16.11. WEDNESDAY SERIES 5 Music Centre at 19.00

Gustavo Gimeno, conductor Martin Grubinger, percussion

Charles Ives: Central Park in the Dark 9 min

Kalevi Aho: Sieidi, for percussion and orchestra 36 min

INTERVAL 20 min

Antonín Dvořák: No. 9 40 min “From the New World” I Adagio – Allegro molto II Largo III Scherzo (Molto vivace – Poco sostenuto) IV Allegro con fuoco

Interval at about 20:00. The concert ends at about 21:10.

PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, video and sound recording are prohibited during the concert. CHARLES IVES (1874–1954): CENTRAL PARK IN THE DARK

It was in 1906, while living on the piece basically seeks to capture the si- edge of Central Park, that Charles lent, somewhat enigmatic park and the Ives composed three works for cham- traces of human noise upon it. Ives’ col- ber orchestra: Two Contemplations, An lage of urban sounds, now already bear- Unanswered Question, and Central Park ing the patina of time (who nowadays in the Dark. His income as an insurance could recall the hype of Hello My Baby agent allowed him to continue his musi- ragtime?), reflects rather than accuses. cal experiments in polytonality, the sig- Nature is constant, but it is not really nificance of which was not recognised there for us. Our human pleasures are until decades later. noisy, but fleeting. Though the piece The orchestration of Central Park in got an experimental hearing at the be- the Dark is unusual, and so is the way ginning of the 20th century, its pre- the instruments are placed. Ives want- miere proper was not until 1946. ed one of the pianos to be a concert grand and the other a player-piano. The Antti Häyrynen (abridged)

KALEVI AHO (B. 1949): SIEIDI. CONCERTO FOR SOLO PERCUSSION AND ORCHESTRA

Kalevi Aho is a composer who has al- orchestra is also characterised by a rich ways gone his own way, cherishing his fantasy full of surprises that marks him independence in the zone between out as a pupil of . modernist and traditional trends. Many of Aho’s have pas- Although he seeks in his works to sages for solo instruments, but by the speak to his contemporaries, he has end of last century he had written only never given his listeners an easy time. three concertos in the traditional sense. The musical genre that best provided Things have changed since the begin- a solution to the young Aho’s search for ning of the new millennium, and he has truth was the symphony; he wrote the so far composed no fewer than 25 new first in 1969 and has now reached no. instrumental concertos. Some of them 16. As a composer of symphonies and are for very uncommon instruments, in his handling of the orchestra he has such as a theremin, , contra- shown himself to be a veritable wizard, bassoon, soprano saxophone, tenor sax- capable of assigning different person- ophone, and accordion. alities to his instruments and instru- mental sections. His handling of the Antti Häyrynen

