User:Gisbert K/sandbox3

Cited sources clarinet

• Amore, Adriano (2018). I clarinetti piccoli in Italia : storia, tipologie, utilizzo e repertorio. Adriano Amore. OCLC 1124643607.
• Baines, Anthony (1991). Woodwind Instruments and Their History. Dover Books. ISBN 978-0-486268-85-9.
• Black, Dave; Gerou, Tom (2005). Essential Dictionary of Orchestration. Alfred Music. ISBN 978-1-4574-1299-8.
• Coppenbarger, Brent (2015). Fine-Tuning the Clarinet Section: A Handbook for the Band Director. Rowman & Littlefield. ISBN 978-1-4758-2077-5.
• Dearling, Robert (2001). Woodwind & brass instruments. Chelsea House Publishers.
• Değirmenci, Koray (2013). Creating Global Music in Turkey. Lexington Books. ISBN 978-0-7391-7546-0.
• Ellsworth, Jane (2015). A Dictionary for the Modern Clarinetist. Rowman & Littlefield. ISBN 978-0-8108-8648-3.
• Hoeprich, Eric (2008). The Clarinet. Yale University Press. ISBN 978-0-300-10282-6.
• Lawson, Colin, ed. (1995). The Cambridge Companion to the Clarinet. Cambridge University Press. ISBN 978-0-521-47668-3.
  • Brown, John Robert. "The clarinet in jazz". In Lawson (1995), pp. 184–198.
  • Dobrée, Georgina. "The basset horn". In Lawson (1995), pp. 57–65.
  • Harris, Michael (1995a). "The bass clarinet". In Lawson (1995), pp. 66–74.
  • Harris, Paul (1995b). "Teaching the clarinet". In Lawson (1995), pp. 123–133.
  • Heaton, Roger. "The contemporary clarinet". In Lawson (1995), pp. 163–183.
  • Lawson, Colin (1995a). "Single reeds before 1750". In Lawson (1995), pp. 1–15.
  • Lawson, Colin (1995b). "The clarinet family". In Lawson (1995), pp. 33–37.
  • Lawson, Colin (1995c). "The C clarinet". In Lawson (1995), pp. 38–42.
  • Rees-Davies, Jo. "The development of the clarinet repertoire". In Lawson (1995), pp. 75–91.
  • Shackleton, Nicholas. "The development of the clarinet". In Lawson (1995), pp. 16–32.
  • Tschaikov, Basil. "The high clarinets". In Lawson (1995), pp. 43–56.
• Libin, Laurence, ed. (2015). The Grove Dictionary of Musical Instruments (2nd ed.). Oxford University Press. ISBN 978-0-1997-4340-7.
  • Page, Janet K.; Gourlay, K. A.; Blench, Roger; Shackleton, Nicholas; Rice, Albert. "Clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015a). "Alto clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015b). "Bass clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015c). "Basset clarinet". In Libin (2015).
• Lowry, Robert (1985). Practical Hints on Playing the B-Flat Clarinet. Alfred Publishing. ISBN 978-0-7692-2409-1.
• Miller, R. J. (2015). Contemporary Orchestration. Routledge. ISBN 978-1-3178-0625-7.
• Pagliaro, Michael J. (2024). The clarinet, how it works: a practical guide to clarinet ownership. Rowman & Littlefield. ISBN 978-1-5381-9082-1.

• Pinksterboer, Hugo (2001). Tipbook: Clarinet. Hal Leonard Corporation. ISBN 978-90-761-9246-8.

• Pino, David (1998). The Clarinet and Clarinet Playing. Dover Books. ISBN 978-0-486-40270-3.
• Raasakka, Mikko (2010). Exploring the Clarinet: A Guide to Clarinet Technique and Finnish Clarinet Music. Fennica Gehrman. ISBN 978-952-5489-09-5.
• Rehfeldt, Phillip (1994). New Directions for Clarinet (2nd ed.). University of California Press. ISBN 978-0-520-03379-5.
• Rendall, Geoffrey F.; Bate, Philip (1971). The Clarinet: Some Notes Upon Its History and Construction (Third ed.). W. W. Norton & Company Inc. ISBN 978-0-393-02164-6.
• Rice, Albert R. (2009). From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets, 1740–1860. Oxford University Press. ISBN 978-0-19-971117-8.
• Shahriari, Andrew (2015). Popular World Music. Routledge. ISBN 978-1-3173-4538-1.
• Starr, S. Frederick (2021). "The clarinet in vernacular music". In Ellsworth, Jane (ed.). The Clarinet. Boydell & Brewer. pp. 255–289. ISBN 978-1-6482-5017-0.
• Suhor, Charles (2001). Jazz in New Orleans: The Postwar Years Through 1970. Scarecrow Press. ISBN 978-1-4616-6002-6.

