25 MAY FRIDAY SERIES 15 Helsinki Music Centre at 7 Pm

25 MAY FRIDAY SERIES 15 Helsinki Music Centre at 7 pm

Sakari Oramo, conductor Janine Jansen, violin

Seppo Pohjola: Symphony No. 3, fp 45 min I movement II movement III movement IV movement

INTERVAL 20 min

Sergei Prokofiev: Violin Concerto No. 2 in G Minor, Op.63 27 min I Allegro moderato II Andante assai III Allegro, ben marcato

Claude Debussy: La Mer 23 min I De l’aube a midi sur la mer (From dawn to noon on the sea) II Jeux de vagues (Play of the waves) III Dialogue du vent et de la mer (Dialogue of the wind and the sea)

The title of Honorary Conductor of the Finnish Radio Symphony Orchestra will be conferred on Sakari Oramo at the end of the concert.

Interval at about 7.55 pm. The concert ends at about 9.15 pm.

Broadcast live on Yle Radio 1 and the Internet (yle.fi/rso). The concert will be televised by YLE in collaboration with Mezzo Channel. Televised live on Mezzo on 25 May and recorded in the Yle Teema Kausikortti (Season Ticket) programme on 26 May with a repeat on Sunday 27 May.

1 SEPPO POHJOLA wait and hear the performance before I did anything with “No. 4”. (1965–): The Symphony No. 3 on today’s pro- SYMPHONY NO. 3 gramme does not incorporate any “choral ideas”. It is, however, bristling Composing a symphony seems, for with canons. Either as such or transpo- me, to be something like the Olympic sed; in long note values or playful and Games are for an athlete: once eve- nimble; as an unbroken 30-layer raft; ry four years I give it everything I’ve several different canon processes one got in a big and time-consuming way. on top of the other. The work makes This time with the addition that the great demands on the performers be- symphony had not been commissio- cause of its virtuosity and its soft, sen- ned. Writing a large-scale orchestral sitive tones. There are lots of notes, as work lasting 45 minutes without kno- in my earlier symphonies. The work is wing whether it will ever be performed in four movements. The first launches no doubt says something about the all- the symphony in powerful vein. The se- consuming passion I have had for the cond is like friendly Boulez. The third project. To me, as a composer, it is im- has whizzing virtuosity and changing portant to feel I am part of a histori- metres, and distant folk-music allu- cal continuum. The weight of tradition sions. The fourth ends the symphony embodied in the word ‘symphony’ is on a subdued note. daunting. I approach it trembling with All my symphonies are somehow in- respect and hat in hand, but someti- terim reckonings of my life up to that mes I feel I just need to take the bull point and composing them has been by the horns. a road to self-knowledge. The things I had two ideas at the outset. One that emerge without being planned are was a desire to apply canon technique particularly interesting. Why does the to a big orchestra – a technique I had symphony’s macroform progress from used on a large scale in my fourth string loud to soft, unlike in the previous two quartet (2006). The other was a desire symphonies? Do I no longer believe in to try out certain notions I have used a happy end? in works for choir. During the compo- I warmly thank the Finnish Cultural sition process the symphony project Foundation and the Arts Council of nevertheless began to split in two. I fi- Finland for their grants in support of nished my third symphony in summer my artistic work. 2012. Another work, which in my mind I called my fourth symphony, was comp- Espoo, 5 May 2012 leted in January 2012. A couple of days Seppo Pohjola later I noticed that my third symphony had popped into the FRSO programme instead of Bruckner Five. I decided to

