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Talk:Merchant Taylors' Company

What's the connection between the London one and this one? Are these two separate things, or branches of the same?

Merchant Taylors' Hall

Merchant Taylors' Hall

Aldwark, York YO1 2BX

OPEN: May-Oct Tues 10am-4pm. Other times by appointment. ADMISSION: Free. FACILITIES: Conference and exhibition centre. DISABLED ACCESS: Yes. CONTACT: (01904) 632967.

Tucked under the city wall in Aldwark is the Merchant Taylors’ Hall where an outer 17th century cladding hides its 14th century origins.

It was built by the Fraternity of St John the Baptist, which was connected with the Taylors’ Guild.

This was one of three guilds in York to receive a Royal Charter of Incorporation in 1661. The fine medieval roof covers the main hall, which measures 60 feet long by 30 feet wide and 30 feet high.

Two windows in the Counsel or Counting House are by the York glass painter Henry Gyles and the larger window in the south wall features a depiction of the head of Queen Anne, made in the year of her accession.

In the 18th century the Hall was used by entertainers, who staged shows of rope dancing, tumbling and a pantomime called "The Force of Magick or The Birth of Harlequin".

title: Talk:Merchant Taylors' Company


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Manchester and Birmingham Railway

The Manchester and Birmingham Railway was built between Manchester and Crewe and opened in stages from 1840. Between Crewe and Birmingham, trains were worked by the Grand Junction Railway. The M&BR was merged into the London and North Western Railway in 1846.

Plans
After the building of the Grand Junction Railway and the Liverpool and Manchester Railway, investors began to look for other routes south of Manchester. From 1835, the GJR was considering a branch to the Potteries, while the Manchester and Cheshire Junction Railway was planning a line from Manchester to Crewe with branches outwards. Meanwhile, George Stephenson was investigating a line from Manchester and Stockport to the Potteries, which developed into a proposal for a "Manchester South Union Railway". Also involved were proposals for competing lines through the Trent valley to Rugby.

After two years of proposals and counter-proposals, what emerged was a scheme to run from a junction from the GJR at Chebsey, with branches to Macclesfield and Crewe, into Manchester Store Street, which received an act of Parliament authorising it in 1837. There were plans to take the line to Rugby, but for a number of reasons, including lack of finance, they were put in abeyance.

Opening
A section between Heaton Norris and a temporary station at Travis Street in Manchester was opened first in 1840 carrying nearly two thousand passengers in the first twenty weeks. However, there still remained to be built an enormous 22 arch viaduct over the River Mersey at Stockport. In 1841 the Sheffield, Ashton-under-Lyne and Manchester Railway, which was to share Store Street, also began running into Travis Street. Store Street finally opened in 1842 and later became known as London Road (it became Piccadilly in 1960). Services were extended to Sandbach but entry to Crewe, where it would use GJR metals to Birmingham, proved more difficult. In the end it was agreed that the GJR would work the trains south of Crewe, while the M&B would work them into Manchester.

Enough locomotives, all 2-2-2, had been ordered from Robert Stephenson and Company and Sharp, Roberts and Company to work the whole distance, but John Ramsbottom, their Locomotive Superintendent, managed to sell four of them on to the South Eastern Railway. Although the company's finances remained weak, it built a number of short branches, and, although a minor player, its position made it a crucial part in revived plans for the Trent and Churnet valleys, which involved the London and Birmingham Railway with which they would compete.

Merger
Eventually the complex relationship between the M&BR, the GJR and the L&BR was resolved by their merger in 1846 to form the London and North Western Railway. The long-awaited Trent Valley Railway opened in 1847. The Manchester and Birmingham had put other plans forward, including a line from Rugby to the Midland Railway at Syston near Leicester, authorised in 1846 and the Coventry and Nuneaton Railway. Also in 1846 the Manchester, Buxton, Matlock and Midlands Junction Railway had been authorised, supported strongly by the M&BR and the Midland, joining the latter's line to London. In the event it only reached Rowsley due to financial difficulties, but the merger was a considerable embarrassment to the Midland, since the LNWR was naturally opposed to a competing line to the capital.

Locomotives of the M&BR
The M&BR's locomotive works was at Longsight railway station.

Prestbury Tunnel
The Prestbury Tunnel 53.29551°N, -2.14447°W was constructed in 1845 by George W. Buck for the Manchester and Birmingham Railway. The south entrance arch is made from ashlar buff sandstone, and is Grade II listed. The arch stands proud of the rubble supporting walls, and is decorated with a modillion cornice. The north entrance arch is in brick and of a simpler design. The keystone of the northern arch has the 1845 date, and the company's initials.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Manchester and Birmingham Railway


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Esa-Pekka Salonen

Esa-Pekka Salonen (born 30 June 1958) is a Finnish conductor and composer. He is the music director of the San Francisco Symphony and conductor laureate of the Los Angeles Philharmonic, Philharmonia Orchestra in London and the Swedish Radio Symphony Orchestra. In 2024, he announced his resignation from the San Francisco Symphony upon the expiration of his contract in 2025.

Early work
Born in Helsinki, Finland, Salonen graduated from Helsingin Suomalainen Yhteiskoulu (SYK), one of the top high schools in Finland, in 1977 and then went to study horn and composition at the Sibelius Academy in Helsinki, as well as conducting with Jorma Panula. His conducting classmates included Jukka-Pekka Saraste and Osmo Vänskä. Another classmate on the composition side was the composer Magnus Lindberg and together they formed the new-music appreciation group Korvat auki ("Ears open" in the Finnish language) and the experimental ensemble Toimii (lit. "It works"). Later, Salonen studied with the composers Franco Donatoni, Niccolò Castiglioni, and Einojuhani Rautavaara.

His first experience with conducting came in 1979 with the Finnish Radio Symphony Orchestra, though he still thought of himself principally as a composer; in fact, Salonen has said that he took up conducting primarily to ensure that someone would conduct his own compositions. In 1983, however, he replaced an indisposed Michael Tilson Thomas to conduct a performance of Mahler's Symphony No. 3 with the Philharmonia Orchestra in London on very short notice, without ever having studied the score, and it launched his career as a conductor. He was subsequently principal guest conductor of the Philharmonia from 1985 to 1994.

Salonen was principal conductor of the Swedish Radio Symphony Orchestra from 1984 to 1995. He co-founded the Baltic Sea Festival in 2003 with Michael Tydén and Valery Gergiev. This summer music festival presents new classical music and aims to bring the countries around the Baltic Sea together and to raise awareness of environmental deterioration of the Baltic. It continues to be held annually in one of the region's countries.

Los Angeles Philharmonic
Salonen made his conducting debut in the United States with the Los Angeles Philharmonic in 1984. He said:"I had no idea what to expect. But the one thing that I didn't expect was when an older player came to talk to me after the first concert and said, 'Consider this your future home'. Something was going on, because I felt the same. I sensed with an absolute certainty that this orchestra, in whatever way, was going to be a very important part of my life. Always."

In 1989, he was offered the title of Principal Guest Conductor by Executive VP Ernest Fleischmann and was to take the orchestra on a tour of Japan; however, controversy ensued when André Previn, the orchestra's music director at the time, was not consulted on either the Principal Guest appointment or the tour, and objected to both. Continued friction between Fleischmann and Previn led to Previn's resignation in April 1989. Four months later, Salonen was named the orchestra's tenth music director, officially taking the post in 1992 and holding it until 2009.

Salonen's tenure with the orchestra began with a residency at the 1992 Salzburg Festival in concert performances and as the pit orchestra in a production of the opera Saint François d'Assise by Olivier Messiaen; it was the first time an American orchestra was given that opportunity. Salonen later took the orchestra on many other tours of the United States, Europe, and Asia, and residencies at the Lucerne Festival in Switzerland, The Proms in London, in Cologne for a festival of Salonen's own works, and in 1996 at the Théâtre du Châtelet in Paris for a Stravinsky festival conducted by Salonen and Pierre Boulez; it was during this Paris residency that key Philharmonic board members heard the orchestra perform in improved acoustics and were re-invigorated to lead fundraising efforts to complete construction of Walt Disney Concert Hall.

Under Salonen's leadership, the Philharmonic became an extremely progressive and well-regarded orchestra. Alex Ross of The New Yorker said this:"The Salonen era in L.A. may mark a turning point in the recent history of classical music in America. It is a story not of an individual magically imprinting his personality on an institution – what Salonen has called the 'empty hype' of conductor worship – but of an individual and an institution bringing out unforeseen capabilities in each other, and thereby proving how much life remains in the orchestra itself, at once the most conservative and the most powerful of musical organisms."

In 2007, Salonen and the orchestra announced the conclusion of his music directorship in 2009, with Gustavo Dudamel taking his place.

Before Salonen's last concert as Music Director of the Los Angeles Philharmonic on 19 April 2009, the orchestra announced his appointment as its first Conductor Laureate. In addition, the LA Philharmonic created the Esa-Pekka Salonen Commissions Fund "for the express purpose of supporting the commissioning and performance of new works" as a way to honor his support of contemporary classical music during his tenure as music director. At its inception, it was endowed with $1.5 million.

During Salonen's tenure as music director, the orchestra gave 120 pieces their world or American debuts and commissioned over 54 new works. By the time he stepped down, he had served as music director longer than anyone else in the orchestra's history, leading the orchestra in 973 concerts and 23 tours.

Philharmonia and subsequent career
In November 2006, the Philharmonia Orchestra announced the appointment of Salonen as Principal Conductor and Artistic Advisor at the beginning of the 2008–2009 season. His initial contract was for 3 years. Salonen has conducted several commercial recordings with the Philharmonia, including music of Berlioz and Schönberg. In November 2010, the Philharmonia announced the extension of Salonen's contract to 2014. In September 2013 the orchestra announced the further extension of Salonen's contract through the 2016–2017 season. In December 2018 the Philharmonia announced that Salonen would conclude his principal conductorship of the orchestra after the 2020–2021 season.

