DOCSLIB.ORG

Turun Filharmoninen Orkesteri 20 VUOSIKERTOMUS 15 Luonnollisuus Ja Inhimillisyys Ovat Musisointimme Tärkeimmät Attribuutit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Turun Filharmoninen Orkesteri 20 VUOSIKERTOMUS 15 Luonnollisuus Ja Inhimillisyys Ovat Musisointimme Tärkeimmät Attribuutit Turun filharmoninen orkesteri 20 VUOSIKERTOMUS 15 Luonnollisuus ja inhimillisyys ovat musisointimme tärkeimmät attribuutit. Tervetuloa vaan elämysfenomenologiaanne rikastuttamaan! Intendentin puheenvuoro ................................................................................................... 3 Sinfoniakonsertit ..................................................................................................................... 4 Kamarimusiikkikonsertit ....................................................................................................... 6 Lapset ja nuoret ....................................................................................................................... 8 Vanhainkotikiertue ................................................................................................................. 9 Talous ........................................................................................................................................... 10 Hallinto ........................................................................................................................................ 11 Pääsylippujen, kausikorttien ja painotuotteiden hinnat .......................................... 12 Konsertti- ja yleisötilastot ..................................................................................................... 13 Levytykset, radiointi ja televisiointi .................................................................................. 14 Vuoden 2015 konsertit .......................................................................................................... 15 Taiteilijat...................................................................................................................................... 19 Teokset ........................................................................................................................................ 20 2 INTENDENTIN PUHEENVUORO Juhlan huipennus! Turun filharmoninen orkesteri juhli vuonna 2015 sekä omaa 225-vuotis- juhlaansa että kansallissäveltäjämme Jean Sibeliuksen 150-vuotisjuhlaa. Orkesterin perustanut Turun Soitannollinen Seura sai alkunsa vuonna 1790 ja Sibelius syntyi vuonna 1865. Vuosi 2015 oli yhtä suurta juhlaa – koho- tuvassa maailmassa olemme voineet kohtiin kuuluivat Sarah Changin vierailu toimia myös yhteisenä inspiraation Jean Sibeliuksen viulukonserton solistina, lähteenä. Musiikki toimii joka kielellä, kansainvälinen Fairy Tale -projekti, jossa ja olemme iloinneet siitä, että orkesteri lapset eri puolilla maailmaa tekivät tai- työpaikkana on yksi Turun kansainväli- detta Sibeliuksen Sadun säveliin, super- simmistä. virtuoosit Klaus Mäkelä, Julian Rachlin, Olli Mustonen, Rachel Barton Pine, Orkesteri ylitti vuona 2015 itsensä taiteel- Lise de la Salle, Baiba Skride ja hänen lisesti, innovatiivisesti ja toiminnallisesti. Stradivarius, hurmaava Camilla Nylund Orkesterin täyttöaste suureni jo kolmatta niin Turussa kuin Pietarissa, intohimoi- vuotta perätysten ja yleisön