Finnish trumpeter Jouko Harjanne, the third major young Scandinavian virtuoso of the instrument to have emerged in recent years alongside Hardenberger of Sweden and Antonsen from Norway, is perhaps musically the least refined of the trio, though his solo recordings to date on Finlandia reveal an uncomplicated and resourceful talent: a man capable of that same assured epic quality which made Timofei Dokshitzer such a celebrated soloist in many of the Russian concertos Harjanne plays here. This is certainly the case in the impressive Concerto by Eino Tamberg, an Estonian of the Arvo Part generation, whose taut rhythmic structure brings instant rewards in the outer movements, though the more romantic and melodious Arutunian Concerto (whose reputation is justly founded on a satisfying combination of brisk-tongued virtuosity, poignant sentimentality and bold military asides) is strangely dour and unspirited, unlike Sandoval’s larger-than-life account. But if the sound here is too recessed, the position is redressed in the unashamedly derivative Goedicke Concerto of 1930: from the ‘recitative’ opening Harjanne and the Kuopio Symphony Orchestra find themselves in seventh heaven, and the Vasilenko Concerto, too, sees the indomitable and bright-toned Harjanne on very fine form.
One last thing: I have never heard a trumpet player with such consistently good intonation. The same cannot always be said for the orchestra.'