Cited sources Martin

• Amore, Adriano (2018). I clarinetti piccoli in Italia : storia, tipologie, utilizzo e repertorio. Adriano Amore. OCLC 1124643607.
• Baines, Anthony (1991). Woodwind Instruments and Their History. Dover Books. ISBN 978-0-486268-85-9.
• Black, Dave; Gerou, Tom (2005). Essential Dictionary of Orchestration. Alfred Music. ISBN 978-1-4574-1299-8.
• Bobillier, Marie; Brenet, Michel (1926). "Dictionnaire pratique et historique de la musique (complété par A. Gastoué)" (pdf) (in French). Paris: Armand Colin. pp. 79–81.
• Candé, Roland de (1983). Nouveau dictionnaire de la musique (in French). Paris: Éditions du Seuil. ISBN 2-02-006575-4.
• Coppenbarger, Brent (2015). Fine-Tuning the Clarinet Section: A Handbook for the Band Director. Rowman & Littlefield. ISBN 978-1-4758-2077-5.
• Dearling, Robert (2001). Woodwind & brass instruments. Chelsea House Publishers.
• Değirmenci, Koray (2013). Creating Global Music in Turkey. Lexington Books. ISBN 978-0-7391-7546-0.
• Ellsworth, Jane (2015). A Dictionary for the Modern Clarinetist. Rowman & Littlefield. ISBN 978-0-8108-8648-3.
• Hoeprich, Eric (2008). The Clarinet. Yale University Press. ISBN 978-0-300-10282-6.
• König, Gisbert (2023). "Eine Reise durch die deutsche Klarinettenbaulandschaft" [A journey through the German clarinet-making landscape]. Rohrblatt (in German). Vol. 38, no. 3. pp. 107–117.
• Kroll, Oskar (1965). Baerenreiter (ed.). Die Klarinette Ihre Geschichte Ihre Literatur Ihre großen Meister (The clarinet Its history Its literature Its great masters) (in German). Kassel. ISBN 37618-0086-X.{{cite book}}: CS1 maint: location missing publisher (link)
• Lavignac, Albert; Laurencie, Lionel de (1931). Encyclopédie de la musique et dictionnaire du conservatoire (in French). Paris: Delagrave. p. 1024.
• Lawson, Colin, ed. (1995). The Cambridge Companion to the Clarinet. Cambridge University Press. ISBN 978-0-521-47668-3.
  • Brown, John Robert. "The clarinet in jazz". In Lawson (1995), pp. 184–198.
  • Dobrée, Georgina. "The basset horn". In Lawson (1995), pp. 57–65.
  • Harris, Michael (1995a). "The bass clarinet". In Lawson (1995), pp. 66–74.
  • Harris, Paul (1995b). "Teaching the clarinet". In Lawson (1995), pp. 123–133.
  • Heaton, Roger. "The contemporary clarinet". In Lawson (1995), pp. 163–183.
  • Lawson, Colin (1995a). "Single reeds before 1750". In Lawson (1995), pp. 1–15.
  • Lawson, Colin (1995b). "The clarinet family". In Lawson (1995), pp. 33–37.
  • Lawson, Colin (1995c). "The C clarinet". In Lawson (1995), pp. 38–42.
  • Rees-Davies, Jo. "The development of the clarinet repertoire". In Lawson (1995), pp. 75–91.
  • Shackleton, Nicholas. "The development of the clarinet". In Lawson (1995), pp. 16–32.
  • Tschaikov, Basil. "The high clarinets". In Lawson (1995), pp. 43–56.
• Libin, Laurence, ed. (2015). The Grove Dictionary of Musical Instruments (2nd ed.). Oxford University Press. ISBN 978-0-1997-4340-7.
  • Page, Janet K.; Gourlay, K. A.; Blench, Roger; Shackleton, Nicholas; Rice, Albert. "Clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015a). "Alto clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015b). "Bass clarinet". In Libin (2015).
  • Shackleton, Nicholas; Rice, Albert (2015c). "Basset clarinet". In Libin (2015).
• Lowry, Robert (1985). Practical Hints on Playing the B-Flat Clarinet. Alfred Publishing. ISBN 978-0-7692-2409-1.
• Miller, R. J. (2015). Contemporary Orchestration. Routledge. ISBN 978-1-3178-0625-7.
• Pinksterboer, Hugo (2001). Tipbook: Clarinet. Hal Leonard Corporation. ISBN 978-90-761-9246-8.
• Pino, David (1998). The Clarinet and Clarinet Playing. Dover Books. ISBN 978-0-486-40270-3.
• Raasakka, Mikko (2010). Exploring the Clarinet: A Guide to Clarinet Technique and Finnish Clarinet Music. Fennica Gehrman. ISBN 978-952-5489-09-5.
• Rendall, Geoffrey F.; Bate, Philip (1971). The Clarinet: Some Notes Upon Its History and Construction (Third ed.). W. W. Norton & Company Inc. ISBN 978-0-393-02164-6.
• Rice, Albert (1992b). The Baroque clarinet. Clarendon Press Oxford. p. 81, 82.
• Rice, Albert R. (2003). The Clarinet in the Classical Period. New York: Oxford University Press. p. 150. ISBN 0-19-534299-2.
• Rice, Albert R. (2009). From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets, 1740–1860. Oxford University Press. ISBN 978-0-19-971117-8.
• Shahriari, Andrew (2015). Popular World Music. Routledge. ISBN 978-1-3173-4538-1.
• Starr, S. Frederick (2021). "The clarinet in vernacular music". In Ellsworth, Jane (ed.). The Clarinet. Boydell & Brewer. pp. 255–289. ISBN 978-1-6482-5017-0.
• Suhor, Charles (2001). Jazz in New Orleans: The Postwar Years Through 1970. Scarecrow Press. ISBN 978-1-4616-6002-6.
• François-René Tranchefort (1987). Fayard (ed.). Guide de la musique de chambre (in French). p. 112.</ref>

