{"id":21994,"date":"2025-12-15T09:00:46","date_gmt":"2025-12-15T07:00:46","guid":{"rendered":"https:\/\/turunmusiikkijuhlat.fi\/?post_type=tapahtuma&p=21994"},"modified":"2026-02-03T12:07:47","modified_gmt":"2026-02-03T10:07:47","slug":"katedraali-soi-kortekangas-requiem","status":"publish","type":"tapahtuma","link":"https:\/\/turunmusiikkijuhlat.fi\/en\/event\/katedraali-soi-kortekangas-requiem","title":{"rendered":"Katedraali soi! Kortekangas’ Requiem"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” row_position_desktop=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”21996″ image_size=”full” max_width=”100%” max_width_mobile=”default” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default”][\/vc_column][vc_column column_padding=”padding-3-percent” column_padding_tablet=”inherit” column_padding_phone=”padding-5-percent” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#1d4754″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”KATEDRAALI SOI!” font_container=”tag:h1|text_align:left|color:%23bc9634″ use_theme_fonts=”yes” css=””][vc_custom_heading text=”KORTEKANGAS’ REQUIEM” font_container=”tag:h2|text_align:left|color:%23bc9634″ use_theme_fonts=”yes” css=””][vc_custom_heading text=”02.02.2026 | 19:00″ font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Turku Cathedral” font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes” css=””][nectar_btn size=”medium” open_new_tab=”true” button_style=”regular” button_color_2=”Extra-Color-1″ icon_family=”none” text=”Tickets” margin_top=”30″ margin_right=”15″ url=”https:\/\/www.lippu.fi\/eventseries\/name-4052428″][nectar_btn size=”medium” button_style=”regular” button_color_2=”Extra-Color-3″ icon_family=”none” text=”Info” margin_top=”30″ url=”#info” margin_left=”0″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”50px” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”3%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” row_position_desktop=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”padding-5-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#1d4754″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”Program” font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_column_text css=”” max_width=”600″ text_direction=”default”]Minna-Leena Lahti<\/strong>, soprano
\nNicholas S<\/strong>\u00f6derlund<\/strong>, bass-baritone
\nTeemu H\u00e4m\u00e4l\u00e4inen<\/strong>, director
\nSuomalainen Kamarikuoro<\/strong>, train. Eric-Olof S\u00f6derstr\u00f6m<\/strong>
\nSinfonietta Fortis<\/strong><\/p>\n

EDWARD ELGAR (1857\u20131934):<\/strong>
\nSerenade for string orchestra E minor Op. 20
\n1. Allegro<\/em>piacevole<\/em>
\n2. Larghetto<\/em>
\n3. Allegretto<\/em><\/p>\n

WOLFGANG AMADEUS MOZART (1756\u20131791):<\/strong>
\nAdagio and fugue for string orchestra C minor K. 546<\/p>\n

SAMUEL BARBER (1910\u20131981):<\/strong>
\nAdagio for strings<\/p>\n

OLLI KORTEKANGAS (1955\u2013):<\/strong>
\nRequiem
\nI Introitus & Kyrie<\/em>
\nII Dies irae<\/em>
\nIII Lacrimosa<\/em>
\nIV Offertorium<\/em>
\nV Sanctus & Benedictus<\/em>
\nVI Pie Jesu<\/em>
\nVII Agnus Dei<\/em>
\nVIII Meditatio<\/em>
\nIX Lux aeterna<\/em>
\nX Libera me<\/em>
\nXI In paradisum<\/em>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_row_inner column_margin=”30px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bottom_padding=”3%” top_padding_phone=”10%” constrain_group_5=”yes” bottom_padding_phone=”10%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”padding-5-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#bc9634″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”Tickets 35 | 32 | 20 \u20ac” font_container=”tag:h4|text_align:center|color:%23ffffff” use_theme_fonts=”yes” css=””][vc_custom_heading text=”Duration 1 h 20 min, no intermission” font_container=”tag:h4|text_align:center|color:%23ffffff” use_theme_fonts=”yes” css=””][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”” text_direction=”default”]Join us for the last time at the Cathedral before its renovation!<\/p>\n

