Baltic Folk Tour 2017

Baltic Sea Philharmonic Welcome

We are delighted to welcome you to ‘Baltic Folk’, our second tour of 2017. On this tour of Sweden, and Italy, we bring you music from and . The beauty of great music, like the greatest legends, stories and folktales, lies in its universality. It speaks from the heart to all of us, no matter which country we are from. The masterpieces by Stravinsky and Rachmaninoff that you will hear tonight are Russian to the core, but everyone can relate to their themes and emotions – from the tale of love, magic and transformation that inspired Stravinsky’s The Firebird, to the melancholy and passionate drama of Rachmaninoff’s Second Piano Concerto. Similarly, you do not have to share the religious convictions of Arvo Pärt, the third composer in our ‘Baltic Folk’ programme, to be deeply affected by his emotionally profound music.

As an orchestra of musicians from the ten nations of the Baltic Sea region, bringing people together is in our nature. And the universal music we play means we can connect more strongly with each other, and with you, our audience. The folk-influenced music in our concerts certainly speaks to us from the heart, and we hope our performance will touch you just as deeply. Our spark

We fire up imaginations through inspirational performances Come with us on a musical adventure through a world of magic, passion and spirituality

Our flow 06

We connect people to the environment, and to each other Explore our 2017 ‘Waterworks’ tour, which is inspired by water‘s power to connect communities across the world 28

14 Our impulse We challenge ideas of what an orchestra should be Discover Kristjan Järvi‘s vision for the Baltic Sea Philharmonic, and meet our 22 musicians and soloist

Our strength

We stand for unity in a historically divided region Follow our journey from pioneering youth orchestra to international movement for solidarity our spark Nostalgia, longing, a yearning for warmth and light, for rebirth and transformation – these are the emotional currents of ‘Baltic Folk’ Fires from the east

Discover a sparkling world of legend, drama and passion on our Russian-focused musical adventure

For this ‘Baltic Folk’ tour, we look to the Kristjan Järvi, Founding Conductor and east of the Baltic Sea region, to Estonia, Music Director of the Baltic Sea Philharmonic, and especially to Russia. In Stravinsky’s likens the music of Swansong to a village folktale-inspired The Firebird and waltz: ‘Sometimes this waltz is slightly bitter, Rachmaninoff’s Piano Concerto No. 2, at other times nostalgic, but in the end it turns the perfect location for our first concert. we present two of the best-loved orchestral into something very hopeful, in its yearning The Baltic Sea Philharmonic has always works of the early 20th century, both of for warmth and light.’ For Kristjan, this sense been sensitive to the environment, and on which reveal their Russian essence in of longing and transformation is paralleled, in Gotland, with its picturesque beaches, contrasting ways. In the ballet that launched music of an altogether more epic and exotic lakes and rocky outcrops, it’s impossible his international career as a composer, style, in The Firebird. not to feel deeply connected to nature. Stravinsky dazzles us with brilliant colours, A UNESCO World Heritage site, Visby is the vitality of Russian folk music, and the The Baltic Sea Philharmonic performs The one of the best-preserved medieval cities magic of the mythical Firebird. And in one Firebird in its 1945 orchestral suite version, in northern Europe. It’s also where the idea of the most romantic piano concertos ever and makes a daring shift from convention for the Baltic Sea Youth Philharmonic was written, Rachmaninoff bares his soul in by playing the work entirely from memory. memory is all about chemistry and born ten years ago in a concert of a project dramatic music rich in Slavic melancholy. Kristjan sees this approach as an evolution communication,’ he says. ‘It should feel like orchestra called the Baltic Youth Orchestra. in how musicians express themselves the players are improvising music that they So Visby is part of our history too. We begin our ‘Baltic Folk’ programme in as artists. ‘Performing The Firebird from have known for a long time.’ the altogether different sound world of Arvo ‘Performing The Firebird from Pärt, the celebrated Estonian composer Joining the orchestra to perform memory is all about chemistry whose music is both deeply spiritual and Rachmaninoff’s Second Piano Concerto, and communication’ emotionally direct. His contemplative, a work that Kristjan calls ‘the most hymn-like Swansong is an orchestration of nostalgic, the most Russian-themed In Germany we make a return visit to an earlier choral composition, ‘Littlemore concerto ever’, is the 15-year-old Russian Wiesbaden to perform in the prestigious Tractus’, in which Pärt set words from a pianist Alexander Malofeev, one of the Rheingau Music Festival. And our tour ends sermon that the influential theologian John most exciting talents of his generation. in Merano, northern Italy, where we have Henry Newman preached in 1843 in the Kristjan says of his new collaborator: the honour of opening the Merano Music English village of Littlemore. ‘Alexander is already a rising star in Russia Festival. We’re delighted that these two and has been acclaimed by some of the festivals are welcoming us back after our country’s greatest musicians. I am pleased previous appearances, at Wiesbaden in that we can introduce him to a wider 2014, and Merano in 2011. international audience.’ As we return to familiar places and festivals, ‘Baltic Folk’ takes the orchestra to three we look forward to seeing old friends and countries: Sweden, Germany and Italy. making many new ones, and to transporting Visby, on the beautiful Swedish island you all across the Baltic with our folk- of Gotland, is a special place for us, and inspired music from the east. our spark 08 09 Baltic Folk Tour

