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BRAHMS IV SEGERSTAM Turku Philharmonic Orchestra

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BRAHMS IV SEGERSTAM Turku Philharmonic Orchestra BRAHMS IV SEGERSTAM Turku Philharmonic Orchestra 1 hen young I played as was much stirred up in the memo- a gigconcertmaster un- rybanks of the experiencephenome- der the direction of Ulf nologies...Th e name ulF SöDErBlom SöderblomW e.g. in Britten´s Albert contains the toneletters FSDEB, the Herring and Off enbach´s Tales of four fi rst forming a pigtailtwist within Hoff mann my fi rst Wagnerorchestra- a minor third and the forth marking experience was playing last stand in the the bold jump in tritonus to the base second violins for Tristan&Isolde... In of the happy major third in Bfl at... this the Savonlinna Opera orchestra and is a challenging halfi ng of the octave in the Th eatre orchestra in Helsinki I mathematically not in zarathustra- interpreted a lot of repertoire under manner of a tower with a fourth above him and thus being rather close to his the starting fi fth but true to the disci- musical soul secrets in the performing pline of toneconsummationmanners moments... His Vienna schooling was we use six halfsteps to get halfways a gift for the subconscious and I was in an octave obeying Wienerschule sharing the proudness of being a Swed- controllings... In the conquerings of ish speaking Finn like N-E Fougstedt the soundmasses of the symphony no and Einar Englund in the sixties... 295 the string groups are lead by the Now as an Emeritus Professor and still leaders of the violins and celli like Jan alive being bannerholder of the Old and Erik would be the generals, the Garde I have rejoiced the achievements orchestrapianoplayers need only the of his supergifted boys, and when the technics of a good repetitor, and the in memoriam situation emerged there winds, percussionists and harps join 2 their fellows in this b.y.o.catering in ing surprise experience...well, then one honour of the maestro who has been of the apes can’t help uttering a sound: an important developer of nordic mu- huuu-huuu...maybe it happened to be sic achievements enriching the North a gliding of a major third downwards with continental treasures in his choice like the H-G-portamentogliding in of activities, the word THANKYOU is the Brahmstonechooserys opening... our common thought in the cains of and, if the other perplexed ape “an- nowpoints in the territorial imperatives swers” with a measurewormgliding of our surfi ngs... Under F and Over we upwards E-C etc, etc! there we have move in an extraterrestrial state of en- musicalcommunications BIG BANG hancement, thank you for all the start- in a nutshell and all this is suffi cient ingkicks on our butts... UFFE! for wiener sprechgesang movements in sounds of a voice like being RAPtails Th e beginning of the beloved fourth in freepulsative surfi ngs up & down symphony by Brahms with its meas- on frequences in our scrutinizing urewormstheme can be used to ex- pythagoric keyboardglissandi in our plain how communicative music was fi elds for experiencephenomenology born...! If we imagine that two “hu- a la Sergiu Chelibidachephilosophy- man “ apes or ancient gorillas sudden- clouds in unobtrusively hidden treas- ly are coming into a confrontation in urememorybankcontos between our the rainforest seeing each other for the ears... THEN, if we accept that music fi rst time, zooming their eyes into a is NOT that-which-sounds but rather common contact point in the chock- WHY thatwhichsounds sounds like 3 it sounds WHEN it sounds...! and if please then go on to the second move- one has had the healthy refl ex to zero ment enjoying the possibilities to be down all borderobstacles at the enter- paragliders starting the dreamvisions ing ports to the hidden rich secrets of allowed from towers of castles in the the soul enabling unbelievable valua- wild forests of middleeuropean regions ble catchings of musical experiences accompanied with unicornic herald- when bathing in sounds of multiver- ings suggesting directions of surfi ngs... sal dimensions as all tones actually are and then land down into carnevalic with their spectres into overtoneseries octoberbeerfestivalic orgies in the jolly reaching beyond all pluto and mars- good fellow music of the third move- landers fi ndings... happy then to surf ment with its nationalistic last swear- on all tonechoosers homepages, the ing in proud standing up for the unit- scorepages sounding from the podium ed musical clubmembers... ready to do altar with all musicgladiators gener- the passaqagliarituals of the last move- ously making the chain of musical ment participating in marching with nowpoints to get under the benchmu- the right hand in gesture of honor to sicians skin... with blood sweat and all music great personalities of the past tears shredded if needed , when dock- and