Salonen made his Metropolitan Opera conducting debut in November 2009 with the Patrice Chéreau production of Leoš Janáček's From the House of the Dead.

In 2012 his violin concerto written for Leila Josefowicz won the Grawemeyer Award for Music Composition. In March 2014 he was awarded the Michael Ludwig Nemmers Prize in Musical Composition by the Henry and Leigh Bienen School of Music at Northwestern University. The award includes a $100,000 cash prize, a residency of four nonconsecutive weeks at the school over the next two years, and a performance by the Chicago Symphony Orchestra. In the same spring he was also awarded the first creative chair at the Tonhalle Orchester Zürich for the 2014–2015 season. This post included lectures, workshops, but, most significantly, the commissioning of Karawane, a new piece for orchestra and chorus based on Hugo Ball's dada poetry and the performance of nine other Salonen pieces throughout the season.

In autumn 2015 Salonen began a three-season appointment as composer-in-residence of the New York Philharmonic. He serves as an advisor to The Sync Project, a global collaboration seeking to understand and harness music's effect on brain health. In August 2016 Salonen was named the first artist in association with the Finnish National Opera and Ballet.

Salonen first guest-conducted the San Francisco Symphony (SFS) in 2004. He returned for guest-conducting appearances in 2012 and 2015. In December 2018 the SFS announced the appointment of Salonen as its next music director, effective with the 2020–2021 season, with an initial contract of five seasons.

In March 2024, Salonen announced that he would be leaving the San Francisco Symphony when his contract expires in 2025, stating that "I do not share the same goals for the future of the institution as the Board of Governors does." Some SFS patrons expressed support for Salonen and displeasure with the board's direction.

Digital projects
Salonen and the Philharmonia Orchestra have worked on multi-disciplinary festivals together, including Woven Words: Music begins where words end to celebrate the centenary of the birth of Witold Lutosławski, Salonen's mentor. They also created the award-winning RE-RITE installation, which was first exhibited in London in 2009 and has since travelled to Portugal, China, Turkey, Germany, and Austria. The digital residency allows members of the public to conduct, play and step inside the Philharmonia Orchestra with Salonen through audio and video projections of musicians performing The Rite of Spring. They followed-up with another installation, Universe of Sound, which was based on Gustav Holst's The Planets, debuted at London's Science Museum, and won the 2012 Royal Philharmonic Society Award for Audiences and Engagement. Salonen and the Philharmonia Orchestra, in partnership with Music Sales Group, Rite Digital, and Touch Press, released a successful iPad app, "The Orchestra". Slate called the interactive tour through orchestral history "the perfect classical music app." In the autumn of 2016 the Philharmonia Orchestra launched a digital takeover of the Southbank Centre, featuring the first major virtual-reality production from a UK symphony orchestra.

Apple campaign
In 2014 Salonen was part of an international television and web campaign for Apple, promoting iPad Air. The campaign included not only the ad itself, but also discussions with Salonen on classical music, inspiration, and composing. Apple also offered a new and, for a limited time, free recording of Salonen's Grawemeyer prize-winning violin concerto, featuring the violinist Leila Josefowicz and the Philharmonia Orchestra, 20 of Salonen's classical music picks on the iTunes Store classical music page, 15 of Salonen's iPad app picks in the app store, and a guest DJ station on iTunes Radio.

The ad was noted for "the novelty of seeing a contemporary classical composer in a piece of mainstream advertising," for the synchronisation of the video editing with the score, and for the positive portrayal of classical music as compared to its typical pop cultural image. Salonen also led a concert with violinist Leila Josefowicz and the Philharmonia Orchestra in an Apple store in Berlin and spoke about mixing music and technology. It was the first time that a full orchestra had performed in an Apple store.

In the summer of 2015 Salonen spoke on the uses of technology in music education to a group of Apple Distinguished Educators.

Personal life
Salonen married Kaarina Gould in 2021. Salonen was previously married to Jane Price, a former musician with the Philharmonia Orchestra, with who he had three children: daughters Ella Aneira and Anja Sofia, and son Oliver. The couple separated in 2017 and filed for divorce in June 2018 after 26 years of marriage.

When Igor Stravinsky's former Beverly Hills residence, at 1260 North Wetherly Drive, was put up for sale, Salonen strongly considered buying it. He stated, however, that after visiting the house and noting that indentations from Stravinsky's piano were still visible in the carpet, he was too intimidated by the prospect of trying to compose in the same house where Stravinsky had written such works as Symphony in Three Movements, the Concerto in D for Strings, The Rake's Progress, Orpheus, Agon, the Cantata, and the Mass.

Honours and awards
In April 2010, Salonen was elected a Foreign Honorary Fellow of the American Academy of Arts and Sciences. In May 2010, he was awarded an honorary doctorate degree from the University of Southern California, and later the same day spoke at the graduation ceremony for the USC Thornton School of Music. Salonen carried the Olympic flame on 26 July 2012, as part of the 2012 Summer Olympics torch relay. In December 2020, he was appointed an Honorary Knight Commander of the Order of the British Empire (KBE), for services to music and UK-Finland relations. He was the conductor of the Royal Stockholm Philharmonic Orchestra at the 2023 Nobel Prize Concert. In 2024, he was awarded the Polar Music Prize alongside Nile Rodgers.

Career highlights

 * 1981 – Completed first large scale work, ...auf den ersten Blick und ohne zu wissen...
 * 1983 – Co-founded Avanti! Chamber Orchestra in Finland with Jukka-Pekka Saraste
 * 1985 – Appointed chief conductor of Swedish Radio Symphony Orchestra
 * 1992 – Won the UNESCO International Rostrum of Composers
 * 1992 – Became Music Director of Los Angeles Philharmonic
 * 1993 – Became the first conductor to receive the prestigious Siena Prize of the Accademia Chigiana
 * 1995 – Appointed Artistic Director of Helsinki Festival
 * 1997 – Conducted Ligeti's opera, Le Grand Macabre, at the Salzburg Festival with the Philharmonia Orchestra
 * 1997 – Gave world premiere of LA Variations in Los Angeles
 * 1999 – Music Director of the Ojai Music Festival
 * 2000 – Took a sabbatical to concentrate on composing
 * 2001 – Was Music Director of the Ojai Music Festival
 * 2003 – Gave opening concerts at Walt Disney Concert Hall with the Los Angeles Philharmonic, subsequently televised in the United States on PBS Great Performances
 * 2005 – Performed, with the Los Angeles Philharmonic in Los Angeles and Cologne, in festivals of his own compositions
 * 2006 – Named "Musician of the Year" by Musical America
 * 2007 – "The Tristan Project," performed in Los Angeles and New York
 * 2007 – World premiere of his Piano Concerto with Yefim Bronfman (piano) and the New York Philharmonic
 * 2008 – Began tenure as Principal Conductor and Artistic Advisor of the Philharmonia Orchestra
 * 2009 – World premiere of his violin concerto with Leila Josefowicz (violin) and the Los Angeles Philharmonic
 * 2011 – Won the 2012 University of Louisville Grawemeyer Award for Music Composition for his Violin Concerto
 * 2014 – Won the Nemmers Prize in Music Composition
 * 2014 – Named Creative Chair at the Tonhalle-Orchester Zürich
 * 2015 – Named Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic
 * 2017 – World premiere of his cello concerto with Yo-Yo Ma (cello) and the Chicago Symphony Orchestra
 * 2018 – The Colburn School appointed Salonen to lead the Negaunee Conducting Program
 * 2020 – Began tenure as Music Director of the San Francisco Symphony.
 * 2022 – Berlin Philharmonic appointed Salonen as Composer-in-Residence for the 2022/23 season
 * 2024 – Won the Polar Music Prize.

Composing
Salonen's compositions include his Concerto for Alto Saxophone and Orchestra (auf den ersten Blick und ohne zu wissen) (1980, with a title taken from Franz Kafka's The Trial), Floof for soprano and ensemble (1982, on texts by Stanisław Lem) and the orchestral L.A. Variations (1996).

Salonen has stated that his time in California has helped him to be more "free" in his compositions. Mark Swed, chief music critic of the Los Angeles Times, described it this way:

When [Salonen] arrived in Los Angeles, he still liked to consider himself a composer-conductor, but the truth was that he had stopped writing music. "The obvious and easy explanation for me to give to people when they were asking why there hadn't been any new pieces for a while was that I had been conducting so much, I had no time," he said. "But that was only half the explanation."

As a European Modernist, Salonen said, he had been inculcated with negatives, such as to avoid melody, harmonic identity and rhythmic pulse. Secretly, though, he was attracted to John Adams, who was then dismissed overseas as being simplistic. "Only after a couple of years here did I begin to see that the European canon I blindly accepted was not the only truth," he said. "Over here, I was able to think about this rule that forbids melody. It's madness. Madness!"

Without a European musical elite looking over his shoulder, Salonen began to feel that it was fine to have his own ideas. "My focus moved from an ideological principle to a pleasure principle" is how he described the composition of his breakthrough piece, "LA Variations," which the Philharmonic premiered in 1997.

Although a work of great intricacy and virtuosity that doesn't ignore Salonen's Modernist training, "LA Variations" builds on rhythmic innovations closer to Adams. The piece proved an immediate hit, so much so that Salonen was stunned by the reaction and then by the score's continuing success – it has been taken up by several other conductors and had more than 80 performances worldwide.