Baltic Sea Philharmonic Kristjan Järvi Alexander Malofeev

Arvo Pärt (1935) August 2017 Swansong (Littlemore Tractus) for orchestra 19 August 2017, 7.00 pm Visby (Congress Hall Wisby Strand, Sergei Rachmaninoff Island of Gotland), (1873 – 1943) Sweden Piano Concerto No. 2 in C minor Op. 18 20 August 2017, 7.00 pm Rheingau Music Festival, Igor Stravinsky (1882 – 1971) Wiesbaden (Kursaal), The Firebird (1945) Germany

23 August 2017, 8.30 pm Merano Music Festival, Merano (Kursaal), Italy

our spark 10 11 Listening Guide With Rachmaninoff’s melancholic melodies and Stravinsky’s fiery colours, our programme is full of fascinating contrasts

The ‘Baltic Folk’ programme focuses on The failure of Sergei Rachmaninoff’s Russia, which established a gateway First Symphony in 1897 cast the to the Baltic Sea in 1703 when Tsar Russian composer into deep depression, Peter the Great founded the port city of and the 24-year-old composed almost St. Petersburg. From that point on, the nothing for the next three years. Only after influence of Europe on the tsar’s court being treated by the psychotherapist and grew continuously and trade with the hypnotist Nikolai Dahl did Rachmaninoff’s neighbouring states thrived. However, there confidence return. Thus the composer were also repeated military conflicts. Both dedicated his next great work, his Piano Russian composers on the programme – Concerto No. 2 in C minor, to his doctor. Sergei Rachmaninoff and Igor Stravinsky – left their homeland after the socialist Rachmaninoff initially presented only two revolutions in the early 20th century, before movements, the second and the third, at calling card and was a triumph wherever orchestral splendour. The Russian ballerina later emigrating to the United States, where a benefit concert in December 1900. The it was performed around the world, and Tamara Karsavina, the Russian dancer they became renowned musicians. positive reviews strengthened his resolve remains popular to this day. The intensity and choreographer Michel Fokine and the to write the famous first movement, with of the elegiac, dark music, the sparks of stage set depicting the enchanted garden ‘Baltic Folk’ begins, however, with the its immediately captivating, balladesque inspiration and the imaginative, dreamy where golden apples grow on trees were Estonian composer Arvo Pärt, who was character. This movement’s melancholic character are fascinating. particularly impressive. a musical individualist even during his strings melody, which is inserted into the education at the conservatory in . ascending chimes of the opening piano Igor Stravinsky was amused by The concert hall gained access to the After an early avant-garde compositional chords, became synonymous with Slavic the way the Russian melancholy of music in the form of three orchestral suites phase, his study of medieval music and noir. The soloist in the concerto often plays Rachmaninoff was fashionably exploited. that were produced later on, of which the religion later led to a peaceful and tonal the accompanying figures, and the piano He had a completely different vision of Baltic Sea Philharmonic has chosen the last language. In 1980 Pärt emigrated to Vienna part is completely interwoven with the the archaic vitality of his homeland, which version from 1945. It is a piece the players and then Berlin, quickly becoming a cult orchestra, giving the composition a highly he left forever in 1914, initially moving know so well that they perform it without musical figure. He only returned to his organic character. Despite the enormous to Switzerland and then to in sheet music. The musical contrasts in the homeland in 2008. The orchestral piece technical demands, it is hardly a purely 1920. Back in 1909, at the age of 27, he suite are enormous, especially between the Swansong, which was premiered in 2014 virtuoso piece. had composed the ballet The Firebird. dazzling ‘Infernal dance’ of the evil magician by the Vienna Philharmonic, is based on The impresario Sergei Diaghilev had Kashchey and the withdrawn ‘Berceuse’ Pärt’s earlier choral composition ‘Littlemore The audience at The Firebird commissioned it for his innovative dance or lullaby. Naturally, the young prince wins Tractus’, a setting of a text by Cardinal John premiere was electrified by the group Ballets Russes, thereby placing the hand of his beloved princess by the end Henry Newman (1801 – 1890). Newman orchestral splendour great faith in the young composer. He was of the story. He is aided by the good, yet was a highly influential figure in England proved right, as the ballet based on old secretive Firebird. It is truly magical music as a theologian, poet and philosopher. Rachmaninoff himself played the piano part Russian fairytales, which was premiered in that builds up to an enormous crescendo of Swansong is therefore a hymnal, at the premiere of the concerto on 1910 in Paris, was an enormous success. archaic force in the Finale. contemplative piece. 