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14.11.2019 at 19:00 Helsinki Music Centre Matthew Halls Steven 14.11.2019 at 19:00 Helsinki Music Centre Matthew Halls conductor Steven Osborne piano W. A. Mozart: Overture to The Magic Flute 7 min W. A. Mozart: Piano Concerto No. 27 in B-flat Major K 595 32 min 1. Allegro 2. Larghetto 1 3. Allegro INTERVAL 20 MIN Joseph Haydn: Overture to L’isola disabitata 8 min Joseph Haydn: Symphony No. 101 in D Major, “Clock” 29 min 1. Adagio 2. Andante 3. Menuetto. Allegretto 4. Vivace Interval at about 19:55. The concert will end at about 21:10. PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! 2 Photographing, video and sound recording are prohibited during the concert. Wolfgang Wolfgang Amadeus Mozart: Amadeus Mozart: Overture to The Piano Concerto Magic Flute No. 27 in B-flat Major K 595 Wolfgang Amadeus Mozart (1756–1791) joined the Masons in the 1780s and his Mozart entered what was to be his last pia- opera The Magic Flute addresses some of no concerto, No. 27 in B-flat Major K 595, its symbols. For him, Freemasonry signi- in his catalogue of works in 1791, and he fied a sort of spiritual grandeur, a chance is known to have performed it at a priva- to mingle – as an equal – with liber- te concert in March that year. But some al-minded contemporaries. This is man- scholars date it a couple of years earlier, ifest in the overture as a fight between so there is possibly no point in claiming to darkness and light from which a new har- sense a feel of leave-taking in it. mony is born. The symbolism is immedi- There is, however, no mistaking the per- ately present in the three solemn opening sonal nature of the first movement. The chords. The quick section is a juxtaposi- orchestral introduction contrasts a singing tion of major and minor keys, comic and string theme with wind fanfares, impish 3 serious elements. Three chords interrupt twiddles and a pensive basic undercurrent. the development and the music momen- The orchestra occupies a weighti- tarily subsides into the minor, only to rise er-than-usual role in the slow movement, again to a jubilant major at the end. where the French horns take the lead af- The overture to The Magic Flute has ter the solitary piano has had its say. The all the sparkle and ritual solemnity re- late Mozart favoured a reverent-sounding quired of a curtain raiser. The Masonic slow movement charged with muted dra- movement reflected the belief in pro- ma, as if lost in thought. gress of the late 18th-century Age of The closing Allegro adds a note of op- Enlightenment and embraced the idea of timism to this otherwise wistful concer- freedom and aesthetic responsibility still to. As his theme Mozart uses one he later regarded with suspicion by the Catholic set as a song, Sehnsucht nach dem Frühling Church and rulers as the 1790s drew near. (Longing for Spring). It is as if he is delib- erately trying to recapture the innocent happiness of his childhood. Joseph Haydn: Joseph Haydn: Overture to Symphony No. L’isola disabitata 101 in D Major, “Clock” The opera L’isola disabitata (The Deserted Island, 1779) by Joseph Haydn (1732–1809) Symphony No. 101 by Joseph Haydn is is more of a plunge into the depths of the known as the “Clock” because of the tick- human mind than a survival story in the tock rhythm of its slow movement. The nature of Robison Crusoe. Works of the name was either Haydn’s own or one ap- 18th century often tested love and fideli- proved by him, being easier for people to ty in unusual circumstances. Abandoned remember than a number. for years on a deserted island, Constanze After a slow, somewhat enigmatic in- and Silvia endure a spate of trials before troduction, the symphony erupts with a being rescued to the safe haven of mar- burst of Homeric laughter. Haydn pounds riage by Gernando and Enrico. away at his rhythms in a two-theme dra- The slow introduction to the overture ma juiced up with skilful orchestration prepares the listener for the bleak, de- and flashbacks to the sterner moods of serted milieu. The main section is stern the introduction. He still has some sur- 4 and quick, though its idyllic secondary prises up his sleeve for the final recapit- themes allude to the opera’s amorous di- ulation. mension. The result is highly reminiscent Ordinary folk in the 18th century still of the opening movements of the sym- regarded clocks as amazing luxury items; phonies of Haydn’s Sturm und Drang peri- more or less the only ones they saw would od. The overture was already very popu- be those in their town hall tower. Whereas lar and printed in Haydn’s day composers in the early 20th century en- thused about engines, motors and facto- ries, and their colleagues a century later about computers and digitalisation, the attitude of Haydn to the advances made by technology was