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Home , Nina Stemme

3 SEPTEMBER WEDNESDAY SERIES 1 Helsinki Music Centre at 19

Hannu Lintu, conductor , soprano

Jean Sibelius: Symphony No. 5 in E flat, Op. 82 31 min

1. Tempo molto moderato – Allegro moderato 2. Andante mosso, quasi allegretto 3. Allegro molto – Un pochettino largamente

INTERVAL 20 min

Matthew Whittall: The Architecture of Happiness, 20 min fp (Yle commission)

Richard Strauss: Es ist kein Laut zu vernehmen, 20 min final scene from the opera

Interval at about 19.35. The concert ends at about 20.55.

1 JEAN SIBELIUS The finale begins with a robust trem- olo motif: joining with the rustle of (1865–1957): spring are timpani rolls and woodwind SYMPHONY NO. 5 staccatos, and soon also the sway- ing horn theme. At the end the music The nature associations in the music seems to rise into the air, measuring in of Jean Sibelius are architectural rath- giant leaps the distance from earthly er than scenic. The departure from and misery and catapulting into space on expansion of the traditional composi- six forte chords. tion formats begun in the third sym- phony (1907) found a well-balanced, Antti Häyrynen (abridged) monumental and optimistic outlet in the fifth symphony of 1915. In the earliest version of Symphony No. 5, the first movement was still in MATTHEW WHITTALL two sections, whereas the final ver- (1975–): THE sion combines the sonata-form open- ing and the scherzo in a single cumula- ARCHITECTURE OF tive build-up. Sibelius uses little motifs HAPPINESS FOR to mould great growth processes set in ORCHESTRA motion by an opening gesture on the timpani and French horns and wood- The Architecture of Happiness borrows wind motifs inspired by this gesture. its title from a book by the Swiss- The real growth begins with the British writer Alain de Botton, which strings, and the recurring climax erupts I found around the time Hannu Lintu in a rocking movement that later acts asked me for a new work to open the as the point of gravity for the fina- Finnish Radio Symphony’s 2014-15 sea- le. The opening movement subsides son. Somewhat perversely, I’d suggest- and grows denser in a mysterious ed a virtually static piece with little in Largamente episode that culminates the way of climax. Flashing his trade- in a solo bassoon lament. The sec- mark smirk, Hannu replied, “Write me ond movement is simple by compari- something…” and held his hands wide son with the movements framing it, a apart to suggest a monumental state- theme and variations. In its exposition, ment of some sort. “Of course, if you the idyllic theme is supported only by want, a big adagio somewhere would the low strings and French horns sway- be appropriate.” ing in the background. In the fifth Normally drawn to the outside variation, string pizzicatos lead unex- world in composing, de Botton’s writ- pectedly to a fit of rage on the brass, ings turned my thoughts to the ways making the oboe variation which fol- in which we build our domestic envi- lows sound placatory and the closing ronments, and what our living spaces scene romantically nostalgic. express about us. I began to think for-

2 mally in terms of construction versus mony and rhythm at their most ba- “natural”-sounding evolution, materi- sic – I drew the blueprint for the rest. als and forms crafted and connected Much of the tension of the piece de- rather than simply found or stumbled rives from the contrast between mo- upon. (Though I often compare my way tion and stasis, and the fluidity with of writing music to the processes of which the usual markers of these two nature, just as often I look upon a new states are made to take on character- piece as a house I’m forced to inhabit istics of the other. Fast pulses become for a set period. The ways in which I a static field, joyous motion takes on make that time pleasant are just as ar- larger arch-shapes that make the pro- tificial and planned, in a way, as a walk cess sound slower, and a landscape of in the woods.) still, quiet chords covers more ground While de Botton’s book is ostensibly a in a few bars than much longer spans historical primer on aesthetic values in of rhythmic activity. My intent was to architecture, his central theme is beau- create a flow of music that, while fre- ty: how we perceive it, how we create it, quently quite busy, manages to remain what it means for a thing to be beauti- quite still. (This perhaps also illustrates ful, and for us to find it so. As he says a certain stubborn need to ultimately in one of his lectures, “To become sen- get my way, while still happily fulfilling sitive to beauty is also to lay yourself dictates from patrons.) open to a lot of disappointment and Though I strove to focus purely on pain.” One emerges with a deep sense the beauty of abstract forms, I should of the contextuality of beauty, how the acknowledge one personal note. The meaning of the word fluctuates with “big adagio” idea suggested by Hannu, time, and yet whose essential nature a near-ambient, tuneless mass of slow- is somehow immutable. Other threads ly morphing harmonies beginning half- include the reconciling of tradition and way through the piece, took on elegiac innovation, as well as the broad con- tones following the death of my first sensus on aesthetic values necessary teacher of composition – of music – for a piece of public art – an orchestral whose influence was central to my for- piece, for instance – to resonate. mation. As one of the principal archi- That said, the book was merely a tects of my current happiness, I hope starting point, and any further re- this piece serves as a monument to his semblance is very much in the ear of life. the beholder. The music begins with The Architecture of Happiness a hushed chorale of diatonic string was commissioned by the Finnish chords, material from a recent, rather Broadcasting Company (Yle). It is ded- fractured ensemble piece that I had icated to Hannu Lintu, and to Robert wanted to take in a more architectonic Frederick Jones (1947-2012), in memo- direction. Out of this wash of sound a riam. simple, repeated-note pulse arises, and from these two building blocks – har- Matthew Whittall

