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Kari Kriikku, Clarinet Hannu Lintu ULJAS PULKKIS ON THE CREST OF WAVES VERNAL BLOOM Kari Kriikku, clarinet Gabriel Suovanen, baritone Tampere Philharmonic Orchestra Hannu Lintu 1 ULJAS PULKKIS (*1975) On the Crest of Waves (2003) 17’58 Seven fantasies for symphony orchestra 1 Fantasy I: Introduction – 1’52 2 Fantasy II: On the Shore – 1’56 3 Fantasy III: The Wind – 1’43 4 Fantasy IV: Rough Sea – 1’58 5 Fantasy V: Approaching Storm – 4’00 6 Fantasy VI: The Calm – 5’08 7 Fantasy VII: On the Waves 2’57 Tales of Joy, Passion, and Love (2005/2010) 33’25 A clarinet concerto in three movements 8 I. Tales of Joy – 11’25 9 II. Tales of Passion* – 14’24 10 III. Tales of Love (Text: Thomas Moore)** 7’36 KARI KRIIKKU, clarinet **GABRIEL SUOVANEN, baritone *Jarmo Hyväkkö & Janne Pesonen, orchestral clarinet solos 11 Vernal Bloom (2008) 9’12 A tone poem Tampere Philharmonic Orchestra HANNU LINTU, conductor 3 10 She sung of Love, while o’er her lyre 10 Hän lauloi rakkaudesta, ja hänen lyyransa ylle The rosy rays of evening fell, lankesivat illan ruusuiset säteet, As if to feed with their soft fire ruokkien lempeillä liekeillään The soul within that trembling shell. väräjävän kuoren kätkemää sielua. The same rich light hung o’er her cheek, Sama rikas valo kajasti hänen poskellaan And play’d around those lips that sung ja häivähti huulilla, jotka lauloivat And spoke, as flowers would sing and speak, ja puhuivat niin kuin kukat laulaisivat ja puhuisivat, If Love could lend their leaves a tongue. jos rakkaus soisi niille äänen. But soon the West no longer burn’d, Mutta pian hiipui lännen valo, Each rosy ray from heaven withdrew; ja ruusuiset säteet himmenivät taivaalla, And, when to gaze again I turn’d, ja kun käännyin taas katsomaan, The minstrel’s form seem’d fading too. niin laulajankin hahmo näytti haihtuvan. As if her light and heaven’s were one, Kuin hänen valonsa ja taivaan olisivat yhtä: The glory all had left that frame; kaikki loisto kaikkosi hänen olemuksestaan, And from her glimmering lips the tone, ja hänen kimaltavilta huuliltaan As from a parting spirit, came. kuului väistyvän hengen huokaus. Who ever loved, but had the thought Liekö kukaan rakastanut ajattelematta That he and all he loved must part? joutuvansa rakastetustaan iäksi eroon? Fill’d with this fear, I flew and caught Tätä pelästyen kaappasin The fading image to my heart – haihtuvan näyn rintaani vasten And cried, “Oh Love! is this thy doom? ja huudahdin: ”Oi rakkaus! tämäkö on määräsi? Oh light of youth’s resplendent day! Oi nuoruuden kukoistuksen valo, Must ye then lose your golden bloom, onko kohtalosi menettää kultainen loistosi And thus, like sunshine die away?” ja kuolla päivänvalon tavoin pois?” Thomas Moore (1779–1852) (Suomennos: Jaakko Mäntyjärvi) 4 Uljas Pulkkis – master of scintillating orchestral colour Vernal Bloom – On the Crest of Waves – Tales of Joy, Passion, and Love. Strong, evocative titles that provide an exhilarating taste of the music of Uljas Pulkkis (b. 1975). But they also reflect his artistic personality. He is, after all, still a relatively young composer in the ‘vernal bloom’ of his life who is riding ‘on the crest of waves’ with the success of his compositions and imbues his music with ‘tales of joy, passion, and love’. Uljas Pulkkis emerged as a composer in the late 1990s, placing well in several competitions. His Octet received 2nd prize in the first Uussävel composition competition organised by the Society of Finnish Composers in 1997; at that time, he was still studying composition privately with Tapani Länsiö and Harri Vuori and had only just entered the Sibelius Academy. In the following years, he won the Queen Elisabeth Competition in Brussels with Tears of Ludovico for piano and orchestra (1999), 3rd prize in the Gustav Mahler Competition in Klagenfurt with Duett für Eine for contralto and chamber ensemble (1999), and 1st prize at the UNESCO International Rostrum of Composers with the violin concerto Enchanted Garden (2001). He graduated from the Sibelius Academy in the following year and has been a full-time composer ever since. Many of Pulkkis’s early works derive their characteristic sound from spectral harmonies, built on the overtone series and microintervals. His ‘spectral period’ culminated in, and also concluded with, Enchanted Gardens. Subsequently he has explored dimensions both Romantic and Impressionist, and he has also shown an affinity with post-minimalist pulsation akin to John Adams or, closer to home, Esa-Pekka Salonen. This is not to say that he has completely abandoned spectral harmonies, but he no longer builds his harmonies on microintervals. All of his works share broad, almost hedonistic swathes of tonal colour and a careful attention to detail. There is more than a dash of the epicure in Pulkkis. Pulkkis has written in a variety