Come and experience Finnish music history when Olli Kortekangas’<\/strong> Requiem<\/em> premieres as part of the Katedraali soi! church music week. The concert combines the classical beauty of a string orchestra with the powerful expression of contemporary Finnish music, performed by Sinfonietta Fortis<\/strong> and Suomalainen Kamarikuoro<\/strong> under the baton of Teemu H\u00e4m\u00e4l\u00e4inen<\/strong>. The soloists are soprano Minna-Leena Lahti<\/strong> and bass-baritone Nicholas S\u00f6derlund<\/strong>. The concert will be complemented by works by Elgar<\/strong>, Mozart<\/strong>, and Barber<\/strong>.<\/p>\n

Kortekangas has composed his Requiem to the traditional Latin requiem text, but does so with his own bold approach: he moves from semantic precision to a phonemic sound world in which words become part of the musical fabric. The eleven parts of the work form a clear, forward-moving narrative, at the heart of which is a universal message of comfort, remembrance, and the presence of humanity.<\/p>\n

Requiem is Kortekangas’ personal tribute to the memory of loved ones who have passed away, but at the same time it opens up a space for the listener to share in a common experience: silence, sorrow, hope, and gentle comfort. The concert invites the listener to pause, listen, and discover something completely new in the requiem tradition.<\/p>\n

Requiem was commissioned by Sinfonietta Fortis to the Katedraali soi! festival, with support from the Sibelius Fund of Finnish Composers.[\/vc_column_text][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h6″ heading_tag_functionality=”default” title=”Introduction of works”][vc_column_text css=”” text_direction=”default”]Edward Elgar<\/strong> had not yet achieved major success as a composer in the 1890s. However, alongside teaching and conducting amateur orchestras, he composed works such as Serenade<\/em> for Strings E minor Op. 20<\/em>, which he completed in March 1892 as a gift for his wife on their third wedding anniversary. An early version of the serenade was probably performed as early as 1888 under the title Three Sketches for Strings<\/em>. An early version of the serenade was probably performed as early as 1888 under the title Three Sketches for Strings. Its movements were Spring Song<\/em>, Elegy<\/em>, and Finale<\/em>, but the manuscript has since been lost.<\/p>\n

Serenade for string orchestra<\/em> was not performed publicly until 1896 in Belgium and had its British premiere in 1899. Since then, it has gradually become one of the composer’s most beloved works. The three-part, 12-minute work flows captivatingly and effortlessly.<\/p>\n

In the first movement, Allegro piacevole<\/em> (Pleasantly fast), one can imagine spring bursting into bloom to the fresh rhythm of 6\/8. The slower Larghetto<\/em> movement offers one of Elgar’s finest melodies, as the violins burst into bloom after a short introduction. The finale swings cheerfully and returns to the theme of the first movement before gently closing. The composer was clearly pleased with his work and wrote in a letter about its three harmonious movements: “I like ’em (the first thing I ever did)”.<\/p>\n

 <\/p>\n

Wolfgang Amadeus Mozart<\/strong> often made his music sound effortless and light, but he admired the contrapuntal skills of old masters such as J.S. Bach. A fugue for two pianos in the passionate Sturm und Drang style has survived from 1783, which Mozart arranged for strings five years later and added a dramatic slow introduction to. The work has no known commissioner, but music publisher F.A. Hoffmeister published the score immediately.<\/p>\n

Adagio and Fugue C minor<\/em> (K. 546) does not immediately sound like a typical Mozart work, but his interest in composing polyphonic musical lines was evident in many of his works from that period. The fugue theme with its variations and multiple overlaps represents a technique that Mozart honed to perfection, culminating in the famous finale of the Jupiter Symphony<\/em>.<\/p>\n

Just as Mozart took inspiration from previous generations, so too did future generations take inspiration from him. Ludwig van Beethoven’s estate contains a carefully copied version of Mozart’s fugue in C minor, whose virtuosity he clearly admired and carried forward into his own great fugues.<\/p>\n

 <\/p>\n

Samuel Barber<\/strong> composed his only string quartet in 1935\u201336. He immediately sensed the potential of the slow movement, which steadily ascends with calm steps, and arranged it for string orchestra under the title Adagio for Strings<\/em>. Arturo Toscanini conducted the premiere in 1938, after which it established itself as a classic of American art music.<\/p>\n

Adagio<\/em> has been played at the funerals of both Albert Einstein and Grace Kelly, and it has become established as funeral music after events that have shocked the world. Three decades after the composition was written, in 1967 Barber added lyrics from the Latin Agnus Dei<\/em> mass text and arranged it for mixed choir. In September 2021, in memory of the terrorist attacks on the World Trade Center two decades ago, the closing concert of the London Proms festival also featured an arrangement combining the original string orchestra work Agnus Dei<\/em> with lyrics.<\/p>\n

