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FRIDAY SERIES 2 Hannu Lintu, Conductor Helena Juntunen

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FRIDAY SERIES 2 Hannu Lintu, Conductor Helena Juntunen 30.9. FRIDAY SERIES 2 Helsinki Music Centre at 19.00 Hannu Lintu, conductor Helena Juntunen, soprano Topi Lehtipuu, tenor Neal Davies, baritone Helsinki Music Centre Choir, coach Tapani Länsiö Joseph Haydn: The Seasons 134 min I Spring II Summer INTERVAL 20 min III Autumn IV Winter Interval at about 20.15. The concert ends at about 21.40. Broadcast live on Yle Radio 1 and online at yle.fi/rso. 1 JOSEPH HAYDN vocal numbers are recitatives, arias, du- ets, trios and choruses in relatively free (1732–1809): combination. All three soloists may THE SEASONS give voice in a single recitative, and the transitions from solos to choruses are The four parts of The Seasons paint a flexible and musically effective. sweeping fresco of country life: Nature’s The Seasons begins with Spring, awakening in the spring, the heat and though the orchestral introduction thunderstorms of summer, the hunting still paints a picture of “surly winter” and harvesting of autumn and finally before spring finally bursts out in the the harsh, somnolent days of winter. choral Komm, holder Lenz! (Come, gen- The annual round also serves as a met- tle spring!) in lilting, pastoral 6/8 time. aphor for the stages in human life, from The solos are mostly in the tradition- youth to old age. The text of Winter al- al Singspiel style, and Simon’s aria ludes directly to this in Simon’s aria Schon eilet froh der Ackersmann (With Erblicke hier, betörter Mensch (Consider joy th’impatient husbandman) could this, misguided man). well be attributed to The Magic Flute’s Like his great oratorio The Creation, Papageno, though Simon is not a bird- The Seasons was a major project for catcher but a farmer eager to get out Haydn, and he was able to use what into the fields. A fragment of Haydn’s was for the time a large orchestra. The Drumroll Symphony also pops up in this Seasons even has more brass instru- aria. There are no more arias as such in ments than The Creation – four horns, Spring, the other numbers being rec- three trumpets and three trombones itatives and trios for the soloists. The – and Haydn widely exploits his in- choral numbers culminate in two fine struments for picturesque, descriptive contrapuntal ones. effect. There are three vocal soloists, The orchestral introduction to representing archetypal country folk. Summer begins in the dusky, dewy Simon (bass or baritone) is a peas- dawn, from which the soloists emerge. ant, Hanne (Jane, soprano) his daugh- The sun bursts forth in a mighty for- ter and Lukas (Lucas, tenor) a country tissimo resembling a small-scale vari- lad in love with Jane, though there are ation of the famous Let there be light no detailed characterisations. At times chorus in The Creation. Then follows the choir impersonates the characters a hymn of praise to the glorious sun. (peasants, country folk, hunters), while One of the finest solos in The Seasons at others it acts as a narrator. Each of is Jane’s recitative and aria Willkommen the four parts has contrapuntal epi- jetzt, o dunkler Hain (Oh welcome now, sodes building up to a mighty climax, ye shady groves!), in which an oboe and in a few places Haydn divides his occupies an important role. Summer choir into male and female for greater culminates after recitatives in a vio- impact. lent thunderstorm that maybe later Each part begins with an orchestral served as a model for Beethoven in his introduction that sets the scene. The Pastoral Symphony. The other parts of 2 The Seasons end with fine choral build- in her recitative, reckons the cold has ups; Summer in languid, tranquil mood, travelled all the way from Lapland. as if falling asleep while night descends Winter is a time for huddling indoors on the fields and forests. and telling stories. Hovering in the Autumn first paints a restful picture background as the choir sings its lively of the farmers’ contentment after a Knurre, schnurre, Rädchen, schnurre! (Let good harvest. The same sentiment is the wheel move gaily) is the spinning expressed again slightly later in a trio song from Wagner’s Flying Dutchman. and chorus in praise of hard work (So The story told is about a rich nobleman lohnet die Natur den Fleiss/Thus nature, who tries to make love to a country girl ever kind, rewards). Haydn was slightly but she escapes by riding off on his amused at this scene, claiming that he horse; the country folk listen with bat- always worked hard as a composer, but ed breath as Jane sings it to them. The that this was the first time he actually oratorio is most pensive in Simon’s aria composed something about it. A con- Erblicke hier, betörter Mensch (Consider scientious worker, he devised a fugue this, misguided man); its reflections on to illustrate it. Jane and Lucas have al- old age and the knowledge that all must