3 of Herodes and Herodias, the former horrified and the latter approving. (1864–1949): ES Salome’s last words soar from an omi- IST KEIN LAUT ZU nous silence to utter ecstasy until she VERNEHMEN is pierced by the final chords on the or- chestra. Richard Strauss saw the production of Oscar Wilde’s play Salome direct- Antti Häyrynen (abridged) ed by Max Reinhardt in Berlin in 1902. Three years later, he put the finishing touches to a one-act opera to a libret- to abridged from the German transla- HANNU LINTU tion of the play by Hedwig Lachmann. Many, from Ernest Newman onwards, Hannu Lintu took over as Chief suspect he began composing with the Conductor of the Finnish Radio final scene, which is taken to be a bru- Symphony Orchestra in August 2013. tal version of the Liebestod or ‘Love Formerly Artistic Director of the Death’ in Wagner’s . Tampere Philharmonic Orchestra and The final scene begins when the Chief Conductor of the Helsingborg huge black arm of the executioner rises Symphony Orchestra, he has also out of the cistern, supporting the head been Principal Guest Conductor of the of John the Baptist on a silver platter. RTÉ National Symphony Orchestra in There is a note of triumph in Salome’s Dublin. He works regularly with the first words: “You did not want to kiss Avanti! Chamber Orchestra and was me, Jokanaan.” The Salome of the fi- Artistic Director of its Summer Sounds nale is frighteningly familiar from the festival in 2005. images of today’s youngsters brought In addition to conducting the lead- up in the artificial reality of social me- ing Finnish orchestras, Maestro Lintu dia, thoroughly spoilt and demanding has made guest appearances with to have everything at once. the Radio Orchestras in Berlin, Paris, Musically, the final scene represents Frankfurt, Stuttgart, Amsterdam and Strauss at his most characteristic, his Madrid, with a number of orchestras broad melodic lines seasoned by dis- in North and South America (such sonances and intervals indicating the as the Toronto, Houston, Baltimore, pathological nature of the situation. Cincinnati, Pittsburgh and St. Louis The part of Salome is scored for dra- Symphony Orchestras, and the Los matic soprano, but one who is expect- Angeles Philharmonic at the Hollywood ed to combine a girlish lightness with Bowl), in Asia (Seoul, Tokyo, Kuala bone-chilling notes deep in the alto Lumpur and Hong Kong) and Australia register – “The secret of love is greater (the Sydney and Melbourne Symphony than the secret of death”. This mono- Orchestras and others). During the logue is interrupted by the comments 2012/2013 season he made his debut