2 SERGEI PROKOFIEV section. Before the end of the movement the soloist draws the trump card (1891–1953): VIOLIN from her sleeve (and the mute from CONCERTO NO. 2 her violin); in heroic, triumphant oc- tave leaps, she modulates back to E Prokofiev was 44 when he wrote his se- flat major and then withdraws to the cond violin concerto. A cosmopolitan background to accompany with pizzi- with a masterly command of his idiom, catos the theme played on the cellos he had by that time travelled from the and French horn. Russia of Tsar Nicholas II to the USA The third movement, Allegro, ben for concerts, lived in Paris in the 1920s marcato, could be from a different and debated returning to his homeland world. While the first two movements despite the Soviet regime. are bathed in lyricism, there is no pla- Some 20 years earlier, Prokofiev had ce for this in the Rondo-like finale in been initiated in the secrets of the vio- which Prokofiev shows his peppery self, lin by Paul Kochanski, who assisted him seasoning his music with pungent dis- with the composition of his first violin sonances. The dancing main theme is concerto. The second is more traditio- greeted with castanets each time it re- nal than the first, composed in a burst turns, like a tribute to the land where of youthful zest. Two outer, more mo- the concerto was to be premiered. The bile movements, frame a middle sere- metres shift and the movement builds nade-like one. up to a splendid coda. The solo violin begins the first, Allegro moderato, movement alone by Hannele Segerstam (abridged) presenting the ponderous main theme. This is taken up by the low strings, and it continues to flow along in the CLAUDE DEBUSSY background, either as such or in some (1862–1918): LA MER different guise. A faster rhythmic brid- ge passage and a show of virtuosity by The three movements of La Mer the soloist then lead to a divine, open- may be thought of as counterparts hearted second theme in a related key of a symphonic opening movement, with elegant modulations. The absence Scherzo and finale. The result is a clo- of a cadenza passes almost unnoticed se-knit entity quite unlike Debussy’s amid the strong characterisations and other orchestral suites, Nocturnes and brilliant variations on the themes. Images, in which pieces addressing dif- The Andante assai proceeds in E flat ferent subjects are grouped under a major, the violin singing its heart out. single heading. For La Mer examines The simple-time solo line over a triple- different dimensions of a single sub- time pizzicato accompaniment in the ject. The thematic links between the orchestra places it in a league all of its outer movements give the suite furt- own. Adding stardust to the mood are her coherence. the muted solo filigrees in the middle

3 The first movement, De l’aube a midi SAKARI ORAMO sur la mer (From dawn to noon on the sea), emerges out of mysterious near- Sakari Oramo’s term as Chief Conductor silence. During the introduction, a cor of the Finnish Radio Symphony anglais and a muted trumpet present Orchestra (FRSO) began in August one of the main themes; this will reap- 2003. An accomplished violinist, he be- pear in the closing movement. The gan his career as co-leader of the or- opening movement comes to life as chestra in 1991 and went on to obtain the music bursts into a sunny D flat a conducting diploma in the class of major. A dancing, rocking cello the- Jorma Panula at the Sibelius Academy. me heralds in the movement’s second In addition to the FRSO, Sakari main section. Debussy’s eccentric com- Oramo is Chief Conductor of the Royal poser colleague Erik Satie commented Stockholm Philharmonic Orchestra and ironically on the precise times given in conductor of Kokkola Opera in Finland. the score by saying that he liked the In addition he has been appointed as whole movement but especially the Chief Conductor of the BBC Symphony part at 11.15. Orchestra as of 2013. He regularly also Jeux de vagues (Play of the waves) conducts the Ostrobothnian Chamber sparkles like the sunlight playing on the Orchestra and has been appointed its waves, airy and luminous. The thema- Artistic Director as of autumn 2013. In tic motifs and textures are constantly spring 2008 he resigned from his 10- on the move, and timbre occupies an year term as Music Director of the City even more dominant role in the overall of Birmingham Symphony Orchestra scheme. but continues as the orchestra’s Dialogue du vent et de la mer Principal Guest Conductor. (Dialogue of the wind and the sea) is Mr Oramo has conducted many of the most dramatic of the three move- the world’s leading orchestras, such ments. It has two main motifs, the first as the Vienna, Berlin, New York, Los of which is borrowed from the intro- Angeles and Chicago Philharmonics, duction to the first movement. The se- the Concertgebouw, Paris, Cleveland cond theme, stated on the woodwinds, and Minnesota Orchestras and the grows into one of the most sustained Staatskapelle Dresden. His engage- in all Debussy. In the middle of the mo- ments in the 2011/12 season include ap- vement is a magically shimmering mo- pearances with the German Symphony ment of calm from which the music Orchestra Berlin, the Vienna Symphony works up to a magnificent conclusion. and the Frankfurt Radio Symphony Orchestra. Kimmo Korhonen (abridged) With the FRSO Mr Oramo has toured to Benin, Vienna, Prague, Germany, Spain and elsewhere and appeared at the Canary Islands, Edinburgh and Bergen Festivals and the BBC Proms in