In order to devote more time to composition, Salonen took a year's sabbatical from conducting in 2000, during which time he wrote a work for solo horn (Concert Étude, the competition piece for Lieksa Brass Week), Dichotomie for pianist Gloria Cheng, Mania for the cellist Anssi Karttunen and sinfonietta, and Gambit, an orchestral piece that was a birthday present for fellow composer and friend Magnus Lindberg.

In 2001, Salonen composed Foreign Bodies, his largest work in terms of orchestration, which incorporated music from the opening movement of Dichotomie. Another orchestral piece, Insomnia, followed in 2002, and another, Wing on Wing, in 2004. Wing on Wing includes parts for two sopranos and distorted samples of architect Frank Gehry's voice as well as a fish.

As is apparent with his interpretations of such avant-garde works as Jan Sandström's Motorbike Odyssey, Salonen voices a distaste for ideological and dogmatic approaches to composition and sees music creation as deeply physical. In the liner notes for Deutsche Grammophon's release of Wing On Wing, he is quoted saying "Musical expression is bodily expression, there is no abstract cerebral expression in my opinion. It all comes out of the body." A recurring theme in his music is the fusion of or relationship between the mechanical and the organic.

Salonen has among his intended composing projects a proposed opera based on the novel The Woman and the Ape by Peter Høeg.

Selected compositions
World premiere details shown where available, Salonen conducting unless otherwise shown

 * Orchestra

 * Giro (1982, rev. 1997), premiered by Tampere Philharmonic Orchestra; Finland, 27 November 1981
 * L.A. Variations (1996), premiered by Los Angeles Philharmonic; Los Angeles, 16 January 1997
 * Foreign Bodies (2001), premiered by Finnish Radio Symphony Orchestra, Jukka-Pekka Saraste; Schleswig-Holstein Festival, Kiel, 12 August 2001
 * Insomnia (2002), premiered by NHK Symphony Orchestra; Tokyo, 1 December 2002
 * Stockholm Diary (2004), premiered by Stockholm Royal Philharmonic Orchestra; Stockholm, Composer Festival, 27 October 2004
 * Helix (2005), premiered by World Orchestra for Peace, Valery Gergiev; London, 29 August 2005
 * Nyx (2010), premiered by Orchestre Philharmonique de Radio France; Paris, 19 February 2011
 * Gemini (2018/2019), premiered by Los Angeles Philharmonic; Los Angeles, 26 October 2019 (consists of two originally independent pieces Pollux and Castor)

 * Concertos

 * Concerto for Alto Saxophone and Orchestra (... auf den ersten Blick und ohne zu wissen ...) (1980), premiered by Finnish Radio Symphony Orchestra, Pekka Savijoki, saxophone; Helsinki, 22 September 1981
 * Mimo II for oboe and orchestra (1992), premiered by Finnish Radio Symphony Orchestra, Jorma Valjakka, oboe; Helsinki, 14 December 1992
 * Mania for cello and orchestra (2002), orchestra version of "Mania for Cello and Chamber Ensemble"
 * Wing on Wing for two sopranos and orchestra (2004), premiered by Los Angeles Philharmonic; Jamie Chamberlin and Hila Plitmann, sopranos; 5 June 2004
 * Piano Concerto (2007), premiered by New York Philharmonic, Yefim Bronfman, piano; New York, 1 February 2007
 * Violin Concerto (2009), premiered by Los Angeles Philharmonic, Leila Josefowicz, violin; Los Angeles, 9 April 2009
 * Cello Concerto (2017), premiered by Chicago Symphony Orchestra, Yo-Yo Ma, cello; Chicago, 15 March 2017
 * Sinfonia concertante for organ and orchestra (2022), premiered by Polish National Radio Symphony Orchestra, Iveta Apkalna, organ; Katowice, 13 January 2023

 * Choir

 * Dona Nobis Pacem (2011) for SATB chorus, premiered at Chatelet Theatre, 4 February 2011
 * Karawane (2014), premiered by the Tonhalle Orchestra Zurich and Zurich Singing Academy, Lionel Bringuier; Tonhalle Zürich, 10 September 2014

 * Chamber ensemble

 * Floof (Songs of a Homeostatic Homer) (1988) for soprano and chamber ensemble, premiered by Toimii Ensemble, Anu Komsi, soprano; Helsinki, 27 August 1988
 * Five Images after Sappho (1999) for soprano and chamber ensemble, premiered by Los Angeles Philharmonic New Music Group, Laura Claycomb, soprano; Ojai, California, 4 June 1999
 * Dichotomie (2000) for solo piano, premiered by Gloria Cheng, piano; Los Angeles, 4 December 2000
 * Mania (2000) for cello and chamber ensemble, premiered by Avanti! Chamber Orchestra, Anssi Karttunen, cello, Summer Sounds; Porvoo, 2 July 2000
 * Lachen verlernt (2002) for solo violin, premiered by Cho-Liang Lin, violin; La Jolla, California, La Jolla SummerFest, 10 August 2002

Selected world premiere performances
In addition to conducting his own compositions, Salonen has actively championed other composers' music, most notably Anders Hillborg, Magnus Lindberg, Kaija Saariaho, and Steven Stucky. Many noteworthy compositions have even been dedicated to Salonen. Below is a list of some of the world premieres that he has conducted:

 * John Adams
 * Naïve and Sentimental Music, Los Angeles Philharmonic (19 February 1999)
 * The Dharma at Big Sur, Tracy Silverman (electric violin), Los Angeles Philharmonic (24 October 2003)

 * Samuel Adams
 * Chamber Concerto, Karen Gomyo (violin), Chicago Symphony Orchestra (May 2018)

 * Louis Andriessen
 * Haags Hakkûh (The Hague Hacking) – Double Piano Concerto, Katia and Marielle Labèque (pianos), Los Angeles Philharmonic (16 January 2009)

 * Anna Clyne
 * Within Her Arms for string orchestra, Los Angeles Philharmonic (7 April 2009)

 * John Corigliano
 * The Red Violin (motion picture score), Joshua Bell (violin), Philharmonia Orchestra

 * Franco Donatoni
 * Esa (in Cauda V), Los Angeles Philharmonic (16 February 2001)

 * Richard Dubugnon
 * Violin Concerto, Janine Jansen, Orchestre de Paris (17 December 2008)

 * Anders Hillborg
 * Clang and Fury, Swedish Radio Symphony Orchestra
 * Celestial mechanics Stockholm Chamber Orchestra (31 October 1986)
 * Liquid marble, Orkester Norden, (Tampere 1995)
 * Meltdown Variations, Los Angeles Philharmonic New Music Group (1999)
 * Dreaming Rivers, Royal Stockholm Philharmonic (1999)
 * Piano Concerto (revised version) Roland Pöntinen and the AVANTI! Chamber Orchestra
 * Eleven Gates, Los Angeles Philharmonic (4 May 2006)
 * Flood Dreams, Swedish Radio Symphony Orchestra (Brussels, 2009)
 * Sirens, Anne Sofie von Otter and the Los Angeles Philharmonic (2011)

 * William Kraft
 * The Grand Encounter, English Horn Concerto, Carolyn Hove (English horn), Los Angeles Philharmonic (16 January 2003)

 * Peter Lieberson
 * Neruda Songs, Lorraine Hunt Lieberson (mezzo-soprano), Los Angeles Philharmonic (20 May 2005), winner: 2008 Grawemeyer Award (Music Composition)

 * Magnus Lindberg
 * Kraft for solo ensemble & orchestra, Finnish Radio Orchestra and the Toimii ensemble (4 September 1985)
 * Campana in Aria for horn and orchestra, Hans Dullaert (horn), Radio Filharmonisch Orkest Holland (June 1998)
 * Fresco for orchestra, Los Angeles Philharmonic, (1998)
 * Cello Concerto No. 1, Anssi Karttunen (cello), Orchestre de Paris (May 1999)
 * Chorale for orchestra, Philharmonia Orchestra (2002)
 * Parada for orchestra, Philharmonia Orchestra (6 February 2002)
 * Sculpture for orchestra, Los Angeles Philharmonic, (6 October 2005)
 * Cello Concerto No. 2, Anssi Karttunen (cello), Los Angeles Philharmonic (18 October 2013)

 * Larry Lipkis
 * "Harlequin" for bass trombone and orchestra, Jeffrey Reynolds (bass trombone), David Weiss, Los Angeles Philharmonic (23 May 1997)

 * Steven Mackey
 * "Deal" for electric guitar and large ensemble, Bill Frisell (guitar), Joey Baron (drums), Los Angeles Philharmonic New Music Group (17 April 1995)

 * Colin Matthews
 * Horn Concerto, Richard Watkins (horn), Philharmonia Orchestra (April 2001)

 * David Newman
 * Tales from 1001 Nights with film by Yoshitaka Amano, Los Angeles Philharmonic (30 April 1998)

 * Gabriela Ortiz
 * Altar de Piedra, concerto for percussion ensemble & orchestra, Kroumata (percussion), Los Angeles Philharmonic, January 2003

 * Arvo Pärt
 * Symphony No. 4, Los Angeles, Los Angeles Philharmonic (10 January 2009)

 * Joseph Phibbs
 * Rivers to the Sea, Philharmonia Orchestra (22 June 2012)

 * Bernard Rands
 * Symphony, Los Angeles Philharmonic (24 February 1994)

 * Roger Reynolds
 * Symphony (The Stages of Life), Los Angeles Philharmonic (29 April 1993)

 * Kaija Saariaho
 * Du Cristal, Finnish Radio Symphony Orchestra (September 1990)
 * "…a la fumée," Petri Alanko (alto flute) and Anssi Karttunen (cello), Finnish Radio Symphony Orchestra (March 1991)
 * Graal Théâtre for violin and orchestra, Gidon Kremer (violin), BBC Symphony Orchestra (September 1995)
 * Adriana Mater, Orchestra & Choir of the Paris Opera (April 2006)

