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Download Programme (.Pdf) TI / TUE 27.10. KLO 13.00 SUSANNA MÄLKKI KE / ONS / WED 28.10.2020 KLO 12.00 & 19.00 kapellimestari / dirigent / conductor TO / THU 29.10.2020 KLO 19.00 (HKO Screen -verkkolähetys & Yle Radio 1) XAVI CASTELLÓ ARÀNDIGA lyömäsoittimet / slagverk / percussion OSKARI KYMÄLÄINEN (Tero Saarinen Company) tanssi / dans / dance HELSINGIN MUSIIKKITALO TERO SAARINEN MUSIKHUSET I HELSINGFORS koreografia / koreografi / choreography HELSINKI MUSIC CENTRE Gustav Mahler (1860–1911) Adagio sinfoniasta nro 10 (sov./arr Michele Castelletti) (1910) 25’ ur symfoni nr 10 from Symphony No. 10 RAKASTAVA Jean Sibelius (1865–1957) Rakastava op. 14, sarja jousiorkesterille (1911 versio) (1893/1911) 11’ Den älskande, svit för stråkorkester T h e Lover, suite for string orchestra Rakastava / Den älskande / The Lover SUSANNA Rakastetun tie / Den älskades väg / The Way of the Lover Hyvää iltaa... Jää hyvästi / God afton... Farväl! / Good Night, My Beloved... Farewell! MÄLKKI Iannis Xenakis (1922–2001) Rebonds B (1987–1989) 6’ Tero Saarinen (1964-) XAVI CASTELLÓ Rebond (2020) David Scarantino (TSC), ARÀNDIGA koreografin assistentti / koreografens assistent / Choreographer’s Assistant Erika Turunen (TSC), puku / kostym / costume OSKARI Ville Konttinen (TSC), valot / ljus / lights Ludwig van Beethoven (1770–1827) KYMÄLÄINEN Sinfonia nro 1 C-duuri op. 21 (1799) 25’ Symfoni nr 1 C-dur Symphony No. 1 in C Major Adagio molto - Allegro con brio TERO Andante cantabile con moto Menuetto (Allegro molto e vivace) SAARINEN Finale (Adagio - Allegro molto e vivace) Kesto reilun tunnin, ei väliaikaa. / Längd: drygt en timme, ingen paus. / Duration: just over an hour, no interval. GUSTAV MAHLER JEAN SIBELIUS IANNIS XENAKIS siltä kuin välillä muusikoita olisi enemmän kuin yksi. Halusin tuoda koreografiaani samaa intensiteettiä sov. Michelle Castelletti Rakastava op. 14 Rebonds B ja monimuotoisuutta liikkeessä sekä luoda samalla siltaa kahden voiman – musiikin ja tanssin – välille”, Adagio Vuonna 1894 Jean Sibelius (1865–1957) osallistui Kreikassa syntynyt ja vuodesta 1947 Ranskassa sanoo Saarinen. Sinfoniasta no 10 Ylioppilaskunnan Laulajien järjestämään asunut Iannis Xenakis (1922–2001) oli yksi 1900- sävellyskilpailuun Kantelettaren runoihin sävelletyllä luvun merkittävimmistä nykysäveltäjistä. Hän oli Gustav Mahlerin (1860–1911) kuollessa keväällä 1911 mieskuorosarjalla Rakastava. Teos sai toisen varsinaiselta koulutukseltaan arkkitehti ja työskenteli häneltä jäi kymmenes sinfonia kesken. Vuosien palkinnon. Sekä yleisö että arvostelijat ihmettelivät jonkin aikaa Le Corbusierin avustajana. Säveltäjänä LUDWIG VAN BEETHOVEN varrella monet tutustuivat luonnosmateriaaliin, tuomariston päätöstä antaa ensimmäinen palkinto Xenakis haki toistuvasti inspiraatiota muun muassa mutta ensimmäinen esitysversio syntyi vasta Emil Genetzin laululle Hakkapeliitat, sillä yleisen matemaattisista teorioista, geometriasta, filosofiasta Sinfonia nro 1 1960-luvulla brittiläisen Deryck Cooken toimesta. mielipiteen mukaan Rakastava oli parempi sävellys. ja rakennustaiteesta. Hän oli lisäksi kiinnostunut Myöhemmin sinfoniasta ovat tehneet omat versionsa Sibelius laati pian sarjasta