sitoutumi- EMILIE GARDBERG. KUVA: SEILO RISTIMÄKI set pelimusiikin villiinnyttämät nuoret nen vahvistui usean eri kokonaisuuden Sagas-konserteissa, Sing Alongin laulu- osalta. riemua ja viimeisenä muttei suinkaan vähäisempänä jättihanke 7 kukkulaa soi Vuonna 2015 oli mahdollisuus pohtia – jossa orkesteri teki koko Turusta kon- myös orkesterin historiaa ja merkitystä serttisalin. Juhlavuoden loppuhuipennus kulttuurikehityksessä viimeisen kahden- oli ennennäkemätön Sibelius-maraton, sadan vuoden aikana. On ilahduttavaa, jossa orkesteri soitti neljän päivän ai- että meillä oli edelleen onni tehdä töitä kana kaikki Jean Sibeliuksen sinfoniat. kaupungissa, jossa kulttuuria arvostavat Maratonin avajaispäivänä, tiistaina 8.12., niin päättäjät kuin asukkaat. Orkesterin suomalaisen musiikin päivänä, julkaistiin valtit olivat pitkä historia, omistautunei- myös Kimmo Korhosen historiikki Sä- suus ja periksiantamattomuus. Orkesterin velten aika, joka kertoi orkesterielämän perustaminen jo vuonna 1790 osoitti, synnystä ja vaiheista aina 1790-luvulta että turkulaiset ovat olleet rohkeita eu- tähän päivään. VISIO 2023:rooppalaisen kulttuurikaupungin asuk- Hyvän elämän Turku kaita jo silloin. Siksi orkesteria ei horjuta ORKESTERI, JOLLA ON HYVÄ ITSETUNTO pienet suhdannemuutokset, talousahdin- Turun filharmoninen orkesteri on Suo- got tai huonokuntoiset seinät – musiikki men vanhin ja yksi maailman vanhimmis- merkitsee, vahvistaa ja ilahduttaa läpi ta orkestereista. Siitä huolimatta orkesteri vuosisatojen. ei kuulu vanhainkotiin tai muistolaatalle, vaan keskelle kaunista Turkua, aitiopai- Emilie Gardberg kalle. Orkesteri osoitti jälleen arvonsa ja Intendentti tarpeellisuutensa juhlavuoden aikana Turun filharmoninen orkesteri maestro Leif Segerstamin kanssa. Muut- 3 SINFONIAKONSERTIT Sinfoniakonsertit PSYKODRAAMA! konsertissa ja Lasten musiikkijuhlaviikolla kon Pääsiäiskonsertissa, jossa TFO esitti Kauden aloitti säväyttävä Arnold Schön- koettiin kansainvälisen suurtapahtuman vaikuttavan tulkinnan J.S. Bachin Mat- bergin Erwartung, jonka kriitikkokiite- juhlahumua kun A Fairy Tale -projekti sai teuspassiosta. Olli Mustonen toi kevään tyn näyttämöversion oli ohjannut Ville juhlavan päätöksen. Piirustuskilpailu oli säihkettä esiintymällä kolmoisroolissaan: Saukkonen. Levytysprojekteja jatkettiin tuottanut upeita teoksia ja voittajia oli kapellimestarina, solistina ja säveltäjänä. Kuulan musiikin parissa. Grant Llewellyn ilo kunnioittaa orkesterin lavalla. Huip- Florakören ja Brahe Djäknar olivat toivo- hurmasi yhdessä Mia Huhdan ja Tuomas pulahjakas, vain 18-vuotias Klaus Mäkelä neet esittävänsä Jean Sibeliuksen Åbo Ylisen kanssa konsertissa, jossa Kaija debytoi orkesterin johtajana konsertissa Akademin avajaisiin kirjoittaman teoksen Saariahon teos Mirage sai Suomen kan- Tulilahjakkuus, jossa hän toimi sekä so- ”Jordens Sång”, ja tämä haave toteutui taesityksensä. Tuomiokirkossa oli tunnel- listina että kapellimestarina. Orkesteri konsertissa 16.4. Seuraavalla viikolla mallinen Katedraali soi konsertti yhdessä tarttui tärkeään teemaan hyväntekeväi- heittäydyttiin Hollywood-tunnelmiin cembalisti Elina Mustosen kanssa. syyskonsertissa ke 1.4. Logomossa, jossa yhdessä Charlie Chaplinin elokuvan Ny- soitettiin ja huutokaupattiin Markku kyaika kanssa. Kimmo Tullila hoiti tarkkaa LATTARITUNNELMAA VOITTAJIEN Kososen tauluja