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Aho: Solo

Samuli Peltonen (cello), Hiyoli Togawa (viola), Piet Van Bockstal (oboe), Simon Reitmaier (clarinet), Bram van Sambeek (bassoon), Marie Luise Neunecker (horn), Sharon Bezaly (flute)

Some of these solo pieces started life as competition works, and it’s easy to see why. They are extremely technically demanding, which may not make for a wholly pleasant listening experience,...

Aho: Solo

Samuli Peltonen (cello), Hiyoli Togawa (viola), Piet Van Bockstal (oboe), Simon Reitmaier (clarinet), Bram van Sambeek (bassoon), Marie Luise Neunecker (horn), Sharon Bezaly (flute)

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This release includes a digital booklet

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Some of these solo pieces started life as competition works, and it’s easy to see why. They are extremely technically demanding, which may not make for a wholly pleasant listening experience,...

About

Kalevi Aho is one of today’s most prolific composersof large-scale orchestral scores, including 17 symphonies and 32 concertos to date. Less wellknown is the fact that he has also written chamber music, as well as an ever-expanding series of solo pieces – starting with Solo I for violin from 1975, the most recent in the series, for clavichord, is the 17th. Some of these pieces has originated as part of Aho’s preparations when composing a concerto for the instrument in question, while others have been written for competitions, including Solo III for flute and Solo IV for cello on the present disc. This first volume of Solos gathers seven pieces in all, four of which have previously appeared as part of separate discs. Aho’s Solos share the characteristic that they pose great technical, interpretative and often also physical challenges to the performer. Most of those heard here are performed by the musicians for whom they were written, including Hiyoli Togawa (Solo XII), Piet Van Bockstal (Solo IX), Simon Reitmaier (Solo XIV) and Marie-Luise Neunecker (Solo X).

Contents and tracklist

I. Quarter Note = 66
Track length9:03
II. Presto
Track length4:21

Awards and reviews

November 2021

Some of these solo pieces started life as competition works, and it’s easy to see why. They are extremely technically demanding, which may not make for a wholly pleasant listening experience, but the playing is exemplary, particularly of bassoon and flute.

Jan/Feb 2022

The performances, many of them by players who inspired the music, are uniformly dazzling.

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