Gerlando Alberti, Italian Sicilian Mafioso, died from cancer he was 88

Gerlando Alberti , also known as "U Paccarè" was a member of the Sicilian Mafia.^[1] He belonged to the Porta Nuova family in Palermo headed by Giuseppe Calò. His nickname was "u Paccarè", the imperturbable one.^[2]
Alberti was involved in numerous notorious Mafia events, such as the Ciaculli massacre in 1963, the Viale Lazio massacre in 1969, the disappearance of journalist Mauro De Mauro in 1970, and the killing of Chief Prosecutor Pietro Scaglione in 1971. ^[3] He was one of the top mafiosi involved in cigarette smuggling and heroin trafficking in the 1970s. He once said of the Mafia: "Mafia! What is that? A kind of cheese?"^[2][4]

(September 18, 1927 – February 1, 2012)

Early career

Alberti was the son of a fruit seller and was born and grew up in Palermo, in the derelict district of Danisinni. He was born at home; the midwife begged to be allowed to bring his mother to the front door because of the lack of daylight in the house. He only went to school for four years. Alberti was initiated in the Mafia by Gaetano Filippone. His first test was to steal an entire cheese. In 1956 he was acquitted of a killing for lack of evidence.^[2][3][5]
In the 1950s and 1960s, Alberti was considered to be an upstart Mafia boss in the shadow of men like Pietro Torretta, Tommaso Buscetta and the La Barbera brothers. They formed the so-called "New Mafia", which adopted new gangster techniques. Those starting their careers in their shadow were forming into new generation of mafiosi; they had initiative, and the road to leadership of a cosca had suddenly become quicker and more readily available to those who were fast with their tommy-guns.^[6]
Alberti's official business was selling textiles, employing a squad of travelling salesmen, a wonderful cover for both his trafficking operations and smuggling jewels and works of art (he allegedly possessed a Caravaggio Nativity^[7][8]). In 1961 he set up a textile trading business in Milan and formed a cosca in Northern Italy, with bases in Genoa and Milan.^[3][5]

Mafia killer?

Alberti was indicted in July 1963 with 53 other mafiosi after the Ciaculli massacre, which turned the First Mafia War into a war against the Mafia. Together with Tommaso Buscetta, he was suspected of the attack against Angelo La Barbera, one of the protagonists of the war, in Milan in May 1963. At the "Trial of the 114" he was acquitted but sent into internal exile in a village in Lombardy.^[5] Alberti, although living in Milan, had been in Palermo at the time of the bomb attack in Ciaculli. Interrogated, he declared that he had been with a woman and could not reveal her name.^[2]
In December 1969 he was again in Palermo (while he was supposed to be in exile) when Mafia boss Michele Cavataio was killed by a Mafia hit squad for his double-crossing role in the First Mafia War. At the time, the Carabinieri began to consider Alberti as the boss of a kind of Murder Incorporated for the Sicilian Cosa Nostra.^[3][9]

Rising star

Alberti was one of the rising stars of the Mafia in the 1970s. He had a luxurious lifestyle with apartments in Milan and Naples, he owned a green Maserati and he and his men spent their evenings at nightclubs with expensive women.^[5] His position was confirmed on June 17, 1970, when the traffic police in Milan stopped an Alfa Romeo for speeding. In the car were Alberti, Tommaso Buscetta, Salvatore "Ciaschiteddu" Greco, Gaetano Badalamenti and Giuseppe Calderone. Unaware of the identity of the men in the car the police let them continue their journey.^[5][10] At the time, they were involved in a series of meetings about the future of Cosa Nostra. They decided to set up a new Sicilian Mafia Commission (the first one was dissolved after the Ciaculli massacre) – initially headed by a triumvirate consisting of Gaetano Badalamenti, Stefano Bontade and the Corleonesi boss Luciano Leggio.^[11]
On May 5, 1971, Pietro Scaglione, Chief Prosecutor of Palermo, was killed with his driver Antonino Lo Russo. It was the first time since the end of World War II that the Mafia had carried out a hit on an Italian magistrate. The police rounded up 114 mafiosi who would be tried in the second "Trial of the 114". Scaglione was killed in the district under Alberti’s command. Alberti had arrived from Naples just before the attack and left immediately afterwards. A barman who had confirmed to the police that Alberti was in Palermo while Scaglione’s murder was taking place was kidnapped and killed.^[5]
At the second "Trial of the 114" in 1974, Alberti was convicted and sentenced to six years. Sent to the island of Asinara, he escaped in June 1975, but was arrested again in December that year, hiding among Sicilians in Northern Italy.^[5] In October 1977 he became a fugitive again, when he was supposed to appear before a court in Naples charged with cigarette smuggling.^[2]

Heroin lab

In March 1974, Alberti was charged in Rome with heroin trafficking as the result a 30 month investigation. The inquiry started in September 1971 when US Customs agents seized 84 kilos of heroin in a Ford that was sent from Genoa to New York. Alberti and Gaetano Badalamenti were considered to be among the bosses of the international ring.^[12][13]
On August 25, 1980, two heroin-refining labs were discovered on Sicily; a small lab was discovered first in Trabia and later that day a bigger lab in uncovered in Carini that could produce 50 kilograms a week. Alberti was arrested with three Corsican chemists in Trabia, among them André Bousquet an old hand from the French Connection days, who was sent by Corsican gangster Gaetan Zampa.^[2][14] On his arrest, Alberti asked, "Mafia! What is that? A kind of cheese?", denying any knowledge or association with the crime.^[4]

Attempt on life

Alberti was considered to be part of a moderate wing at the start of the 1981-83 Second Mafia War, allied with Gaetano Badalamenti and Stefano Bontade, against the Corleonesi led by Totò Riina. He barely survived an attempt on his life while incarcerated in the Ucciardone prison on February 9, 1983. He received two sentences, one for the heroin lab in Trabia and one life sentence for the killing of a hotel owner who had tipped off the police about the lab.^[2][15]
Due to his conviction and his links with the men on the losing side of the Second Mafia War, Alberti’s role in Cosa Nostra shrunk. On June 20, 2006, the aging Alberti was arrested again when authorities issued 52 arrest warrants against the top echelon of Cosa Nostra in the city of Palermo (Operation Gotha).^[16] Despite his life sentence he had obtained house arrest due to poor health. On January 21, 2008, the Palermo Court absolved Alberti in relation the Gotha investigation,^[17] but he received an 8 years and 5 months sentence in appeal.^[18]
He was arrested again on December 16, 2008, when the Carabinieri arrested 94 Mafiosi in Operation Perseo. He was among the men that wanted to re-establish the Sicilian Mafia Commission that had not been functioning since the arrest of Totò Riina in 1993.^[19] In October 2010, he was sentenced to 6 years and 4 months.^[20] Due to his age and cancer he was put under house arrest. He died on February 1, 2012, in his house in the Porta Nuova district of Palermo.^[1]
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Patricia Neway, American operatic soprano and musical theatre actress (The Sound of Music), Tony Award-winner, died he was 92.