versiot myös mieskuorolle aikansa uudesta teknologiasta. Vuonna 1963 hän C-duuri op. 21 mm. Rudolf Barshai, Clinton Carpenter ja Remo ja jousille (1894) ja sekakuorolle (1898). julkaisi klassikon aseman myöhemmin saaneen kirjan Bonnista Wieniin vuonna 1792 muuttanut Ludwig Mazzetti. Useat merkittävät Mahler-kapellimestarit Vuonna 1912 säveltäjä teki Rakastava-sarjasta Formalisoitu musiikki. van Beethoven (1770–1827) loi aluksi mainetta eivät silti ole suostuneet johtamaan teoksesta muuta version myös jousiorkesterille ja lyömäsoittimille (op. Joka tämän perusteella luulee Xenakisin pianovirtuoosina. Hänellä oli kuitenkin tähtäimessä kuin sen ensimmäisen osan, joka on ainoa jonka 14). Sibelius johti itse kantaesityksen Helsingissä musiikin olevan jotenkin kuivaa ja teoreettista, on ura myös säveltäjänä, ja hän olikin vuosisadan säveltäjä sai valmiiksi. 29.3.1912 Helsingin filharmonisen seuran orkesterin täysin väärässä. Hänen sävellyksensä ovat vereviä vaihteeseen menessä säveltänyt runsaasti etenkin Maltalaisen kapellimestari ja säveltäjä Michelle (nyk. HKO) konsertissa. Vastaanotto oli erittäin ja jännittäviä, ja ne vaikuttavat usein kuulijaan piano- ja kamarimusiikkia. Vuonna 1800 Beethoven Castellettin (s. 1974) versio Mahlerin kymmenennestä myönteinen, ja säveltäjä johti teosta jatkossa suorastaan fyysisen mukaansatempaavasti. koki, että aika oli kypsä osaamisensa näyttämiselle sinfoniasta on valmistunut 2010-luvulla. useastikin. Rebonds (1987–89) on sävelletty suurelle yleisölle. Hän vuokrasi Wienin Burg-teatterin Castellettin käyttämä kokoonpano, johon kuuluu Jousiorkesterille tehty versio ei ole niinkään lyömäsoitintaitelija Sylvio Gualdalle, jonka kanssa ja järjesti siellä konsertin, jonka ohjelmassa oli muun mm. seitsemän puhallinsoitinta, urkuharmoni ja sovitus kuin taidokas uusi tulkinta aiemmasta Xenakis jo aiemmin oli tehnyt yhteistyötä. Rebonds muassa Septetto, yksi hänen pianokonsertoistaan jousikvintetto, on saanut inspiraationsa Verein musiikkimateriaalista. Kuorosarjassa osia on neljä, koostuu kahdesta jaksosta, A ja B. Jaksot eivät käytä sekä kantaesityksenä nähtävästi vuosina 1799–1800 für musikalische Privataufführungen -nimisen mutta tässä Sibelius on tiivistänyt osat kolmeen. tismalleen samoja lyömäsoittimia; Rebonds B on syntynyt ensimmäinen sinfonia. Vastaanotto oli yhdistyksen suosimista kokoonpanoista. Arnold Ensimmäinen osa Rakastava heijastaa tuoreeseen kirjoitettu bongo-rummuille, tumba-rummulle, tom- myönteinen ja innostunut. Eräs arvostelija huomautti Schönberg oli perustanut tämän Wienissä 1918–21 rakkauteen liittyvää ujoutta ja epävarmuutta. tomille, bassorummulle ja puupalikoille. Xenakisin konsertin olevan ”kiinnostavin mikä meillä täällä toimineen yhdistyksen, jonka konserteissa esitettiin Rakastetun tie on valoisa scherzo. Viimeinen osa toive oli, että teoksen esitys koostuisi sekä A- että pitkään aikaan on ollut”. Sinfoniaa sama arvostelija mm. kamariorkesterisovituksia myös Mahlerin Hyvää iltaa – Jää hyvästi huokuu katkeransuloista B- jaksoista. Käytännössä monet lyömäsoittajat luonnehti kekseliääksi ja idearikkaaksi. teoksista. Castellettin versio sai kantaesityksensä nostalgiaa. kuitenkin esittävät usein ainoastaan B- jakson. Se Ensimmäinen