3 MAY FRIDAY SERIES 15 Music Centre at 7 pm

Hannu Lintu, conductor Virpi Räisänen, mezzo-soprano Mirjam Schulman & Annika Fuhrmann, soprano Jutta Seppinen & Pasi Hyökki, alto Simo Mäkinen & Paavo Hyökki, tenor Taavi Oramo & Sampo Haapaniemi, bass

Giovanni Gabrieli: Canzone 12 min

I Sonata pian’ e forte for 2 brass choirs II Canzona noni toni a 12 for 3 brass choirs III Sonata No. 20 for 5 brass choirs

Luciano Berio: Sinfonia 35 min

I II O King III In ruhig fliessender Bewegung (With quietly flowing movement) IV V

INTERVAL 20 min

1 Luciano Berio: Folk Songs 23 min

I Black is the colour II I wonder as I wander III Loosin yelav IV Rossignolet du bois V A la femminisca VI La donna ideale VII Ballo VIII Motettu de tristura IX Malurous qu’o uno fenno X Lo fïolairé XI Azerbaijan love-song

Ottorino Respighi: I pini di Roma (The Pines of Rome) 22 min

I I pini di Villa Borghese (Allegretto vivace – Vivace) II Pini presso una catacomba (Lento) III I pini del Gianicolo (Lento) IV I pini della Via Appia (Tempo di marcia)

Interval at about 20.00. The concert ends at about 21.15. Broadcast live on Yle Radio 1 and on the Internet at yle.fi/rso.

2 GIOVANNI GABRIELI this concert: Sonata pian’ e forte for 2 brass choirs (edited by Robert King), (C. 1553/57–1612): the Canzona noni toni a 12 for 3 brass CANZONE choirs (ed. Robert A. Boudreau), the Giovanni Gabrieli was a Venetian com- Sonata No. 20 for 5 brass choirs (ed. poser. He was taught mainly by his un- David Baldwin). cle, Andrea Gabrieli, but he did stu- dy for a short time in Munich with Orlando di Lasso, and was influenced LUCIANO BERIO by his teacher’s style. (1925–2003): Gabrieli’s prolific output consists chiefly of music for the church; as a SINFONIA younger man he did also compose in Berio’s cult Sinfonia dates from 1968– secular genres and styles, though he 69, and in this case, the date is of grea- never produced anything based on ter than usual significance to the liste- dances, for example. He had a pen- ning experience. For 1968 was in many chant for the type of piece called a respects one of the great turning points canzona that was highly popular from of the modern era. The world was in the 1570s onwards. To this he added ef- turmoil: among the events of global fects using echoes and imitation bor- impact were the widespread student rowed from his uncle and Orlando, and riots in Europe and especially Paris, the in doing so took the canzona in a more assassination of Robert Kennedy and seminal and derivative direction. This Martin Luther King, and above all the means that ideas do not just follow one Soviet invasion of Czechoslovakia. from the other but are born of the ot- Most of the text of Berio’s Sinfonia is hers, as a continuation, a supplement taken from Le cru et le cuit (The Raw or a contrast to what has gone before. and the Cooked, 1964) by the “father This trend ultimately led to the birth of of modern anthropology” Claude Lévi- sonata form, but that still lay far ahead Strauss, but there are also some ex- in the future. cerpts from Samuel Beckett’s novel By the time Gabrieli died in 1612, the L’innomable (The Unnamable, 1953), madrigal style of Claudio Monteverdi instructions from the scores of Gustav was challenging the tradition fostered Mahler, slogans used in the Paris riots, and created by Gabrieli. The bulk of and other sources. the Venetian master’s works had been In the first movement Berio uses published in his lifetime, in the collec- Lévi-Strauss’s text in French. Lévi- tions Sacrae Symphoniae (1597) and Strauss had found that many myths Canzone per sonare (1608). The Canzone were structured like musical composi- e Sonate and Sacrae Symphoniae II were tions, so that some resembled a “fu- both published posthumously in 1615. gue”, for example, and others a “sona- Three works by Gabrieli under the ge- ta”. He had, however, found one type neral heading Canzone will be heard at of myth with a structure for which he