Turun lastensairaalan tehtävää kapukorokkeella täysien salien PARISSA hyväksi. Saman viikon perjantaina oltiin edessä. Malko-voittonsa jälkeen hartaasti toivot- hartaissa tunnelmissa Turun tuomiokir- tu venezuelalainen kapellimestari Rafael Payare osoitti olevansa odotuksen arvoi- nen esiintyessään yhdessä islantilaisen Víkingur Ólafssonin kanssa haltioituneel- le yleisölle. Myös hiihtoloman jälkeen kausi jatkui yhtä intohimoisissa latina- laistunnelmissa kun niin ikään Malko- menestyjä ja venezuelalainen Christian Vasquez räjäytti yleisön suosionosoituk- siin yhdessä viulisti Rachel Barton Pinen kanssa. Kevään mielenkiintoisimpiin pro- jekteihin kuului Age of Anxiety -viikko, jossa Bernsteinin musiikkiin yhdistettiin Alexander Polzinin visualisointi. Viikko, joka tarjosi myös teknisiä haasteita, tuli ikuistettua myös Kimmo Korhosen Sävel- ten aika – kirjaan, jossa kirjailija kuvailee viikkoa orkesterin arjessa juuri kyseisen konserttiviikon kautta. KEVÄTSÄIHKETTÄ Kristiina Poska ja Cecilia Zilliacus houkut- YLEISÖ TUNGEKSI KUUNTELEMAAN VARTIOVUORENMÄELLE KUINKA KOMEASTI FINLANDIA KAJAHTAA telivat kevättä Turkuun Kesäromansseja- TURUN SEITSEMÄLTÄ KUKKULALTA KUVA: PIA JALKANEN 4 SINFONIAKONSERTIT SIBELIUS-MARATON KONSERTTITALOSSA KUVA: EINO NURMISTO HUIPENNUKSIA cus oli solistina Jomalan kirkon jylhässä teki odotetun paluun orkesterin eteen Vappu vietettiin sellismin parissa kun akustiikassa. Seuraava päätöskonsertti ja tarjosi yleisölle otsikon mukaisesti Total Cello -ryhmän All Stars -ensemble tapahtui jo seuraavalla viikolla kun Topi kauneinta kaihoa. Levytysviikon jälkeen tuli vierailulle. Elokuvasävelmiä kuultiin Lehtipuun ja Ville Matvejeffin kapulan- (Brahms & Segerstam) orkesteri heittäytyi 7.5. konsertissa Sulle salaisuuden kertoa vaihto Turun musiikkijuhlien taiteellisina komppibändiksi kun yleisö pääsi solistin mä voisin. Samalla viikolla koettiin johtajina tapahtui loistokkain menoin osaan Sing Along -konserteissa. Sitä TFO:n historian suurin nettispektaakkeli; Turun konserttitalon lavalla. seurasi Baiba Skriden ja Leif Segerstamin konsertti 7 kukkulaa soi, jossa orkesteri ilahtunut jälleennäkeminen Bartókin ja nousi Turun seitsemälle kukkulalle ja SIBELIUKSEN SÄIHKETTÄ Brahmsin parissa. Marraskuun parhaa- kajautti yhdessä Sibeliuksen Finlandian Oman sinfoniakauden avajaisissa koettiin seen pikkujouluaikaan Verneri Pohjola 10.000-henkiselle yleisölle. Nuorten erityistä glamouria kun yhdysvaltalainen loisti solistina ja säveltäjänä Jazzfoniset solistien konsertti toi hienon kevätjuhlan maailmankuulu Sarah Chang esiintyi Si- pelit -konsertissa. Itsenäisyysviikko vie- tunnun ja toivekonsertissa nähtiin uusi beliuksen viulukonserton solistina. Viikon tettiin perinteisen itsenäisyyspäivän juh- tuttavuus Heejung Park kapellimestari- päästä Ville Matvejeff oli parrasvaloissa lakonsertin parissa. korokkeella yleisön valitsemalla oh- yhdessä orkesterin oman käyrätorvistin jelmalla. Julian Rachlin pääsi päättämään Tanja Nisosen kanssa sekä Turussa että TFO 225 sinfoniasarjan Mozartkugeln-ohjelmalla, uusintakonsertissa Uudessakaupungis- Leif Segerstamin hartaasti toivoma Sibe- joka johti välittömään uusintavierailu- sa. Tuomas Hannikainen taiteili
Load more

Recommended publications
  • Leevi Madetoja (1887–1947) Symphony No
    Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number.
