Uuno Klami (1900-1961) once declared his orchestral fantasy Revontulet (“Northern Lights”, 1943-46) to be his best work. For all the compositional finesse of the work, not least its orchestration, and engaging as it undoubtedly is, as a depiction of the celebrated aurora Saariaho’s later Lichtbogen (Ondine, 11/02) is a far finer piece. By contrast, the Cheremissian Fantasy (1931) is a diptych inspired by the folk music of a people (related to the Finns) from the area of the upper Volga. No material is quoted but this mini cello concerto, nicely played by Samuli Peltonen, weaves its magical spell by evoking the nature of folk music.

The main event of this disc, though, is the Kalevala Suite which Klami composed in four movements in the early 1930s (after much effort and dithering over what form the work should take). What we hear, though, is the familiar five-span 1943 revision, which has become his best-known and most recorded work. A scintillating orchestral showpiece which has come to define Klami’s style, in some ways it is somewhat uncharacteristic, especially when heard in the context of his post-war output, much as The Rite of Spring is in Stravinsky’s.

Klami’s reputation is of a composer who escaped the shadow of his great compatriot Sibelius by immersing himself in French and Russian music instead. Listen hard beneath the surface glitter, however, and you will hear in all three scores the impress of Kullervo and the Sibelius of the incidental music. Storgårds and the Helsinki Philharmonic turn in superb performances, more deeply characterised than either Sakari’s or Panula’s. Ondine’s sound is of demonstration class, richer than Naxos’s and more compelling than Chandos’s. Thoroughly recommended.