Donald Satz wrote:

>I'm interested in the 20th century composer Aulis Sallinin and would
>appreciate some feedback concerning his style, most rewarding works,
>and recordings that best represent his soundworld.

Saturday morning I broadcast the new Naxos release of his First Symphony.
The first time I heard the piece was a broadcast of the Boston Symphony
performance conducted by Kamu.  I find much to like in the new recording
but would not give up my copy of the Kamu broadcast or his release on
BIS.

Sallinen's style has evolved over the years, but, for me, I often liken
it the 4th Symphony of Sibelius (a favorite work of mine).  For me, the
Sibelius 4th is not as audibly based on classical form as some of his
other works and has an "other worldly" quality to it.  I find much of
that in Sallinen's work.  I have tried to acquire all of the recordings
I can find of his music.  Some of the early pieces are less tonal, but
there is always some observable (at least to my ears) tonal focus.  The
music has always seemed to me to be rich in it expression, superbly
crafted a logically proportioned.  I also find it, in some ways, similar
to some, but not all, of the music of Kokkonen.  Early Kokkonen, as in
the 1st and 2nd symphonies, is less tonal and sometimes suggestive of
dodecaphonic writing.  However, his Third Symphony and his opera, the
Last Temptations are, for me, brilliant and very moving.

As for recordings of Sallinen's work, Kamu had a long time association
with Sallinen's work.  The recent disc from Naxos, supposedly the first
in a series, offers excellent sound and great clarity in the interpretation.
To my ears, Kamu's perspective is more on the Romantic side.  Favorite
Sallinen works include the Violin Concerto; Cello Concerto; First and
Third Symphonies; operas: The Red Line and the King Goes Forth to France.

For your first listen, try the First Symphony.  Turn off the phone, turn
up the volume, sit back and let it unfold before you.  It is a short
work, about 15 minutes in duration and captures much of his style.  While
there are clearly defined thematic elements, the work evolves and developes
on its own terms.  For me, it was impossible not to be touched by its
expression.

Karl