 * Rodion Shchedrin
 * Piano Concerto No. 5, Olli Mustonen (piano), Los Angeles Philharmonic (21 October 1999)

 * Dmitri Shostakovich
 * Prologue to Orango (orchestration by Gerard McBurney), Ryan McKinny (Veselchak, bass-baritone), Jordan Bisch (Voice from the Crowd/Bass, bass), Michael Fabiano (Zoologist, tenor), Eugene Brancoveanu (Orango, baritone), Yulia Van Doren (Susanna, soprano), Timur Bekbosunov (Paul Mash, tenor), Los Angeles Master Chorale (Grant Gershon, Music Director), Los Angeles Philharmonic (2 December 2011)

 * Roberto Sierra
 * "Con madera, metal y cuero" for percussion soloist and orchestra, Evelyn Glennie (percussion), Los Angeles Philharmonic (21 January 1999)

 * Steven Stucky
 * Music for the Funeral of Queen Mary (after Purcell), for wind ensemble (February 1992)
 * Concerto for Two Flutes and Orchestra, Anne Diener-Zentner (fka Anne Diener-Giles) and Janet Ferguson (flutes), Los Angeles Philharmonic (23 February 1995)
 * Ancora, Los Angeles Philharmonic (5 October 1995)
 * American Muse, Sanford Sylvan (baritone), Los Angeles Philharmonic (29 October 1999)
 * Second Concerto for Orchestra, Los Angeles Philharmonic (12 March 2004) (Winner: 2005 Pulitzer Prize for Music)
 * Radical Light, Los Angeles Philharmonic (18 October 2007)

 * Augusta Read Thomas
 * Canticle Weaving: Trombone Concerto #2, Ralph Sauer (trombone), Los Angeles Philharmonic (29 March 2003)

 * Mark-Anthony Turnage
 * From the Wreckage for trumpet and orchestra, Håkan Hardenberger (trumpet), Helsinki Philharmonic Orchestra (5 September 2005)
 * From All Sides, Chicago Symphony and Hubbard Street Dance Chicago (25 January 2007)

Recordings
Salonen is renowned for his dedication to performing and recording contemporary music. His 1985 recording of Witold Lutosławski's Symphony No. 3 won the 1985 Gramophone Award, the Grammy Award, and a Caecilia Prize for Best Contemporary Recording. He later recorded Lutosławski's Symphony No. 4 with the Los Angeles Philharmonic, once for Sony Classical, and later in a live recording at Walt Disney Concert Hall for Deutsche Grammophon. He also worked with the Philharmonia Orchestra to record the complete works of György Ligeti for Sony Classical, but the project was left unfinished due to lack of funding.

Best-known recordings

 * Esa-Pekka Salonen: Concerto for Alto Saxophone; Floof; Meeting; Nachtleider; Mimo II; Yta I; Yta II; Yta IIb; Yta III – Pekka Savijoki; Anu Komsi; Kari Krikku; Jukka Tiensuu; Jorma Valjakka; Mikael Helasvuo; Tuija Hakkila; Anssi Karttunen; Finnish Radio Symphony Orchestra; Avanti! Chamber Orchestra; Esa-Pekka Salonen – Finlandia 0927 43815 2
 * Bartók: Piano Concertos 1, 2, and 3 (Yefim Bronfman, piano) (Grammy Award); Sony Classical SBK89732
 * Esa-Pekka Salonen: Five Images After Sappho; Gambit; Giro; LA Variations; Mania – Dawn Upshaw; Anssi Karttunen; Los Angeles Philharmonic Orchestra; London Sinfonietta; Esa-Pekka Salonen – Sony SK89158
 * Esa-Pekka Salonen: Foreign Bodies; Insomnia; Wing on Wing – Anu Komsi; Piia Komsi; Finnish Radio Symphony Orchestra; Esa-Pekka Salonen – Deutsche Grammophon 477 5375
 * John Corigliano: Red Violin – Joshua Bell, solo violin; Philarmonia Orchestra; Sony Classical SK63010
 * Arnold Schoenberg: Violin Concerto in D Minor, Jean Sibelius: Violin Concerto – Hilary Hahn, solo violin; Swedish Radio Symphony Orchestra – Deutsche Grammophon B0011WMWUW – Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)
 * Henri Dutilleux: Correspondances; Tout un monde lointain; The shadows of time – Barbara Hannigan; Anssi Karttunen; Orchestre Philharmonique de Radio France – Deutsche Grammophon 0289 479 1180 7
 * Esa-Pekka Salonen: Out of Nowhere; Nyx and Violin Concerto; Leila Josefowicz; Finnish Radio Symphony Orchestra; Esa-Pekka Salonen; Deutsche Grammophon B008W5TDP8

With Los Angeles Philharmonic

 * Deutsche Grammophon
 * Bartók: Suite, The Miraculous Mandarin
 * Mussorgsky: St. John's Night on the Bare Mountain (original version)
 * Salonen: Helix
 * Salonen: Piano Concerto (Yefim Bronfman, piano)
 * Shostakovich (orchestration by Gerard McBurney): Prologue to Orango—Ryan McKinny (Veselchak, bass-baritone), Jordan Bisch (Voice from the Crowd/Bass, bass), Michael Fabiano (Zoologist, tenor), Eugene Brancoveanu (Orango, baritone), Yulia Van Doren (Susanna, soprano), Timur Bekbosunov (Paul Mash, tenor), Los Angeles Master Chorale (Grant Gershon, Music Director) (world premiere recording)
 * Shostakovich: Symphony No. 4 in C minor, Op. 43
 * Stravinsky: The Rite of Spring

 * DG Concerts — recorded live at Walt Disney Concert Hall
 * Beethoven: Symphony No. 5
 * Beethoven: Symphony No. 7
 * Beethoven: Symphony No. 8
 * Beethoven: Overture, Leonore No. 2
 * Debussy: La mer
 * Falla: El amor brujo
 * Anders Hillborg: Eleven Gates (world premiere recording)
 * Hindemith: Symphonic Metamorphoses on Themes of Weber
 * Husa: Music for Prague 1968
 * Ligeti: Concert românesc
 * Lutosławski: Concerto for Orchestra
 * Lutosławski: Symphony No. 4
 * Mosolov: Iron Foundry
 * Pärt: Symphony No. 4, "Los Angeles" (world premiere recording)
 * Prokofiev: Suite from Romeo & Juliet
 * Ravel: Ma mère l'Oye
 * Ravel: Piano Concerto for the Left Hand in D (Jean-Yves Thibaudet, piano)
 * Salonen: Helix
 * Sibelius: Symphony No. 2 in D major for orchestra, Op. 43
 * Shostakovich: Music from Lady Macbeth of Mtensk District
 * Shostakovich: Suite from The Nose
 * Stravinsky: The Firebird
 * Wagner: Die Meistersinger von Nürnberg, Prelude
 * Wagner: Die Meistersinger von Nürnberg, "Was duftet doch der Flieder" (Bryn Terfel, bass-baritone)
 * Wagner: Die Walküre, The Ride of the Valkyries
 * Wagner: Die Walküre, Wotan's Farewell and Magic Fire Music (Bryn Terfel, bass-baritone)
 * Wagner: Lohengrin, Prelude to Act III
 * Wagner: Tannhäuser, "O du, mein holder Abendstern" (Bryn Terfel, bass-baritone)

 * ECM
 * Pärt: Symphony No. 4, "Los Angeles"

 * Nonesuch
 * Adams: Naïve and Sentimental Music

 * Ondine
 * Saariaho: Du cristal ...
 * Saariaho: ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello)

 * Philips Classics
 * Bartók: Violin Concerto No. 2 (Viktoria Mullova, violin)
 * Stravinsky: Violin Concerto (Viktoria Mullova, violin)