27 October 1901. The piece became his The audience was electrified by the our spark 12 13 our impulse ‘We have to ask ourselves what orchestras are here for. It must be to create, uplift, inspire and innovate’ Kristjan Järvi Shaping a revolution Kristjan Järvi wants to redefine what it means to be an orchestra. Daring to be different is in his nature In 2016 Kristjan became an official member of the Estonian Olympic committee, marking Creative freedom, risk-taking and been driven not only by Kristjan’s the first time this position was not filled by innovation are at the heart of Kristjan Järvi’s omnivorous musical tastes, but also by his a sportsperson or government official. His work with the Baltic Sea Philharmonic. encouragement of the group’s members to initiative ‘Sound Estonia’ aims to promote He is a musician who thrives on pushing improvise, arrange and compose. the connection between, and importance of, boundaries and challenging established a healthy body and mind. ideas about the role of an orchestra. The collective energy of the Absolute ‘We are building a new orchestral Ensemble carries through to the Baltic As a recording artist Kristjan has more than model,’ he says. ‘Too many orchestras Sea Philharmonic, where Kristjan sees 60 albums to his credit, from Hollywood today are focused on economic survival, himself as part of the orchestra, and not an soundtracks such as ‘Cloud Atlas’ and with musicians reduced to factory-like archetypal leader. ‘I don’t want to lead from award-winning albums on Sony Classical productivity at the expense of creativity. outside and say “Follow me,”’ he says. ‘I’m and Chandos, to his eponymous series: the But creativity is absolutely essential for any someone who makes music with them, and Biography: Kristjan Järvi Sound Project. Launched form of society to thrive, not just survive. it just happens to be my job to stand in front Kristjan has ‘earned a reputation as one in 2014, the series features projects across As orchestras are microcosms of society, of them.’ of the canniest, and most innovative, all of his ensembles and is characterised by we have to ask ourselves what we are here programmers on the classical scene.’ his unmistakable approach of taking a fresh for. It must be to create, uplift, inspire and ‘You cannot have innovation [Reuters] look at the old. innovate. And you cannot have innovation without taking risks’ without taking risks.’ He realises his pioneering ideas with his Kristjan continues to work with some of For Kristjan, everybody in the Baltic Sea four ensembles: as Music Director of the today’s brightest creative minds, from film Kristjan’s mission to empower both players Philharmonic has an equal presence and MDR Leipzig Radio Symphony Orchestra directors Tom Tykwer and the Wachowskis, and audiences has never wavered in nearly importance. Instilling a feeling of true and the Gstaad Festival Orchestra, as to composers and artists Arvo Pärt, Steve ten years as the Baltic Sea Philharmonic’s equality is liberating for the players, he Founder-Conductor of his New York-based Reich, Tan Dun, Hauschka and Esa-Pekka Music Director, yet the entrepreneurial drive says, and encourages an entrepreneurial classical-hip-hop-jazz group Absolute Salonen, with whom he started his career and leadership needed to make it happen spirit, the feeling that anything is Ensemble, and as Founding Conductor as Assistant Conductor at the Los Angeles have been with him far longer. In 1993, as possible. ‘I’m not preaching to them, but and Music Director of the Baltic Sea Philharmonic. a 21-year-old graduate of the Manhattan gently raising their consciousness. The Philharmonic. An entrepreneur by nature School of Music, he founded the Absolute brilliance of music is that it’s not like religion and a passionate producer, Kristjan runs Born in Estonia, Kristjan emigrated to the Ensemble, a band that brings together jazz, or politics, where you have to tell people his own production company, Sunbeam United States as a child and grew up in New hip-hop, electroacoustic, classical and what to believe and what to do. Whether as Productions, creating new experiences that York City. He is an accomplished pianist other musical styles. This boundary-busting performers or members of the audience, combine music, visual art, lighting design and graduated from the Manhattan School group has created its own distinctive music is something that flips a switch in and technology with innovative concepts, of Music before studying conducting at the sound, and the band’s evolution has all of us.’ to take audiences on a unique journey. University of Michigan. our impulse 16 17 Boy wonder Feted in Russia by Valery Gergiev and Vladimir Spivakov, Alexander Malofeev is a shining young piano talent