Usage and repertoire

As soloist, in the chamber music and in the orchestra

Music in the Baroque style 17th century and first half of the 18th century

The clarinet only appears very rarely in Baroque music, mainly because it was only introduced in 1690. At the beginning of the 18th century, the instrument was still maturing, but as early as 1716 Vivaldi wrote the first two concerti grossi RV 559 and RV 560, each of which featured 2 clarinets and 2 oboes. . In the same year, he composed the oratorio Juditha triumphans with two C clarinets.. The overture HWV 424 by Georg Friedrich Händel, composed in 1741, also features two clarinets. In France, Rameau used clarinets in his tragédie en musique Zoroastre.

Today, there are numerous arrangements of Baroque music for the clarinet, e.g. by Johann Sebastian Bach, Vivaldi and Telemann.

Music in the classical style (18th century)

Main article: Clarinet concerto

In the late 1740s, at the beginning of the music of the classical period, clarinets were introduced in the orchestra of La Pouplinière in Paris. The famous solo clarinettist of this orchestra was Gaspard Procksch; Johann Stamitz wrote his ‘’Concerto in B flat major‘’ for him. This concerto is the first to be written for the large clarinet in B♭ and covers the entire range used at the time: more than three octaves. At the same time, Johann Melchior Molter wrote six clarinet concertos for clarinet in D.

Clarinets appear in the symphony orchestra with Johann Stamitz and others from 1754, but were rarely used until the 1780s. However, many composers wrote solo concertos for this instrument, e.g. Karl Stamitz, František Xaver Pokorný, Johann Baptist Vanhal, Leopold Kozeluch, Franz Anton Hoffmeister and Ignaz Pleyel. Virtuoso clarinettists such as Heinrich Backofen, Franz Tausch, Johann Joseph Baer, John Mahon, Michel Yost and Jean-Xavier Lefèvre also wrote concertos. There are also several concertos for two clarinets, e.g. by Karl Stamitz and Franz Krommer. The first clarinet sonata was written 1770 by the Neapolitan composer Gregorio Sciroli..