 * Sony Classical
 * Bach: Transcriptions (by Elgar, Mahler, Schoenberg, Stokowski, Webern)
 * Bartók: Concerto for Orchestra
 * Bartók: Music for Strings, Percussion, and Celesta
 * Bartók: Concerto for Piano No. 1, Sz. 83 (Yefim Bronfman, piano)
 * Bartók: Concerto for Piano No. 2, Sz. 95 (Yefim Bronfman, piano)
 * Bartók: Concerto for Piano No. 3, Sz. 119 (Yefim Bronfman, piano)
 * Bruckner: Symphony No. 4, "Romantic"
 * Debussy: Prélude à l'après-midi d'un faune (Janet Ferguson, flute)
 * Debussy: La mer
 * Debussy: Images pour orchestre
 * Debussy: Trois nocturnes (Women of the Los Angeles Master Chorale)
 * Debussy: Le martyre de St. Sébastien (Fragments symphoniques)
 * Debussy: La Damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale)
 * Goldmark: Concerto for Violin and Orchestra (Joshua Bell, violin)
 * Hermann: Excerpts, Torn Curtain
 * Hermann: Overture, North by Northwest
 * Hermann: Prelude, The Man Who Knew Too Much
 * Hermann: Suite, Psycho
 * Hermann: Suite, Marnie
 * Hermann: Suite, Vertigo
 * Hermann: Suite, Fahrenheit 451
 * Hermann: Suite, Taxi Driver
 * Hindemith: Mathis der Maler (symphony)
 * Hindemith: Symphonic Metamorphosis on Themes of Weber
 * Hindemith: The Four Temperaments (Emanuel Ax, piano)
 * Lutosławski: Symphony No. 1
 * Lutosławski: Symphony No. 2
 * Lutosławski: Symphony No. 3
 * Lutosławski: Symphony No. 4
 * Lutosławski: Piano Concerto (Paul Crossley, piano)
 * Lutosławski: Chantefleurs et Chantefables (Dawn Upshaw, soprano)
 * Lutosławski: Fanfare for Los Angeles Philharmonic
 * Lutosławski: Les Espaces du sommeil (John Shirley-Quirk, baritone)
 * Mahler: Symphony No. 3 (Anna Larsson, contralto; Ralph Sauer, trombone; Donald Green, posthorn; Martin Chalifour, violin; Paulist Boy Choristers of California, Women of the Los Angeles Master Chorale)
 * Mahler: Symphony No. 4 (Barbara Hendricks, soprano)
 * Mahler: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone)
 * Wynton Marsalis: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; Paul Smith Singers; Northridge Singers of California State University; Morgan State University Choir)
 * Prokofiev: Violin Concertos Nos. 1 and 2 (Cho-Liang Lin, violin)
 * Revueltas: Homenaje a Federico García Lorca
 * Revueltas: La noche de los mayas
 * Revueltas: Ocho por radio
 * Revueltas: Sensemayá
 * Revueltas: Ventanas for Large Orchestra
 * Revueltas: First Little Serious Piece
 * Revueltas: Second Little Serious Piece
 * Salonen:  Gambit
 * Salonen:  Giro
 * Salonen:  LA Variations
 * Shostakovich: Piano Concerto No. 1 (Yefim Bronfman, piano; Thomas Stevens, trumpet)
 * Shostakovich: Piano Concerto No. 2 (Yefim Bronfman, piano)
 * Shostakovich: Quintet for piano and strings, Op. 57 (Yefim Bronfman, piano, Juilliard String Quartet)
 * Sibelius: Finlandia
 * Sibelius: The Swan of Tuonela
 * Sibelius: Valse Triste
 * Sibelius: Concerto for Violin and Orchestra (Cho-Liang Lin, violin)
 * Sibelius: Concerto for Violin and Orchestra (Joshua Bell, violin)
 * Sibelius: En saga
 * Sibelius: Kullervo Symphony, Op. 7 (Marianna Rorholm, mezzo-soprano; Jorma Hynninen, baritone; Helsinki University Men's Chorus)
 * Sibelius: Lemminkäinen Legends, Op. 22 (Four Legends from the Kalevala)
 * Stravinsky: Violin Concerto (Cho-Liang Lin, violin)

Other orchestras

 * Philharmonia recordings
 * Dmitri Shostakovich: Prologue to "Orango" (World Premiere Recording) and Symphony No 4
 * Gustav Mahler: Symphony No 9
 * Gustav Mahler: Symphony No 6
 * Hector Berlioz: Symphonie Fantastique, Ludwig van Beethoven: Leonore Overture
 * Arnold Schoenberg: Gurrelieder
 * Franz Liszt: Piano Concertos 1 & 2 and Sonata in B minor (Emanuel Ax, piano)
 * Sergei Rachmaninov: Piano Concertos 2 & 3 (Yefim Bronfman, piano)
 * Magnus Lindberg: Cantigas, Cello Concerto, Parada, & Fresco (Anssi Karttunen, cello)
 * Igor Stravinsky: The Firebird & The Rite of Spring
 * György Ligeti: Le Grand Macabre
 * György Ligeti: Vocal Works (The King's Singers)
 * Arnold Schoenberg: Piano Concerto, Op. 42, Franz Liszt: Piano Concertos 1 & 2 (Emanuel Ax, piano)
 * Igor Stravinsky: Petrouchka & Orpheus
 * Igor Stravinsky: Le sacre du printemps & Symphony in Three Movements
 * André Jolivet: Concerto No 2 for trumpet & Concertino for trumpet, string orchestra & piano, Henri Tomasi: Concerto for trumpet & orchestra (Wynton Marsalis, trumpet)
 * Olivier Messiaen: Turangalîla-Symphonie, Witold Lutosławski: Symphony No 3 (Los Angeles Philharmonic Orchestra, Paul Crossley, piano, John Shirley-Quirk, baritone)
 * Jean Sibelius: Symphony No 5, Op, 82 and Pohjola's Daughter, Op. 49

 * San Francisco Symphony recordings
 * Béla Bartók: Piano Concerto No. 1 (Pierre-Laurent Aimard, piano)
 * Béla Bartók: Piano Concerto No. 2 (Pierre-Laurent Aimard, piano)
 * Béla Bartók: Piano Concerto No. 3 (Pierre-Laurent Aimard, piano)
 * Anders Hillborg: Kongsgaard Variations
 * György Ligeti: Clocks and Clouds
 * György Ligeti: Lux Aeterna
 * György Ligeti: Ramifications
 * Elizabeth Ogonek: Sleep & Unremembrance
 * Ottorino Respighi: Pines of Rome
 * Jean Sibelius: Symphony No. 5
 * Igor Stravinsky: The Rite of Spring

 * Oslo Philharmonic recordings
 * Grieg: Peer Gynt, with Barbara Hendricks, Sony Classical Masters, SK 44528, 1993

 * Berlin Philharmonic Orchestra recordings
 * Sergei Prokofiev: Romeo & Juliet

 * Finnish Radio Symphony Orchestra recordings
 * Kaija Saariaho: La Passion de Simone (Dawn Upshaw, soprano, Tapiola Chamber Choir)
 * Magnus Lindberg: Piano Concerto & Kraft (Toimii Ensemble)
 * Kaija Saariaho: Château de l'âme, Graal Théâtre & Amers (BBC Symphony Orchestra, Avanti! Chamber Orchestra, Finnish Radio Chamber Choir, Dawn Upshaw, soprano, Gidon Kremer, violin, Anssi Karttunen, cello)
 * Magnus Lindberg: Kinetics (Pekka Savijoko, alto saxophone)
 * Magnus Lindberg: Metalwork, Ablauf, Twine, Kinetics, & Jeax d‘Anches
 * Magnus Lindberg: Kinetics, Esa-Pekka Salonen: Concerto for Alto Saxophone & Orchestra, Jouni Kaipainen: Sinfonia (BBC Symphony Orchestra, Pekka Savijoki, alto saxophone)

 * Swedish Radio Symphony Orchestra recordings
 * Igor Stravinsky: The Rake's Progress (Barbara Hendricks, soprano, Håkan Hagegård, actor, Greg Fedderly, tenor)
 * Carl Nielsen: Violin Concerto, Jean Sibelius: Violin Concerto (Philharmonia Orchestra, Cho-Liang Lin, violin)
 * Carl Nielsen: Symphony No. 1 and Little Suite (Stockholm Chamber Orchestra)
 * Arvo Pärt: Credo (Hélène Grimaud, piano)
 * Anders Hillborg: Clarinet Concerto, Liquid Marble, & Violin Concerto (Martin Fröst, clarinet, Anna Lindal, violin)
 * Luigi Dallapiccola: Il Prigioniero & Canti di Prigiona
 * Magnus Lindberg: Action, Situation, Signification, & Kraft (Toimii Ensemble)
 * Clang & Fury Anders Hillborg: Muoocaaeyiywcoum, Lamento, Celestial Mechanics, & Haut-Posaune (Stockholm Chamber Orchestra, Eric Ericson Chamber Choir, Kari Kriikku, clarinet, Christian Lindberg, trombone, Anna Lindal, violin, Martin Fröst, clarinet)
 * Igor Stravinsky: Oedipus Rex (Eric Ericson Chamber Choir)
 * Lars-Erik Larsson: God in Disguise, Pastoral Suite, & Violin Concerto (Arve Tellefsen, violin, Hillevi Martinpelto, soprano, Håkan Hagegård, baritone)
 * Carl Nielsen: Flute Concerto, Clarinet Concerto, Rhapsody Overture, Saul & David, & Springtime in Funen (Håkan Rosengren, clarinet, Per Flemström, flute)
 * Franz Berwald: Symphonies 3 & 4 (Los Angeles Philharmonic Orchestra)
 * Wilhelm Stenhammar: Serenade, Op. 31, Midwinter, Op. 24, Chitra, Op. 43
 * Esa-Pekka Salonen: Mimo II (Bengt Rosengren, oboe)
 * Carl Nielsen: Symphonies 3 & 6 (Pia-Marie Nilsson, soprano, Olle Persson, baritone)
 * A Nordic Festival: Hugo Alfvén: Swedish Rhapsody No 1 Midsommarvaka & Bergakungen, Jean Sibelius: Valse Triste & Finlandia, Edvard Grieg: Sigurd Jorsalfar, Jón Leifs: Geysir, Carl Nielsen: Maskarade, Armas Järnefelt: Berceuse
 * Carl Nielsen: Symphony No. 4 and Helios Overture
 * Carl Nielsen: Symphony No. 5 and Masquerade Overture

 * Avanti! Chamber Orchestra recordings
 * The Virtuoso Clarinet (Kari Kriikku, clarinet)
 * Magnus Lindberg: De Tartuffe, Je crois, Linea d'ombra, Zona, & Ritratto
 * Aarre Merikanto: 10 Pieces for Orchestra, Paavo Heininen: Musique d'été, Op. 11, Magnus Lindberg: Rittrato (other conductors: Jukka-Pekka Saraste and Ari Angervo)

 * London Sinfonietta recordings
 * Magnus Lindberg: Away, Amanhacendo Liberdade, Circle Wind, Deusa, Sky Dance, Asa Delta, Rapaziada, Nightflower, Save the Earth (Endymion (ensemble))
 * Paul Hindemith: Kammermusik No. 3, Op. 36, No. 2, Aarre Merikanto: Konzertstück, Magnus Lindberg: Zona, Bernd Alois Zimmermann: Canto di Speranza (Anssi Karttunen, cello)
 * Toru Takemitsu: To the Edge of Dream, Toward the Sea, Vers, L'Arc-en-Ciel, Palma, & Folios for Guitar
 * Igor Stravinsky: Pulcinella, Octet, Renard, & Ragtime
 * Olivier Messiaen: Des canyons aux étoiles, Couleurs de la cité céleste, & Oiseaux exotiques (Paul Crossley, piano)
 * Igor Stravinsky: Concerto for piano & wind instruments, Capriccio for piano & orchestra, Movements for piano & orchestra, & Symphonies of wind instruments (Paul Crossley, piano)