3 could find no musical counterpart. And LUCIANO BERIO: FOLK this is the one he used in his Sinfonia. The second movement is the most SONGS unambiguous: a beautiful tribute to Berio composed his Folk Songs “as a tri- Martin Luther King. As its text this bute to the extraordinary artistry” of vocal octet uses only phonemes of the American singer Cathy Berberian, the words O King, which is also the to whom he was married at the time. movement’s title. The first two songs were written by The third movement is marked In ru- the Kentucky folk singer John Jacob hig fliessender Bewegung (With quiet- Niles. A traditional tune exists for Black ly flowing movement) – a quotation is the colour, but Niles’s strict father or- from the scherzo of Mahler’s second dered him to compose a new one. He symphony. In practice, Mahler’s music developed the second song, I wonder really does flow along behind Berio’s as I wander, from a few lines he heard throughout the movement. The Mahler sung by the daughter of a Revivalist gradually becomes more and more au- preacher. Cathy Berberian’s family had dible, only to be drowned again be- come from Armenia, and the third neath the flood of quotations. Berio song, Loosin yelav is of Armenian ori- pours everything possible into the tor- gin and describes the rising moon. In rent: even a cursory list runs to dozens Rossignolet du bois a nightingale advi- of works by composers from Bach to ses a hesitant lover to sing a serenade Beethoven, via Debussy, Ravel, Richard for two hours after midnight and likens Strauss, Stravinsky, Schönberg, Berg the “apples” in the garden to the moon and Hindemith to Boulez, Stockhausen and the sun. A sustained chord then and Globokar. The result is a frenetic leads to the Sicilian song A la femmi- collage that helps to provide an insight nisca. The delightful strains colouring into the fragmented world of 1968; hu- the sound are produced by car springs mour also occupies a major role. used as percussion instruments. The fourth movement has no title Berio composed the sixth and se- and is very short. The idiom reverts to venth songs himself as a student in the that of the second movement, but the 1940s. The text of La donna ideale is a vocal writing is still unashamedly mo- folk poem in the old Genoese dialect. Its dern. Berio added a fifth movement af- advice is: if you can find a woman who ter the symphony had been premiered. is well-born, well-mannered, pleasing to His aim was, he said, “to create narrati- look at and has a good dowry, for God’s ve substance”, i.e. to restore order after sake don’t let her get away! Ballo is also the unruliness of the third movement an old Italian poem according to which in particular. Most of the text is again even the wisest men lose their heads borrowed from Lévi-Strauss. over love, but love can resist everything. Motettu de tristura comes from Sardinia and addresses a nightingale, to whom a sorrowful singer likens himself.

4 The ninth and tenth songs are in the the ground to tremble beneath their Occitan language. Malurous qu’o uno feet and ordered the organ to pull out fenno relates an eternal paradox: the all the stops on the bottom B flat pe- unmarried man wishes he had a spou- dal. He also scored in six ancient buc- se, and the married one wishes he did cina trumpets, nowadays usually repla- not. In Lo fïolairé a girl dreams of kis- ced by flugelhorns. The brass thunder sing her shepherd lad as she sits and as the army marches up the Capitoline spins. The last song is known in the Hill. cycle as an Azerbaijan love-song. Cathy The music of The Pines of Rome may, Berberian found it on an old, scratchy to the present-day listener, suggest Azerbaijan record, sung in Azerbaijan images of a different kind: the dancing, except for one verse in Russian compa- frolicking and flying humpback whales ring love to a stove. in the Disney film Fantasia 2000.