    [Show full text]
  • 18.9. at 20:00 Helsinki Music Centre Esa-Pekka Salonen Paavali
    18.9. at 20:00 Helsinki Music Centre Esa-Pekka Salonen conductor Paavali Jumppanen piano Lotta Emanuelsson announcer Robert Schumann: Piano Concerto in A Minor, Op. 54 1. Allegro affettuoso 2. Intermezzo (Andantino grazioso) 3. Allegro vivace 1 Paavali Jumppanen will talk to Lotta Emanuelsson on the platform. John Adams: Chamber Symphony 1. Mongrel Airs 2. Aria with Walking Bass 3. Roadrunner No interval. The concert will end at about 21:15. Broadcast live on Yle Teema, Yle Radio 1 and Yle Areena. Robert Schumann: Piano Concerto in A Minor, Op. 54 The Piano Concerto in A Minor by Robert crop up throughout the concerto, and Schumann (1810–1856) began life as a also in the background to the first move- one-movement fantasia in 1841. His pub- ment’s second theme. The original fanta- lisher refused to accept it, however, so sia still hovers in the dreamy Andante es- Schumann revised it and in 1845 filled it pressivo section – as a sort of encore of out to make a concerto in three move- the main theme – before the traditional ments with the original fantasia as the development. A cadenza leads to a quick first. He wrote it for his wife Clara, one of coda that draws together all the threads the finest pianists of her day. Though the of the movement. technical demands of the solo part are un- The second movement is a delicate deniably great, they are more a means to Intermezzo bearing echoes of the core an end than an end in themselves. motif and has a romantically melodic In many of his works, Schumann exper- middle section.
    [Show full text]
  • THURSDAY SERIES 7 John Storgårds, Conductor Golda
    2.3. THURSDAY SERIES 7 Helsinki Music Centre at 19.00 John Storgårds, conductor Golda Schultz, soprano Ernest Pingoud: La face d’une grande ville 25 min 1. La rue oubliée 2. Fabriques 3. Monuments et fontaines 4. Reclames lumineuses 5. Le cortege des chomeurs 6. Vakande hus 7. Dialog der Strassenlaternen mit der Morgenröte W. A. Mozart: Concert aria “Misera, dove son” 7 min W. A. Mozart: Concert aria “Vado, ma dove” 4 min W. A. Mozart: Aria “Non più di fiori” 9 min from the opera La clemenza di Tito INTERVAL 20 min John Adams: City Noir, fpF 30 min I The City and its Double II The Song is for You III Boulevard Nighto Interval at about 20.00. The concert ends at about 21.00. 1 ERNEST PINGOUD rare in Finnish orchestral music, as was the saxophone that enters the scene a (1887–1942): LA FACE moment later. The short, quick Neon D’UNE GRANDE VILLE Signs likewise represents new technol- ogy: their lights flicker in a xylophone, The works of Ernest Pingoud fall into and galloping trumpets assault the lis- three main periods. The young com- tener’s ears. The dejected Procession of poser was a Late-Romantic in the spirit the Unemployed makes the suite a true of Richard Strauss, but in the 1910s he picture of the times; the Western world turned toward a more animated brand was, after all, in the grips of the great of Modernism inspired by Scriabin and depression. Houses Waking provides a Schönberg. In the mid-1920s – as it glimpse of the more degenerate side happened around the time the days of urban life, since the houses are of of the concert focusing on a particular course brothels in which life swings composer began to be numbered – he to the beat of a fairly slow dance-hall entered a more tranquil late period and waltz.
    [Show full text]
  • ODE 1211-2 BOOKLET.Indd
    ODE 1211-2 HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS LEEVI MADETOJA SYMPHONIES 1 & 3 OKON FUOKO SUITE John Storgårds20 ALSO AVAILABLE ODE 1212-2 For more information please visit www.ondine.net LEEVI MADETOJA (1887–1947) Symphony No. 1 in F Major, Op. 29 21:13 1 I Allegro 6:39 2 II Lento misterioso 8:07 3 III Finale (Allegro vivace) 6:27 Publisher: Fennica Gehrman Symphony No. 3 in A Major, Op. 55 31:24 4 I Andantino-Allegretto 7:22 Recordings: Helsinki Music Centre, 19, 22-23.4.2013 5 II Adagio 8:03 A 24-bit recording in DXD (Digital eXtreme Definition) Executive producer: Reijo Kiilunen 6 III Allegro (non troppo) 9:00 Recording producer: Seppo Siirala 7 IV Pesante, tempo moderato-Allegretto 7:00 Recording and mastering: Enno Mäemets – Editroom Oy ℗ 2013 Ondine OY, Helsinki Okon Fuoko Suite, Op. 58 13:40 © 2013 Ondine Oy, Helsinki 8 I Okon Fuoko, the Dream Sorcerer 4:26 Photos: Heikki Tuuli (John Storgårds, Helsinki Philharmonic Orchestra), Atelier Universal, c. 1930 (Leevi Madetoja) 9 II The Guests Arrive 2:30 Cover: Lampi, Vilho: Silta/Bridge, 1928. The Aine Art Foundation, Aine Art Museum, Tornio, Finland. 10 III Dance of the Puppets 2:31 Design: Armand Alcazar 11 IV Dance of the Man and the Woman: Dance Grotesque 4:14 This recording was produced with support from The Finnish Music Foundation (MES). HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS, conductor 18 3 LEEVI MADETOJA (1887–1947): SYMPHONIES NOS. 1 AND 3; OKON FUOKO SUITE Helsingin kaupunginorkesteri (HKO) on Pohjoismaiden pitkäikäisin ammattimainen sinfoniaorkesteri. Sen alkuituna oli Robert Kajanuksen vuonna 1882 perustama Helsingin “What you wrote about your symphonic business delights me exceedingly.