Patricia Neway was an American operatic soprano and musical theatre actress who had an active international career during the mid-1940s through the 1970s. One of the few performers of her day to enjoy equal success on both the opera and musical theatre stages, she was a regular performer on both Broadway and at the New York City Opera during the 1950s and 1960s. Critic Emily Langer of The Washington Post wrote that, "Neway was a rare type of singer — one with the classical training and raw vocal strength to meet the demands of opera as well as the acting talent and appeal required to succeed in musical theater."^[1] She is particularly remembered for creating roles in the world premieres of several contemporary American operas, most notably Magda Sorel in Gian Carlo Menotti's The Consul. On Broadway she won a Tony Award for her portrayal of the Mother Abbess in the original production of Rodgers and Hammerstein's The Sound of Music.

(September 30, 1919 – January 24, 2012) 

Biography

Born on Ditmas Avenue in Kensington, Brooklyn to Irish-American parents, Neway grew up in Rosebank, Staten Island. Her father was a printing plant foreman who had briefly worked in vaudeville as the high tenor in a vocal quartet. She attended the Notre Dame Academy on Staten Island and then Notre Dame College where she earned a degree in the sciences with a minor in mathematics. Although she had studied piano briefly as a child, her interest in music and singing awakened in her years at Notre Dame College after she began singing through a book of Neapolitan Songs that her uncle had given to her father as a present. What began as a hobby turned into a passion and following her graduation from Notre Dame she entered the Mannes College of Music where she earned a degree in vocal performance. She later studied singing with tenor Morris Gesell, whom she eventually married.^[2]
While still a student, Neway made her Broadway debut as a member of the chorus in a 1942 production of Jacques Offenbach's La vie parisienne.^[3] In April 1944 she was the soprano soloist in the world premiere of Norman Dello Joio's The Mystic Trumpeter with conductor Robert Shaw and the Collegiate Chorale at Town Hall.^[4] She made her first opera appearance in a leading role in 1946, as Fiordiligi in Così fan tutte, at Chautauqua Opera. In 1948, she returned to Broadway to portray the Female Chorus in the United States premiere of Benjamin Britten's The Rape of Lucretia, at the Ziegfeld Theatre.^[5]
In 1950, Neway made opera history when she starred as Magda Sorel in the world premiere of Gian Carlo Menotti's critically acclaimed Cold War-era opera The Consul at the Shubert Theatre in Philadelphia, with Cornell MacNeil as John Sorel and Marie Powers as the Mother.^[6] Later that year, she went with the production to the Ethel Barrymore Theatre on Broadway, where it ran for 269 performances. She later recorded the role for Decca Records, and performed the role for the premieres in London, Paris, and other European cities.^[7] Neway, Kuhlmann, and Powers also performed these roles in the UK at the Cambridge Theatre in February 1951, with Norman Kelley playing the role of the magician Nika.^[8][9] For her work in the Broadway production she won the Donaldson Award for Best Actress in a Musical in 1950.^[10]
In 1951, Neway made her debut with the New York City Opera (NYCO), where she returned often through 1966. Her first appearance with the company was as Leah in the world premiere of David Tamkin's The Dybbuk on April 10, 1951, with Robert Rounseville as Channon.^[11] She also notably sang in the world premiere of Hugo Weisgall's Six Characters in Search of an Author in 1959, with Beverly Sills.^[12] Among the many other productions she appeared in with the NYCO were: Mascagni's Cavalleria rusticana (as Santuzza, conducted by Julius Rudel), Alban Berg's Wozzeck (as Marie), Menotti's The Consul (as Magda), Amahl and the Night Visitors (as the Mother), and The Medium (as Mme Flora), Bucci's Tale for a Deaf Ear (as Laura Gates),^[13] Carlisle Floyd's Wuthering Heights (as Nellie, opposite Phyllis Curtin as Catherine); Benjamin Britten's The Turn of the Screw (as the Governess, with Richard Cassilly as Peter Quint), and Richard Strauss's Salome (as Herodias), among others.
While singing largely at the NYCO, Neway continued to perform with other opera companies and on Broadway. In 1952 she sang and recorded the title heroine in Gluck's Iphigénie en Tauride at the Aix-en-Provence Festival. Between 1952-1954 she was engaged as a principal soprano at the Opéra-Comique, in Paris. While there, she gave two of the greatest performances of her opera career, portraying the title role in Giacomo Puccini's Tosca, and the role of Katerina Mihaylovna in Franco Alfano's Risurrezione.^[5] In 1955, she sang in the world premiere of Raffaello de Banfield's Una lettera d'amore di Lord Byron in New Orleans, with Astrid Varnay. In 1957 she portrayed Madame de Croissy for NBC Opera Theatre's production of Poulenc's Dialogues of the Carmelites, with Rosemary Kuhlmann as Mother Marie, Elaine Malbin as Blanche, and Leontyne Price as Mme Lidoine.^[14]
Neway notably portrayed Miriam in the world premiere of Lee Hoiby's The Scarf at the very first Festival dei Due Mondi in Spoleto, Italy on June 20, 1958. In August 1958, she sang the role of the Mother in the world premiere of Menotti's Maria Golovin at the Brussels World's Fair.^[15] She continued with the production when it premiered on Broadway in November 1958, at the Martin Beck Theatre, under the umbrella of the NBC Opera Theatre. The following year she sang the role again with the New York City Opera in addition for recording the role for a national television broadcast on NBC.^[16]
In June 1959, Neway returned to the Spoleto Festival to portray Geraldine in the world premiere of Samuel Barber's A Hand of Bridge (which she recorded in 1960). The following November she returned to Broadway where she originated the role of the Mother Abbess in the original Broadway production of The Sound of Music for which she won the Tony Award for Best Performance by a Featured Actress in a Musical, in 1960.
In 1963, Neway created the role of Jenny MacDougald in the world premiere of Carlisle Floyd's The Sojourner and Mollie Sinclair, in Raleigh, North Carolina, opposite Norman Treigle as Lachlan Sinclair, and conductor Julius Rudel.
In 1964, she performed the role of Lady Thiang in The King and I at Lincoln Center with Risë Stevens as Anna and Darren McGavin as the King. In 1966, she made her first appearance at the San Francisco Opera, as the Governess in The Turn of the Screw. She returned there in 1972 to play the Widow Begbick in Kurt Weill's Rise and Fall of the City of Mahagonny.
In 1967, she appeared as Nettie in a special television production of Carousel, starring Robert Goulet as Billy Bigelow. Her featured solo was the song "You'll Never Walk Alone". In 1970 she created the role of the Queen in the world premiere of Menotti's stage play, The Leper.^[10]
Neway's other repertoire included Arnold Schönberg's Erwartung.