For a performance of Rachmaninoff’s Piano a cultural mix,’ he says. ‘The Baltic Sea Concerto No. 2, one of the most Russian Philharmonic players’ youthfulness of all concertos, the choice of a Russian should help us collaborate more easily. soloist makes perfect sense, and there I hope it will be a good creative union.’ can be few Russian pianists who have shown as much promise at such a young Alexander has strong feelings about the age as Alexander Malofeev. At just 15 concerto he’ll be performing. ‘Rachmaninoff years old, Moscow-born Alexander already is one of my favourite composers and As a soloist Alexander has collaborated has a glittering record of achievement the Second Piano Concerto expresses with orchestras including the Mariinsky as a soloist. A multiple prize winner his Russian soul,’ he says. ‘Performing it Orchestra under Valery Gergiev, the at international competitions, he has is easy and hard at the same time: easy, Tchaikovsky Symphony Orchestra under performed with Russia’s leading orchestras because I’ve been dreaming of playing Kazuki Yamada, the Russian National under conductors such as Valery Gergiev this music for a long time, and hard in the Philharmonic Orchestra under both Vladimir and Vladimir Spivakov, and has played at sense that it’s one of the most frequently numerous other international competitions, Spivakov and Dmitry Liss, the ‘Moscow prestigious venues around the world, from performed concertos, so it can seem among them the Vladimir Krainev Moscow Virtuosi’ State Chamber Orchestra under La Scala, Milan, to the National Centre for impossible to express something new in International Piano Competition (2015), Vladimir Spivakov, and the ‘New Russia’ the Performing Arts in Beijing. a performance. Above all, I will strive to the Youth Delphic Games of Russia (Gold State Symphony Orchestra under Yuri express the universality of the music, Medal, 2012 and 2015) and the International Tkachenko. International stardom may soon beckon, and do that sincerely and artistically, while Rachmaninoff Young Pianists’ Competition but Alexander is not about to get ahead conveying the composer’s conception as in Novgorod (Grand Prix and special prize Alexander has participated in numerous of himself. The level-headed teenager closely as possible.’ for the best performance of works by festivals, including Stars of the White believes he still has much to learn. ‘I try Bach, 2014). Nights, the International Piano Festival not to think what I’ve achieved,’ he says. ‘I’ve been dreaming of playing at the Mariinsky Theatre, the Chopin ‘I still want to continue my studies at the this music for a long time’ Alexander has appeared at such prestigious Festival in Paris, the International Mstislav Gnessin School of Music in Moscow, where concert venues as the Bolshoi Theatre, Rostropovich Festival in Moscow, and my teacher Elena Beryozkina and I have Biography: the Great, Small and Rachmaninoff festivals in La Roque d’Anthéron, Mikkeli, a lot of creative plans. I certainly want to Alexander Malofeev was born in Moscow in Halls of the Moscow State Tchaikovsky Sintra and Annecy. collaborate with different orchestras and 2001. He is a student at the Gnessin Middle Conservatoire, the Tchaikovsky Concert conductors, but I know that I have to study Special School of Music in Moscow, where Hall and the Rachmaninoff Concert Hall of In July 2016 the Master Performers label hard in order to achieve my goal.’ his teacher is Elena Beryozkina. the Moscow State Philharmonic, the Galina released Alexander’s debut DVD, recorded Vishnevskaya Opera Centre, the Mariinsky at the Queensland Conservatorium Theatre Alexander is already a seasoned touring In 2014 he won first prize and the Gold Theatre, the Kaufman Music Center in New in Brisbane, Australia. artist, but ‘Baltic Folk’ is his first ever visit Medal at the International Tchaikovsky York, and the UNESCO headquarters in to Sweden, and he is excited about Youth Competition in Moscow. In 2016 he Paris. He has toured to Azerbaijan, Finland, Alexander holds scholarships from the performing with young musicians from took the Grand Prix at the International France, Switzerland, Germany, Austria, Vladimir Spivakov Charity Foundation, across the Nordic region. ‘It must be Grand Piano Competition for young pianists Spain, Portugal, , Japan, Australia the ‘New Names’ Charity Foundation and breathtaking to be in the middle of such in Moscow. He is also a prize winner at and the United States. the Mstislav Rostropovich Foundation. our impulse 18 19 Our musicians