Jouni Kaipainen (abridged) OTTORINO RESPIGHI (1879–1936): HANNU LINTU THE PINES OF ROME Chief Conductor Designate of the Finnish Radio Symphony Orchestra The Pines of Rome is in four movements for a term beginning in 2013, and for depicting trees in the Eternal City at the year leading up to this its Principal different times of the day. The first Guest Conductor, Hannu Lintu will (Pines of the Villa Borghese) is about be continuing his fruitful collaborati- noisy children playing soldiers and on with the Finnish Radio Symphony marching among the pine trees in the Orchestra for many years to come. Villa’s garden. The pines in the second Hannu Lintu studied in the Sibelius are near a catacomb in Campagna. An Academy’s class taught by organ in the bass register enhances the , Eri Klas and Ilja Musin. effect of this “majestic lament” domi- He has further been tutored by, among nated by the low instruments as they others, Myung Whun Chung at the describe the underground passages. Music Academy Siena. Winner of the The priests are represented by trom- Nordic Conducting Competition in bones. Bergen in 1994, he graduated from the The pines in the nocturnal third mo- in spring 1996. vement are those of the Janiculum, Artistic Director and Chief Conductor to which Respighi added the recor- of the Tampere Philharmonic Orchestra ded song of a nightingale. The fourth until spring 2013, Hannu Lintu is also movement takes the listener to the Principal Guest Conductor of the famous Appian Way at dawn. As the RTÉ National Symphony Orchestra in sun dispels the mist, we hear a legion Dublin. Previously he had held the po- of marching soldiers. Respighi wanted sitions of Chief Conductor of the Turku

5 Philharmonic Orchestra and Artistic VIRPI RÄISÄNEN Director of the Helsingborg Symphony Orchestra. He also works regularly with Mezzo-soprano Virpi Räisänen comp- the Avanti! Chamber Orchestra and was leted her vocal studies at the Utrecht Artistic Director of its Summer Sounds and Amsterdam Conservatoires with festival in 2005. Discs by Hannu Lintu the highest distinction under Eugenie have been released on the Ondine, Ditewig and Udo Reinemann. She Alba, Naxos, Ricordi, Claves, Hyperion was later coached by Margreet Honig. and Danacord labels. Major forthco- Following her recent career change ming projects include recordings of from a successful violinist to a con- the complete Mozart Piano Concertos cert and opera singer, she has ap- with Angela Hewitt and the comple- peared at the Salzburg Festival, Radio te Enescu Symphonies. Mr. Lintu will France’s Festival Présences, the Aix- also be recording extensively with the en-Provence Festival, the Amsterdam FRSO. Concertgebouw, the Musashino Recital In addition to conducting the leading Hall in Tokyo, the , Finnish orchestras, Maestro Lintu the Berlin State Opera, the Netherlands has made guest appearances with Opera and the Handel Festival Halle. the Radio Orchestras in Berlin, Paris, Virpi Räisänen made her debut Frankfurt, Stuttgart, Amsterdam and at the Salzburg Festival in 2009 in Madrid, with a number of orchest- Luigi Nono’s opera Al gran sole cari- ras in North and South America (such co d’amore, with Ingo Metzmacher as the Toronto, Houston, Baltimore, conducting the Vienna Philharmonic. Cincinnati, Pittsburgh and St. Louis She was invited back to the Salzburg Symphony Orchestras, and the Los Festival in 2010 for the premiere of Angeles Philharmonic at the Hollywood Wolfgang Rihm’s Dionysos. This was Bowl), in Asia (Tokyo and Kuala also performed in Amsterdam and at Lumpur) and Australia (the Sydney and the Berlin State Opera, where she furt- Melbourne Symphony Orchestras and her appeared in the revival of Nono’s Al others). Forthcoming engagements gran sole and in the role of Iseut aux for the 2012/2013 season include ap- Blanches Mains in Frank Martin’s Le pearances with the Sydney Symphony vin herbé. She also premiered in the Orchestra, the London Philharmonic, new opera Five Women in a Chapel by the Minnesota Orchestra, the NDR Uljas Pulkkis at the Helsinki Festival. In Symphony Orchestra and many of the addition to her achievements in con- BBC orchestras. temporary repertoire, she has sung the leading roles of Elmira in Handel’s Floridante, Orfeo in Gluck’s Orfeo ed Euridice and the double roles of the Muse and Nicklausse in Offenbach’s The Tales of Hoffmann.