Retirement and death

After retirement, Neway moved to Corinth, Vermont where she lived with her second husband, John Francis Byrne, until Byrne's death in 2008. Her first marriage to Morris Gesell had ended earlier in divorce.^[17] She died at her home in Corinth on January 24, 2012, aged 92.^[3]


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Stig Sæterbakken, Norwegian writer, died he was 46.

Stig Sæterbakken was a Norwegian author. He published his first book at the age of 18, a collection of poems called Floating Umbrellas, while still attending Lillehammer Senior High School. In 1991, Sæterbakken released his first novel, Incubus, followed by The New Testament in 1993. Aestethic Bliss (1994) collected five years of work as an essayist.

(January 4, 1966 – January 24, 2012) 

Sæterbakken returned to prose in 1997 with the novel Siamese, which marks a significant departure in his style. The following year saw the release of Self-Control. And in 1999, he published Sauermugg. The three books, the S-trilogy—as they are often called—were published in a collected edition in 2000.
In February 2001, Sæterbakken's second collection of essays, The Evil Eye was released. As with Aestethic Bliss this book also represents a summing up and a closing of a new phase in the authorship. In many ways the essays throw light on Sæterbakken's own prose over the last years, the S-trilogy in particular.
Siamese was released in Sweden by Vertigo. Vertigo followed up with a translation of Sauermugg in April 2007. This edition, however, was different from the Norwegian original. It included some of the later published Sauermugg-monologues, together with left overs from the time the book was written, about 50 pages of new material all together. The expanded edition was entitled Sauermugg Redux. Siamese has since been translated into Danish, Czech and English.
Sæterbakken's last books were the novels The Visit, Invisible Hands, and Don't Leave Me. He was awarded the Osloprisen (Oslo Prize) in 2006 for The Visit. Invisible Hands was nominated for both the P2-listener's Novel prize and Youth's Critics' Prize in 2007. The same year he was awarded the Critics Prize and Bokklubbene's Translationprize for his translation of Nikanor Teratologen's Eldreomsorgen i Øvre Kågedalen.
Sæterbakken was artistic director of The Norwegian Festival of Literature from 2006 until October 2008, when he resigned owing to the controversy which arose when David Irving was invited to the festival in 2009 (see below).
Sæterbakken's books were released and translated in several countries, among them Russia and USA. April 2009 Flamme Forlag released an essay by Sæterbakken, in their series of book-singles, called Yes. No. Yes.
Sæterbakken died on 24 January 2012, aged 46.^[1]

David Irving controversy in 2008

In October 2008 Sæterbakken angrily resigned from his position as content director of the 2009 Norwegian Festival of Literature at Lillehammer. This followed the decision by the board of the festival on October 8/9 to renege an invitation to controversial author and Holocaust denier David Irving to speak at the festival. Sæterbakken was the initiator of the invitation. A media storm had erupted in Norway over Irving's appearance and several high-profile writers had denounced the initiative and called for a boycott of the festival. Even Norway's free speech organization Fritt Ord had requested that its logo be removed from the festival. Sæterbakken characterized his colleagues as "damned cowards" arguing that they were walking in lockstep.^[2]

Books translated to English

• "Siamese"(published in Norwegian in 1997)^[3]

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Pierre Sinibaldi, French footballer and manager, died he was 87.

Pierre Sinibaldi was a French football player and manager.^[1]

^{(29 February 1924 – 24 January 2012)} 

In the 1960s and again in the early 1970s, he coached R.S.C. Anderlecht with whom he previously won four Belgian Championships between 1962 and 1966. As a player for Stade de Reims (1944–1953), he won two French Championships (1949, 1953) and the French Cup (1950); in 1947, he was the top scorer in the Division 1 with 33 goals. Sinibaldi, whose brothers Paul (goalkeeper) and Noël also played in Reims, was nominated only twice for the French national team, the first time for a 2-1 win against England in 1946.

Clubs (player)

• Sporting Victor-Hugo de Marseille : till 1942 (amat.)
• ES Troyes AC-Savinienne : 1942 - 1944 (amat.)
• Stade de Reims : 1944 - 1953 (professionnel en 1948)
• FC Nantes : 1953 - 1954 (D2)
• Olympique Lyonnais : 1954 - 1955 (1 match)
• Perpignan Football club : 1955 - 1956 (D2)

Clubs (coach)

• Perpignan Football club : 1956 - 1959 (D2)
• Luxembourg : 1959 - 1960
• RSC Anderlecht : 1960 - 1966
• AS Monaco : 1966 - 1968
• RSC Anderlecht : 1969 - 1971
• UD Las Palmas : 1971 - 1975
• Sporting de Gijón : 1975 - 1976
• Sporting Toulon Var : 1979 - 1980 (D2)

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Althea Wynne, British sculptor, died she was 75.

Althea Kathleen Wynne, also known by her married names of Dresman and Barrington Brown, was an English sculptor and art teacher, and a Fellow of the Royal British Society of Sculptors. She specialized in creating large figurative work for gardens and public open spaces.

(6 October 1936 – 24 January 2012)

Early life

The daughter of an officer in the Royal Air Force, Wynne was educated at North Foreland Lodge, Farnham School of Art (1953–1955), Hammersmith College (1955–1957), and the Royal College of Art (1957–1960).^[1][2]

Life and career

Group of three horses at Minster Court, City of London

In 1959 Wynne gained an early commission from London County Council for a ciment-fondu group of swimmers,^[1] and in 1960 she won an open competition to design a new silver horse-racing trophy.^[3] However, the same year she married Philip Dresman, and with him had a son and two daughters. For some years she spent most of her time bringing up her children, before returning to work as a teacher of art and the history of art.^[1] In 1982 she married secondly Antony Barrington Brown, a photographer,^[4] and at about the same time became active as a sculptor again.^[1]
Wynne settled at Upton Lovell in Wiltshire, where several pieces of her work were displayed in her garden.^[1] In Who's Who in Art her recreations were stated as "riding, sailing, talking".^[5]
She died suddenly in January 2012, killed with her husband in a road accident on the A36 near her home while returning from the foundry that was to cast her last commission, two large bronzes of Windsor Grey horses for Windsor Great Park.^[1] Both Wynne and Barrington Brown were killed instantly in a collision between their car and a truck carrying aggregates.^[4] In February it was reported that there were plans to proceed with the Windsor project, finding another sculptor to complete the work by June 2013.^[6]