Violin Double Bass Tuba Team Baltic Sea Music Education Vida Bobin-Sokołowska (Poland) Alexandra Dzyubenko (Russia) Ludwig Angerhöfer (Germany) Foundation Tatiana Dvortsova (Russia) Miranda Erlich (Finland) Thomas Hummel (Executive Director) Thomas Ellervee (Estonia) Eduard Gadea Salom (Sweden) Harp Jutta Loosen (Communications Director) Ilze Gagaine () Hanna Jürgenson (Estonia) Lisa De Bruycker (Germany) Rita Sosedow (Production Manager) Leila Hairova (Latvia) Miłosz Madejski (Poland) Danielle Griffin (Music Librarian) Dita Immermane (Latvia) Piano Katharina Blum (Project Assistant) Kseniia Ivakina (Russia) Flute Gabriele Bekeryte () Ulrike Schrader (Project Assistant) Augusta Jusionytė (Lithuania)* Kristīne Beitika (Latvia) Katharina Wickel (Project Assistant) Yuliya Kazimirovich (Poland) Teimurazi Kharshiladze (Germany) Percussion Alexander Datz (Press Officer) Malwina Kulisiewicz (Poland) Denis Iakovlev (Russia) Peter Somerford (Editor) Kerstin Kullerkupp (Estonia) Oboe Mathias Matland (Norway) Peter Adamik (Photographer) Tatiana Kuvaitceva (Russia) Hannah Baumann (Germany) Pablo Reyes Resina (Germany) Oliver Kietzmann (Assistant to Executive Marzena Malinowska (Poland) Freya Obijon (Germany) Alberto Rodriguez Rodriguez (Germany) Director) Jan Mleczko (Poland) Annika Oser (Germany) Thomas Hesse (Stage Manager) Ada Schwengebecher (Germany) *Principals Andriy Lukyanets (Stage Manager) Kinga Streszewska (Poland) Clarinet Anna Trukhina (Russia) Alexey Mikhaylenko (Russia)* Mari-Liis Urb (Estonia) Kristjan Parts (Estonia) Anna Wałek (Poland) Fátima Trives Escolano (Denmark) Laura Zimka (Latvia) Bassoon Viola Jakob Peäske (Estonia) Nils Biesewig (Germany) Arseniy Shkaptsov (Russia)* Aleksandr Dubitsa (Estonia) Anastasiia Goriacheva (Russia) French Horn Viktoria Orlova (Russia) César Cabañero Martínez (Germany) Marina Paccagnan (Germany) Victor Cosío Lanza (Germany) Maximilian Procop (Germany) Mikus Runka (Latvia) Pedro Vásquez Ordenes (Finland) Grigory Yakubovich (Russia) Agnieszka Żyniewicz (Poland) Trumpet Cello Märt Metsla (Estonia) Rūta Balčiūtė (Lithuania) José Ángel Toscano Fernández (Germany) Lydia Eriksson (Finland) Zuzanna Filipek (Poland) Trombone Tarmo Hiis (Estonia) Niklas Joelsen (Norway) Marius Malanetchi (Germany) Jüri Leek (Estonia) Armas Riives (Estonia) Ingvar Leerimaa (Estonia) our impulse 20 21 our strength We’re creating a movement that brings people together from Norway to Russia. The stronger we all are, the stronger we are as a region collaborations with Gidon Kremer and the communication, between each other, and Unity of purpose Kremerata Baltica. In the same month, Sony with the audience, should be completely free- Classical released the orchestra’s recording flowing and unhindered, so that everyone in of Wagner’s Ring Cycle. As the year ended, the concert hall has the feeling that anything The Baltic Sea Philharmonic has become a movement the Baltic Sea Philharmonic debuted a is possible.’ for bringing people together across the Nordic region groundbreaking fusion of music, lighting design and projection art at a Christmas That the musicians are ready to take this The Baltic Sea Philharmonic is a unique ‘Right from the first concert of the newly concert in Vienna’s Konzerthaus. next step is thanks to the dedicated work gathering of the most talented musicians inaugurated Baltic Sea Youth Philharmonic, that Kristjan and his team of international from Denmark, Estonia, Finland, Germany, in Riga in 2008, it was clear that here was The creation of the Baltic coaches have done to develop the players’ Latvia, Lithuania, Norway, Poland, Russia an orchestra with a powerful message’, Sea Music Education professional skills and expand their musical and Sweden. Every player has a connection says Thomas. Audiences felt it immediately, horizons. Training and education have to their homeland’s musical traditions, and politicians recognised its importance Foundation strengthened always been at the heart of the Baltic Sea both classical and folk, and when these too. As the orchestra’s reputation spread, it a burgeoning Philharmonic mission, and the intensive connections come together in the orchestra, began regular tours, and was soon playing education programme camps that take place before each tour are it enriches the musical experience of every at the most prestigious concert halls and the biggest, but by no means the only, part musician, and gives the orchestra a unique festivals in Europe, and performing with the In Kristjan’s eyes, 2016 was a time of of this effort. The creation in 2013 of the collective strength. world’s finest soloists. In 2012 and 2013 transition, with the orchestra establishing Baltic Sea Music Education Foundation Kurt Masur conducted the orchestra at the a new identity and developing its strengthened a burgeoning education Connectedness is the defining philosophy Usedom Music Festival. Also in 2012, the vision of a unique form of performance programme, which included chamber music behind the Baltic Sea Philharmonic, in Baltic Sea Youth Philharmonic performed presentation. Now in 2017, with its ‘Baltic coaching as well as workshops for young its mission to unite both musicians and at the Summit of the Council of the Baltic Folk’ and ‘Waterworks’ tours, the Baltic conductors and composers. communities, and reconnect them with Sea States in Stralsund, on the invitation Sea Philharmonic is starting a whole new the environment. As Kristjan Järvi says: of the German Chancellor Angela Merkel, adventure. The ‘Waterworks’ tour, which Underpinning the ambitions of the ‘We’re creating a movement that brings who praised the orchestra as ‘a compelling began in May with concerts in Germany and Foundation is the knowledge that today’s people together from Norway to Russia. example of using music as a powerful Denmark and continues in August with four young generation will be the musicians The stronger we all are, the stronger we are medium for cooperation and integration more performances in Germany, reimagines and educators to inspire the next generation. as a region. Then we can set an example across borders’. In 2015 its achievements the concert experience on a level beyond Nowhere is this more evident than with the for the whole world.’ were honoured with the prestigious what was pioneered in Vienna, transforming continuing cooperation with Danish Radio’s European Culture Prize by the European the performance into a full-scale immersive groundbreaking ‘Into the Music’ project, For nearly ten years the Baltic Sea Culture Foundation ‘Pro Europe’. spectacle. And with ‘Baltic Folk’, the which in 2015 began presenting symphonic Philharmonic has been a beacon for unity orchestra’s commitment to performing concerts for thousands of schoolchildren from in a historically divided region. Its story In 2016 the orchestra’s growing desire to Stravinsky’s The Firebird from memory rural Denmark, many of whom are growing up began in 2008 on the island of Usedom, off connect people across the world and to shows once again that here is an ensemble far from concert halls. In 2016 the Baltic Sea the northern edge of Germany. Thomas make them reconnect with the environment that fearlessly embraces bold new paths of Philharmonic played to 6,000 schoolchildren Hummel, the Director of the Usedom Music led to a new phase of international touring communication. in a series of concerts in Sønderborg. Leif Festival, wanted to create a multinational and collaboration. Renamed the Baltic Sea Lønsmann, from Danish Radio, says of that orchestra, and took the idea to Nord Stream Philharmonic, the orchestra performed Kristjan summed up his ambitions for collaboration: ‘The concerts were a huge hit AG, operator of the natural gas pipelines in Lithuania, Latvia, Estonia, Finland the musicians at the start of 2017: ‘This with the pupils, who were deeply impressed through the Baltic Sea. His proposal: and Russia in April, on its ‘Baltic Sea year we want to start a completely new by the enthusiasm of the musicians and what better way to reflect the cooperation Landscapes’ tour with pianist Alexander process of ownership and entrepreneurism, Kristjan’s charisma. The fact that many between Baltic Sea nations than by bringing Toradze. The ‘Baltic Sea Discovery’ tour which is ingrained not only in our fusion of of the musicians were only slightly older together the best young musicians from the of Lithuania, Russia, Poland, Denmark sound, light and projections, but also in the than their audience made it easier for the ten countries surrounding the Baltic Sea. and Germany in September featured way that we communicate on stage. Our schoolchildren to connect with the music.’ our strength 24 25 In May of this year, on the Denmark leg performance. It will be another opportunity of the ‘Waterworks’ tour, more than 3,500 for the Baltic Sea Philharmonic to inspire the pupils aged 13 to 16 came to hear the Baltic musicians of the future, and another step Sea Philharmonic at its ‘Into the Music’ toward the goals of the Baltic Sea Music concerts in Copenhagen, and another 2,500 Education Foundation to establish an joined the orchestra in Aarhus, a city that educational system, bringing together the is celebrating 2017 as European Capital of most talented young musicians of the entire Culture. Danish Radio presenter Mathias region across all musical genres. Hammer hosted these school concerts, and said afterwards: ‘The Baltic Sea The experience of performing in the Baltic Philharmonic is playing on a level beyond Sea Philharmonic is a source of constant that of any other young musicians’ orchestra inspiration for the young musicians of the I know. It’s so professional, but it’s also so orchestra. Russian bassoonist and principal full of energy and good ideas. And Kristjan Arseniy Shkaptsov joined the orchestra Järvi is brilliant at bringing the atmosphere six years ago when he was 18, and says he on stage out into the hall. I’ve never seen keeps coming back because the spirit and a conductor communicating so much with energy of the ensemble are so special: ‘I a young audience, allowing them to make have played in professional orchestras, and noise, and to be a part of the concert.’ sometimes it just feels like work, like being a worker in a music-making factory. But the ‘Into the Music’ is not the only part of Baltic Sea Philharmonic gives me a spiritual the ‘Waterworks’ tour to focus on youth, and emotional experience. In this orchestra however. Ahead of the final concert of I find new emotions, new energy and new the tour, on 29 August at Hamburg’s experiences, and I have so much fun too. Elbphilharmonie, the orchestra will have a I don’t get all this anywhere else.’ workshop with a girls choir from the city to prepare a special encore for the evening’s Anyone who watches the orchestra performing can see that the musicians are giving their all, and are having a blast doing so. As Dirk von Ameln, Chairman of the Baltic Sea Music Education Foundation, observes: ‘In the Baltic Sea Philharmonic you see young people who are dedicated and successful, but they also have fun. They are a lesson to us all, and also to industry. They prove that doing a job well can be the most fun you can have in life.’