Adagio<\/em> builds slowly, weaving its simple melody line like a prayer rope. The weight of emotion builds to a climactic chord in the upper register, with the final chords settling into silence as the opening is repeated. The limitations of musical resources become a strength, channeling powerful emotions in a universal, human way that transcends cultural boundaries.<\/p>\n

Lauri M\u00e4ntysaari<\/p>\n

 <\/p>\n

Church music has been a central part of my work as a composer since the beginning of my career. As a choir singer, I am familiar with the classical repertoire and believe that the tradition should continue with new works. The requiem, or mass for the dead, is one of the most popular forms of church music, but it also lends itself to new interpretations, such as the magnificent works by composers like Benjamin Britten, Joonas Kokkonen, and Krzysztof Penderecki. These have also become audience favorites, almost on a par with the requiems of Mozart and Faur\u00e9.<\/p>\n

Composers of requiems have often been quite creative in their choice of text: the Catholic requiem text may have been used only in part, or lyrics may have been inserted between passages, as in Britten’s War Requiem, for example. Brahms’ Ein Deutsches Requiem is a special case because of both its performance language and its text based on biblical passages.<\/p>\n

I myself ended up composing exclusively to the traditional Latin text. However, I use it on a broad scale, from semantic and interpretative precision to the level of phonemes, or timbre. In this way, the text influences the work both in terms of content and as part of its musical material, which I believe offers the listener the opportunity to understand and experience the message of the requiem both intellectually and emotionally.<\/p>\n

My requiem is scored for two soloists (high female and low male voices), mixed choir, and a sinfonietta-type orchestra. The eleven movements of the work form, I hope, a clearly progressing musical narrative that inspires the listener.<\/p>\n

I have dedicated the work to the memory of my departed loved ones.<\/p>\n

Olli Kortekangas[\/vc_column_text][\/toggle][\/toggles][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h6″ heading_tag_functionality=”default” title=”Text”][vc_column_text css=”” text_direction=”default”]I Introitus & Kyrie<\/em><\/p>\n

Lord, grant them eternal rest,
\nand may perpetual light shine upon them.
\nWe praise you, God, in Zion.
\nWe will fulfill the promises
\nwe made to you,
\nfor you hear our prayers.
\nAll people come to you.
\nLord, grant them eternal rest,
\nand may perpetual light shine upon them.<\/p>\n

Lord, have mercy.
\nChrist, have mercy.
\nLord, have mercy.<\/p>\n

II Dies irae<\/em><\/p>\n

The day of wrath is frightening,
\nforetold by prophets,
\nit will destroy the world.<\/p>\n

The soul trembles, astonished
\nand frightened:
\nThe Judge is approaching.<\/p>\n

The trumpet is mighty,
\nresounding even in the graves,
\ngathering all together.<\/p>\n

Even death, in its terror,
\nsees how the people rise from their graves
\nto face judgment.<\/p>\n

The great book is brought forth,
\nall eyes are fixed upon it,
\nsecrets are revealed.<\/p>\n

Sins committed, planned,
\nspoken and thought,
\nall are made public.<\/p>\n

How can I face the judge?
\nI can only be ashamed.
\nEven the righteous cannot endure it.
\nMy King, do not take revenge!
\nIn your mercy, lift me up
\nfrom my pain, from my judgment!<\/p>\n

Remember how you suffered
\nfor me, Jesus, my death.
\nHave mercy now, my God!<\/p>\n

The cross brings salvation,
\nin that alone I will trust.
\nDid you die in vain, Lord?<\/p>\n

In this time of mercy,
\nlet my sins be laid on the cross.
\nCarry me to the shelter of your blood.<\/p>\n

I repent of my evil life.
\nMy head is bowed in shame.
\nLet me hear the voice of mercy!<\/p>\n

You forgave the sinful woman
\nand the repentant thief.
\nI hope for the same!<\/p>\n

I beg before you, undeserving:
\nRemember your goodness,
\nwithdraw your hand of vengeance!<\/p>\n

Let me join your flock
\non your right hand side
\nbecause of your great mercy.<\/p>\n

Accompany the lost,
\nthose condemned to the lake of fire,
\nand lift them up among the blessed.<\/p>\n

Before you, Lord, I sigh,
\ncrushed into dust and ashes:
\nTake me home, to safety.<\/p>\n