then with a special honoring ges- ing like satellites to the mothership in ture turning the eyes towards heaven front throwing naval cords in bulk to where papa J.S. Bach smiles down in anybody stretching out for assistance blessing all creativity of coming mu- for the lifescorechallenges in the daily sicmaterialsculpturemasters manifes- struggles of motivating continuities... tationes like watching musical parades 4 on the worlds greatest concert fi elds lundin kanssa kuusikymmentälu- with all people being brothers and sis- vulla... Nyt emeritusprofessorina ja ters in love and peace eternally if you vanhana vielä elossa olevana vanhan so wish... and believe. kapellimestarikaartin lipunkantajana olen iloinnut hänen superlahjakkai- Leif Segerstam den poikien saavutuksista ja kun tuli in memoriam -tilanne eteen muistot vi- uorena keikkaviulistina soi- lisivät rikkaasti elämysfenomenologian tin konserttimestarina Ulf memorykammiossa. Nimi ulF SöDEr- Söderblomin johdolla esi- Blom sisältää sävelkirjaimet FSDEB Nmerkiksi Albert Herringin (Britten) ja niiden pisteiden askeltaen täyttyy ja Hoff mannin kertomukset (Off en- ensiksi pieni terssi yhdellä saparokään- bach). Soitin myös ensimmäisen Wag- nöksellä ennen kuin duurikolminai- ner-stemmani Tristan & Isolde 2n viu- suuden toonikaan hypätään reippaasti lun viimeisessä pultissa. Savonlinnan alas... tritonusintervallilla! diabolus in oopperaorkesterin ja teatteriorkesterin musica haastetaan... siis puolitetaan riveissä olen tulkinnut hänen johdolla oktaavia ei Zarathustra-kvinttikvart- paljon orkesteriteoksia ja täten ollut titornilla vaan matemaattinen totuus aika kiinni tulkitsevasti hänen musiik- mielessä pääsemme sävelvalintapro- kisielun maisemissa. Hänen Wiener- sessissa kuudella puolisävelaskeleella koulutuksensa oli lahja alitajunnalli- puolittamaan oktaavin wienerschule- sesti ja jaoin suomenruotsalaisylpeyttä sisäsiististi. No 295 sinfonian sointu- kuten N-E Fougstedtin ja Einar Eng- massojen maisemavaltauksissa viulu ja 5 cello liederit, esitaistelijat vievät Jan nimi) ilman meikkiä ja maskia Ruot- ja Erik poikain inspiroimina joukko- sin tv-produktiossa (Ullabritt Edberg) jaan, orkesteripianonsoittajille kelpaa (Clara-Anima osa oli Stina ja Ylva oopperarepetiittorien sormitekniik- Ekbladin esittäminä) Musik vid Kvar- ka, nyt on happening käynnissä ja ken -festivaalissa noin toistakymmentä puhaltajat lyöjät ja harput tottelevat vuotta sitten... ja 4:nnen sinfonian al- notaatioiden musiikkinyyttikestityk- kua mittarimatotteemalla voi käyttää, sessä merkinnät maestron muistolle, jos haluaa selittää, miten musiikki on kaikki vanha suomen muusikkokanta syntynyt...! on ollut musiikkiyhteydessä maestro Söderblomin ohjelmavalinnoissa laa- Jos kaksi ihmisapinaa yhtäkkiä kohtaa- jentamassa pohjolaan kontinentaalisia vat metsässä ja vahingossa jopa kohot- aarteita. Kiitos on yhteinen sana kun tavat katseensa zoomatusti konfron- surff aamme in memoriam mielessä taatiopisteeseen, saattaa olla, että joku koko territoriaalinen imperatiiviväräh- näistä apinoista päästää äännähdyksen tealueen nythetkien ketjuissa. Under huuuu-uuu, ja sattumalta se voisi olla F ja Over liikumme extraterrestriaali- H-G niin kuin ensimmäinen liuku- sessa hurmiosessiossa... kiitos kaikista maportamento on Brahmsin 4. sin- alkusysäyksistä UFFE... foniassa JA! jos sitten se toinen apina äännähtääkin vastaukseksi symmetri- Brahmsin 4. sinfonia sopii ohjelmaan refl exinä huuu-uuuuu ja alhaalta nyt myös, koska olinhan minä teatteri- ylöspäin E-C jne. Siinä äänikommuni- esityksessä Johanneksena (isän toinen kaation alkupikkubang oli pähkinän- 6 kuoressa ja wienershulesprechgesan- LEIF SEGERSTAM (born in 1944), con- gillisesti kelpaa niin kuin rapeissakin ductor, composer, violinist and pia- intonaatioliukuma voluntäärisesti... nist, is one of the most versatile mu- sical talents in the Nordic countries. MUTTA jos musiikki ei ole SEMIKÄ- He studied at the Sibelius Academy in SOI vaan MIKSISEMIKÄSOI soi niin 1952-1963 and completed diplomas kuin se soi, SILLOIN kun se soi, niin in violin and conducting. After com- näitten apinoitten vuoropuheluduetto pleting degree in conducting at Juil- voi kuvailla kommunikatiivisen musiikin liard Music Academy in New York in synnyn... Näitä syntymisajatuksia leijailee 1965, Segerstam spent three years con- vapaapulsatiivisesti nyt-hetkien ketjuissa ducting the Finnish National Opera. konserttielämysfenomenologiassa. Jos kerkesi nollaamaan korvienvälistöä, on Leif Segerstam continued his career sieluportit avoimempia memory-aar- in Stockholm’s Royal Opera in 1968, teen nappaamiselle, kun surff aamme ja fi rst as a conductor and after a couple of klikkaamme sävelvalitsijoiden koti(par- years as the artistic director. In the begin- tituuri)sivuilla. Viihtykää ja nauttikaa. ning of the 1970’s he also worked with the German Opera in Berlin and with
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