4 with such orchestras as the London , Marguerite in Philharmonic, the Minnesota Orchestra Faust, Elsa in , Sieglinde in and the BBC Scottish Symphony, Die Walküre, and the title role in . and this season he takes up re-invi- She has sung at such illustrious opera tations to conduct the Stockholm houses as the and and Gothenburg Symphonies, the the New York Metropolitan, in Geneva, Deutsches Symphonie-Orchester Berlin at the Gran Teatre del in Barcelona (DSO), the Toronto Symphony and oth- and , and has been er orchestras. a guest at many of the major festi- Hannu Lintu studied the piano and vals, among them Bayreuth, Salzburg, cello first at the Turku Conservatory Savonlinna and Glyndebourne. in his native Finland and later the Among the items in Nina Stemme’s Sibelius Academy, where he also at- discography are Tristan und Isolde for tended the conducting class taught EMI with Placido Domingo, for by Jorma Panula, Atso Almila, Eri Klas Decca, works by Richard Strauss for and Ilja Musin. He has further been tu- EMI and Lieder for Phaedra. A Swedish tored by, among others, Myung Whun Royal Court Singer, she has been Chung at the Music Academy Siena. In awarded the title of Kammersängerin 1994 he was the winner of the Nordic by the Vienna State Opera. She was Conducting Competition. chosen as 2013 Singer of the Year by Discs by Hannu Lintu have been re- the magazine Opernwelt, and has been leased on the Ondine, Alba, Naxos, the recipient of the Opera Award and Ricordi, Claves, Hyperion and Danacord Laurence Olivier Award in London. labels. Many of the discs featuring him as the conductor have won awards both at home and abroad, and his pre- miere recording of the opera The Mine by Einojuhani Rautavaara was nomi- THE FINNISH nated for a Grammy. RADIO SYMPHONY ORCHESTRA

NINA STEMME The Finnish Radio Symphony Orchestra (FRSO) is the orchestra of the Finnish Swedish soprano Nina Stemme made Broadcasting Company (Yle). Its mis- her international breakthrough singing sion is to produce and promote Finnish Cherubino in Mozart’s The Marriage of musical culture and its Chief Conductor Figaro in Italy, since when she has re- as of autumn 2013 is Hannu Lintu. The ceived regular invitations to appear at FRSO has two Honorary Conductors: great opera houses worldwide. The nu- Jukka-Pekka Saraste and Sakari Oramo. merous roles in her repertoire include The Radio Orchestra of ten players Mimi in La bohème, the Countess in founded in 1927 grew to symphony or-

5 chestra strength in the 1960s. Hannu ducted by Hannu Lintu at the Vienna Lintu was preceded as Chief Conductor Musikverein during a tour of Central by Toivo Haapanen, Nils-Eric Fougstedt, Europe. During the 2014/2015 sea- Paavo Berglund, Okko Kamu, Leif son the orchestra, under the baton of Segerstam, Jukka-Pekka Saraste and Hannu Lintu, will appear in Stockholm most recently Sakari Oramo. and Moscow and tour Finland. It will In addition to the great Classical- also visit the EBU Festival in Bucharest Romantic masterpieces, the latest con- with Joshua Weilerstein as its conduc- temporary music is a major item in the tor. repertoire of the FRSO, which each The home channel of the FRSO is Yle year premieres a number of Yle com- Radio 1, which broadcasts all its con- missions. Another of the orchestra’s certs, usually live, both in Finland and tasks is to record all Finnish orches- abroad. Its concerts can also be heard tral music for the Yle archive. During and watched with excellent live stream the 2014/2015 season it will premiere quality on the FRSO website (yle.fi/rso), four Finnish works commissioned by and the majority of them are televised Yle. The programme will also include live on the Yle Teema channel. colourful orchestral poems by Richard Strauss, symphonies by Shostakovich and Haydn’s great The Creation. The orchestra’s distinguished guests will in- clude conductors Leonard Slatkin, Kent Nagano, Herbert Blomstedt and Esa- Pekka Salonen, soprano Karita Mattila, violist Tabea Zimmermann and pianist Olli Mustonen. The FRSO has recorded works by Ligeti, Eötvös, Nielsen, Hakola, Lindberg, Saariaho, Sallinen, Kaipainen, Kokkonen and others, and the debut disc of the opera Aslak Hetta by Armas Launis. Its discs have reaped some prestigious distinctions, such as the BBC Music Magazine Award and the Académie Charles Cros Award. The disc of the Sibelius and Lindberg violin con- certos was Gramophone magazine’s Editor’s Choice in February 2014. The FRSO regularly tours to all parts of the world. One of the many high- lights of the 2013/2014 season was a critically-acclaimed concert con-

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