4 London. Together they went on tour to Philharmonie’s Spectrum Concerts se- Japan in 2005 and 2007. ries. Her chamber partners include Sakari Oramo received an Honorary Jean-Yves Thibaudet, Mischa Maisky, Doctorate in summer 2004 from Martin Fröst, Leif Ove Andsnes and the University of Central England in Torleif Thedéen. Birmingham. In summer 2008 he was This season Janine Jensen has had re- awarded the prestigious Elgar Medal sidencies at the Wigmore Hall and with in recognition of his work to further the London Philharmonic Orchestra the reputation of Elgar and his music, (including a US Tour). She tours and in 2009 he was honoured with a Asia with the Royal Concertgebouw British OBE for his services to British Orchestra and Europe with the music. In December 2010 the Finnish Accademia Nazionale di Santa Cecilia President awarded him the prestigious and returns as the soloist with the Los Pro Finlandia medal. Angeles Philharmonic and the Dresden Mr Oramo’s term as Chief Conductor Staatskapelle. of the FRSO ends in spring 2012. He Jansen has an exclusive recording will be succeeded in autumn 2012 by contract with Decca. Her most recent Hannu Lintu, the orchestra’s eighth release is a French recital disc with pia- Chief Conductor. nist Itamar Golan. In September 2003, Janine received the Dutch Music Prize from the JANINE JANSEN Ministry of Culture – the highest dis- tinction an artist can receive in The Janine Jansen works regularly with such Netherlands. She has received nu- orchestras as the Royal Concertgebouw, merous other awards including the Berlin and New York Philharmonic, Edison Klassiek Public Award three ti- London and Chicago Symphony, mes and in 2007 the NDR Musikpreis Cleveland, Mahler Chamber and NHK for outstanding artistic achievement. Symphony with eminent conductors In May 2009 she received the RPS including Esa-Pekka Salonen, Valery Instrumentalist Award for performan- Gergiev and Riccardo Chailly. ces in the UK. In addition to her concerto perfor- Janine Jansen plays the Antonio mances Janine is a devoted chamber Stradivari “Barrere” on extended loan musician. This season she will perform from the Elise Mathilde Foundation. a chamber project including Schubert’s String Quintet and Schönberg’s Verklärte Nacht in addition to duo reci- tals in London, Berlin and Amsterdam. She established and curates the an- nual International Chamber Music Festival in Utrecht, and since 1998 has performed each season at the Berlin

5 THE FINNISH RADIO the BBC Music Magazine Award in 2006. That of the Sibelius and Lindberg SYMPHONY Violin Concertos (Sony BMG) with Lisa ORCHESTRA Batiashvili as the soloist received the MIDEM Classical Award in 2008, in The Finnish Radio Symphony Orchestra which year the New York Times chose (FRSO) is the orchestra of the Finnish the other Lindberg disc as its Record of Broadcasting Company (YLE). Its missi- the Year. on is to produce and promote Finnish The FRSO regularly tours to all parts of musical culture. Its Chief Conductor sin- the world and has so far given over 300 ce 2003 has been Sakari Oramo. The concerts abroad. During the 2011/2012 new Chief Conductor as of autumn season its foreign engagements in- 2013 will be Hannu Lintu, following a clude an appearance at the prestigious season (2012/2013) as the orchestra’s Beethoven Festival in Bonn and a con- Principal Guest Conductor. Jukka-Pekka cert at the Amsterdam Concertgebouw. Saraste, now the orchestra’s Honorary All the FRSO concerts both in Finland Conductor, was Chief Conductor 1987- and abroad are broadcast, usually live, 2001 and still collaborates closely with on Yle Radio 1. They can also be heard the orchestra. the world over via the Internet (yle.fi/ The Radio Orchestra of ten players rso). founded in 1927 grew to symphony orchestra strength in the 1960s. Its previous Chief Conductors have been Toivo Haapanen, Nils-Eric Fougstedt, Paavo Berglund, Okko Kamu, Leif Segerstam and Jukka-Pekka Saraste. The latest contemporary music is a major item in the repertoire of the FRSO, which each year premieres a number of YLE commissions. Another of the orchestra’s tasks is to record all Finnish orchestral music for the YLE ar- chive. With Sakari Oramo the orchestra has recorded music by Bartók, Hakola, Saariaho, Respighi, Kaipainen, Kokkonen and others, and the debut disc of the opera Aslak Hetta by Armas Launis. The FRSO disc (Ondine) of Symphonies 3 & 5 by Nordgren won the Académie Charles Cros Award in 2000, and that of Magnus Lindberg’s Clarinet Concerto