2 Kalevi Aho says of his Sieidi festival and outdoor acoustics, would concerto: also be performed at Luosto in the same concert, the percussion concerto “In May 2009, percussion virtuoso Colin further had to be compatible with the Currie was the soloist with the Tapiola “Luosto Symphony”. Sinfonietta, the orchestra of Helsinki’s “Normally, in a percussion concerto, neighbouring city of Espoo, in the con- the soloist has to play surrounded by certo Veni, veni, Emmanuel by James a huge battery of instruments, often MacMillan. During his visit Colin said behind the orchestra. In Sieidi he uses he would like to meet me, and when only nine instruments, and he is in we met, he told me the reason why – front of the orchestra the whole time. he wanted me to compose him a per- The instruments are in a row in front of cussion concerto. the platform, starting with the djembe “I promised to do so, and it later be- on the far right (as viewed by the au- came a joint commission from three dience) and ending with the tam-tam institutions: the London Philharmonic on the far left. The soloist plays only Orchestra, the Luosto Classic festi- one instrument at a time. The concer- val and the Gothenburg Symphony to begins with a djembe solo, which is Orchestra. The premiere took place followed after a bridge passage by the in London on April 18, 2012, with darabuka. The soloist then proceeds Osmo Vänskä conducting the London from the hand-beaten instruments Philharmonic Orchestra. The Austrian to membraphones played with drum- virtuoso Martin Grubinger later added sticks, the five tom-toms and the snare it to his repertoire, and first performed drum. These are followed by the wood- it at a concert in Vienna by the Vienna en percussions: the 5-octave marimba, Symphony Orchestra on June 17, 2015. wood blocks and temple blocks. Finally Sieidi has, within a short space of time, the soloist arrives at the metal percus- become one of my most often-per- sions: the vibraphone and tam-tam on formed works. the left-hand side at the front of the “The fact that the Luosto venue dif- platform. A tam-tam cadenza marks a fered decisively from the concert halls turning point; from then onwards the in London and Gothenburg posed an soloist works back across the platform additional challenge in planning the in the reverse order, ending with the work. For the Luosto performance djembe with which he began. This way was an open-air concert with natural the listener can also keep a visual track acoustics on the slopes of Luosto Fell of the concerto’s progress. in Finnish Lapland. I therefore had to “The orchestra also has three oth- make special allowance for these spe- er percussionists drumming different cial acoustic conditions in compos- instruments like the soloist. One of ing the percussion concerto. And be- them plays behind the orchestra, and cause I knew that my Symphony No. 12 the other two are in the centre of the (2002–03), likewise composed for this hall, facing each other on either side.

3 In this way I have tried to create musi- shamanistic, and the listener could well cal space effects as well. imagine it taking place at the foot of “The title of the concerto, Sieidi, precisely one such ‘sieidi’. is Sámi – a language spoken in the “The Sieidi concerto is in one move- northern region of Finland, Sweden ment but divided into several sections and Norway known as Lapland. It de- both faster and slower, wildly rhythmic, notes an ancient cult place such as lyrical and more static. For the solo- an unusually-shaped rock, sometimes ist it is extremely demanding because also a special rock face or even a whole he is constantly having to switch from mountain fell. The mighty Luosto Fell one technique to another – for djembe commanding the Luosto region may and darabuka playing with the hands possibly have been one such ‘sieidi’ differs radically from that of tom-tom among the ancient Sámi inhabitants. or drumstick technique or the play- The djembe and darabuka drumming ing of pitched percussion instruments at the beginning and end is by nature such as the marimba and vibraphone.”

ANTONÍN DVOŘÁK (1841–1904): SYMPHONY NO. 9 IN E MINOR, OP. 95, “FROM THE NEW WORLD”

The US music composed in the late of variation of the orchestration, which 19th century lacked any great names, is full of brilliant details and famous despite having long traditions. This was oddities: the optimistic theme of the one reason why Jeanette M. Thurber first movement is entrusted to the first decided to invite Antonín Dvořák, one flute and later the second; only the of the brightest stars on the Old World majestic frame of the slow movement musical firmament at the time, to visit and the end of the finale need a tuba. the National Conservatoire founded by The first movement begins with her in New York. The invitation, which a gloomy introduction to the quick carried the promise of a considerab- Allegro. A flute and oboe usher in the le fee, was hard to refuse, and Dvořák wistfully lyrical second theme, but it is soon found himself steaming across the first theme, assigned to a solo flute, the Atlantic. that brings the first message from the The obligation to compose written “New World”, soon to be transformed into the agreement was not quite so by the brass into an excited war cry. easy to meet. Dvořák began writing The development section does not re- what was to be his ninth symphony in ally develop the themes; instead it sin- early 1893 and by May it was ready for gles them out in turn, and each time performance. Its structure is unusual, raises the revs a notch or two. at times episodic but always dramat- The slow movement opens in a sub- ic. Much of the development consists lime D-flat major. A cor anglais enters