    [Show full text]
  • Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting
    Estonian Academy of Music and Theatre Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2018 ABSTRACT Conducting Madetoja. Discoveries About the Art and Profession of Conducting For the material of my doctoral project, I have chosen the three symphonies of the Finnish composer Leevi Madetoja (1887–1947), all of which I have performed in my doctoral concerts during years 2012–2017. In my doctoral thesis, I concentrate on his first symphony, Op. 29, but to fully understand the context it would be beneficial to familiarize oneself with my doctoral concerts on the accompanying DVDs, as well as with the available commercial and archival recordings of Madetoja’s three symphonies. The aim of this thesis is to understand the effect of scholarly activity (in this case working with manuscripts and recordings) on the artistic and practical aspects of a conductor’s work; this is not a study on the music of Madetoja per se, but I am using these hitherto unknown symphonies as a case study for my research inquiries. My main research inquiry could be formulated as: What kind of added value the study of composer’s manuscripts and other contemporary sources, the analysis of the existing recordings of the work by other performers, and the experience gained during repeated performances of the work, bring to performing (conducting) the work, as opposed to working straightforwardly using only the readily available published edition(s)? My methods are the analysis of musical scores, manuscripts and recordings, critical reflection on my own artistic practices, and two semi-structured interviews with conductor colleagues.
    [Show full text]
  • Niklas Sivelöv Pianist & Composer
    Niklas Sivelöv Pianist & Composer Niklas Sivelöv has around 50 piano concertos in his repertory. 5 of those are his own compositions. Collaborated with: Paavo Berglund, Jukka-Pekka Saraste, Esa-Pekka Salonen, Okko Kamu, Janos Fürst, Kazufumi Yamashita Kristjan Järvi, Sakari Oramo, Thomas Dausgaard, Jorma Panula, Alan Gilbert, Andrew Grams, Mario Venzago Markus Lethinen, Niklas Willén, Leif Segerstam, Kees Bakels, Sachio Fujioka, Eivind Aadland, Petter Sundqvist Giancarlo Andretta, Horia Andrescu, Ovidiu Balan, Mats Rondin, Yan Wang, Mika Eichenholz, Florian Totan Eric Ericsson, Garry Walker, Grzegorz Nowak, Simon Gaudenz. a.o With orchestras such as: Stockholm Radio Symphony Orchestra, Royal Stockholm Philarmonic Orchestra, Gothenburg Symphony Orchestra, Danish National Symphony Orchestra, Copenhagen Philarmonic MDR Orchestra Leipzig, Orchestre de la Suisse Romande, Rheinische Filarmonie Koblenz, Winterthur Stadtsorkester, Prague Radio Symphony Orchestra Helsingborg Symphonic Orchestra, Malmö Sympony Orchestra, Bukarest Philarmonic Orchestra Tonhalle Orkester Zurich Orkester Norden, Estonian National Symphony Orchestra, Turku Philarmonic Orchestra, Norrbottens Chamber Orchestra Swedish Chamber Orchestra, Sundsvall Chamber Orchestra, Aarhus Symphonic Orchestra, Banatul Philarmonic of Timisoara, Västerås Sinfonietta, Norrlandsoperan Symphony Orchestra Constanta Symphony Orchestra, Osnabrück Symphony Orchestra, Odense Symphony Orchestra, South Denmark Philarmonic, Neubrandenburger Philarmonie a.o Collaborates with musicians such as: Leonid
    [Show full text]
  • Sydney Symphony Under the Starssydney Symphony Under the Stars
