Essays by Anssi Karttunen:
Reflections on the relation between interpreter, composer and audience
For many years I have been described as a cellist who specialises in contemporary music. This may be true, but I have yet to fully understand what is meant by "specialising" and what is meant by "contemporary". I developed quite early an interest in fresh music, music to which my ears were not yet accustomed. This led to a desire to know the people behind this music, which in turn led to many other things. Curiosity is the key word behind this personal journey in time. In this article I will elaborate on some of my views about interpreting, composing and performing.
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The Cello Concerto of Robert Schumann - Thoughts after performing the re-orchestration by Shostacovich in Porto with Remix-Orchestra conducted by Sian Edwards
Recently I was asked to play the Schumann Cello Concerto re-orchestrated by Shostacovich in the Casa da Musica in Porto. Having to play this version of the concerto, which seems to me perfect in its original version made me think much about what led anyone to want another version of the piece. Over 150 years this Concerto has been the subject of so many misunderstandings that it was in some ways natural someone would have wanted to try making a new "improved" version of the piece. The music of Schumann in general has had a lot of bad press and goes on provoking it still today.
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Johannes Brahms: String Quintet Op. 34 - How did it sound?
Johannes Brahms wrote his Quintet 0p.34 for two violins, viola and two cellos in September 1862 in Hamburg, he was 29 years old. As always, he sent it to his closest musician friends Clara Schumann and Joseph Joachim for approval. Both replied at first enthusiastically, especially Clara, who called it a masterpiece. Joachim did warn from the beginning that the piece would not sound clear without "vigourous playing". Both of them found the piece musically perfect, any problems they found were with the instrumentation. Joachim rehearsed the Quintet twice with friends and played it through to Brahms in Hanover during the spring 1863. For some reason this discouraged Brahms so much that he reworked it as a Sonata for two pianos and destroyed the String Quintet manuscript.
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Magnus Lindberg: Cello Concerto
About the Cello Concerto and its form
(introduction for the first Finnish performance)
There is far more to composition than a metaphysical process of creation. Performers often tend to stress the mystical dimension of music, the theorists the bones. We all build a certain amount of mystery into the listening experience, so let us take a peep behind the musical scenes. To the kitchen, as it were.
... read more
Reflections on the relation between interpreter, composer and audience
For many years I have been described as a cellist who specialises in contemporary music. This may be true, but I have yet to fully understand what is meant by "specialising" and what is meant by "contemporary". I developed quite early an interest in fresh music, music to which my ears were not yet accustomed. This led to a desire to know the people behind this music, which in turn led to many other things. Curiosity is the key word behind this personal journey in time. In this article I will elaborate on some of my views about interpreting, composing and performing.
... read more
The Cello Concerto of Robert Schumann - Thoughts after performing the re-orchestration by Shostacovich in Porto with Remix-Orchestra conducted by Sian Edwards
Recently I was asked to play the Schumann Cello Concerto re-orchestrated by Shostacovich in the Casa da Musica in Porto. Having to play this version of the concerto, which seems to me perfect in its original version made me think much about what led anyone to want another version of the piece. Over 150 years this Concerto has been the subject of so many misunderstandings that it was in some ways natural someone would have wanted to try making a new "improved" version of the piece. The music of Schumann in general has had a lot of bad press and goes on provoking it still today.
... read more
Johannes Brahms: String Quintet Op. 34 - How did it sound?
Johannes Brahms wrote his Quintet 0p.34 for two violins, viola and two cellos in September 1862 in Hamburg, he was 29 years old. As always, he sent it to his closest musician friends Clara Schumann and Joseph Joachim for approval. Both replied at first enthusiastically, especially Clara, who called it a masterpiece. Joachim did warn from the beginning that the piece would not sound clear without "vigourous playing". Both of them found the piece musically perfect, any problems they found were with the instrumentation. Joachim rehearsed the Quintet twice with friends and played it through to Brahms in Hanover during the spring 1863. For some reason this discouraged Brahms so much that he reworked it as a Sonata for two pianos and destroyed the String Quintet manuscript.
... read more
Magnus Lindberg: Cello Concerto
About the Cello Concerto and its form
(introduction for the first Finnish performance)
There is far more to composition than a metaphysical process of creation. Performers often tend to stress the mystical dimension of music, the theorists the bones. We all build a certain amount of mystery into the listening experience, so let us take a peep behind the musical scenes. To the kitchen, as it were.
... read more
Foto: Hanno Karttunen
Photo: Astrid Karger
Photo: Irmeli Jung