Wolfgang Amadeus Mozart played a decisive role in the history of the clarinet. He used it for the first time in 1771 in his ‘’Divertimento‘’ K. 113, in the symphony ‘Parisienne’ (1778).

In the same year, he heard Mannheim Carl Stamitz's symphonies with clarinet instrumentation and wrote to his father:

‘Oh, if only we had clarinetti! - You wouldn't believe what a marvellous effect a symphony with flutes, oboes and clarinets makes!’

However, this quote refers to the Salzburg court orchestra, which only started using clarinets in 1804. Clarinets were used in the prince-archbishop's military orchestra from 1769 at the latest, and Mozart endeavoured to integrate this instrument into the orchestra in Austria from this point onwards. The fact that the clarinet was not yet widespread can also be seen from the fact that Mozart only added two clarinets to his Symphony in G minor K. 550 from 1788 later in the second version, demonstrably at the concerts on 16 and 17 April 1791, thus bringing it onto the market in two versions, certainly also to support its dissemination. And it is partly thanks to him that the clarinet is already a permanent part of the wind section in Beethoven's symphonies and is used on an equal footing with the oboe and flute.

The clarinet is used in all Mozart operas from ‘’‘Idomeneo’‘’ onwards, as well as in symphonies 31, 35, 39 and 40 and piano concertos 22, 23 and 24. Famous in Mozart's opera La clemenza di Tito are the dominant roles of the basset clarinet in Sesto's aria ‘Parto, ma tu ben mio’ (No. 9) and that of the basset horn in Vitellia's aria ‘Non più di fiori’ (No. 23). Mozart was also one of the first composers to use the clarinet in chamber music. He wrote three serenades for wind instruments, the Quintet for wind instruments and piano, the Clarinet Quintet and the Kegelstatt Trio with viola and piano. The latter two works were written for the famous virtuoso Anton Stadler, who was a friend of the composer and, like him, a Freemason. Mozart also wrote his ‘’Clarinet Concerto‘’ in A major, K. 622, for Stadler. Some of Mozart's works in which the clarinet and basset horn are used remained unfinished.

Also noteworthy is the Upper Swabian composer Nikolaus Betscher from the Rot an der Rot Abbey, who had connections to the Salzburg composer Michael Haydn. In his Missa in C from 1794, only 3 years after the performance of the clarinet version of Mozart's G minor Symphony, he uses the clarinet ‘both as a tutti instrument in the wind section of the ensemble and as a virtuoso solo instrument in the “Gloria”’.

In pure wind chamber music, there has hardly been a formation without the clarinet since around 17980. In harmoniemusiks, wind octets and sextets there are usually two clarinets, in woodwind quintets there is one clarinet part. Another important instrumentation is the clarinet quartet consisting of two clarinets, basset horn and bass clarinet. The clarinet also plays an important role in the quintets for piano and winds by Mozart and Beethoven.

Music in the Romantic style 19th century

While the classical period used the clarinet primarily as a solo instrument, the Romanticism of the 19th century used the clarinet mainly as an instrument of the orchestra, in which it became a permanent member. Franz Schubert, Hector Berlioz, Mikhail Glinka, Richard Wagner, Giuseppe Verdi, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Nikolai Rimsky-Korsakov and many other composers entrusted it with solo parts in their orchestral works, which can have a calm and cheerful character, but can also be dramatic or tragic.

In addition to its role as an orchestral instrument, the clarinet continues to be used as a solo instrument in concerts and chamber music.

