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Angel of Light is part of the ongoing ‘angel series’ I began two decades ago, i.e. a series of orchestral works each with the word ‘angel’ in the title or subtitle. So far it has included Angels and Visitations, the double bass concerto Angel of Dusk, and now the seventh symphony, Angel of Light.The image of ‘angels’ presented by classical kitsch art, as blondes in their nightdresses with the wings of a swan, is so ingrained that the world of fantasy behind the ‘angel series’ has tended to be misunderstood. For the angels I had in mind were akin to the terrifying, masculine figures bursting with saintly fury of Rainer Maria Rilke, for whom “...ein jeder Engel ist schrecklich — every angel is terrible...” These angels are not figures out of any children’s fairy tale; instead, they reside in the age-old tradition of humankind and the ever-present companion, the archetype of which C.G. Jung says, “...no-one can bear to lose the perfect archetype.” It must accompany us, and we it, today as ever before, if we have a mind to command our lives and understand the world.I must, however, make it quite clear that these works do not have a ‘programme’. They are absolute music by a composer whose minscape has been crossed by strong, archetypical associations — so strong that the whole work began to hinge on a particular word or two: ‘angels and visitations’ and the rest. It was like a mantra that had to be reiterated (and I mean in its given English form) until it began to radiate energy, musical energy in my case of course.The calm, epic story of the first movement twice culminates in a grandiose hymn motif (that really does seem to have wings) that is, however, always interrupted — as if to avoid having to perform any real feats of strength. This paves the way for the violent force of the second movement that erupts in many directions in rapidly changing textures. At the end of the movement the variations of the hymn motif by the vibraphone and harp are met by angry comments from the trumpets and outbursts from the whole Orchestra, until the mood of expectation leads straight into the third, slow movement. This is marked ‘come un sogno’ — like a dream. The hymn motif reappears as the texture becomes momentarily denser, but in only barely perceptible flageolet notes on the violins. The dosing movement is finally announced by pillar chords on the brass, from which a singing recitation on the strings begins to be spun. Rising higher and higher towards the light, it gradually pulls the orchestra with it until, having reached the apex, it finds tranquillity in a variation on the hymn motif in broad, melodic spans.The symphony was commissioned by the Bloomington Symphony Orchestra to celebrate its 25th anniversary in 1995 and it was first performed in Bloomington, Indiana.© Einojuhani Rautavaara(translated by © Susan Sinisalo)

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Abbreviation	Instrument
Woodwind
acl	alto clarinet
afl	alto flute
arec	alto recorder
asax	alto saxophone
barsax	baritone saxophone
barhn	baritone horn
bcl	bass clarinet
bfl	bass flute
bob	bass oboe
bsax	bass saxophone
bsn	bassoon
cbsn	contrabassoon
cl	clarinet
ehn	English horn
fl	flute
hn	French horn
ob	oboe
pic	piccolo
rec	recorder
sax	saxophone
srec	soprano recorder
ssax	soprano saxophone
trec	tenor recorder
tsax	tenor saxophone
Brass
ahn	alto horn
atrb	altotrombone
barhn	baritone horn
btrb	bass trombone
cornet	cornet
euph	euphonium
fhn	flugelhorn
hn	French horn
tba	tuuba
thn	tenor horn
trb	trombone
trp	trumpet
Percussion
dr	drums
glock	glockenspiel
mar	marimba
perc	percussion
timp	timpani
vibr	vibraphone
xyl	xylophone
Strings
db	double bass
gamba	viola da gamba
str	strings
vla	viola
vlc	cello
vln	violin
Other
acc	accordion
cel	celesta
cemb	harpsichord
chords	chords
elbas	electric bass
elg	electric guitar
elorg	electric organ
elpno	electric piano
guit	guitar
harm	harmonium
hca	harmonica
hp	harp
instr	instrument
kantele	kantele
keyb	keyboard
live electr	live electronics
mand	mandolin
mel	melody
org	organ
pno	piano
synth	synthesizer
tape	tape
Vocal
alto	alto
baryt	baritone
basso	bass voice
ch	choir
chc	childrens choir
chf	female choir
chm	male choir
chx	mixed choir
cten	countertenor
mezzo	mezzo-soprano
sopr	soprano
speaker	speaker
ten	tenor
voc	vocal

Symphony orchestra
2222 4331 11 1, str = 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, one other percussionist, harp and strings
Wind band
2252 3 423 21212 3 = 2 flutes, 2 oboes, 5 clarinets, 2 bassoons - 3 saxophones - 4 French horns, 2 trumpets, 3 trombones - 2 cornets, alto horn, 2 tenor horns, baritone horn, 2 tubas - 3 percussionists
Big band
221 4 4, pno, guit, db, dr = 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 4 trumpets, 4 trombones, piano, guitar, double bass, drums
Additional codes
+	fl+pic = flutist doubles on piccolo
/	pno/org = can be played on either piano or organ
lib	ad libitum
obl	obligato
str	str: 65432 = specified number of string players
str min	str min: 65432 = at least 65432
str max	str max: 65432 = not more than 65432
solo	vln solo = violin is the solo instrument in a work not obviously for solo violin

Angel of Light (Symphony No. 7)