III Lacrimosa<\/em><\/p>\n

After a day of weeping and lamentation,
\nafter the resurrection,
\nwe will stand before our judge.
\nHave mercy on us, our Master!
\nLord Jesus, bring us help,
\ngrant rest to those who have departed.<\/p>\n

IV Offertorium<\/em><\/p>\n

Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the torments of hell and the depths of the underworld. Deliver them from the snare of the devil, let not the underworld swallow them up, lest they fall into darkness, but may the standard-bearer Saint Michael lead them into the light that you once promised to Abraham and his descendants.<\/p>\n

We bring you, Lord, our thanksgiving and prayers; accept them on behalf of the souls whose memory we celebrate today. Grant, Lord, that they may pass from death to the life you promised to Abraham and his descendants.<\/p>\n

V Sanctus & Benedictus<\/em><\/p>\n

Holy, holy, holy
\nLord God Almighty.
\nThe heavens and the earth are full of your glory.
\nHosanna in the highest.<\/p>\n

Blessed is he who comes in the name of the Lord.
\nHosanna in the highest.<\/p>\n

VI Pie Jesu<\/em><\/p>\n

Lord Jesus, merciful,
\ngrant them rest.<\/p>\n

Lord Jesus, merciful,
\ngrant them eternal rest.<\/p>\n

VII Agnus Dei<\/em><\/p>\n

Lamb of God, who takes away the sins of the world,
\ngrant them rest.<\/p>\n

Lamb of God, who takes away the sins of the world,
\ngrant them eternal rest.<\/p>\n

(VIII Meditatio)<\/em><\/p>\n

IX Lux aeterna<\/em><\/p>\n

Lord, may eternal light shine upon them
\nin the company of your saints forever,
\nfor you are merciful.
\nLord, grant them eternal rest,
\nand may eternal light shine upon them
\nin the company of your saints forever,
\nfor you are merciful.<\/p>\n

X Libera me<\/em><\/p>\n

Deliver me, Lord, from eternal death on that dreadful day when the heavens and the earth will be shaken as you come to judge the world with fire. I tremble and fear as the day of reckoning and threatening wrath approaches, when the heavens and the earth will be shaken. That day is a day of wrath, a day of terror and sorrow, a great and very bitter day. When you come to judge the world with fire.<\/p>\n

Lord, grant them eternal rest,
\nand may perpetual light shine upon them.<\/p>\n

Lord, have mercy.
\nChrist, have mercy.
\nLord, have mercy.<\/p>\n

May they rest in peace.<\/p>\n

XI In paradisum<\/em><\/p>\n

May the angels escort you to paradise. May the martyrs welcome you and take you to the holy city of Jerusalem. May the choir of angels receive you, and may you rest in peace with poor Lazarus. Amen.<\/p>\n

Sources: Roman Missal, People’s Missal 1961, Catholic funeral liturgy<\/strong>[\/vc_column_text][\/toggle][\/toggles][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h6″ heading_tag_functionality=”default” title=”The Composer”][vc_column_text css=”” text_direction=”default”]Olli Kortekangas<\/strong> (b. in Turku in 1955) studied composition under Einojuhani Rautavaara and Eero H\u00e4meenniemi at the Sibelius Academy from 1974 to 1981 and continued his studies under Dieter Schnebel in West Berlin. In the fall of 1985, he studied under Roger Reynolds in San Diego. Kortekangas has worked as a teacher at the Espoo Music Institute, the Sibelius Academy, and the Theater Academy, as well as in master classes in Finland and abroad. From 1997 to 2007, Kortekangas served as the Oulu Symphony Orchestra’s composer-in-residence.<\/p>\n

Olli Kortekangas’ catalog of works includes approximately 160 compositions, ranging from miniatures to orchestral works and operas. He has always been particularly interested in the human voice, vocal music, and musical theater. His major works include numerous choral works and fourteen operas, such as Grand Hotel<\/em> (1985), Messenius<\/em> and Lucia<\/em> (2005), Is\u00e4n tytt\u00f6<\/em> (2007), Oma vika<\/em> (2015), Veljeni vartija<\/em> (2017), Ende und Beginn<\/em> (2021), and Isf\u00e5glarna<\/em> (2023). Kortekangas’ career also includes a wealth of instrumental music, including concertos, chamber music and solo works, and his most recent interest is in compositions for period instruments.<\/p>\n