more ironic. The slow movement points a kindly finger at the technological boom of his day: the tick- ing clock set in motion by a bassoon be- fore being tossed from one instrument to another provides crafty material for a set of variations. The minuet and trio in earthy, rustic mode banish all thoughts of technolo- gy. The flute and bassoon solos give the Ländler-like trio a lighter touch. The compact finale also sports some Haydn tricks: the nonchalantly tossed- out main theme vanishes in the develop- sichordist and conductor. He was the ment in a dramatic double fugue in D mi- harpsichordist and organist on a disc of nor, but Haydn knows the way round it to Purcell Sonatas in three and four parts arrive at a happy end. made with Retrospect Ensemble and Trio, and he has released a disc of Bach’s Programme notes by Antti Häyrynen Goldberg Variations. translated (abridged) by Susan Sinisalo Matthew Halls Steven Osborne British conductor Matthew Halls is known Steven Osborne is one of Britain’s most for his versatility and his interpretations treasured musicians. “Always a play- of music of all periods. His repertoire er in absolute service to the composer,” ranges from Bach and Mozart to the wrote The Observer. Winner of the Royal Romantics, on to Mahler, Messiaen, and Philharmonic Society’s Instrumentalist James MacMillan, the premiere of whose of the Year title in 2013, he was named a A European Requiem he conducted in 2016. Fellow of the Royal Society of Edinburgh A graduate of Oxford University, the following year. Matthew Halls is at home with both Born in Scotland, Steven Osborne 5 Baroque ensembles and large sympho- studied at St. Mary’s Music School in ny orchestras. Guest appearances have Edinburgh and the Royal Northern included Concentus Musicus Wien, the College of Music in Manchester. Victory Royal Philharmonic Orchestra, the BBC in international competitions sent him Symphony and the Vienna Symphony, well on the way to a distinguished career and engagements not only in Europe as an artist, alongside which he is Visiting but also in Australia, Russia and Hong Professor at the Royal Academy of Music. Kong. He is also in active demand across Osborne has played at the world’s most the Atlantic, with the Toronto Symphony prestigious venues. His residencies at Orchestra and the National Arts Centre in London’s Wigmore Hall, Antwerp’s deSin- Ottawa. From 2013 to 2017 he was Artistic gel, the Bath International Music Festival, Director of the Oregon Bach Festival. the City of Birmingham Symphony Halls has further distinguished himself Orchestra and the Royal Scottish National in opera, having conducted such works Orchestra are a testament to the respect as Handel’s Ariodante, Bellini’s Norma, in which he is held. He has collaborated Puccini’s Madama Butterfly and Britten’s with many of today’s greatest conductors Peter Grimes. and his recital partners have included cel- With the Retrospect Ensemble, list Alban Gerhardt, pianist Paul Lewis and Matthew Halls has recorded repertoire baritone Dietrich Henschel. including Bach’s Easter and Ascension A Hyperion Records artist since 1998, Oratorios, and a disc of Bach harpsichord Osborne will next year be releasing his concertos on which he is both harp- 30th disc – of Sonatas 6–8 by Prokofiev. His accolades include two Gramophone during the season, while the RSO Festival Awards, three Preis der Deutschen now to be held for the second time will Schallplattenkritik awards and a Choc in feature new and large-scale works by Classica magazine. Magnus Lindberg. Among the visiting conductors will be Esa-Pekka Salonen, Herbert Blomstedt, Jukka-Pekka Saraste and Sakari Oramo, and a host of young The Finnish Finnish artists will make their debut as FRSO soloists. Radio Symphony The FRSO has recorded works Orchestra by Mahler, Bartók, Sibelius, Hakola, Lindberg, Saariaho, Sallinen, Kaipainen, The Finnish Radio Symphony Orchestra Kokkonen and others. It has twice won (FRSO) is the orchestra of the Finnish a Gramophone Award: for its disc of Broadcasting Company (Yle). Its mission Lindberg’s Clarinet Concerto in 2006 is to produce and promote Finnish musi- and of Bartók Violin Concertos in 2018. cal culture and its Chief Conductor as of Other distinctions have included BBC autumn 2013 has been Hannu Lintu. Music Magazine, Académie Charles Cros The Radio Orchestra of ten players and MIDEM Classical awards. Its disc of 6 founded in 1927 grew to symphony or- tone poems and songs by Sibelius won chestra proportions in the 1960s. Its Chief an International Classical Music Award Conductors have been Toivo Haapanen, (ICMA) in 2018, and it has been the re- Nils-Eric Fougstedt, Paavo Berglund, cipient of a Finnish EMMA award in 2016 Okko Kamu, Leif Segerstam, Jukka-Pekka and 2019.
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