    SYDNEY SYMPHONY Photos: Victor Photos: Frankowski UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA PROGRAM SYDNEY Ludwig van Beethoven (German, 1770–1827) SYMPHONY Fidelio: Overture Bedřich Smetana (Czech, 1824–1884) UNDER THE Má Vlast: Vltava (The Moldau) STARS John Williams (American, born 1932) SYDNEY SYMPHONY ORCHESTRA AND Theme from Schindler's List PARRAMATTA PARK TRUST | AUSTRALIA Sun Yi, violin THE CRESCENT PARRAMATTA PARK Piotr Ilyich Tchaikovsky (Russian, 1840–1893) 18 JANUARY The Nutcracker: Three Dances 120 MINS Alexander Borodin (Russian, 1833–1887) Benjamin Northey conductor Prince Igor: Polovtsian Dances Sun Yi violin Leah Lynn cello INTERVAL Sydney Symphony Orchestra Giuseppe Verdi (Italian, 1813–1901) The Force of Destiny: Overture Aram Khachaturian (Armenian, 1903–1978) Spartacus: Adagio of Spartacus and Phrygia Camille Saint-Saëns (French, 1835–1921) (orch. Vidal) Carnival of the Animals: The Swan Leah Lynn, cello Jacques Offenbach (German-French, 1819–1880) (arr. Binder) Orpheus in the Underworld: Can-Can Piotr Ilyich Tchaikovsky (Russian, 1840–1893) 1812 – Festival Overture SYDNEY SYMPHONY UNDER THE STARSSYDNEY SYMPHONY UNDER THE STARS SYDNEY SYMPHONY UNDER THE STARS SYDNEY SYMPHONY UNDER THE STARS BENJAMIN NORTHEY SUN YI CONDUCTOR VIOLIN Associate Concertmaster Benjamin Northey is Chief Conductor of the Christchurch Sun Yi was born in Hunan, China. He attended the Symphony Orchestra and Associate Conductor of the Shanghai Conservatory of Music from 1988 to 1993 Melbourne Symphony Orchestra. He was previously where he was the Concertmaster for the Youth Orchestra Resident Guest Conductor of the Australia Pro Arte and Chamber Orchestra. In 1990, he won the third Chamber Orchestra (2002–2006) and Principal prize for the senior section in the China National Violin Conductor of the Melbourne Chamber Orchestra (2007– Competition, and also participated in the International 2010).
    [Show full text]
  • Jean SIBELIUS
    SIBELIUS Jedermann Two Serious Melodies In memoriam Pia Pajala, Soprano Tuomas Katajala, Tenor Nicholas Söderlund, Bass Mikaela Palmu, Violin Cathedralis Aboensis Choir Turku Philharmonic Orchestra Leif Segerstam Jean Sibelius (1865-1957) Jedermann • Two Serious Melodies • In memoriam Jean Sibelius was the most significant figure in the music had to follow the text precisely to the beat, since the his last journey, but he is left deserted. Only an old for a church concert, and ever the pragmatist, pointed out formation of national identity in Finnish music, to the musical phrases reflected the words. There were to be no woman – the personification of Good Works – is willing to that the accompanying orchestra would be small enough extent that since 2011 Finland has celebrated a Flag Day exceptions. The text had to be adapted to the notes; this help @, and Sibelius accompanies their interaction with to be placed in an organ loft. He initially planned to pair on 8th December (the composer’s birthday), also known had to be strictly adhered to.” Sibelius made the same ascending and descending chromatic lines on muted Cantique with the Romance in F major (later included in as the ‘Day of Finnish Music’. The seven symphonies and demands on himself that would later be made on film strings, coupled with booming timpani to produce an his Op. 78) but eventually chose Devotion as its earthly Violin Concerto lie at the centre of Sibelius’ oeuvre, composers: the music should be synchronised with the eerie, unsettled atmosphere. Good Works suggests her counterpart: if the Cantique expresses the joy of spiritual surrounded by tone poems often based on a Finnish words and action, down to the last second.