of genres, but the core of his output to date is formed by orchestral works and concertos, which show his brilliant sonorities at their finest. He has never been averse to giving his works illustrative titles or programmatic content. “I always think about something when I write music, not just the music. And this being the case, why not say what the works are about? A title may even help the listener appreciate the piece,” he says. 5 On the Crest of Waves (2003) is a good example of a programmatically conceived piece. It is a skilful, richly orchestrated depiction of the sea reminiscent of early 20th-century masters of the orchestra such as Richard Strauss, Debussy, Ravel, and Respighi. The carefully sculpted string sound in the introduction captures the ear. “I borrowed something from Strauss’s Also sprach Zarathustra for the string texture: for instance, the solo lines are played without a mute, while all the other strings are muted,” Pulkkis explains. On the Crest of Waves is divided into seven sections or, as Pulkkis puts it, ‘fantasias’, each with its own descriptive title. Although the sections are musically independent, they flow into each other seamlessly, and the work builds up into a single undulating arc of crescendo and diminuendo. Introduction emerges as a rich, shimmering field of string sound framing the motto of the piece. “This tiny motif rides the waves through the work,” says Pulkkis. In the second section, On the Shore, the sea becomes more colourful; Pulkkis says that this music derives from an experience in Iceland, the sea striking the shore with great force but calmly. The third section, The Wind, blows the music into a flurry, and the waves disintegrate into spray. Rough Sea takes the escalation further, converting translucent dazzle into richer sounds, and Approaching Storm builds up a pounding culmination which Pulkkis describes as a ‘dance machine’. The storm abates into The Calm, a sonorous pool of tranquillity, followed by On the Waves, a gently undulating conclusion that embodies the eternity of the sea: the ocean may rest, but it never dies. Written for and dedicated to Kari Kriikku, the clarinet concerto Tales of Joy, Passion, and Love (2005/2010) stems from Pulkkis’s love of opera music. The clarinet soloist is like a star tenor in a drama. The concerto is cast in three movements, as the title indicates, but these are played without a break. The first two movements share material: a theme outlined by fourths and fifths (played immediately at the opening) and a second theme consisting of a triad with an added sixth. The orchestra paints the scenery and follows the action with inventive colours. The first movement, Tales of Joy, begins with restrained energy but soon picks up speed and develops into an almost minimalist pulsation above which the clarinet soars and warbles at will. The music is interrupted by a high note on the clarinet, with only echoes of the earlier pulsation interrupting the calmer music that follows. The mood is tense, as in an opera scene, until the music picks up speed again. 6 In this work, Pulkkis expanded the conventional concerto structure in many ways. When the first movement dies down and the second, Tales of Passion, begins, the clarinettists of the orchestra leave their seats and join the clarinet soloist downstage, forming a trio playing introvert, meditative music. They are later joined by a string quartet, creating a septet-within-a-concerto. Though the opening measures of the movement set a meditative tone, the music also has lively and flowing elements in it. The concluding movement, Tales of Love, is the most calm and profound. A baritone singer joins the already unconventional concerto format, singing a poem by Thomas Moore. This bit of music predates the concerto. Pulkkis explains the highly unusual decision to include it here: “I had to have a singer. This movement is an aria, and it is better understood as such if there is a singer actually there.” The singer does not really sing a duet with the clarinet; rather, the baritone is verbalising what the clarinet expresses. In concert, the baritone begins singing in the wings and gradually approaches the soloist; this approach is mirrored in the music, as the materials of the baritone and the clarinet begin to merge and finally end up in unison. Vernal Bloom (2008) was written to a commission from the Young Euro Classics festival. It was written for and dedicated to Vivo, a Finnish youth orchestra, and it is clearer and simpler in texture than the other two works on this disc. According to Pulkkis, the orchestration is “consciously democratic, to give everyone something decent to play”. There is no detailed programme here. “It simply refers to the fact that it was spring and our first child had just been born,” Pulkkis explains.
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