 * Stockholm Chamber Orchestra recordings
 * Arnold Schoenberg: Transfigured Night, Op. 4 & String Quartet No. 2 (Faye Robinson, soprano)
 * Pär Lindgren: Fragments of a Circle, Bowijaw, Shadows that in the Darkness Dwell, & Guggi-guggi for trombone & tape
 * Igor Stravinsky: Apollon Musagète, Concerto in D, & Cantata (London Sinfonietta, (orchestra & chorus), Ulf Forsberg, violin, Yvonne Kenny, soprano, John Aler, tenor)
 * Joseph Haydn: Symphonies 22, 78 & 82
 * Richard Strauss: Prelude to Capriccio, Op. 85, Concertino for clarinet, bassoon & string orchestra, & Metamorphosen (Paul Meyer (clarinetist), Knut Sonstevold, bassoon)

 * Stockholm Sinfonietta recordings
 * A Swedish Serenade: Dag Wirén: Serenade for Strings, Op. 11, Lars-Erik Larsson: Little Serenade for Strings, Op. 12, Lille Bror Söderlundh: Concertino for oboe & strings, Ingvar Lidholm: Music for Strings

 * Staatskapelle Dresden recordings
 * Robert Schumann: Piano Concerto in A minor, Op. 54, Clara Schumann: 3 Lieder, Op. 12 & Am Strande, Johannes Brahms: Sonata for cello & piano, No. 1, Op. 38 & 2 Rhapsodies, Op. 79 (Hélène Grimaud, piano)

 * Finnish National Opera recordings
 * Stravinsky – Perséphone. Esa-Pekka Salonen, Andrew Staples, Pauline Cheviller, Finnish National Opera. PENTATONE PTC 5186688 (2018)
 * Kaija Saariaho: L'Amour de loin (Peter Sellers, director, Dawn Upshaw, soprano, Monica Groop, mezzo-soprano, Gerald Finley, baritone)

 * Other recordings of Salonen works
 * Leila Josefowicz, violin, plays Salonen: Lachen verlernt
 * Gloria Cheng, piano, plays Salonen: Yta II, Three Preludes, & Dichotomie
 * Lin Jiang, horn and Benjamin Martin, piano, play Salonen: Hornmusic 1

title: Esa-Pekka Salonen


text:
Mascarene Islands

The Mascarene Islands (, Mascareignes) or Mascarenes or Mascarenhas Archipelago is a group of islands in the Indian Ocean east of Madagascar consisting of islands belonging to the Republic of Mauritius as well as the French department of La Réunion. Their name derives from the Portuguese navigator Pedro Mascarenhas, who first visited them in April 1512. The islands share a common geological origin beneath the Mascarene Plateau known as the Mauritia microcontinent which was a Precambrian microcontinent situated between India and Madagascar until their separation about 70 million years ago. They form a distinct ecoregion with unique biodiversity and endemism of flora and fauna.

Geography
The archipelago comprises three large islands, Mauritius, Réunion, and Rodrigues, plus a number of volcanic remnants in the tropics of the southwestern Indian Ocean, generally between 700 and 1,500 kilometres east of Madagascar. The terrain includes a variety of reefs, atolls, and small islands. They present various topographical and edaphic regions. On the largest islands these gave rise to endemism and unusual biodiversity. The climate is oceanic and tropical.

Mauritius is located 900 km east of Madagascar. It has an area of 1,865 km2. The highest point is 828 meters above sea level. Mauritius is the most populous of the Mascarene Islands, with a population of 1,252,964.

Réunion is located 150 km southwest of Mauritius. It is the largest of the islands, with an area of 2512 km2. Piton des Neiges (3,069 m), an extinct volcano, is the highest peak on Réunion and in the islands. Piton de la Fournaise is an active volcano on Réunion which erupts frequently.

Rodrigues is located 574 km east of Mauritius. It has an area of 109 km2, and reaches 393 meters elevation.

St. Brandon, also known as the Cargados Carajos shoals, is a coral atoll group consisting of a barrier reef, shoals, and low islets. It is the remnant of one -or more- large volcanic islands sitting on the Mauritia (microcontinent) which were submerged by rising tides. Today, the thirty or so islands that comprise St Brandon form part of the Republic of Mauritius. Around seventeen of the uninhabited islands are administered by the 'Outer Islands Development Corporation' of Mauritius (an entity run by the Prime Minister of Mauritius through the Prime Minister's Office) whilst the remaining Thirteen Islands of St. Brandon are managed by the Raphael Fishing Company from three permanently inhabited island bases of Ile Raphael, L'île du Sud (South Island, l'île Boisées) and L'Île Coco. The Raphael Fishing Company was granted these Thirteen Islands of St. Brandon under a 1901 Permanent Lease (999-year lease) which were adjudged as a Permanent Grant by determination of the Privy Council (United Kingdom) in 2008. These Thirteen islands of St. Brandon on Permanent Grant are L'île du Sud (South Island, l'île Boisée), Petit Fou, l'Avocaire, l'île aux Fous, L'île du Gouvernement, Petit Mapou, Grand Mapou, La Baleine, L'Île Coco, Île Raphael, Verronge, l'île aux Bois and Baleines Rocks.

There are several submerged banks or shoals:
 * Saya de Malha Bank is a large, submerged bank. Prehistorically it was a group of volcanic islands and was enjoined to the Great Chagos Bank until continental drift pushed them apart.
 * Soudan Banks are a group of low-lying banks on the Mascarene Plateau.
 * Nazareth Bank is located just north of Cargados Carajos, and prehistorically they were a single geological feature. Today it is a large, shallow fishing bank.
 * Hawkins Bank is located on the northernmost point of the Mascarene Plateau.

Geology
The islands are volcanic in origin; Saya de Malha (35 mya) was the first of the Mascarene islands to rise out of the Indian Ocean due to the Réunion hotspot, followed by Nazareth Bank (approximately 2 mya later), Soudan Bank and Cargados Carajos. The youngest islands to form were Mauritius (7–10 mya), the oldest of the existing islands, created along with the undersea Rodrigues ridge. The islands of Rodrigues and Réunion were created in the last two million years. Réunion is the largest of the islands (2,500 km2), followed by Mauritius (1,900 km2) and Rodrigues (110 km2). Eventually, Saya de Malha, Nazareth and Soudan were completely submerged, Cargados Carajos remaining as a coral atoll. The Réunion hotspot was beginning to cool and Rodrigues came out as a small island.

Réunion is home to the highest peaks in the Mascarenes, the shield volcanoes Piton des Neiges (3,069 m) and Piton de la Fournaise (2,525 m). Piton de la Fournaise, on the southeastern corner of Réunion, is one of the most active volcanoes in the world, erupting last in December 2021. Piton de la Petite Rivière Noire (828 m) is the highest peak on Mauritius, and the gentle hills of Rodrigues rise to only 390 m.

The Mascarene Plateau is an undersea plateau that extends approximately 2000 km, from the Seychelles to Réunion. The plateau covers an area of over 115,000 km2 of shallow water, with depths ranging from 8 to 150 meters, plunging to 4000 m to the abyssal plain at its edges. The southern part of the plateau, including the Saya de Malha Bank, Nazareth Bank, Soudan Banks and Cargados Carajos Shoals (Saint Brandon) (then one large island), was formed by the Réunion hotspot. These were once volcanic islands, much like Mauritius and Réunion, which have now sunk or eroded to below sea level or, in the case of the Cargados Carajos, to low coral islands. The Saya de Malha Bank formed 35 million years ago, and the Nazareth Bank and the Cargados Carajos shoals after that. Limestone banks found on the plateau are the remnants of coral reefs, indicating that the plateau was a succession of islands. Some of the banks may have been islands as recently as 18,000–6,000 years ago, when sea levels were as much as 130 meters lower during the most recent ice age.

History

The early colonial history of the islands, like that of the Caribbean, featured a succession of takeovers between rival powers: the Portuguese, Dutch, French and British all ruled some or all of the islands.

Around 1507, the explorer Diogo Fernandes Pereira discovered the island group. The area remained under nominal Portuguese rule until Étienne de Flacourt arrived with a French naval squadron and took possession in 1649. From 4 June 1735 to 23 March 1746, a single French Mascarene Islands chartered colony under one gouverneur général (governor general) contained Isle de France (now Mauritius), Île Bourbon (Réunion) and Séchelles (Seychelles). On 14 July 1767 this became a French crown colony, still under one governor general. From 3 February 1803 until 2 September 1810 the French colony of Indes-Orientales, under a capitaine général (captain-general), included Réunion and (nominally) the Seychelles.

Mauritius
It is postulated from navigational charts, such as the Cantino planisphere of 1502, that Arab sailors first discovered Mauritius around 975, calling it Dina Arobi (abandoned island). The earliest confirmed discovery on record was in 1507 by Portuguese sailors.

The Dutch took physical possession in 1598, establishing a succession of short-lived settlements over a period of about 120 years, before abandoning their efforts in 1710. France took control in 1715, renaming it Isle de France. In 1810, the United Kingdom invaded the island to protect its East India ships coming around the Cape of Good Hope from French pirates. Four years later, at the Treaty of Paris, France ceded Mauritius and its dependencies to the United Kingdom. Under British Mauritius (1810-1968), the island successfully developed as a sugar cane-based plantation economy and colony until independence in 1968.