    [Show full text]
  • Hakola & Hosokawa
    HAKOLA & HOSOKAWA GUITAR CONCERTOS TIMO KORHONEN OULU SYMPHONY OrcheSTRA SANTTU-MATIAS ROUVALI Kimmo Hakola Toshio Hosokawa “Music is the place where notes and silence meet.” – Toshio Hosokawa Kimmo Hakola (b. 1958) has a remarkably cosmopolitan and uninhibited way of mixing musical styles to create startling perspectives. His output includes orchestral works, operas, concertos, chamber music and works for solo instruments. The guitar and music written for the instrument are usually strongly associated with Spain. Accordingly, Hakola brashly and boldly employs ultra-Spanish gestures yet manages to surprise the listener with how he uses them. In Medieval Andalusia, Arabs, Jews, Gypsies and Christians lived together in peace. This fruitful interaction promoted a mixture of peoples and traditions. As folk traditions were rarely written down, they evolved as they were passed on from master to apprentice, from one generation to another. In 1980, Blas Infante wrote that the term flamenco could be traced back to the Arabian term Felah- Mengus, meaning ‘wandering people’. In Kimmo Hakola’s Guitar Concerto (2008), the composer challenges the listener to question the stereotypes associated with guitar music in general and guitar concertos in particular. I commissioned this piece with support from the Madetoja Foundation and premiered it with the Helsinki Philharmonic Orchestra in April 2008. When I write a concerto, I often draw inspiration from the soloist who will be premiering it. In my mind, I imagine myself listening to that soloist performing my music. My Guitar Concerto is a continuation of my exploration of musical worlds with a Jewish origin. While in my Clarinet Concerto I referred mostly to the klezmer tradition of the Jews of eastern Europe, which has a Balkan flavour, the Guitar Concerto has more to do with the musical tradition of the Sephardic Jews of Spain and northern Africa.
    [Show full text]
  • GUITAR FESTIVAL SYMPHONY GALA Presented by Adelaide Symphony Orchestra & Adelaide Festival Centre ADELAIDE TOWN HALL  13 AUGUST 7PM TWO WORLD PREMIERE PIECES
    GUITAR FESTIVAL SYMPHONY GALA Presented by Adelaide Symphony Orchestra & Adelaide Festival Centre ADELAIDE TOWN HALL 13 AUGUST 7PM TWO WORLD PREMIERE PIECES Stellar Soloists, Stunning Premieres Guitar Festival Symphony Gala, featuring Adelaide Symphony Orchestra, boasts world premieres of new works from esteemed Cuban composer Leo Brouwer and Australia’s Andrew Ford. Brouwer’s commission, Austral* for guitar and chamber orchestra, is entrusted to the glorious hands of Spain’s Ricardo Gallén, while Ford’s Raga†, a concerto for electric guitar, was written for the multi-genre Australian guitar firebrand, Zane Banks. The concert commences with soloists Karin Schaupp, Aleksandr Tsiboulski, Leonard Grigoryan and Ken Murray delivering Joaquín Rodrigo’s joyously festive Concierto andaluz for four guitars. “(The ASO is) one of the country’s finest” – THE AUSTRALIAN “I believe Ricardo Gallén is one of the most important classical guitarists in our world today” – CLASSICAL GUITAR REVIEW “Banks gives a masterful interpretation… subtly twisting the shapes through tonal shifts” – LIMELIGHT MAGAZINE “…Schaupp lives up to her reputation as one of the world’s most accomplished classically trained guitarists” – SYDNEY MORNING HERALD “Tsiboulski is little short of a magician [...] producing astonishing varieties of tone from the lute-like early music to virtuoso feats of contemporary dexterity...” – THE ADVERTISER “Ken Murray is a guitarist of rare musicianship” – CLASSIKON CONDUCTOR Benjamin Northey REPERTOIRE Joaquín Rodrigo – Conceierto andaluz Leo Brouwer – Austral for guitar and chamber orchestra (World Premiere) Maurice Ravel – Mother Goose: Suite Andrew Ford – Raga (World Premiere) ADELAIDE SYMPHONY ORCHESTRA The Adelaide Symphony Orchestra is South Australia’s largest performing arts organisation and plays a major role in Adelaide’s cultural vibrancy – and 2016 marks the ASO’s 80th anniversary.
