Reviews
Craig Randal Johnson

Recordings

Review of CD:
Piano Music from Finland – A Finnish Musical Tour
with Craig Randal Johnson, Pianist

In the New World Finn, January 2003, by Tracey Gibbens

Finnish-American Pianist Craig Randal Johnson has put together a triumphant disc that will attract the casual and more serious listeners alike. Calling this disc "A Finnish Musical Tour," Johnson works his way through an airy program that displays the great variety of Finnish pianistic thought from the last 100 years. Though several of the selections will be familiar to those with a nodding acquaintance of Finnish music, there are also little heard gems that will be a pleasant revelation to the curious.

Pelimanit (The Fiddlers) Op. 1 provides us a glimpse of an early work by Einojuhani Rautavaara, who would become the dean of Finnish composition of the late 20th century. Written in 1953, it draws on tunes found in the notebook of 18th century Ostrobothnian folk fiddler Samuel Rinda-Nickola. Each of six parts describes a scene from past folklife. Though the pianistic writing brings to mind Debussy and Poulenc, the individualistic expression is totally and wonderfully Rautavaara.

Several selections by Finnish Romantic composers may be familiar. Sibelius is represented here by Kuusi (The Spruce), and the Romance in D-flat, and his brother-in-law Armas Järnfelt (1869-1958) by the hauntingly beautiful Berceuse. Leevi Madetoja (1887-1947) was of the generation following Sibelius, and his Vanha Muisto (An Old Memory) and Berceuse are also prime examples of Finnish Romanticism, as is Kevätyö (May Night) by Selim Palmgren(1878-1951).

A major work and a delightful surprise is found in Surullinen Puutarha (The Melancholy Garden), Op. 52, by Erkki Melartin (1875-1937). Though he did not achieve fame outside Finland, he was a pioneering spirit in Finland. As director of the Helsinki Academy, he directed the earliest performances of the music of Mahler in the Nordic countries, and assimilated the style of the French Impressionists in his own music. The Melancholy Garden is impressionistic in style, and in five movements spanning almost 25 minutes Melartin demonstrates a unique musical voice. With the date of composition shortly after 1900, when impressionistic pianism was in a very early state, this is all the more impressive!

Matti Tuhkala (1919-2002) was a well-known personage in folk music circles and a regular participant on violin and kantele at the annual folk festival in Kaustinen. His Romanssi Kanteleelle, (Romance Fantasy) is evocative and unpretentious, and receives its premier recording here.

Another rewarding surprise was found in the music of Joonas Kokkonen (1921-1996). Kokkonen was a major composer of the post-war period, and his Five Bagatelles reflect his artistic flight from formal 12-tone composition toward a freer, more romantic style that brings to mind the work of Messiaen. Very pianistic, with pyrotechnical passages alternating with restrained non-tonal chorale-like sections, these are delightful and weighty pieces, which wear well on repeated listenings.

Erik Bergman’s (1911-) Omaggio a Cristoforo Colombo (The Voyage of Christopher Columbus) was written in 1991 as a commission for the 500th anniversary of the new world. It is evocative in its two scenes, successfully evoking the clashing of cultures through tone clusters and block chords alternating in at times furiously energetic dialogue.

Throughout this incredibly diverse and demanding program, Craig Randal Johnson demonstrates a sure technique and an astonishing ability communicate the music soul of each piece. The sonics are intimate, but not too close, as if one were hearing him perform in a salon in a large residence. This sonic intimacy serves the music well, and Johnson’s control of the keyboard maintains beauty of tone throughout. (Available from Tonttu Productions at www.Tonttu.com.)

Piano Performances

In diesem vertrackten Spannungsfeld zwischen europâisher Kunstmusik und einfacher, 'naiver' Melodik entwickelte Craig Johnson viel Gespür für fließende Strukturen. Ein überzeugender Vortrag kam dabei heraus, der eigentlich jede Diskussion, ob diese Musik nun amerikanisch sei oder nicht, überflüssig machte.

In this awkward tension between European art music and simpler, 'naive' melody, Craig Johnson developed a deep feeling for fluent structures. A convincing performance was the result that rendered any discussion as to whether this music is American or not, redundant.

Hannoversche Allgemeine Zeitung
"Der Pianist Craig Johnson im Leibnizhaus"
15. November 1994/ Hannover, Germany

Unusually important to this concert was the accompanist, Craig Johnson of Minneapolis. In 'art songs' the accompaniment is not just background, but an integral part of the music. Johnson is, besides a brilliant pianist. . . His keyboard work was a delight.

The Washington Evening Journal
21. March 1988/ Washington, Iowa

Conducting and Musical Direction

For his part, Johnson proved to be a reliable, at times canny Mozart conductor. While providing the harpsichord continuo during the recitatives, he drew together Mozart's great finals with undeniable logic and good humor, despite the dry tone of the string players.

The Marriage of Figaro
Minneapolis Star and Tribune
21. January 1986/ Minneapolis

(Johnson) found himself in charge of an orchestra that included some 30 of the Twin Cities' most able freelance musicians. To his credit, he did not squander the opportunity; he drew from them a bright, effervescent performance on the evening I attended.

The Marriage of Figaro
St. Paul Pioneer Press Dispatch
20. January 1986/ St. Paul

Hanns Eislers teils 'pointillistisch' klar zeichnende, teils harmlos-optimistische, teils holzschnitthaft eindringliche, teils Zirkus-Stimmung parodierende Musik wurde von Craig Johnson griffig für eine vierköpfige Combo . . . eingerichtet. Sie tat ihre musicaliserende Wirkung in allen Wechselfällen. Stürmischer Schlußbeifall für die höchst respektable Producktion.

Hanns Eisler's clear, pointalistic, at times harmlessly optimistic, sometimes cuttingly urgent and circus-like music was accessibly arranged by Craig Johnson for four piece combo. The arrangement worked well on all fronts. Stormy applause for the highly respectable production.

Brecht/ Eisler: Schweyk im Zweiten Weltkrieg
Neue Osnabrücker Zeitung
14. February 1983/ Osnabrück, Germany

Unter Leitung und Mitwirkung von Craig Johnson übermitteln die Instrumentalisten . . . Paul Dessaus melismenreiche, griffige, zeichnerisch treffsichere Musik brillant.

Brecht/ Dessau: Caucasian Chalk Circle
Neue Osnabrücker Zeitung
17. November 1981/ Osnabrück

L'incisiva direzione di Johnson ha riportato con dovizia di particolari timbirci tutte le sfumature della partitura con un a resa assolutamente ineccepibile.

Johnson's incisive conducting brought forth in abundance the particular timbre of all the nuances of the score, in an absolutely convincing rendering.

l'Umanità
July 1982/ Rome, Italy

Maestro Johnson is to be congratulated for giving Rome a highly acceptable performance which we rarely get a chance to hear.

The Marriage of Figaro
The Daily American
24. July 1982/ Rome, Italy

Music Director Craig Johnson deserves praise for an orchestra whose technical command of the score never flags. It's a pleasure to hear an instrumental ensemble whose string players, five strong, are able to hold their own against the winds whose numbers are nearly double theirs.

Princess Ida
Cape Cod Times
20. July 1983/ Falmouth MA

Central to the success of the evening was a forty-one piece orchestra created and conducted by Craig Johnson. . .

Finnish Independence Day Celebration February 1998
The Finnish American Reporter
December 6, 1997/ Minneapolis MN