our strength 26 27 Playing by heart

Baltic Sea Philharmonic musicians and strings coach Jan Bjøranger explore the attraction of performing The Firebird from memory

It’s rare for an orchestra to perform a work completely from memory, let alone such a large-scale piece as Stravinsky’s The Firebird. But that’s exactly what the Baltic Sea Philharmonic will do on the ‘Baltic Folk’ tour. Playing without the sheet music is daring in itself, but how does it benefit the playing. But when you already know the players? Violinist Jan Bjøranger, a long- music, you listen more and bring out the ‘And it was because the players weren’t time strings coach with the orchestra, who emotional side of your playing.’ relating to their own section, or the musician works from memory with his own chamber closest to them, but to the whole organism group 1B1 in Stavanger, Norway, as well as ‘When you play by heart, it’s of the orchestra, and to the conductor. with other ensembles, explains: ‘Performing like you’re writing the music. They weren’t deliberately determining to by heart forces an orchestra to spend more It belongs to you’ be together, they were together naturally.’ time learning a piece, until players reach The Firebird suite, with its clear multi- the point that they truly embody the music. In his rehearsal workshops with the Baltic movement structure, presented an ideal Baltic Sea Philharmonic violinist Augusta So it’s about empowering musicians, to Sea Philharmonic musicians, Jan focused canvas for memorisation. ‘The music is Jusionytė is another passionate advocate look upon themselves as artists rather than on building up a memorised performance full of different characters,’ says Jan, ‘and of playing from memory, and always workers on a music production line. To by breaking the music down into distinct the “boxes” are not long, so it’s easy to performs this way with the New Ideas reach this higher goal, though, you have sections, some as short as only a few bars. put together a story and internalise the Chamber Orchestra NICO, a string to accept that you might make mistakes, ‘To make the process logical, I introduce timeline and the emotional changes. ensemble based in her native Lithuania. and so the learning process is also about musical and emotional “boxes,”’ he says. The process is more difficult with, say, ‘I’m addicted to playing by heart,’ she getting rid of the fear of failure.’ ‘I disintegrate the elements in a box, and a Brahms symphony.’ says. ‘It offers a completely different describe their musical functions so that kind of interaction between players, and While playing from memory might take players understand their different roles. Another technique that Jan used in his especially with the conductor, who is able some musicians out of their comfort Then I put the box back together. We do workshops with the orchestra was to to do something different with a piece every zone, the Baltic Sea Philharmonic players the same thing with another box, one that separate players from their sections, so time. Because the conductor gets much absolutely identify with the sense of has a different musical expression, and that, for example, a violinist would stand more attention from the musicians when empowerment. As clarinettist Alexey then we play the two boxes in relation and next to the tuba player. ‘This makes the they don’t have to read the music, he or Mikhaylenko says: ‘When you play by focus on the contrast.’ Working in this way, musicians experience the music in a new she is free to find new moods and explore heart, it’s like you’re writing the music. It the musicians very quickly realised that way,’ says Jan, ‘and suddenly puts much different elements in the music, and interact belongs to you. You’re not reading, you’re performing the whole piece from memory more emphasis on listening.’ Kristjan Järvi more closely with the players, receiving and acting.’ Bassoonist Arseniy Shkaptsov was perfectly possible, says Jan. ‘Once you observed how empowering this exercise giving impulses in the moment. I’ve been adds: ‘When you’re reading your part you begin to trust yourself, it becomes a totally was for the musicians. ‘The ensemble was performing without the music for ten years don’t fully concentrate on how you are natural way of music making.’ so impeccable, it was amazing,’ he says. now, and I could never go back!’ our strength 28 29 our flow Our ‘Waterworks’ tour, which continues after ‘Baltic Folk’ this August, celebrates the life-giving essence of water and its power to bind every one of us together From the Baltic to the Amazon Our connection to the world’s rivers and oceans inspired the Baltic Sea Philharmonic’s ongoing 2017 tour, ‘Waterworks’

In May of this year the Baltic Sea Kristjan Järvi explains how this idea Philharmonic began its pioneering shaped the choice of music for the tour: ‘Waterworks’ tour with a series of concerts ‘Our programme starts with Handel’s Water in Germany and Denmark. Following the Music, because as Handel was born in conclusion of this month’s ‘Baltic Folk’ tour, Germany he was originally part of our Baltic the orchestra will complete its ‘Waterworks’ compositional fabric, and it brings us all the journey with four more performances way down to the waters of the Amazon, with in Germany. Philip Glass’s Aguas da Amazonia. The music represents how we are from ‘Waterworks’ is a landmark tour for the this region, but are also connected to the Baltic Sea Philharmonic. Not only are we whole world. It doesn’t matter whether it’s celebrating the 80th birthday of Philip the waters of the Baltic or the Amazon: Glass by performing two pieces by the everything is connected.’ great American composer. We are also introducing a thrilling new style of concert ‘The audience should feel presentation, combining music with cutting- as if they are entering a edge projection art, lighting and sound new dimension’ design, as well as bespoke performance clothing for our musicians. The Baltic Sea Philharmonic presents its own supercharged take on Water Music, The ‘Waterworks’ tour is inspired by water combining arrangements by contemporary and its power to bind every one of us composers Gene Pritsker and Charles together. What unites us in the Baltic Sea Coleman with selections from Handel’s Philharmonic, beyond music and culture, original composition. The resulting version is our connection to nature and to the of Water Music reveals new perspectives on landscapes of our region, and nothing this famous old piece. And as we mark Philip shapes our natural environment more than Glass’s 80th birthday year, alongside Aguas the Baltic Sea itself. With ‘Waterworks’ we da Amazonia we perform another of his celebrate not just the life-giving essence of nature-themed compositions, the Violin water, but also the Baltic Sea – that great Concerto No. 2 ‘The American Four Seasons’, body of water which sustains our region and for which we welcome back the dynamic joins us to all the other water in the world. Russian-born violinist Mikhail Simonyan.

