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22 MAY FRIDAY SERIES 14 Helsinki Music Centre at 19 22 MAY FRIDAY SERIES 14 Helsinki Music Centre at 19 AULIS SALLINEN 80 YEARS Hannu Lintu, conductor Johanna Rusanen-Kartano, soprano Ville Rusanen, baritone Helsinki Music Centre Choir, coach Tapani Länsiö Ludwig van Beethoven: Symphony No. 1 26 min I Adagio molto – Allegro con brio II Andante cantabile con moto III Minuet (Allegro molto e vivace) – Trio IV Adagio – Allegro molto e vivace INTERVAL 20 min Aulis Sallinen: Songs of Life and Death, Op. 69 50 min 1. Kuin tulvavesi elämäni päivät (Like floodwaters the days of my life) 2. Me vaellamme täällä (We wander here) 3. Minä, syntymätön (I, unborn) 4. Tuba mirum 5. Voin ajatella sinun lähteneen (I can think you departed) 6. Dies irae 7. Kun vielä olet tällä rannalla (While you are still on this shore) 8. Elää täyttä elämää (Live a full life) 1 The LATE-NIGHT CHAMBER-MUSIC will follow in the Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Jouko Laivuori, piano Jorma Valjakka, oboe Christoffer Sundqvist, clarinet Otto Virtanen, bassoon József Hárs, French horn W. A. Mozart: Quintet for piano and winds KV 452 25 min I Largo – Allegro moderato II Larghetto III Rondo (Allegretto) Interval at about 19.35. The concert ends at about 21.00. The late-night chamber music ends at about 21.45. Broadcast live on Yle Teema, Yle Radio 1 and online at yle.fi/rso. 2 LUDWIG VAN minor-key passages and mysterious pia- nissimos with raps from the timpani. BEETHOVEN Little remains in the Minuet of the (1770–1827): graceful court dance of that name, for SYMPHONY NO. 1 this Minuet is a galloping scherzo in- dulging in sharp rhythms and black- Symphony No. 1 by Ludwig van and-white forte/piano effects in the Beethoven was first heard in 1800, at outer sections and balmy nature visions the same concert in Vienna as his first in the middle Trio. piano concerto, and it represented a new The finale again begins with a slow in- lease of life for the Classical tradition. troduction. After a chord that seems to Beethoven had been making sketches spring from nowhere, the strings try to for it in 1795 already, and it is interesting pick out a melody and latch onto it at to note that material he initially planned last as the zippy main section gets un- for the opening movement finally end- der way. ed up in the last. Outwardly, it has bor- rowed from Haydn and Mozart, but it also sets a course of its own in many AULIS SALLINEN ways. The slow movement, for example, (1935–): SONGS OF LIFE is more dynamic than in earlier times, and the Minuet looks ahead to the ener- AND DEATH getic character piece of the future. The introduction to the first move- Aulis Sallinen began his musical career ment begins in the misleading key of with lessons on the violin, but soon F major, with string pizzicatos that lead changed to the piano. His parents were the orchestra to a massive chord that living in Uusikaupunki, having been launches a sweet, singing melody. A dra- forced to leave their home in Karelia matic bridge passage leads to the main during the Second World War. By the section in the home key of C major, the time he embarked on his formal com- very first bars of which leave the listen- position studies with Aarre Merikanto in er in no doubt that it is the work of a 1955, he had already made his first at- fully-fledged symphonist. The energy tempt at composition six years earlier. flows unbridled, and the music abounds He then went on to study with Joonas in contrasts in the development sec- Kokkonen and gained his diploma in tion, the main theme being hammered composition in 1960. home all the more forcibly in the final The Songs of Life and Death were con- recapitulation. ceived on Sallinen’s island off the south- The slow movement is not just a tradi- ern coast of Finland and born at the sea- tional respite. Beethoven really gets his side village of Les Lecques in Provence. main theme moving, cheerfully wend- The texts are all by Lassi Nummi (1928– ing his way through neat variations. The 2012), some adaptations of the poems mighty build-ups are offset by shifting from the Requiem (1988) by Leonid 3 Bashmakov and others taken from else- While you are still on this shore is a where. Nummi’s text gives the cycle a leave-taking that does nothing to re- strongly humanist slant. The soloist at lieve the pain of parting. The vocal solo- the premiere and on the disc (Ondine) ist and chorus proclaim “The greatest of was Jorma Hynninen, but for today’s these is love”, the chorus finally putting performance by the FRSO Sallinen has the seal on this in liturgical strains. Grief divided the solo parts between a sopra- is still present in the