6 Her Amsterdam Concertgebouw Räisänen is Artistic Director of the debut in 2011 with Gordan Nickolic Oulunsalo Soi Chamber Music Festival. leading the Netherlands Chamber Orchestra was followed by appearan- ces with the Orchestre Philharmonique THE FINNISH RADIO et le Choeur de Radio France with SYMPHONY Esa-Pekka Salonen, the Finnish Radio Symphony Orchestra with Sakari ORCHESTRA Oramo, the Helsinki Philharmonic with The Finnish Radio Symphony Orchestra John Storgårds, the Tapiola Sinfonietta (FRSO) is the orchestra of the Finnish with Anne-Marie Helsing, the Flemish Broadcasting Company (yle). Its mis- Radio Choir and Orchestra with Bo sion is to produce and promote Finnish Holten, the Oulu Symphony Orchestra musical culture. Its Chief Conductor as and the Ostrobothnian Chamber of autumn 2013 will be Hannu Lintu, Orchestra with Dima Slobodeniouk and following a season (2012/2013) as the Juha Kangas. orchestra’s Principal Guest Conductor. In 2013 she will be the soloist with The FRSO has two Honorary the Baroque Orchestra of the Tampere Conductors: Jukka-Pekka Saraste and Philharmonic, the Pori Sinfonietta, the Sakari Oramo. Netherlands Chamber Orchestra at The Radio Orchestra of ten players the Amsterdam Concertgebouw, the founded in 1927 grew to symphony or- Tapiola Sinfonietta on tour to China chestra strength in the 1960s. Its previ- and twice with the Finnish Radio ous Chief Conductors have been Toivo Symphony Orchestra with Hannu Haapanen, Nils-Eric Fougstedt, Paavo Lintu, also on CD recordings of Berio’s Berglund, Okko Kamu, , Calmo and Folk Songs for Ondine. Jukka-Pekka Saraste and Sakari Oramo. In 2012 Virpi Räisänen released her The latest contemporary music is a internationally acclaimed debut CD major item in the repertoire of the FRSO, The Legacy of Mahler, also for Ondine. which each year premieres a number of Virpi Räisänen has performed Lied re- yle commissions. Another of the orches- pertoire throughout Europe and Japan. tra’s tasks is to record all Finnish orches- She has established herself as a spe- tral music for the yle archive. During the cialist in contemporary music, having 2012/2013 season it will premiere six performed dozens of new works, many works commissioned by yle. of them written for and dedicated to The FRSO has recorded works by her. She created a project called Viulaja Eötvös, Nielsen, Hakola, Lindberg, (violin-mezzo) around her ability to Saariaho, Sallinen, Kaipainen, Kokkonen sing and play the violin simultaneously. and others, and the debut disc of the A film Trasparente to music by Ilmari opera Aslak Hetta by Armas Launis. Its Mäenpää in which Virpi sings and plays discs have reaped some major distinc- the violin was released in 2011. tions, such as the BBC Music Magazine In addition to her singing career, Virpi Award and the Académie Charles Cros

7 Award. The disc of the Sibelius and season it will be heading for Eastern Lindberg Violin Concertos (Sony BMG) Finland and Southern Europe. with Lisa Batiashvili as the soloist re- All the FRSO concerts both in Finland ceived the MIDEM Classical Award in and abroad are broadcast, usually live, 2008, in which year the New York on yle Radio 1. They can also be heard Times chose the other Lindberg disc as and watched with excellent live stream its Record of the Year. quality on the FRSO website (yle.fi/rso). The FRSO regularly tours to all parts of the world. During the 2012/2013

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