Beethovenin yhdeksästä Canterburyssä 23.11.2012. Canterburyn on rytminen, virtuuosinen ilotulitus, joka voi tuoda sinfoniasta liittyy hyvin selkeästi W.A. Mozartin ja kamariorkesteria johti Castelletti itse. mieleen ekstaattisen rituaalin. Joseph Haydnin perinteeseen. Tästä huolimatta Tässä konsertissa esitetään sinfonian Käsiohjelma / Programblad / Program teoksessa on jo useita Beethovenille täysin ensimmäinen osa, Adagio. Lämpimän laulavat ja tunnusomaisia piirteitä. Helpoiten tunnistettavat Teosesittelyt / Verkpresentationer / TERO SAARINEN: REBOND ironisen tanssilliset jaksot vuorottelevat, kunnes Programme Notes lienevät yllättävät, räjähtelevät purkaukset riitasointuinen purkaus särkee tunnelman. Christian Holmqvist Syys-lokakuun konserteissa koetaan sarja sekä railakas huumori. Ensimmäisen osan hidas Sen jälkeen on kuin jotakin musiikissa olisi ensiesityksiä, joissa muusikko ja tanssija luovat johdanto (Adagio molto) sai aikalaiset ymmälleen: Käännökset / Översättningar / Translations peruuttamattomasti särkynyt. yhteisen duettoteoksen. Iannis Xenakiksen C-duuri-sinfonia alkaa näennäisesti täysin Christian Holmqvist (ruotsi / svenska / Swedish) Susan Sinisalo (englanti / engelska / English) hypnoottinen sooloteos lyömäsoittimille muuttuu väärässä sävellajissa. Mutta kunhan Allegro con kaksi taidemuotoa yhdistäväksi duetoksi, kun lavalle brio ponnahtaa liikkeelle, pää-sävellaji etabloituu. Ulkoasu / Design astuvat orkesterin lyömäsoitinten äänenjohtaja Xavi Toinen osa on liikkuva Andante cantabile con Bond Creative Agency Oy Castelló Aràndiga sekä Tero Saarinen Companyn moto. Kolmannen osan Beethoven on otsikoinut Taitto ja painatus tanssija Oskari Kymäläinen. Koreografi Tero Saarisen Menuetiksi, mutta nopea tempo (Allegro molto e Grano Oy, Vantaa 2020 työn lähtökohtana on sävellyksen moniäänisyys. vivace) tekee siitä käytännössä scherzon. Finaalin Oikeudet muutoksiin pidätetään. / “Sävellys on rytmisesti erittäin kiehtova ja vaatii avaa johdanto (Adagio) joka pienen hapuilun jälkeen Rätt till ändringar förbehålles. / All rights reserved. soittajaltaan virtuoottisuutta. Minusta kuulostaa johtaa iloiseen Allegro molto e vivaceen. 2 Stravinsky-teokset Petrushka (2001) ja HUNT kokonaistaideteosmaisuus. Saarinen on saanut SUSANNA MÄLKKI XAVI CASTELLÓ (2002), Shakers-vaikutteinen Borrowed Light lukuisia tunnustuksia taiteellisesta työstään Helsingissä syntynyt ja nuoruutensa asunut Xavi Castelló on toiminut Helsingin (2004), Morphed (2014) Esa-Pekka Salosen kotimaassa ja kansainvälisesti. Susanna Mälkki on kasvanut Helsingin kaupunginorkesterin lyömäsoitinten äänenjohtajana musiikkiin sekä Jean Sibeliuksen Kullervo (2015) Vuonna 1996 perustettu Tero Saarinen Company kaupunginorkesterin säestyksellä. Pienenä hän vuodesta 2013 alkaen. Hän aloitti musiikkiopintonsa yhteistyössä Suomen kansallisoopperan ja -baletin on suomalaisen tanssin lippulaiva maailmalla. Se istui orkesterin konserteissa perheensä kanssa, kahdeksanvuotiaana ja viimeisteli diplominsa kanssa. Saarisen yhteistyö Susanna Mälkin ja HKO:n on esiintynyt 40 maassa kaikissa maanosissa, ja nuorena musiikinopiskelijana seurasi tarkasti vuonna 2008 Teneriffalla (CSMC). Hän jatkoi
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