Work

As a sculptor, Wynne's chief inspirations were the natural environment and classical (especially Etruscan) art.^[1] Most of her work was figurative, showing various forms of animal and female human figures.^[3] In 1988 her fountain "Doves Rising" was added to the Peace Park in Hounslow.^[1] A lifelong rider, she made a number of equine statues, and in 1989 Prudential Property gave her a commission for three bronze horses to stand by the steps at Minster Court in the City of London.^[1] Since nicknamed Sterling, Dollar and Yen,^[7] the group is ten feet high, weighs fourteen tonnes, and has been compared with the horses of St Mark's Basilica in Venice.^[1] In 1991 her "Family of Goats", for the London Docklands Development Corporation, was erected at Rotherhithe.^[3] Other work includes a group called "White Horses", at the centre of a restaurant on RMS Queen Elizabeth II, which shows four horses riding the waves,^[8] "Europa and the Bull", a full-size bronze figure, and the three huge obelisks rising through the Bluewater shopping centre at Greenhithe in Kent. She held solo exhibitions in Salisbury in 1988 and 1991, at Broadgate in 1993, and in Winchester in 1997.^[1] In 2012 her bronze '‘Penelope Waiting" was the signature piece for an exhibition of sculpture at Avebury Manor.^[9]
Wynne wrote of the inspirations for her work

My work is deeply influenced by my love of early classical sculpture, the calm poise and harmony of which I try to emulate. The Greeks also had an understanding of animals from which I draw some of my inspiration, and my equestrian subjects owe much to my love of riding.^[3]

Professional associations

• 1960: Associate of the Royal College of Art^[3]
• 1986: Full member of the Society of Equestrian Artists^[3]
• 1990: Associate of the Royal British Society of Sculptors^[3]
• 1994: Fellow of the Royal British Society of Sculptors^[3]

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Sir Alfred Ball, British air marshal, died he was 91.

Air Marshal Sir Alfred Henry Wynne Ball KCB DSO DFC was a Royal Air Force officer who became Deputy Commander of RAF Strike Command.

(18 January 1921 – 25 January 2012) 

RAF career

Educated at Campbell College in Belfast,^[1] Ball joined the Royal Air Force in 1939.^[2] He served in World War II flying Spitfires^[3] and commanding No. 682 Squadron, No. 542 Squadron, No. 540 Squadron and finally No. 13 Squadron: he was mentioned in dispatches twice.^[2] He was appointed Chief of Staff at SHAPE in 1968, Director General of RAF Organisation in 1971 and UK Military Representative to CENTO at Ankara in 1975.^[2] He went on to be Deputy Commander of RAF Strike Command in 1977 before retiring in 1979.^[2]
In retirement he became an advisor to ICL.^[2] He died on 25 January 2012.^[4]

Family

In 1942 he married Nan McDonald; they have three sons and one daughter.^[2]


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Paavo Berglund, Finnish conductor, died he was 82.

Paavo Allan Engelbert Berglund OBE  was a Finnish conductor and violinist.^[1]

^{(Helsinki, 14 April 1929 – Helsinki, 25 January 2012)}

Born in Helsinki, Berglund studied the violin as a child, and played an instrument made by his grandfather.^[2] By age 15, he had decided on music as his career, and by 18 was playing in restaurants. During the Second World War, Berglund worked at the iron factories in Billnäs. Children were moved out of Helsinki during heavy stages of the war. His professional career as a violinist began in 1946, playing the whole summer at the Officers Mess (Upseerikasino) in Helsinki. He already had played in dance orchestras in 1945. Formal study took place in Helsinki at the Sibelius Academy, in Vienna and in Salzburg. He was a violinist in the Finnish Radio Symphony Orchestra (http://www.yle.fi/rso) from 1949–1958 in the 1st violin section, unique among the instrumentalists in being accommodated for seating to account for the fact that he was left-handed.
In an radio interview made of the Finnish Broadcasting Company YLE (http://www.yle.fi) in 2002, Berglund explains how he heard the Vienna Philharmonic Orchestra on their tour in Helsinki with Wilhelm Furtwängler and was very impressed. Shortly after that he left for Vienna to study. He had many friends both in the Vienna Philharmonic and Vienna Radio Symphony Orchestras, and could attend rehearsal and recording sessions. One particular recording session he remembers is when he was present one evening when Furtwängler recorded Schumann's Manfred Overture and Smetana's Moldau at the Musikverein in Vienna. Another conductor that he was very impressed with was Hans Knappertsbusch.
Berglund's conducting career began in 1949, when he founded his own chamber orchestra. In 1953, Berglund co-founded the Helsinki Chamber Orchestra (partly inspired by the Boyd Neel Orchestra).^[3][4] In 1955, he was appointed Associate Conductor of the Finnish Radio Symphony Orchestra, and served as chief conductor of the Finnish Radio Symphony Orchestra from 1962 to 1971. Berglund became music director of the Helsinki Philharmonic Orchestra (http://www.hel.fi/hki/HKO/en/Etusivu) in 1975 and held the post for 4 seasons. He was also conductor of the mixed voice choir of the Student Union of the University of Helsinki, The Academic Choral Society (Akateeminen Laulu, AL. http://www.akateeminenlaulu.fi) from 1959-1961.
Berglund attained notoriety as a strict orchestral disciplinarian due to his ruthless rehearsals and dedication to musical perfection. As a conductor Berglund often went beyond the printed score in the music of Jean Sibelius and others to improve on what he believed were weaknesses, especially in orchestration, color and balance. Most orchestras he conducted responded well to his no-nonsense approach. He was tireless in studying, preparing and rehearsing. He almost always came to the orchestra with his own materials he had corrected and bowed by his own hand. He would then mark highly detailed instructions on the sheet music of each individual musician.
Berglund would certainly not always agree with composers, he felt comfortable in elaborating any nuances he considered important but which the composers had not highlighted. He believed in details: “I think we have already had our fill of mushy recordings", Berglund noted in an interview by FMQ (Finnish Music Quarterly) in 1999.
In the UK, Berglund led Sibelius Centenary Concerts with the Bournemouth Symphony Orchestra in 1965, and became their principal conductor in 1972, concluding his tenure in Bournemouth in 1979. Berglund led the Bournemouth Symphony Orchestra with distinction between 1972 and 1979, significantly raising its performing standards, as can be heard from the many recordings made by it for EMI during this period. He also served as principal guest conductor of the Scottish National Orchestra, from 1981 to 1985.
Guest engagements saw Berglund conducting all the major North American and European orchestras, such as the Berlin Philharmonic Orchestra, the London Symphony Orchestra, the Dresden Staatskapelle, the St Petersburg and Moscow Philharmonics, the Leipzig Gewandhaus and the Israel Philharmonic Orchestras. Berglund was also a member of the Russian National Orchestra's conductor collegium.^[5]
Berglund made his New York debut in 1978 with the American Symphony Orchestra at the Carnegie Hall, in a concert of Shostakovich and Sibelius.^[3] From the 1990s he become a regular guest conductor in the New York Philharmonic and the Cleveland Orchestra.^[6]
Berglund made over 100 recordings. In an interview for the newspaper Helsingin Sanomat (http://www.hs.fi) in 2009, Berglund said when asked about his recordings, that the Smetana recording with the Dresden Staatskapelle is probably the best, since this was the best of the orchestras that he made recordings with.
Berglund did opera a few times. To mention the most important opera projects are Beethoven's Fidelio with Finnish National Opera in Helsinki in 2000 (with Karita Mattila, Matti Salminen, Jaakko Ryhänen) and Nielsen's Maskerade in Copenhagen.
Paavo Berglund told in an radio interview for the conductor Atso Almila, made on occasion for the 75th anniversary in 2002 of the Finnish Radio Symphony Orchestra, that he had the closest relation and friendship of contemporary Finnish composers to Joonas Kokkonen (1921-1996). The collaboration was very strong. He championed his music as much as possible and also helped him during the difficult times in life. He commissioned many of Kokkonen's works.
Berglund was also the first conductor in the early years, alongside with Jukka-Pekka Saraste, for the Finnish Chamber Orchestra (http://www.finnchamber.fi) founded in 1990. The orchestra does not serve as a primary job for anyone, but rather as an instrument to gather top musicians to work together in an exquisite ensemble where art and quality come before routine. The orchestra consists of concertmasters and principals from leading Finnish orchestras such as the Finnish Radio Symphony Orchestra, Helsinki Philharmonic Orchestra, Orchestra of the Finnish National Opera, Tapiola Sinfonietta, Avanti! and Lahti Symphony Orchestra.
Berglund also conducted the Sibelius Academy Symphony Orchestra on a few occasions (http://orso.siba.fi/en/studies/symphony_orchestra).

