmonic Orchestra
Period: 20th Century
Written: 1992; Finland

7. Symphony no 7 "Angel of Light" by Einojuhani Rautavaara
Conductor: Leif Segerstam
Orchestra/Ensemble: Helsinki Philharmonic Orchestra
Period: 20th Century
Written: 1994; Finland

8. Symphony no 8 "The Journey" by Einojuhani Rautavaara
Conductor: Leif Segerstam
Orchestra/Ensemble: Helsinki Philharmonic Orchestra
Period: 20th Century
Written: 1999; Finland