    [Show full text]
  • Leif SEGERSTAM Symphonies Nos
    LEIF SEGERSTAM Symphonies Nos. 81, 162 & 181 @ Bergen Philharmonic Orchestra 1 2 LEIF SEGERSTAM (*1944) 1 Symphony No. 81 “After Eighty…” (2002) 25’26 2 Symphony No. 162 “Doubling the Number for Bergen!” (2006) 23’08 3 Symphony No. 181 “Names itself when played... = (raising the number with 100 for Bergen)” (2007) 22’35 Bergen Philharmonic Orchestra (without conductor) [71’29] Recorded live by NRK Alltid Klassisk Recordings: Bergen, Norway, Grieghallen, 9.10.2003 (No. 81), 28.2.2008 (No. 181), 13.11.2008 (No. 162) Executive Producer: Reijo Kiilunen Recording Producer & Engineer: Gunnar Herleif Nilsen ℗ 2010 Ondine Inc., Helsinki © 2010 Ondine Inc., Helsinki Booklet Editor: Jean-Christophe Hausmann Cover Photo: Heikki Tuuli Booklet Illustration: © Leif Segerstam (Page from autograph score of Symphony No. 162) Cover Design and Booklet Layout: Armand Alcazar 3 A SYMPHONY IS MAKING MUSIC TOGETHER – WITHOUT A CONDUCTOR Idea – inspiration – rapid composition. Voilà: a symphony is born! Each of Leif Segerstam’s symphonies lasts nearly half an hour yet takes up only a couple of pages of score. How is this possible? The answer is that the composer leaves a lot of freedom to the performers: not everything has to be precisely notated. Segerstam has been using this technique ever since his earliest orchestral works. But in 1993 he took a new – perhaps intentionally provocative – step and began to write orchestral pieces that require no conductor. His point was to release the latent creativity in orchestra musicians. “I wanted a performance to be a creative event, not a Prussian ploughing competition, which is what bar lines remind me of,” Segerstam said.
    [Show full text]
  • Jean Sibelius (1865–1957) Symphonies 2 & 6 Jean Sibelius Symphony No
    BKLA0100484178-AFCD-NO 24.09.2003 11:24 Uhr Seite 1 ODE1026-2 Jean Sibelius (1865–1957) Symphonies 2 & 6 Jean Sibelius Symphony No. 2 in D Major, Op. 43 45:45 © Breitkopf & Härtel 1 1. Allegretto 10:06 2 2. Tempo andante, ma rubato 15:03 3 3. Vivacissimo 6:23 4 4. Finale. Allegro moderato 14:13 Symphony No. 6 in D Minor, Op. 104 30:12 © Wilhelm Hansen 5 1. Allegro molto moderato 9:27 6 2. Allegretto moderato 6:08 7 3. Poco vivace 3:57 8 4. Allegro molto 10:39 Helsinki [76:08] Philharmonic Helsinki Philharmonic Orchestra Symphonies Orchestra 2 & 6 Leif Segerstam Helsinki Philharmonic Orchestra LeifLeif SegerstamSegerstam 28 1 BKLA0100484178-AFCD-NO 24.09.2003 11:24 Uhr Seite 2 Jean Sibelius Symphonies 2 & 6 Helsinki Philharmonic Orchestra Leif Segerstam 2 27 BKLA0100484178-AFCD-NO 24.09.2003 11:24 Uhr Seite 3 26 Recorded at the Finlandia Hall, 10/02 (No. 2), 12/02 (No. 6) Engineer: Enno Mäemets Producer: Seppo Siirala Cover painting: Eero Järnefelt: White Rowan, 1893, Helsinki City Art Museum Artist photo: Heikki Tuuli (Segerstam) Cover design: Cheri Tamminen Booklet Editor: Riitta Bergroth Executive Producer: Reijo Kiilunen A 24 bit recording ൿ 2003 Ondine Inc. Fredrikinkatu 77 A 2 FIN-00100 Helsinki Tel. +358 9 434 2210 Fax +358 9 493 956 e-mail [email protected] www.ondine.net 26 3 BKLA0100484178-AFCD-NO 24.09.2003 11:24 Uhr Seite 4 4 25 In June 1900, an admirer who signed himself with the pseudonym ‘X’ Also Available wrote to Jean Sibelius (1865–1957):“You have been sitting at home for quite a bit, Mr.
    [Show full text]