Abstract:Einojuhani Rautavaara's international fame rests largely on pieces celebrated for their apparently non-modernist accessibility. Cantus Arcticus – Concerto for Birds and Orchestra (1972) is greeted with suspicion on account of its wide appeal. This article reconsiders this piece in the context of his complicated and original stylistic development and re-evaluates its relation to Finnish nature and culture. By examining the intersections of nationalism, landscape, and modernism in a late twentieth-century piece,… Show more
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