Relationship with Jean Sibelius' music

Berglund was particularly associated with the music of Sibelius^[7] and he recorded the complete Sibelius symphonies three times.^[8] During the mid-1950s, Jean Sibelius heard Berglund conduct some of the symphonies and the Suite Rakastava, and told Berglund how much he had enjoyed the performances.^[3] He met Sibelius at his home Ainola as a member of the delegation of the Radio Orchestra that visited Sibelius. Sibelius asked him whether they were playing any Schönberg. To this Paavo Berglund answered no. This was the whole conversation. Berglund made the first recording of the Kullervo Symphony.^[9] Berglund's source-critical research on the Sibelius Seventh Symphony began in 1957, when he conducted the Seventh with the Helsinki Philharmonic Orchestra, and noticed that they were playing from parts that Sibelius had corrected. He saw that the printed parts had numerous errors. His subsequent research led to the publication of a new edition of the symphony by Hansen in 1980.^[10]
In an interview in 1998 with the London Sunday Times, Berglund spoke of his interpretative ideas on the music of Jean Sibelius:

"'Sibelius's music is often ruined because it's too strictly accurate. I think maybe musicians like to play like this' – he makes a series of downward vertical gestures – 'but it's good to do it like this' – his hands, one above the other, oscillate gently in and out of vertical alignment. 'Accuracy against atmosphere: it's not that simple. The early Sibelius conductor Georg Schneevoigt once complained that he couldn't get the details out of Sibelius's scores. Sibelius said that he should simply swim in the gravy.'"

Berglund was highly regarded as an authority on Jean Sibelius by other conductors, including Sir Simon Rattle.^[10]
He collaborated with the Chamber Orchestra of Europe in recordings of the complete symphonies of Jean Sibelius^[11] and Johannes Brahms.^[12] The origin for the Sibelius recordings were made when Berglund conducted the orchestra at the Edinburgh Festival in a complete cycle of the Sibelius symphonies. What was especially notable was using smaller string forces than usual in some of the symphonies. The result was highly praised.
Berglund's early Sibelius interpretations are more dark and heavy. Later on he discovered a new style. While other conductors often go for the big effects in Sibelius, Berglund started to love the clarity that could be achieved with an orchestra of about 50 players.
In general he was known for prefering gut strings in string instruments and the sparse use of vibrato. He often said that the use of vibrato hides faults and mistakes.
Mr Berglund was one of the jury members in the 1st International Sibelius Conductors' Competition (http://www.sibeliusconductorscompetition.org) held in 1995.

Last performance

Paavo Berglund conducted his last concert in the Pleyel Concert Hall in Paris on 1 June 2007. The orchestra was the French Radio Philharmonic Orchestra. The program included the Brahms Violin Concerto with Christian Tetzlaff as a soloist and Sibelius' Symphony No. 4. In an interview made on his 80th birthday by the Finnish Broadcasting Company YLE, Berglund said that the playing in the Sibelius was almost perfect Sibelius playing. The concert was recorded by French Radio.