ready sung a duet in similar tones and perish may have struck close to home rhythms earlier in the work, and this for Haydn as he composed what would one (Ihr schönen aus der Stadt/Ye gay be one of his last large-scale works. and painted fair, oh come) now finally But to make sure that The Seasons did reveals their love. not end on too gloomy a note, the li- The two choruses are among the brettist, Baron Gottfried van Swieten best-known and most impressive num- (a rich Dutchman, amateur composer bers in Autumn. The first is a magnif- and director of the Imperial Library) icent hunting scene in the customary embroidered on a long English poem 6/8 “hunting” rhythm, and naturally with the same title by James Thomson the French horns – descendants of the (1700–1748), bringing The Seasons to a traditional hunting horn – have a bril- beautiful, optimistic close: Dann bricht liant chance to shine. A scene of great der grosse Morgen an (Then breaks that dramatic impact, it is a fine example of great and glorious day). Haydn’s orchestral genius, and contem- porary audiences must have been ter- Programme note by Kimmo Korhonen ribly impressed. Also highly evocative translated (abridged) by Susan Sinisalo is the closing chorus extolling the wine harvest and wine, setting jubilant feet dancing and even having a shot at a fugue. After the colourful climax to Autumn, Winter immerses the listener in a freezing, misty landscape. Residents in Finland may like to note that Jane, 3 HANNU LINTU Tero Saarinen. Previous productions with Finnish National Opera have in- Chief Conductor of the Finnish Radio cluded Parsifal, Carmen, Sallinen’s King Symphony Orchestra since August Lear, and Wagner’s Tristan und Isolde in 2013, Hannu Lintu previously held the spring 2016. Lintu has also worked with positions of Artistic Director and Chief Tampere Opera and Estonian National Conductor of the Tampere Philharmonic Opera. Orchestra, Principal Guest Conductor Hannu Lintu has made several re- with the RTÉ National Symphony cordings for Ondine, Naxos, Avie and Orchestra and Artistic Director of the Hyperion. His recording of Prokofiev Helsingborg Symphony and Turku Piano Concertos with Olli Mustonen and Philharmonic orchestras. the Finnish Radio Symphony Orchestra Highlights of Lintu’s 2016/17 sea- was released in September 2016, while son include appearances with the other recent releases include recordings Deutsches Symphonie-Orchester Berlin, of Mahler’s Symphony No. 1, a selec- Staatsorchester Stuttgart, Radio- tion of works by Magnus Lindberg, and Symphonieorchester Wien, Luzerner Messiaen’s Turangalîla Symphony with Sinfonieorchester and Orquesta Angela Hewitt and Valerie Hartmann- Sinfónica de Galicia, and in North Claverie. Lintu has received several acco- America with the St Louis Symphony lades for his recordings, including a 2011 and the Toronto Symphony, Baltimore Grammy nomination for Best Opera Symphony and Detroit Symphony or- CD plus Gramophone Award nomi- chestras. Recent engagements have in- nations for his recordings of Enescu’s cluded the The Cleveland and Gulbenkian Symphony No.2 with the Tampere orchestras, the Orchestre de Chambre Philharmonic Orchestra and the Violin de Lausanne, Orchestra Sinfonica di Concertos of Sibelius and Thomas Adès Milano Giuseppe Verdi, and the BBC with Augustin Hadelich and the Royal Scottish Symphony, Iceland Symphony Liverpool Philharmonic Orchestra. and Seoul Philharmonic orchestras. In Hannu Lintu studied cello and piano 2015 he conducted a complete cycle at the Sibelius Academy, where he later of Sibelius’ symphonies in Tokyo with studied conducting with Jorma Panula. the Finnish Radio Symphony Orchestra He participated in masterclasses with and the New Japan Philharmonic, and Myung-Whun Chung at the Accademia toured Austria in January 2016 with vi- Chigiana in Siena, Italy, and took olinist Leila Josefowicz and the Finnish first prize at the Nordic Conducting Radio Symphony Orchestra. Competition in Bergen in 1994. Lintu returns to Savonlinna Opera Festival in July 2017 to conduct Aulis Sallinen’s Kullervo, and in May 2017 he conducts Sibelius’ Kullervo in a special project with Finnish National Opera and Ballet with director and choreographer 4 HELENA JUNTUNEN TOPI LEHTIPUU One of the most illustrious young Topi Lehtipuu enjoys a reputation as Finnish sopranos, Helena Juntunen got one of Finland’s most highly individual well launched on an international career artists. In addition to a career as a tenor with victory in a number of competitions of international renown, he is Director headed by the Lappeenranta Singing and Artistic Director of the Helsinki Competition in 2002. In October 2006 Festival, the wide-ranging and innova- she was awarded the Karita Mattila tive multi-arts festival that is the largest Prize. She first made a name for her- in Finland and a major event in Finland’s self as Marguerite in Gounod’s Faust cultural year.
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