Kortekangas has composed commissioned works for many European countries as well as the United States, Canada, Japan, and Australia. The most significant foreign premieres in recent years have been the oratorio Seven Songs for Planet Earth<\/em> (2011), premiered in Washington, Migrations for mezzo-soprano, male choir and orchestra<\/em> (2014), commissioned by the Minnesota Orchestra, and the Estonian-Finnish collaboration Piir<\/em> (2024). Notable Finnish premieres include the Clarinet Concerto<\/em> (2014), commissioned by the Oulu Symphony Orchestra, the song cycle Songs of Meena<\/em> (2020), commissioned by the Helsinki Philharmonic Orchestra, and the Guitar Concerto <\/em>(2024), commissioned by the Saimaa Sinfonietta. Kortekangas is currently working on an international dance theater production on the Etruscans, which will premiere in Oslo in 2027.<\/p>\n

Olli Kortekangas has an extensive output of organ music, including a concerto, four sonatas, and numerous smaller works for both church and concert use. He has also composed several large-scale sacred works. De virtute in virtutem \u2013 Songs of a Pilgrim<\/em> was premiered at the Naantali Music Festival in 2011, and the large-scale VIA<\/em> oratorio in 2017. In the summer of 2019, the church opera El\u00e4m\u00e4nkuvat<\/em> (Images of Life) premiered in the old church of Isokyr\u00f6. The church opera Ende und Beginn<\/em>, which premiered in Uusikaupunki in 2021, has since been performed in various parts of Finland, and in the summer of 2024 it premiered in Tallinn, Estonia. \u201cUnacknowledged Vesper Music\u201d V\u00e4h\u00e4n ennen y\u00f6t\u00e4<\/em> for three voices and organ was premiered in 2023, and a version for large choir and organ in 2025.<\/p>\n

Olli Kortekangas has received, among other things, the Prix Italia special prize, the Salzburg City Opera Prize, the Teosto Prize, the Lutheran Culture Foundation Recognition Prize, and the 2015 Art Music Composer Prize awarded by the Finnish Music Publishers Association. Other honors include the Espoo Medal and the selection as the Official Unikeko of the Kingdom in Naantali in 2011. In 2022, the opera Ende und Beginn was awarded the Arkkipooki Certificate of Honor by the Archdiocese of Turku.<\/p>\n

Kortekangas is a founding member of the renowned contemporary music association Korvat auki ry. His numerous organizational and expert roles over the years include membership in the boards of the Finnish Composers’ Association, the Association of Church Music Composers, and Teosto, the board of the Paulo Foundation, the State Music Committee, and the Finnish-language supplement working group for the hymnal. From 2023 to 2025, Kortekangas served as an expert for the Nordic Culture Fund.<\/p>\n

Olli Kortekangas lives and works in Helsinki and Rym\u00e4ttyl\u00e4, Naantali.[\/vc_column_text][\/toggle][\/toggles][divider line_type=”No Line” custom_height=”15″][vc_custom_heading text=”Event’s artists” font_container=”tag:h4|text_align:left|color:%231d4754″ use_theme_fonts=”yes”][vc_row_inner column_margin=”30px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”3%” constrain_group_1=”yes” bottom_padding=”3%” top_padding_phone=”10%” constrain_group_5=”yes” bottom_padding_phone=”10%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” 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  • Osoite:<\/strong> Tuomiokirkonkatu 1, 20500 Turku<\/li>\n
  • Julkinen liikenne:<\/strong> Keskustan pys\u00e4kit l\u00e4hell\u00e4. H\u00e4meenkadun ja Uudenmaankadun pys\u00e4kit l\u00e4himp\u00e4n\u00e4. Tuomiokirkon linja-autopys\u00e4kki l\u00e4hell\u00e4.<\/li>\n
  • Esteett\u00f6myys:<\/strong> Esteet\u00f6n sis\u00e4\u00e4nk\u00e4ynti ja invaparkkipaikat kirkon pohjoispuolella. Konserttialue on esteet\u00f6n.<\/li>\n
  • Pys\u00e4k\u00f6inti:<\/strong> Parkkipaikkoja kirkon ymp\u00e4rist\u00f6ss\u00e4.<\/li>\n<\/ul>\n <\/div>[nectar_btn size=”large” open_new_tab=”true” button_style=”regular” button_color_2=”Extra-Color-3″ icon_family=”none” text=”Bus timetables (F\u00f6li.fi)” margin_top=”5″ url=”https:\/\/www.foli.fi\/fi\/aikataulut-ja-reitit”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]