Selected remembrances and legends

As told by the UK newspaper The Independent, the pianist Ralf Gothóni once performed the Franck Violin Sonata with him and was surprised to find that he "played the first movement with a right-hand violin and the second movement with a left-hand violin. The difference of quality was not notable!". The Independent also writes that Ralf Gothóni recalled the effects of Berglund's rigour: he "had a very strong and demanding consciousness of musical laws. It was a great challenge to play with him – and not always easy for the 'freedom-loving' desires of the soloist". He looked severe, too, bent forward in concentration, his left arm holding the baton almost as if warning the orchestra. And in interviews he could be terse to the point of monosyllabism.
But this apparently stern figure had a warmer side, as the cellist Anssi Karttunen remembered: "although he seemed to be always, and I mean always, working, he was a very warm and caring friend of the family, always interested to discuss books, reflexology or philosophy with my wife or have a conversation with our daughter."
He gave the composer Aulis Sallinen (once manager of the Finnish Radio Symphony Orchestra) an unlikely cause for worry at the Finnish Radio Symphony Orchestra: "Paavo Berglund had only one hobby: football. He used to follow on TV British football matches. He also established a football team inside the orchestra. They used to arrange matches even during our tours. The manager (thinking of broken knees and fingers) did not love the idea."
Jukka-Pekka Saraste remembers Paavo Berglund when at the start of his career: "When spring came, I went to a concert of London Symphony Orchestra, conducted by Paavo Berglund. They performed Sibelius' 5th Symphony, Violin Concerto with Ida Handel as soloist and the Daughter of Pohjola. Berglund had the reputation of being unapproachable. Nevertheless, I dared to introduce myself after the concert and found him direct and friendly. "A Finn? Give me a moment, I need to piss and wash my hands". He took me to Aberdeen Steak House which was nearby to have a steak with him. "Would you like coffee for dessert?", he asked and pulled out a pack of Finnish coffee and a coffeefilter from his briefcase. He ordered some hot water, and no matter how much the head waiter praised the restaurant's coffee selection, they were not good enough. "You Englishmen don't know how to roast coffee, you ruin it by burning it." Known as scary and stern person Berglund told me a surprising truth between topics: "When conducting, always remember to maintain a positive attitude".
Esa-Pekka Salonen told in an video interview for the Finnish Broadcasting Company YLE when asked to remember Paavo, that the epithet closet to him is a constant searching, the endless curiosity, need for new information and self criticism. Of his self criticism can be said that he never stayed with one idea, in he's career a pattern of building new things on top of old ones can be clearly seen. Layer by layer. Searching for the ultimate truth, that eventually of course cannot be found. But the point being in the persistent and open-minded search of the truth.
Remembrances from the Bournemouth Symphony Orchestra (http://www.bsolive.com): Berglund’s performances and recordings of Sibelius with the BSO are legendary and his death was announced as the Orchestra played Sibelius' Fifth Symphony with Kirill Karabits (who himself worked with Paavo in Budapest). The music parts being used by the BSO are the ones used by Paavo himself, and the Orchestra dedicated its concerts on 26 January in Cheltenham, and 27 January at Portsmouth Guildhall to his memory.
Roger Preston, Co-Principal Cello, who worked with Paavo on many occasions, said "Anyone who played with the Bournemouth Symphony Orchestra in the largest wooden church in the world Kerimäki Church, Finland, as part of the BSO’s 1981 tour will tell that it was a truly unforgettable experience. On this tour we played all the Sibelius' Symphonies, with Paavo on spectacular form. This particular concert featured Sibelius' Fourth Symphony plus the Violin Concerto played superbly by Ida Haendel.
"I joined the BSO in 1979, as much because I had seen and heard them play under Berglund and knew that he (and they!) were quite exceptional. Many of Paavo’s comments, criticisms and demands are as fresh in my mind as though it were only yesterday.
"He remains, for me one of the best, if not the best conductor that I have ever played for and am so grateful to have caught the latter days of Paavo’s extraordinarily fruitful relationship with the BSO. For any string players reading this, I particularly loved it when he used to say, “violins, you play like in a telephone booth”, ie use much more bow!".
Newspaper Helsingin Sanomat told in their 80th year birthday interview of Paavo Berglund that his one time assistant from Bournemouth, Simon Rattle, calls him "one of the last great", and uses Berglund's bowings in his Sibelius performances, like many other superstars. The Helsinki Philharmonic Orchestra always gets very suspicious when a visiting maestro wants to change Paavo's markings. The visiting maestro is silenced by saying that the markings are Sibelius'.
The late Finnish music critic Seppo Heikinheimo writes in his book "Mätämunan muistelmat, 1997" on page 174: A story about Berglund is often told:
When a wealthy female conductor spent a few weeks in Finland, and was daily visiting both the Helsinki orchestras and their offices to see whether she could be thought of as a guest conductor. No one really dared to say that she was not really needed, but only in the Radio Orchestra they came up with the idea of sending her to talk to chief conductor Berglund. Berglund greets and welcomes her with a hopegiving murderly look, typical of him. They sit down, and she picks up her CV and concert review copies and gives them to him. Berglund pushes them away and say: "These won't be needed. Make me only one list". "Yes of course", she responds. "What kind of a list", she asks. "A list of all the important orchestras you have conducted twice!", he says.
His daughter Liisa Kylmänen told in an video interview for the Finnish Broadcasting Company when asked to remember her father, that he very strongly experienced the closeness to Estonians as a sister- or brotherpeople to Finns. That one as a Finn has to take great care of them. This was during the occupation and early independent years. And she tells he visited Tallinn a few times for free or taking only a small fee of his conducting. And for some of his Sibelius Kullervo performances he insisted of having an Estonian Choir, and that they must be paid a really good fee.
Paavo Berglund was godfather to the Estonian conductor Paavo Järvi.

Pro memoriam

Berglund is said to have maintained his interest in music until the very end; he had news on musicians of younger generations read to him daily. In addition to his family Berglund will be missed by musicians, orchestras, colleagues and audiences all over the world. The representative of the old, authoritarian school conductor can still be heard and appreciated through his extensive recordings.
The Finnish newspaper Helsingin Sanomat interviewed the conductor Kurt Masur by telephone from Leipzig on occasion of the passing of Mr Berglund. "Paavo was one of my oldest friends. The world has lost one of its greatest conductors, and my thoughts are with his wife Kirsti and his family", said Mr Masur.^{[citation needed]}
Berglund was buried in Helsinki on February 4, 2012.
He was survived by his wife, Kirsti; son, Juha; daughters, Liisa Kylmänen and Eeva Berglund; and five grandchildren.

Selected instruments

In 2005, the Signe and Ane Gyllenberg Foundation (http://www.gyllenbergs.fi/en/) bought a violin from Mr Berglund, which was built in 1732 by Carlo Bergonzi (1683-1747). Before him the violin was owned by Isaac Stern. Violin maker Ilkka Vainio (www.ristovainio.com) has said that the violin is an example of a masterpiece, the best he has personally known. The violin has maintained its original condition, even the lacquer is still mostly intact. According to Petteri Iivonen, who has played the instrument, the violin has a warm sound yet can endure even a rougher style of play. The violin is lent to a musician for three years at a time. The first was Pietari Inkinen who had the violin during years 2005-2009. In spring 2009, the violin was handed over to Petteri Iivonen. The foundation lends the violin by announcing it on the daily newspapers, musical publications and on its website. Interested musicians may apply to enjoy the violin for the said period of time. A knowledgeable jury decides on the musician who will have the violin.
According to the Finnish Broadcasting Company YLE, Berglund's Stradivarius violin was sold by his heirs in 2012 to the Finnish Cultural Foundation (http://www.skr.fi) for 1.8 million Euros. At the same time the performing artist's rights to Berglund's recordings as well as his valuable collection of orchestral sheet music were donated to the foundation. The latter material will be made available to researchers in ten years' time. The violin will be named Stradivarius ex. Berglund. Mr Berglund's son Juha Berglund, the spokesperson for the family, says that his father had several instruments, but the Stradivari was the dearest to him. Mr Berglund's specific wish was that the violin should stay in Finland. The violin was built in around 1700. The violin is in exceptionally good condition for its age.