closing song (Live a no and a baritone. full life), but “from surmise grows knowl- The death in Sallinen’s songs is a per- edge”, as crystallised in the final C-sharp sonal one, but the ceremonial tradition major chord. of the Requiem carries reminders of its collective aspect. The celesta and per- Programme notes by Antti Häyrynen cussions in the early songs bear echoes translated (abridged) by Susan Sinisalo of the sacred tones in Sallinen’s opera The Horseman. Rising from the valley of the shadow of death is the plea “Dona nobis pacem” (Grant us peace), and the HANNU LINTU message of peace is indeed a frail yet persistent motif running right through Hannu Lintu took over as Chief the cycle. Conductor of the Finnish Radio Two of the songs are named accord- Symphony Orchestra in August 2013. ing to the Latin Requiem. The brass in- Formerly Artistic Director of the struments heralding the last judgment Tampere Philharmonic Orchestra and (Tuba mirum) are a reminder of our sins Chief Conductor of the Helsingborg and our humility as we confess them. Symphony Orchestra, he has also been The Dies irae, dashing along in the man- Principal Guest Conductor of the RTÉ ner of a scherzo, presents man as the National Symphony Orchestra in Dublin. servant of death, the instigator of wars He works regularly with the Avanti! and environmental disasters. Chamber Orchestra and was Artistic To this timeless and regrettably uni- Director of its Summer Sounds festival versal aspect of death Sallinen adds a in 2005. personal, individual dimension. The In addition to conducting the leading beauty of the music helps us to under- Finnish orchestras, Maestro Lintu has stand that which is difficult to accept. made guest appearances with the Radio Examples of this are the innocence of Orchestras in Berlin, Paris, Frankfurt, the unborn floating in the cosmic sea Stuttgart, Amsterdam and Madrid, with (song 3) and the departure of a dear- a number of orchestras in North and one mirrored against rebirth in spring South America (such as the Cleveland, (song 5). These poetic visions are re- Toronto, Houston, Baltimore, Cincinnati, flected in the intimacy of the music Pittsburgh and St. Louis Symphony and the differentiation between the vo- Orchestras, and the Los Angeles cal and instrumental solos. Philharmonic at the Hollywood Bowl), 4 in Asia (Seoul, Tokyo, Kuala Lumpur and studied privately in Berlin with Herbert Hong Kong) and Australia (the Sydney Brauer and Karan Armstrong, and in and Melbourne Symphony Orchestras Vienna with Irina Gavrilovici. Winner and others). During the 2012/2013 sea- of the Timo Mustakallio Competition son he made his debut with such or- in 1995, she went on to take the first chestras as the London Philharmonic, prize in the Lappeenranta Singing the Minnesota Orchestra and the Competition the following year, was BBC Scottish Symphony, and this sea- awarded the Martti Talvela Prize in 1997 son he takes up re-invitations to con- and the Karita Mattila Prize in 2001. duct the Stockholm and Gothenburg Since making her operatic debut Symphonies, the Deutsches Symphonie- in Kuopio in 1994, Johanna Rusanen- Orchester Berlin (DSO), the Toronto Kartano has sung at, for example, the Symphony and other orchestras. Savonlinna Opera Festival, the Finnish Hannu Lintu studied the piano and National Opera and the Deutsche Oper cello first at the Turku Conservatory Berlin, in such roles as Marie in Wozzeck, in his native Finland and later the Tatyana in Eugene Onegin, Marguerite Sibelius Academy, where he also at- in Faust, Lauretta in Gianni Schicchi, tended the conducting class taught Ortlinde in Die Walküre, Mimi in La by Jorma Panula, Atso Almila, Eri Klas bohème, Amelia in A Masked Ball, Anna and Ilja Musin. He has further been tu- in The Horseman and Donna Elvira in tored by, among others, Myung Whun Don Giovanni. In spring 2012 she made Chung at the Music Academy Siena. In her Tampere Opera debut as Venus in 1994 he was the winner of the Nordic Wagner’s Tannhäuser. Conducting Competition. Johanna Rusanen-Kartano has also Discs by Hannu Lintu have been re- had numerous engagements in concert leased on the Ondine, Alba, Naxos, and oratorio repertoire, and has held Ricordi, Claves, Hyperion and Danacord Lieder recitals at such prestigious ven- labels. Many of the discs featuring him ues as the Wigmore Hall in London, in as the conductor have won awards both many European countries and in Japan, at home and abroad, and his premiere Chile, the USA and North Korea. recording of the opera The Mine by Sibelius’s Kullervo Symphony has Einojuhani Rautavaara was nominated been in Johanna Rusanen-Kartano’s rep- for a Grammy.
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