4 with its nostalgic melody, to be fol- Born in Valencia, Gustavo Gimeno has lowed shortly by a woodwind theme been Music Director of the Orchestre weighed down with longing for the Philharmonique du Luxembourg as of composer’s native Bohemia. The the 2015/16 season. He began his inter- Bohemian mood is all the more pro- national career as an assistant to Mariss nounced in the jolly dip into the major, Jansons with the Royal Concertgebouw only to be cut short by the trombones Orchestra in Amsterdam and also with a proud reminder of the main gained significant experience in as- theme of the first movement. sisting Bernard Haitink and Claudio The rhythms of Dvořák’s home- Abbado. land are even sharper in the Scherzo. Maestro Gimeno has collaborat- The pentatonic secondary theme car- ed with a select list of orchestras in- ries exotic echoes of the new world cluding the City of Birmingham in which the composer finds himself, Symphony, the Cleveland Orchestra, whereas the cheerful Trio flits across the Royal Concertgebouw Orchestra, a meadow almost as in a Schubert the Orchestre National de France and Ländler. the Munich Philharmonic. The dramatic start of the Finale is This season he conducts great orches- full of promise, but then seems to be tral literature ranging from Mahler’s looking around for a better key and Symphony No. 4 to Stravinsky’s Rite of lapses into nostalgic flashbacks to ear- Spring and Beethoven’s Symphony No. lier themes. The music abounds with 7 with the Orchestre Philharmonique energy, until at last the composer du Luxembourg and makes guest takes his leave of this land of pioneers appearances with the Boston and and wide open landscapes. Chicago Symphony Orchestras, the Vienna Symphony and Tokyo’s NHK Antti Häyrynen (abridged) Symphony Orchestra. Other forth- coming engagements include a per- formance of Bruckner’s Symphony No. 1 with the Munich Philharmonic, Schumann’s Symphony No. 1 with the Royal Concertgebouw Orchestra and Mahler’s Symphony No. 1 with the London Philharmonia. In 2015, Gustavo Gimeno made his operatic debut conducting Bellini’s Norma at the Opera House in Valencia. Next year he will conduct his first op- era in Luxembourg: Verdi’s Simon Boccanegra.

5 GUSTAVO GIMENO MARTIN GRUBINGER

Valencia-born Gustavo Gimeno has Dubbed by critics as “a wizard of per- been Music Director of the Orchestre cussion”, Austrian multi-percussion- Philharmonique du Luxembourg since ist Martin Grubinger has an unusually the 2015/16 season. broad repertoire ranging from classical This season, with his orchestra he concertos to solo works, including that conducts great orchestral literature of his own Percussive Planet Ensemble. ranging from Beethoven’s Symphony Born in Salzburg, Martin Grubinger No. 7 to Mahler’s Symphony No. 4 studied at the Bruckner Conservatory and Stravinsky’s The Rite of Spring. in Linz and at the Salzburg Mozarteum. He makes guest appearances with He had already garnered attention the Boston and Chicago Symphony in his youth, having appeared at sev- Orchestras, the Vienna Symphony and eral international competitions, such Tokyo’s NHK Symphony Orchestra. as the second World Marimbaphone Other forthcoming engagements in- Competition in Okaya, Japan, and at clude a performance of Bruckner’s the EBU Competition in Norway. Symphony No. 1 with the Munich Martin Grubinger was named Artist Philharmonic, Schumann’s Symphony in Residence at the 2008/09 Leipzig No. 1 with the Royal Concertgebouw Gewandhaus, followed by residenc- Orchestra and Mahler’s Symphony es with the Camerata Salzburg, at the No. 1 with the Philharmonia Orchestra Cologne and Munich Philharmonics, the London. Vienna Konzerthaus and the Schleswig- In 2015, Gustavo Gimeno made his Holstein Festival. He has been the so- operatic debut conducting Bellini’s loist with, among others, the Vienna Norma at the Opera House in Valencia. and Los Angeles Philharmonics, the Next year he will conduct his first op- Pittsburgh Symphony and the BBC era in Luxembourg: Verdi’s Simon Philharmonic, and with baritone Boccanegra. Thomas Hampson has given recitals at Gustavo Gimeno’s international ca- the Vienna Konzerthaus, La Scala, Milan reer began having spent several in- and elsewhere. sightful years assisting Claudio Abbado Amongst the growing number of with the Orchestra Mozart, Bologna, works especially written for Grubinger the Lucerne Festival Orchestra and the are Avner Dorman’s Frozen in Time Mahler Chamber Orchestra. He also (2007) and Friedrich Cerha’s Concerto assisted Bernard Haitink and Maris for Percussion and Orchestra (2008), Jansons both of whom had a profound performed and recorded with the impact on the formative years of his Vienna Philharmonic. He has also pre- conducting career. miered works by Tan Dun and Peter Eötvös. Winner of many prizes, Martin Grubinger has been the recipient of