our flow 32 33 a leading brand that is part of the Estonian fashion house Baltika Group. The orchestra’s striking new look has been designed to reflect the water theme of the concert repertoire, with the musicians clad in shades of grey, white and blue. The clothes fuse style and comfort, giving the Baltic Sea Philharmonic a unique We are also joined by three members of edge, says Kristjan: ‘It’s rare for orchestral the New York-based Absolute Ensemble musicians to have comfortable performance who are embedded in the Baltic Sea clothes that are so stylish. So we are Philharmonic for ‘Waterworks’. And breaking new ground, both in terms of there are still more collaborators on fashion and in how the stage design and this special tour: lighting designer Bertil lighting is enhanced by the look of Mark, projection artist Philipp Geist and an orchestra.’ sound designer Chris Ekers have joined us to create a truly immersive concert ‘Waterworks’ has already wowed audiences experience, fusing music, sound, light in Hattingen, Germany, and Copenhagen and images to magical effect. These and Aarhus in Denmark in May this year. technological enhancements are not merely ‘Waterworks’ now returns to Germany with designed to thrill and delight audiences, four concerts in August. First we’re in Berlin says Kristjan, but to take them to a new on 25 August, to perform at the Konzerthaus level of awareness and openness. ‘We want as part of the Young Euro Classic festival. to create an atmosphere from the moment Then we revisit Peenemünde on the Baltic a concert goer enters the space,’ he says. Sea island of Usedom, where the story of ‘The audience should feel as if they are the Baltic Sea Philharmonic began nearly suddenly entering a new dimension, where ten years ago. Our ‘Waterworks’ journey they can forget about their regular lives next takes us back 500 years when we and become part of a world where anything travel to Martin Luther’s city of Wittenberg, is possible.’ where we perform an open-air concert as part of celebrations to mark half a The reimagining of the concert experience millennium since the Reformation. And we for ‘Waterworks’ doesn’t stop with end the tour on 29 August with our debut spectacular projections and atmospheric performance in Hamburg’s spectacular new sound and lighting design. The innovation Elbphilharmonie, a fitting final destination extends to what the musicians are wearing with its gleaming wave-topped facade on stage, with the players and Kristjan mirroring the movement of water in the sporting bespoke clothing from Monton, harbour it overlooks. our flow 34 35 Waterworks Tour

Baltic Sea Philharmonic Kristjan Järvi Mikhail Simonyan

Gene Pritsker (1971) / August 2017 George Frideric Handel (1685 – 1759) / 25 August 2017, 8.00 pm Charles Coleman (1968) Young Euro Classic (Berlin, Konzerthaus), Water Music Germany

Philip Glass (1937) 26 August 2017, 8.00 pm Violin Concerto No. 2 Usedom Music Festival (Kraftwerk Museum ‘The American Four Seasons’ Peenemünde, Island of Usedom), Germany Philip Glass (1937) Aguas da Amazonia 27 August 2017, 7.00 pm orchestrated by Lutherstadt Wittenberg (open air – Charles Coleman Reformation Summer, Schlossplatz), Germany

29 August 2017, 8.00 pm Hamburg (Elbphilharmonie), Germany

our flow 36 37 Published by Baltic Sea Music Education Foundation e. V. Strasse der Pariser Kommune 38 10243 Berlin, Germany Phone: +49 30 297 702 90 Fax: +49 30 297 702 92 Email: [email protected] www.bmef.eu

Dr Dirk von Ameln, Chairman of the Board Acknowledgements Rolf Seelige-Steinhoff, Deputy Chairman Baltic Sea Music Education Foundation Frank Häuser, Treasurer is grateful for all the support received Matthias Warnig, President of the Board of throughout the year from individuals, Trustees companies and institutions, as well as all music lovers. Many thanks to every Kristjan Järvi, Founding Conductor and one of them! Music Director We offer our sincere gratitude to Prof. Dr Thomas Hummel, Executive Director h. c. Cornelia Pieper, Consul General in Gdańsk, for her support. We would also Jutta Loosen, Communications Director like to thank all of our envoys for their support throughout the year and for their Artistic Council enthusiasm for the Baltic Sea Philharmonic. Valery Gergiev, Marek Janowski, Mariss Jansons, Kurt Masur (†), We would like to welcome Jens Lange Esa-Pekka Salonen among our group of supporters, and we thank him and all of our supporters for Editor their contributions to our educational Peter Somerford programmes in 2017.

Design A great thank you to all the music Brousse & Ruddigkeit, Jonas Rose academies involved in our 2017 projects for their support and help. Photos All photographs by Peter Adamik, except Discover more of the Baltic Sea page 19 Liudmila Malofeeva, pages 11, 37 Philharmonic on our blog Baltic Sea Music Education Foundation. blog.baltic-sea-philharmonic.eu Baltic Sea Music Education Foundation is supported by

Baltic Sea Philharmonic