Rodrigues
Rodrigues was first discovered by the Arabs but named after Portuguese navigator Diogo Rodrigues. It was under Dutch control in 1601 and settled by the French in 1691. Britain took possession of Rodrigues in 1809. When Mauritius gained independence in 1968, Rodrigues was forcefully joined to it. Rodrigues remains an autonomous region of Mauritius.

Réunion
Réunion was discovered first by the Arabs then by the Portuguese, who named it Santa Apolónia. It was then occupied by the French as part of Mauritius. It was first inhabited by French mutineers who arrived on the island between 1646 and 1669. It was given its current name in 1793. From 1810 to 1815 it was held by the British, before being returned to France. Réunion became an overseas department of France in 1946.

Climate
The climate of the islands is tropical. At low elevations summer temperatures (December to April) average 30 °C. Winter temperatures (May to November) are generally cooler, around 25 °C. Temperatures are cooler in the mountains, averaging 18 °C. During the winter short-lived snow can fall on Réunion's high peaks.

Southeasterly trade winds blow throughout the year. Rainfall is generally higher on the windward sides of the islands. On Mauritius average annual rainfall in the lowlands varies from 1905 mm on the windward southeast coast to 890 mm on the leeward side. Rainfall in the mountains is higher, varying from 2540 mm to 4445 mm annually. Tropical cyclones occur occasionally, bringing heavy rain and high winds, and causing erosion and landslides.

Flora
The habitats of the Macarenes vary with the islands' size, topography, age, and proximity to Madagascar, the nearest major land mass. As is common among remote islands, the Mascarene fauna and flora display a high degree of endemism; they include over a thousand species of which several hundred are endemic. The Mascarene islands form a distinct ecoregion known as the Mascarene forests. Until Europeans first settled the islands in the sixteenth century the Mascarenes are not known to have harbored any human population, and the islands' wildlife was still flourishing during the early days of settlement. Today much of the natural vegetation is gone, and there are many introduced species on the islands.

In prehistoric times the islands were covered in a diverse range of tropical moist broadleaf forests. The plant communities are not homogeneous, and comprise at least five fairly distinct vegetation zones that reflect variations in altitude and in moisture regime. These include dry lowland forests, semi-dry sclerophyllous forests, lowland rainforests, montane cloud forests, and high-elevation heathlands on Réunion.

Coastal habitats include beach vegetation, coastal wetlands, and swamp forests, grading into lowland rain forest on the windward sides of the islands and lowland dry forests to leeward.

The dry lowland forests are found on the leeward sides of the islands, from sea level to 200 metres in areas with less than 1000 mm of average annual rainfall. Palms are the dominant trees, including species of Latania and Dictyosperma album, along with the palm-like screw-pines (Pandanus spp.).

Semi-dry sclerophyllous forests are found between the coast and 360 metres elevation on Mauritius and Rodrigues, and from 200 to 750 metres elevation on the western slopes of Réunion, where only small patches of such forest now remain. Average annual rainfall in the semi-dry forests ranges from 1000 to 1500 mm. Tree genera and families well-represented in the semi-dry forests include ebony species in the genus Diospyros (Ebenaceae), Pleurostylia (Celastraceae), Foetidia (Lecythidaceae), Olea europaea subsp. cuspidata (Oleaceae), Cossinia pinnata (Sapindaceae) Dombeya (Malvaceae), Terminalia bentzoe (Combretaceae), and Sideroxylon boutonianum, Sideroxylon borbonicum, and various species of Mimusops in family Sapotaceae. Shrubs in the semi-dry forests include several spectacular endemic species of Hibiscus (Malvaceae), Zanthoxylum (Rutaceae), Obetia ficifolia (Urticaceae), and Scolopia heterophylla (Flacourtiaceae).

The lowland rain forests are characterized by dense evergreen forests, composed of diverse species creating a canopy of 30 meters or more in height. They are found on the Mauritius' eastern lowlands from the coast to 800–900 metres elevation, and above 360 m on the western slopes. On Réunion lowland rain forests are found between 750 and 1100 m. They occur in areas with average annual rainfall of 1500 to 6000 mm. Characteristic trees include species of Mimusops and Labourdonnaisia (Sapotaceae), Hernandia mascarenensis (Hernandiaceae), Calophyllum (Clusiaceae), and species of Syzygium, Eugenia, Sideroxylon, and Monimiastrum (Myrtaceae). Characteristic shrubs include species of Gaertnera, Chassalia, Bertiera, and Coffea in family Rubiaceae. Other plants include bamboos like Nastus borbonicus, numerous species of orchids (e.g., Angraecum, Bulbophyllum) and ferns e.g., Asplenium, Hymenophyllum, Trichomanes, Elaphoglossum, and Marattia fraxinea.

The cloud forests are evergreen rain forests found on mountain slopes with high rainfall. They occur on Réunion between 800 and 1900 metres elevation on eastern slopes with an average annual rainfall of 2000–10,000 mm, and between 1100 and 2000 metres on western slopes with an average annual rainfall of 2000–3000 mm. By 2005, relatively intact cloud forests still covered approximately 44,000 ha on Réunion. On Mauritius they are restricted to a small area of Montagne Cocotte in the island's southwest, above 750 metres elevation and with average annual rainfall of 4500–5500 mm. Trees form a dense canopy 6 to 10 metres high. Typical canopy trees include species of Dombeya on Réunion, and species of Monimia and Tambourissa (Monimiaceae) on both islands. There is an understory of small trees and shrubs including species of Psiadia (Asteraceae) and Melicope (Rutaceae). The forests are rich in epiphytes (orchids, ferns, mosses, lichens), emergent tree ferns (Cyathea species), and, originally the palms Acanthophoenix rubra, but poaching has wiped out palms in many areas of Réunion. Three monodominant plant communities are also found in the cloud forests – forests of Acacia heterophylla (Fabaceae) as the canopy tree, which are similar to the Acacia koa forests in Hawaii, thickets dominated by Erica reunionensis (Ericaceae), and hyperhumid forests of screw-pine (Pandanus montanus).

Subalpine shrub occurs on the volcanoes on Réunion, above the treeline at 1800 to 2000 metres elevation. Average annual rainfall is from 2000 to 6000 mm, and frosts occur regularly in winter. Characteristic shrubs include Erica reunionensis and Erica galioides (Ericaceae), Stoebe passerinoides and species of Hubertia and Psiadia (Asteraceae), and Phylica nitida (Rhamnaceae). Herbaceous endemic species include Heterochaenia rivalsii (Campanulaceae), Eriotrix commersonii (Asteraceae), and Cynoglossum borbonicum (Boraginaceae).

Recent volcanic deposits on Réunion's volcanic summits are covered by sparse grasslands rich in endemic grasses, including Festuca borbonica, Agrostis salaziensis, and Pennisetum caffrum. along with orchids like Disa borbonica. Ericoid thickets and thickets of the small tree Sophora denudata (Fabaceae) are found on weathered volcanic substrates.

Most of the indigenous Mascarene flora and fauna are thought to have descended originally from Madagascan and African ancestors.

The four largest families present in the Mascarene Islands are Myrtaceae, Rubiaceae, Orchidaceae, and Euphorbiaceae, which comprise between 193 and 223 species each, for a total of 831 species, or 26.9% of the flowering plant flora. Another seven families contain 80 or more species each: Poaceae, Apocynaceae, Cyperaceae, Cunoniaceae, Rutaceae, Araliaceae, and Sapotaceae, representing an additional ca. 660 species in all, 21.3% of the angiosperm flora. Ferns are prominent components of the biotas of the islands, especially in the tropical forest. Most ferns disperse easily via ornithochory of their spores, allowing fairly frequent colonization from Madagascar and exchange among the Mascarene islands.

The Mascarenes are home to many endemic species of Dombeyoideae, the monotypic genus Psiloxylon (Psiloxylon mauritianum), and members of the family Monimiaceae (the genera Monimia and Trochetia, and species of Tambourissa) and Escalloniaceae. Indigenous trees include species of the genera Ocotea, Erythrina, Sideroxylon, and Foetidia. The palm genera Latania, Hyophorbe, Acanthophoenix, Dictyosperma, and Tectiphiala are all endemic to the Mascarene Islands. Other endemic genera include Berenice, Heterochaenia, Nesocodon, Ruizia, and Astiria.

There are 24 species of trees and shrubs in the Mascarenes from subfamily Dombeyoideae, 23 of which are endemic to the islands. The Macarenes' endemic species are polyphyletic and split into nine clades. Trochetia appears monophyletic and more closely related to Eriolaena and Helmiopsis than to Dombeya. All Dombeya taxa are included in a clade together with Ruizia and Astiria, this means that Dombeya is paraphyletic. In terms of breeding systems the Malagasy Dombeyoideae are hermaphroditic, whereas those of the Mascarenes are considered dioecious. The polyphyly of the Mascarene Dombeyoideae suggests that dioecy has been acquired several times. At least five colonization events from Madagascar to the Mascarene archipelago occurred. The evolutionary history of two lineages of Mascarene Domeyoideae seems to be related to adaption to xeric habitats.

The flora of the islands co-evolved with the island's unique fauna over millions of years. The human-caused extinction of several of the Mascarenes' land animals, and the introduction of exotic animals to the islands by humans, has disrupted the reproduction and thriving of various island plants. For example, the Tambalacoque tree (Sideroxylon grandiflorum), often called the dodo tree, is not producing young trees and is threatened with extinction. The extinct dodo, Cylindraspis tortoises, and broad-billed parrots, along with fruit bats, played an important role in dispersing the seeds. Passing through the animals' digestive tract aided in the seeds' germination. However the trees' decline may be mostly due to introduced crab-eating macaques (Macaca fascicularis) destroying unripened seeds.