6 the Bernstein Award of the Schleswig tral works by Stravinsky, symphonies Holstein Music Festival and the pres- by Mahler and Bruckner, Haydn’s The tigious Jeunesses Musicales’ Würth Seasons oratorio and concertos by con- Prize. temporary composers. Among its guest artists will be soprano Karita Mattila and mezzo-soprano Michelle DeYoung, conductors Esa-Pekka Salonen, Teodor THE FINNISH Currentzis and Gustavo Gimeno, and RADIO SYMPHONY pianist Daniil Trifonov. ORCHESTRA The FRSO has recorded works by Mahler, Ligeti, Sibelius, Hakola, The Finnish Radio Symphony Lindberg, Saariaho, Sallinen, Kaipainen, Orchestra (FRSO) is the orchestra of Kokkonen and others, and the debut the Finnish Broadcasting Company disc of the opera Aslak Hetta by Armas (Yle). Its mission is to produce and pro- Launis. Its discs have reaped some pres- mote Finnish musical culture and its tigious distinctions, such as the BBC Chief Conductor as of autumn 2013 Music Magazine Award, the Académie has been Hannu Lintu. The FRSO has Charles Cros Award and a MIDEM two Honorary Conductors: Jukka-Pekka Classical Award. The disc of Sibelius’s Saraste and Sakari Oramo. Lemminkäinen and Pohjola’s Daughter The Radio Orchestra of ten play- was Gramophone magazine’s Critic’s ers founded in 1927 grew to sympho- Choice in December 2015 and brought ny orchestra strength in the 1960s. the FRSO and Hannu Lintu a Finnish Hannu Lintu was preceded as Chief Emma award in the Classical Album cat- Conductor by Toivo Haapanen, Nils- egory. Music by Sibelius, Prokofiev and Eric Fougstedt, Paavo Berglund, Okko Fagerlund will be among the repertoire Kamu, Leif Segerstam, Jukka-Pekka recorded during the 2016/2017 season. Saraste and Sakari Oramo. The FRSO regularly tours to all parts In addition to the great Classical- of the world. During the 2016/2017 Romantic masterpieces, the latest con- season its schedule will include a tour temporary music is a major item in the in Finland, taking in concerts conduct- repertoire of the FRSO, which each ed by Hannu Lintu in Suomussalmi, year premieres a number of Yle com- Kajaani, Mikkeli and Kuopio. missions. Another of the orchestra’s The home channel of the FRSO is tasks is to record all Finnish orchestral Yle Radio 1, which broadcasts all its music for the Yle archive. concerts, usually live, both in Finland uring the 2016/2017 season the and abroad. Its concerts can also be FRSO will premiere five Finnish works heard and watched with excellent commissioned by Yle and feature live stream quality on the FRSO web- such pioneers of Finnish Modernism site (www.yle.fi/rso), and the majority as Väinö Raitio and Uuno Klami. The of them are televised live on the Yle programme will also include orches- Teema channel.

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