The works of Carl Maria von Weber are an important part of the clarinet repertoire. Weber used the instrument as a soloist for the first time in March 1811, when he came to Munich and met Heinrich Joseph Baermann, who was the solo clarinet in the Bavarian king's court orchestra. The ‘’Concertino in E flat major‘’ was very successful and Weber wrote two further major concertos for Baermann, the Clarinet Concerto No. 1 in F minor, op.73, and the Clarinet Concerto No. 2 in E flat major, op.74. Weber later wrote the ‘’Variations for Clarinet and Piano‘’ and the ‘’Quintet for Clarinet and Strings‘’, both also for Baermann. His last work for the clarinet, the ‘’Grand duo concertant‘’ for clarinet and piano, is dedicated to another virtuoso of his time: Johann Simon Hermstedt.Louis Spohr also wrote his four clarinet concertos for Hermstedt. As Spohr took no account of the technical possibilities of the clarinet at the time, Hermstedt was repeatedly forced to make improvements to his clarinets

As in the previous century, some clarinettists composed works for their instrument themselves. This applies to Bernhard Henrik Crusell, who wrote three concertos and the ‘’Variations on a Swedish Melody‘’, or to Italian clarinettists such as Benedetto Carulli, Ernesto Cavallini and Luigi Bassi, to whom we owe numerous fantasies on themes from Italian operas.

At this time, many pieces used the clarinet in chamber music. The instrumentation and works are diverse. The instrument can be found in the works of Ludwig van Beethoven (duos for clarinet and bassoon, trio with piano and cello, quintet for winds and piano, septet for strings and winds), Franz Schubert (Octet)), Felix Mendelssohn (sonata with piano, two ‘’concert pieces‘’ with basset horn and piano), Robert Schumann (‘’Phantasiestücke‘’ for clarinet and piano, ‘’Märchenerzählungen‘’ with piano and viola) and other composers.

Johannes Brahms, inspired by Richard Mühlfeld, wrote four chamber music works for the clarinet in the last years of his life: two piano sonatas, the Trio with cello and piano and the String Quintet. The trio by Alexander von Zemlinsky and the sonata by Gustav Jenner were written under the influence of Brahms.

In the Romantic opera orchestra, the clarinet is often given expressive vocal lines. In addition, the clarinet section in the orchestra is enlarged, often with three or more players, some of whom also play secondary instruments. The bass clarinet plays an increasing role in the Romantic opera orchestra in particular (for example in the operas of Richard Wagner). The clarinet parts from operas by Richard Strauss are so important and demanding that they are still required as compulsory pieces in auditions today. Individual composers (for example Shostakovich in his opera ‘’Lady Macbeth of Mtsensk‘’) cast up to five or eight (Richard Strauss, ‘’Elektra‘’) clarinettists.

Music in the modern style (1st half of the 20th century)

The clarinet is used very frequently in modern music of the early 20th century. The most important composers of this period wrote solo compositions, chamber music and orchestral works with clarinets in the woodwind section for the instrument.

Among the compositions of this period for the completely unaccompanied clarinet, the ‘’Three Pieces‘’ (1919) by Igor Stravinsky, ‘’Moods of a Faun‘’ (1921) by Ilse Fromm-Michaels are particularly noteworthy, ‘’L'abîme des oiseaux‘’ (1941) from the ‘’Quatuor pour la fin du temps‘’ by Olivier Messiaen, the ‘’Capriccio‘’ (1946) by Heinrich Sutermeister and the solo sonatas by Sigfrid Karg-Elert (1920), John Cage (1933) and Germaine Tailleferre (1957).

The instrument continues to be used for solo concertos with orchestral accompaniment. The most important are the concertos by Carl Nielsen, Aaron Copland commissioned by Benny Goodman and Paul Hindemith, whose concerto was also premiered by Benny Goodman in 1950.

In chamber music, the ‘’Four Pieces‘’ by Alban Berg should be emphasised. There are numerous works for clarinet and piano (Max Reger, Camille Saint-Saëns, Francis Poulenc, Claude Debussy, Alban Berg). The instrument appears together with the strings in trios (Béla Bartók , Igor Stravinsky, Darius Milhaud , Ernst Křenek ) and quartets (Olivier Messiaen and Paul Hindemith). Sonatas were composed by Felix Draeseke, Camille Saint-Saëns, Max Reger, Arnold Bax, Paul Hindemith, Francis Poulenc (‘’‘Sonata for Clarinet and Piano’), Josef Schelb, Leonard Bernstein and Aaron Copland.

In the orchestra, the clarinet embodies the cat in ‘’Peter and the Wolf‘’ by Sergei Prokofiev, and one of its most famous entries is of course the virtuoso ‘’glissando‘’ that introduces the ‘’Rhapsody in Blue‘’ by George Gershwin, this difficult solo is a kind of prelude to the work and has remained famous to this day.

