Download Mikko Ikaheimo

Mikko Ikaheimo
A la edad de seis años Mikko Ikaheimo (nacido en 1972) empezó a estudiar el piano,
estando a cargo su padre ,que era organista.Unos años después empezó su interés por la guitarra,
que estudió primero en el Conservatorio de Kuopio, y después en el de Hensilki, con el guitarrista
español Juan Antonio Muro.
En 1996 Mikko empezó sus estudios profesionales en la Academia Sibelius con Timo
Korhonen y Jukka Savijoki, y finalmente en 1999 se trasladó a Basilea ( Suiza) a estudiar en las
clases magistrales de Oscar Ghiglia . Allí se graduó con el ” Diploma de Solista” en el
2002.Durante esta estancia en Suiza también estudió la teorba y la interpretación de la música
antigua con el laudista americano Peter Croton.
Mikko Ikaheimo da conciertos regularmente en Finlandia y en el extranjero. En Mayo de
2003 da su primer concierto en España ( sociedad ” Amigos de la guitarra ” de Valencia). Ha sido
finalista en ”K.V. Leino-competition 1994” en Finlandia , y premiado en el ”Gargnanocompetition” en Italia , 1998.
Mikko Ikaheimo es un intérprete muy versatil, abarcando todos los estilos.Interpreta música
desde el Renacimiento hasta el jazz.El próximo verano de 2003 grabará música contemporánea de
los compositores finlandeses Kalevi Aho y Magnus Lindberg. Es también cofundador del
”Ensemble Avoin” donde combinan la música contemporánea con la danza.
Mikko Ikäheimo
Iso Roobertinkatu 41 A 23
00120 HELSINKI
Finland
Email: [email protected]
Tel: +358 50 3047478
PROGRAMA
Robert deVisée:
Suite No XI, en si menor.
-Prelude
-Allemande
-Sarabande
-Gigue
-Passacaille
Johann Kaspar Mertz:
Arreglos de la música de Schubert:
-Aufenthalt
-Fischermädchen
Elegia
Einojuhani Rautavaara: Serenatas del unicornio;
Un paseo intranquilo y una danza
Serenata de dos ninfas traviesas
Serenata de la bella inasequible
Pasando un gran momento
Intermedio
Luciano Berio:
Secuencia XI
John Dowland:
A Fancy
Forlorne Hope Fancy
Sir John Smith, his Almain
Robert deVisée (c.1650-1725)
Suite No.11 B-minor
-Prelude
-Allemande
-Sarabande
-Gigue
-Passacaille
The French lutist and guitarist, Robert deVisée, has a large repertoire for the Baroque guitar. This
instrument was, however, very different from the modern guitar. The instrument was more limited in
producing counterpoint, especially in the bass. This resulted some odd harmonic movements. The composer
even apologizes for this in some manuscripts. DeVisée has versions of these suites also for a melody
instrument and basso continuo. I chose to use both versions in transcribing this piece. Had the composer had
a modern instrument in his hands, he probably would have written in a very different manner.
The Suite has a prelude and four dances. The Allemande, “German dance”, is in this case an “allemandegay”, not as heavy as usual. The Sarabande is especially lively here, it has no strong second beat at all. This
is one of the original, wild, fast, and even sinful Sarabandes. Later on this dance form became slower and
more serious.
Johann Kaspar Mertz(1806-1856)
Three Schubert Arrangements
Elegie
The guitar was tremendously popular in the beginning of the 19th century. Its popularity waned somewhat
in the following decades. J.K.Mertz was one of the very few successful guitarist-composers of the time. As a
composer, he is not mentioned in the general music history books, and is hardly comparable to the greatest
composers of his days. However, he manages to bring all the elements together in some of his compositions.
In Elegie, he seems to have hit the jackpot. A long introduction leads to a beautiful, singing melody that is
varied until the dramatic coda.
Mertz arranged a lot of music for the guitar, from Schubert´s lieds to famous opera arias. The three
arrangements to be heard in this concert, translate as “Resting place”, “Fisher maiden” and “Love´s
message”.
Einojuhani Rautavaara (b.1928)
Serenades of the Unicorn
Einojuhani Rautavaara is the foremost composer of his generation in Finland. His output is large, including
operas, orchestral works, chamber music and several pieces for solo instruments.
Rautavaara has composed a series of works with Unicorn as an alter-ego of the composer himself.. In the
serenades, to judge from the titles, the Unicorn seems to be located in antiquity. Rarely has a modern guitar
piece sounded so humorous. The piece takes advantage of some special effects, like the use of spoon in
“Sereneding a pair of giggly nymphs”. The Serenades were written in 1977.
Luciano Berio (b.1925)
Sequenza XI
Although Berio is a contemporary of Rautavaara, he writes in a very different manner. Berio´s music is
avantgardistic and revolutionary. He wrote sequenzas for various solo instruments, number eleven for the
guitar. All the sequenzas are extremely virtuosic and full of explosive power. Sequenza XI plays with
contradicting elements, violent rasguedos and harmonics, fast repetitions and slower cords.
John Dowland (1563 - 1626)
A Fancy
Sir John Smith, His Almain
Forlorne Hope Fancy
When I first started to visit guitar concerts, I heard performances of a large quantity of the music of John
Dowland. Nowadays, guitarists seem to have left Dowland´s pieces for lutists to play, unlike the music of
J.S.Bach, for instance. I find this is a shame. Dowland´s lute music is marvellous, and it works mostly
untranscribed on the guitar. Also, the lute concerts are so few, that in order to keep Dowland´s
instrumental music well-known, we guitarists are obliged to play it.
Dowland´s melancholy is well presented in the two Fancies. Sir John Smith, his Almain shows a more cheerful
and virtuosic side of the composer. Forlorne hope fancy is based on a descending cromatic theme. This
master-piece is one of the greatest ever written for the instrument.