Fauna
Much of the Mascarenes' native fauna has become endangered or extinct since the human settlement of the islands in the 17th century. Settlers cleared most of the forests for agriculture and grazing, and introduced many exotic species, including pigs, rats, cats, monkeys, and mongooses.

Birds
Many of the Mascarene birds evolved into flightless forms, the most famous of which was the extinct flightless pigeon, the dodo of Mauritius. Thirteen additional species of birds became extinct, including the Réunion flightless ibis, broad-billed parrot, red rail, Rodrigues rail, and Rodrigues solitaire.

Contemporary sources state that the dodo used gizzard stones and could swallow Ocotea fruits. Seed distribution of at least some Ocotea species is performed by frugivorous birds and there exist a few reports of "solitaires" from the Mascarenes without mention of which island these came from, and the term was also used for other species with "solitary" habits, such as the Réunion blue swamphen and the Réunion sacred ibis. At one point it was even believed that Réunion was the home of not only a white dodo, but also a white solitaire. In 1786, sub-fossil bones were discovered in a cave which confirmed Leguat's descriptions, but at this time no living residents of Rodrigues remembered having seen living birds. The star constellation Turdus Solitarius was named after this bird.

Today 17 endemic bird species survive on the islands. Two species – the Mascarene paradise flycatcher (Terpsiphone bourbonnensis) and Mascarene swiftlet (Aerodramus francicus) – inhabit both Mauritius and Réunion. Eight species are endemic to Mauritius – the Mauritius grey white-eye, (Zosterops mauritianus), Mauritius cuckooshrike (Lalage typica), Mauritius kestrel (Falco punctatus), Mauritius fody (Foudia rubra), Mauritius bulbul (Hypsipetes olivaceus), Mauritius parakeet (Psittacula eques), Mauritius olive white-eye (Zosterops chloronothos), and pink pigeon (Nesoenas mayeri). The Réunion grey white-eye (Zosterops borbonicus), Réunion cuckooshrike (Lalage newtoni), Réunion stonechat (Saxicola tectes), Réunion olive white-eye (Zosterops olivaceus), and Réunion bulbul (Hypsipetes borbonicus) are endemic to Réunion. The Rodrigues warbler (Acrocephalus rodericanus) and Rodrigues fody (Foudia flavicans) are found only on Rodrigues.

Reptiles
Mauritius, Réunion, and Rodrigues were also once each home to one or more species of giant tortoises, now extinct, which comprised the genus Cylindraspis. There are thirteen living endemic reptile species, including a number of species of day geckoes (genus Phelsuma).

Mammals
The islands' only native mammals are bats, including the Mauritian flying fox (Pteropus niger), which is endemic to Mauritius and Réunion, and the Rodrigues flying fox (Pteropus rodricensis) found only on Rodrigues. The lesser Mascarene flying fox (Pteropus subniger) is extinct.

Freshwater
The three largest islands have many freshwater streams which descend from the mountains to the sea. The upper reaches, particularly on Réunion, are fast-flowing and steep with numerous waterfalls. Tamarin Falls or Sept Cascades (293 m) on Mauritius is the highest waterfall on Mauritius, while Cascade Trou de Fer (725 m, ranks 23rd worldwide) on Réunion is the highest of the Mascarenes.

The Grand River South East (34 km) is the longest river on Mauritius, followed by Rivière du Poste (23 km), Grand River North West (22 km), Rivière La Chaux (22 km), and Rivière des Créoles (20 km). Mauritius has two natural crater lakes, Grand Bassin and Bassin Blanc.

There are about twenty species of fish which spend at least part of their lives in freshwater. The islands have five endemic freshwater fish species, all gobies (Gobiiformes) – Hypseleotris cyprinoides, Cotylopus acutipinnis, Glossogobius kokius, Gobius commersonii, and Oxyurichthys guibei. Cotylopus acutipinnis, which is endemic to Réunion, hatches in the sea before migrating to the rainforest streams where it lives its adult life.

Marine
The Mascarene Islands are surrounded by approximately 750 square km of coral reef. Rodrigues has nearly continuous fringing reefs bounding an extensive lagoon, 7 to 20 km wide, with deep channels. Mauritius is also surrounded by a fringing reef. In contrast, Réunion has very short stretches of narrow fringing reef along the western and southwestern coasts only. The islets of the Cargados Carajos Shoals, which have a very depauperate terrestrial biota owing to being so low-lying and swamped during cyclones, are bound to the east by an extensive arc of fringing reef, which accounts for ~30% of the reefs of the Mascarene Islands. Lagoon reefs and reef flats are dominated by scleractinian corals such as branching and tabular Acropora, Porites massives, foliaceous Montipora and Pavona, and sand consolidated with beds of seagrass such Halophila (Hydrocharitaceae). Among coral reef fishes, wrasses (Labridae), damselfish (Pomacentridae), carnivorous groupers (Serranidae), and surgeonfishes (Acanthuridae) have many species.

Wildlife, threats and preservation
Today Mauritius has one of the highest population densities in the world and on all of the islands, there has been a great loss of habitat and many of the surviving endemic species are still threatened with extinction with little protection. Less than 40 percent of Réunion is covered with natural vegetation, only about 5 percent of Mauritius, and almost none of Rodrigues. On Réunion, forest has been cleared for agriculture and then overtaken by introduced plants. Mauritius was largely converted to sugar cane, tea, and conifer plantations. On Rodrigues the damage has been done by shifting cultivation.

Launch of Saint Brandon Conservation Trust
On 8 May 2024, an independent Mauritian NGO called the Saint Brandon Conservation Trust was internationally launched at the Corporate Council on Africa in Dallas, Texas to protect St. Brandon from pollution and to protect surviving flora and fauna in the Cargados Carajos.

Protected and Future Protected areas
40.6% of the Mascarene Islands' land area is constituted of protected areas. Terrestrial protected areas on Mauritius include Black River Gorges National Park, Bras d'Eau National Park, Perrier Nature Reserve, Corps de Garde Nature Reserve, Le Pouce Nature Reserve, Cabinet Nature Reserve, Gouly Pere Nature Reserve, and Bois Sec Nature Reserve. There are 32 designated protected areas on Réunion, including Réunion National Park (1055.15 km2), which cover 63.13% of the island.

title: Mascarene Islands


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Limitations on exclusive rights: Computer programs

Limitations on exclusive rights: Computer programs is the title of the current form of section 117 of the U.S. Copyright Act (17 U.S.C. § 117). In the United States copyright law, provides users with certain adaptation rights for computer software that they own.

Background
The current form of section 117 is the result of a recommendation by CONTU, the National Commission on New Technological Uses of Copyrighted Works. The U.S. Congress established CONTU to study and make recommendations on modifying the 1976 Copyright Act to deal with new technologies, particularly computer software, that Congress had not addressed when it passed the 1976 Act. CONTU operated from 1975 to 1978, and its principal recommendation to Congress was to revise the wording of section 117. Its report stated:

"Because the placement of a work into a computer is the preparation of a copy, the law should provide that persons in rightful possession of copies of programs be able to use them freely without fear of exposure to copyright liability. Obviously, creators, lessors, licensors, and vendors of copies of programs intend that they be used by their customers, so that rightful users would but rarely need a legal shield against potential copyright problems. It is easy to imagine, however, a situation in which the copyright owner might desire, for good reason or none at all, to force a lawful owner or possessor of a copy to stop using a particular program. One who rightfully possesses a copy of a program, therefore, should be provided with a legal right to copy it to that extent which will permit its use by that possessor. This would include the right to load it into a computer and to prepare archival copies of it to guard against destruction or damage by mechanical or electrical failure. But this permission would not extend to other copies of the program. Thus, one could not, for example, make archival copies of a program and later sell some while retaining some for use. The sale of a copy of a program by a rightful possessor to another must be of all rights in the program, thus creating a new rightful possessor and destroying that status as regards the seller."

The revisions recommended by CONTU were approved with one important change. Instead of "rightful possessor" of a computer program Congress used the word "owner" of a computer program. It is not clear why this change was made. This one change resulted in a state of affairs in which software vendors began to take the position that customers do not own their software but rather only "license" it. The courts have split on whether the assertion in software agreements that the customer does not own the software, and has only a right to use it in accordance with the license agreement, is legally enforceable.

Users' rights under § 117
Section 117 is a limitation on the rights granted to holders of copyright on computer programs. The limitation allows the owner of a particular copy of a copyrighted computer program to make copies or adaptations of the program for any of several reasons:

 * 1) Utilization of the program. The user is allowed to install the software to his hard disk and run the software in random-access memory.
 * 2) Making backup and archival copies. The user is allowed to make copies of the software to protect himself from loss in the event of the original distribution media being damaged.
 * 3) Making copies of software in order to repair or maintain machines, provided that the copies used in repairing the machine is destroyed after the repair or maintenance is complete.

The law allows any copies that are created for the above purposes to be transferred when the software is sold, only along with the copy made to prepare them. Adaptations made can not be transferred without permission from the copyright holder.

Reverse engineering
While it is not part of section 117, it is also lawful to reverse engineer software for compatibility purposes. Sec. 103(f) of the DMCA (17 U.S.C. § 1201 (f)) says that a person who is in legal possession of a program, is permitted to reverse-engineer and circumvent its protection against copying if this is necessary in order to achieve "interoperability" - a term broadly covering other devices and programs being able to interact with it, make use of it, and to use and transfer data to and from it, in useful ways. A limited exemption exists that allows the knowledge thus gained to be shared and used for interoperability purposes.

More generally, it has been held that reverse engineering is a fair use. In Sega v. Accolade, the Ninth Circuit held that making copies in the course of reverse engineering is a fair use, when it is the only way to get access to the "ideas and functional elements" in the copyrighted code, and when "there is a legitimate reason for seeking such access."