The Carnival of the Animals

Main article: The Carnival of the Animals

In this famous composition by Camille Saint-Saëns, the clarinet plays in four of the fourteen movements, namely :

• Chickens and roosters

An extremely rare example of purely imitative music, this concertante clucking, to which the clarinet is added, is a bravura piece with a very ironic character. For a brief moment, the clarinet intensifies the cocks' presumptuous cackling.

• The cuckoo in the forest

This is undoubtedly one of the best-known themes on the clarinet. Its originality lies in the fact that the clarinet has the privilege of repeating 21 times the same motif on the same two notes (2 quavers D4-B3, by ear C4-Lab3), while the piano leads the melody alone through slow chords... Through these two tirelessly repeated notes, the clarinet imitates the sound of the cuckoo and thus reinforces the satirical side of the piece.

• Fossils

Parodistic passage which, in addition to extinct animals, is also reminiscent of old melodies from that time. The clarinet takes up the famous theme from Gioachino Rossini‘s “”Barber of Seville’' una voce poco fa and even jokes with its own dance of death, made merry for the occasion! A fragment of Au clair de la lune can be heard very clearly here through the clarinet.

• Finale

This last piece is synonymous with the parade at the end of a revue. The clarinet plays the whole time side by side with the piccolo flute .

Music in the contemporary style (from 1950)

The clarinet is also used by Contemporary composers. A selection:

• Madrigal I by Henri Pousseur, 1956.

• Sonata, for clarinet solo by Germaine Tailleferre, 1957

• Domaines, in the version for clarinet solo (1961) and in the version with ensemble (rev. 1969) and Dialogue de l'ombre double (1985), with electronics by Pierre Boulez

• Five Movements, for clarinet quartet, by Claude Arrieu, 1964

• Sonata, for clarinet solo by Edison Denisov, 1972

• Sequenza by Luciano Berio, 1980

• Ombra for double bass clarinet by Franco Donatoni, 1984

• Dites-moi la neige, for clarinet and 2 string quartets, op.17, by François Leclère, 1995
• Eshu for 15 clarinets (from the small E-flat to the contrabass clarinet in B-flat and percussion by Pierre Angot
• Concertino for clarinet and strings (2001/02) by Aexis Chalier

• Génération, Concerto Grosso for three clarinets and orchestra by Jean-Louis Agobet, 2002.

• Concerto Grosso No. 2 for 5 clarinets and orchestra, by Krzysztof Penderecki, 2004.

• Clarinet Concerto (2005) by Kalevi Aho

• The Seas of Kirk Swarf for bass clarinet and strings (2007)

• Concerto for bass clarinet and orchestra by Todd Goodman

• Lost Lanes, Shadow Groves by James Francis Brown (2008)

• Épitaphe, for clarinet in A and piano, by Karol Beffa, 2009

• Equinox for clarinet and small orchestra by Richard Festinger (2009)

• Feux d'artifice, for clarinet quartet, by Karol Beffa, 2011

• Intangiballistics for clarinet and wind ensemble by Rusty Banks (2011)

• Clarinet concerto by Sérgio Azevedo (2013)

• Clarinet concerto by Karol Beffa (2014)

• Concerto pour clarinette et orchestre by Paul Dupré (2019)

• Basset Clarinet Concerto ‘SUTRA’ by Wim Henderickx, world premiere on 31 March 2021 with Annelien Van Wauwe

The clarinet concerto by Jean Françaix (1968) marks a high point in terms of technical and musical sophistication, although it is rarely performed due to its high demands on the soloist and the orchestra. New impulses have been provided in recent years by the Swedish solo clarinettist Martin Fröst and the Finn Kari Kriikku, among others. Both soloists have commissioned and premiered concertos, performed them in numerous concerts worldwide and recorded them on CD. Among others, Kalevi Aho wrote for Fröst. Kalevi Aho, Anders Hillborg and Rolf Martinsson wrote (Concert Fantastique) for Fröst, for Kriikku Unsuk Chin, Unsuk Chin and Rolf Martinsson. Unsuk Chin, Kimmo Hakola, Jouni Kaipainen, Magnus Lindberg, Kaija Saariaho and Jukka Tiensuu Concerts.