Awards and honours

Grammy nomination in 1971 for Best Choral Performance — Classical for Sibelius: Kullervo^[13]
Diapason d'Or for the recording of the Nielsen Symphonies with the Royal Danish Orchestra.^[6]
Diapason d'Or for the recording of the Sibelius Symphonies with the Chamber Orchestra of Europe.
'Choc de l'Année 1998' of Le Monde de la Musique, for the recording of the Sibelius Symphonies with the Chamber Orchestra of Europe.
Finnish State Music Award (with Arto Noras) in 1972.
Art Council of the Uusimaa (region in southern Finland) Region Artium Cultori Award in 2004.
Janne Award in category Best Orchestral Recording in year 2001 for Brahms Symphonies with the Chamber Orchestra of Europe. The price is given by IFPI Finland (The Finnish National Group of IFPI www.ifpi.org, in Finnish Musiikkituottajat).
Pro Finlandia Medal 1982.
Finnish Cultural Foundation Award in 1985 (40.000 FIM).
Honorary Officer of the Order of the British Empire (OBE) in 1977.
Honorary Conductor of the Turku Philharmonic Orchestra in 2002 (http://www.tfo.fi).
Member No. 383 of the Swedish Royal Academy of Music in 1983 (http://www.musakad.se).
The Rehearsal Hall PAAVO at the Helsinki Music Centre, opened in 2011, is named after Paavo Berglund (http://www.musiikkitalo.fi/web/en/rehearsal-room).

Video

• Jorge Bolet and Paavo Berglund in Rehearsal
• Sibelius' tone poem The Bard, Paavo Berglund conducting the Finnish RSO
• Giles plays Beethoven Piano Concerto No. 3, Paavo Berglund and the Philharmonia Orchestra
• Nielsen Flute Concerto, Royal Danish Orchestra, Paavo Berglund

Selected discography

• Misc.: Opera arias: Bizet, Carmen: Song of Toreador; Mozart, Marriage of Figaro: Aria of Figaro, "Non piu andrai"; Verdi, Aida: Radames!; (with Aarne Vainio). Finnish Radio Symphony Orchestra. (FUGA 9200)
• Misc.: Tribute to Martti Talvela. Finnish Radio Symphony Orchestra. (Ondine ODE 945-2)

• Bliss: Suite from Miracle in the Gorbals; Cello Concerto (with Arto Noras). Bournemouth Symphony Orchestra. 1977, Southampton Guildhall. (EMI ASD 3342)
• Brahms: Complete Symphonies. Chamber Orchestra of Europe. Live May 2000, Baden-Baden Festival Hall. (Ondine ODE 990-2T)
• Brahms: Double Concerto (with Yehudi Menuhin and Paul Tortelier). London Philharmonic Orchestra. 1984. (EMI)
• Brahms: Piano Concerto No. 2 (with François-Frederic Guy). London Philharmonic Orchestra. Live May 31, 2003, Royal Festival Hall, London. (NAÏVE V4944)
• Britten: Violin Concerto (with Ida Haendel). Bournemouth Symphony Orchestra. June 12, 1977. (EMI ASD 3843 CDM7642022)
• Bruch: Violin Concerto No. 1 (with Frank Peter Zimmermann). Royal Philharmonic Orchestra. 2004 (SONY)
• Dvorak: Scherzo Capriccioso; Slavonic Rhapsody No. 3. Dresden Staatskapelle. Recorded 1978 at Lukaskirche Dresden. (ETERNA 8 27 199-200)
• Englund: Epinikia. Helsinki Philharmonic Orchestra. (FINNLEVY SFX 34)
• Franck: Symphony; Symphonic Variations (with Sylvia Kersenbaum). Bournemouth Symphony Orchestra. 1976. (EMI ASD 3308)
• Glazunov: Piano Concerto (with John Ogdon); Yardumian: Passacaglia, Recitative & Fugue. Bournemouth Symphony Orchestra. 1977. (EMI ASD 3367)
• Grieg: Peer Gynt Suite; Alfven: Swedish Rhapsody; Järnefelt: Praeludium; Berceuse. Bournemouth Symphony Orchestra. (EMI)
• Grieg: Symphonic Dances; Old Norwegian Romance with Variations. Bournemouth Symphony Orchestra. 1982. (EMI ASD 4170)
• Haydn: Symphony Nos. 92, 99. Finnish Chamber Orchestra. November 1992, Hyvinkää Hall, Finland. (Ondine)
• Haydn: Symphony No. 103; Tchaikovsky: Serenade for Strings. Finnish Chamber Orchestra. Live 1993. (FCO 1003)
• Kokkonen: Symphonies 1, 4; "...durch einen spiegel...". Finnish RSO. May 1995 (...Durch einen..., Symph. 4). March 1995 (Symph. 1). House of Culture Helsinki. (Ondine)
• Kokkonen: Symphony No. 3; Sibelius: Tapiola. Finnish RSO. (EMI SXL 6432, Finlandia FA 311)
• Mozart: Oboe Concerto; Strauss: Oboe Concerto (with Douglas Boyd). Chamber Orchestra of Europe. (Asv Living Era)
• Nielsen: Symphony No. 5. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3063)
• Nielsen: Symphonies 1–6. Royal Danish Orchestra. June 3, 4, 5, 1987 (Nos. 1, 4). August 17–19, 1989 (Nos. 3, 6). August 15–18, 1988 (Nos. 2, 5). Odd Fellow Hall, Copenhagen. (RCA Victor)
• Prokofiev: Summer Night Suite. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3141)
• Rachmaninov: Piano Concerto No. 3 (with Leif Ove Andsnes). Oslo Philharmonic. Live March 1995, Oslo Philharmonic Hall. (EMI)
• Rachmaninov: Symphony No. 3 "The Rock". Stockholm Philharmonic. June 20–22, 1988, Philharmonic Hall, Stockholm. (RCA Victor)
• Rautio: Moon in Jupiter; Moonlight Alley. Finnish RSO. (Fennica Nova)
• Rimsky-Korsakov: The Golden Cockerel Suite. Bournemouth Symphony Orchestra. 1975. (EMI ASD 3141)
• Rimsky-Korsakov: May Night Overture; Glazunov: Valse de Concert No. 1; Glinka: Valse Fantaisie; Sibelius: Intermezzo and Alla Marcia from Karelia Suite; Shalaster: Dance "Liana". Bournemouth Symphony Orchestra. (EMI)
• Saint-Saens: Piano Concerto No. 2 (with Emil Gilels). USSR State Symphony Orchestra. 1951.
• Schumann: Piano Concerto; Grieg: Piano Concerto (with John Ogdon). New Philharmonia Orchestra. 1972. (EMI ASD 2802)
• Sallinen: Chorali. Helsinki Philharmonic Orchestra. (BIS CD-41)
• Shostakovich: Symphonies 5, 6, 7, 10, 11. Bournemouth Symphony Orchestra. 30–31 July 1975, No. 1 Studio, Abbey Road, London (No. 5). Jan 1974, Guildhall, Southampton (No. 7). 1975 (No. 10). Dec 1978 (No. 11). (EMI)
• Shostakovich: Symphony No. 8. Russian National Orchestra. June 2005, DZZ Studio 5, Moscow. (Pentatone)
• Shostakovich: Cello Concerto No. 1; Walton: Cello Concerto (with Paul Tortelier). Bournemouth Symphony Orchestra. Jan 7-8, 1973, Southampton Guildhall. (EMI)
• Shostakovich: Concerto No. 1 for Piano, Trumpet and Strings (with Cristina Ortiz and Rodney Senior); Piano Concerto No. 2 (with Cristina Ortiz); Three Fantastic Dances. Bournemouth Symphony Orchestra. Sep 1975. (EMI)
• Shostakovich: Violin Concerto No. 1 (with Arve Tellefsen). Royal Philharmonic Orchestra. (Grappa, Simax)
• Sibelius: From Kullervo; Kullervon valitus (with Usko Viitanen). Finnish Radio Symphony Orchestra. (FUGA 9240)
• Sibelius: En Saga; The Oceanides; Pohjola´s Daughter; Luonnotar (with Taru Valjakka); Pelleas et Melisande (excerpts). Bournemouth Symphony Orchestra. (EMI ESD7159)
• Sibelius: Pelleas et Melisande; Rakastava. Finnish Chamber Orchestra. Live Tampere Talo, 8 April 1991. (FCO 1001)
• Sibelius: Finlandia; Tapiola; The Swan of Tuonela; Lemminkäinen's Return; Valse Triste. Philharmonia Orchestra. 1983, St. John's Smith Square, London. (EMI ASD 4186)
• Sibelius: Finlandia; The Swan of Tuonela; Lemminkäinen's return; Intermezzo from Karelia Suite; Nocturne, Elegie, Musette, Valse Triste from King Kristian II suite. Bournemouth Symphony Orchestra. (EMI 1 C 063-05 011 Q)
• Sibelius: Symphonies 2, 7. London Philharmonic Orchestra. Live Royal Festival Hall 6 Dec. 2003 (No. 7) and 16 Feb. 2005 (No. 2). (LPO 0005)
• Sibelius: Symphony No. 4. Royal Concertgebouw Orchestra. Live 9/11/1991. (Anthology Of The Royal Concertgebouw Orchestra Vol. 6 - Live Radio Recordings 1990-2000)
• Sibelius: Symphony No. 4; Sallinen: Mauermusik. Finnish RSO. House of Culture Helsinki, May 1969. (DECCA SXL 6431, Finlandia FA 312)
• Sibelius: Symphonies 5, 6; The Swan of Tuonela. London Philharmonic Orchestra. Live May 31, 2003, Royal Festival Hall (No. 5). Live Dec. 6, 2003, Royal Festival Hall (No. 6). Live Sept. 22, 2006, Queen Elizabeth Hall (Swan). (LPO 0065)
• Sibelius: Symphony No. 6; The Swan of Tuonela. Berlin Radio Symphony Orchestra. Recorded 1970. (ETERNA 00031432BC)
• Sibelius: Complete Symphonies 1–7 and Orchestral Works (Including World Premiere Recording of Kullervo Symphony). Bournemouth Symphony Orchestra. 1976 (No. 1). 1978 (No. 2). June 20, 1977 (No. 3). ? (No. 4). June 1973 (No. 5). 1976 (No. 6). 1973 (No. 7). Southampton Guildhall. Dec. 1970, Southampton Guildhall (Kullervo). (EMI)
• Sibelius: Complete Symphonies 1–7 with Finlandia, The Oceanides and Kullervo Symphony. Helsinki Philharmonic Orchestra. Feb 1984, All Saints Church Tooting (No. 4). 1985 (Kullervo). May 1986, House of Culture, Helsinki (No. 1). Dec 1986, House of Culture, Helsinki (No. 2). July 1987, House of Culture, Helsinki (No. 3). Dec 1986, House of Culture, Helsinki (No. 5). May 1986, House of Culture, Helsinki (No. 6). Feb 1984, All Saints Church Tooting (No. 7). (EMI)
• Sibelius: Complete Symphonies 1–7. Chamber Orchestra of Europe. 10 Oct 1997, RFO Hall Hilversum (Nos. 1, 2, 3). Sep 1995, Watford Colosseum London (Nos. 4, 6, 7). Dec 1996, Nijmegen (No. 5). (Finlandia)
• Sibelius: Violin Concerto; Serenades Nos. 1, 2; Humoresque No. 5. (with Ida Haendel). Bournemouth Symphony Orchestra. July 1975, Southampton Guildhall. (EMI)
• Sibelius: Violin Concerto (with Arve Tellefsen). Royal Philharmonic Orchestra. (Simax)
• Sibelius: Valse triste; Dvorak: Slavonic Dance No. 1; Slavonic Dance No. 2; Strauss Johann Jr: Csardas. Finnish National Opera Orchestra. (Ondine ODE 8152)
• Smetana: Má Vlast. Dresden Staatskapelle. Recorded 1978 at Lukaskirche Dresden. (ETERNA 8 27 199-200)
• Strauss: Till Eulenspiegel; Don Juan; Burleske for Piano and Orchestra (with Sergei Edelmann); Serenade for Winds. Stockholm Philharmonic. June 19–22, 1989, Philharmonic Hall, Stockholm. (RCA Victor)
• Tchaikovsky: Serenade for Strings; Dvorak: Serenade for Strings. New Stockholm Chamber Orchestra. July 14–15, 1983, Stockholm Concert Hall. (BIS CD-243)
• Tchaikovsky: 1812 Overture; Symphony No. 4. London Philharmonic Orchestra. Feb 28-30, 1998, Watford Colosseum. (SONY)
• Vaughan Williams: Symphony No. 4; The Lark Ascending (with Barry Griffiths). Royal Philharmonic Orchestra. October 29–30, 1979, No. 1 Studio, Abbey Road. (EMI ASD 3904)
• Vaughan Williams: Symphony No. 6; Oboe Concerto (with John Williams). Bournemouth Symphony Orchestra. April 1, 1975, Southampton Guildhall. (EMI ASD 3127)
• Walton: Violin Concerto (with Ida Haendel). Bournemouth Symphony Orchestra. 1978, Southampton Guildhall. (EMI ASD3843 CDM 764202 2)

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