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WEDNESDAY SERIES 12 Hannu Lintu, Conductor Pekka Kuusisto

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WEDNESDAY SERIES 12 Hannu Lintu, Conductor Pekka Kuusisto 29.3. WEDNESDAY SERIES 12 Helsinki Music Centre at 19.00 Hannu Lintu, conductor Pekka Kuusisto, violin Ludwig van Beethoven: Violin Concerto 42 min I Allegro ma non troppo II Larghetto III Rondo (Allegro) INTERVAL 20 min Antonin Dvořák: Symphony No. 7 35 min I Allegro maestoso II Poco adagio III Scherzo (Vivace) IV Allegro Interval at about 20.00. The concert ends at about 21.05. Broadcast live on Yle Radio 1 and online at yle.fi/rso. 1 LUDWIG VAN The finale is the most spirited move- ment. Now and then, the virtuoso violin BEETHOVEN slows down for a moment before gath- (1770–1827): ering new momentum. The melodic VIOLIN CONCERTO lines pass from one orchestral section to another in a movement of playful- ness, drama, surprising shifts of harmo- After Beethoven’s death, the musi- ny and a couple of delightfully sudden cal world did not really become aware pizzicatos, ending in a frantic whirl and of his only violin concerto again un- resounding chords. til 1844, thanks to a masterly perfor- mance by 12-year-old Joseph Joachim. Over the years, Beethoven’s has become ANTONÍN DVOŘÁK one of the most popular violin concer- (1841–1904): tos, the first of the great Romantic ones. Numerous composers and violin- SYMPHONY NO. 7 ists, among them Camille Saint-Saëns, Alfred Schnittke, Joshua Bell and Fritz Compared with Dvořák’s other music Kreisler, have rewritten its cadenzas. – clear, expansive and evocative of folk The first movement begins with an music – his seventh symphony is pre- unusual gesture: five muffled beats cise and serious. Unofficially known as on the timpani. The other instruments his “Tragic Symphony”, it is thematically later imitate this. The solemn orches- rich and conceived according to a strict tral introduction presents the thematic structural scheme; maybe Dvořák want- material. The violin’s graceful entry is a ed to show that despite death and fail- magical moment, and its fluid lines and ure, there is so much life and music in crystal-clear high notes reach out to dif- the world. Like his other works of the ferent planes of reality. The unexpected, period, the seventh symphony is de- tonality-testing harmonies give the mu- tailed, powerfully expressive and con- sic an edgy dimension. The movement stantly metamorphosing. is very dynamic, its intense, soft, lyrical The first movement is gloomy and moments being interrupted from time dramatic. Always lurking behind the to time by militant salvos. A reflection lighter episodes flitting by like butter- of the composer himself, maybe? flies is something ominous. There are The Larghetto is dignified but deli- glimpses of happiness amid the de- cate. A set of variations on a theme, it spondency. The movement ends in has the simplicity of a chorale. As in the mournful, expectant mood. first movement, the music has a certain The second movement is the work’s underlying majesty. Pizzicatos add spice emotional hub and more explicitly ex- after the mid point has been reached, presses the tragedy associated with this and unexpected chords lead to the symphony. Dvořák added a footnote Rondo that follows without a break. to the score: “From the sad years”, and 2 there is melancholy in the air even when Orchestra and Artistic Director of the the music blossoms. The movement Helsingborg Symphony and Turku glides erratically from one mood to an- Philharmonic orchestras. other and yet is still coherent. Highlights of Lintu’s 2016/17 sea- The Slavonic influence is most pro- son include appearances with the nounced in the Scherzo. Its dance-like el- Deutsches Symphonie-Orchester Berlin, ement, operating at many rhythmic lev- Staatsorchester Stuttgart, Radio- els, provides a welcome breather from Symphonieorchester Wien, Luzerner the oppressive sadness. Dvořák’s char- Sinfonieorchester and Orquesta acteristic swinging lilt is to some extent Sinfónica de Galicia, and in North nevertheless cast in a minor key, as a re- America with the St Louis Symphony minder of more troublesome times. and the Toronto Symphony, Baltimore In contrast to the prancing Scherzo, Symphony and Detroit Symphony or- the last movement is steeped in tor- chestras. Recent engagements have in- ment. Even so, it does, as in the first cluded the The Cleveland and Gulbenkian movement, occasionally take a light- orchestras, the Orchestre de Chambre er and even heroic turn. The use of tri- de Lausanne, Orchestra Sinfonica di tones (the “Devil’s interval”) gives the Milano Giuseppe Verdi, and the BBC movement an interesting edge. At the Scottish Symphony, Iceland Symphony end, the dominant turbulent gloom re- and Seoul Philharmonic orchestras. In cedes as optimistic major chords set the 2015 he conducted a complete cycle seal on the symphony. of Sibelius’ symphonies in Tokyo with A similarly dramatic span accompa- the Finnish Radio Symphony Orchestra nied the composition of this symphony. and the New Japan Philharmonic, and Written in an atmosphere of uncertain- toured Austria in January 2016 with vi- ty and grief, it was premiered in 1885 olinist Leila Josefowicz and the Finnish and the critical acclaim it received was a Radio Symphony Orchestra. great source of joy for Dvořák. Lintu returns to Savonlinna Opera Festival in July 2017 to conduct Aulis Programme notes by Matti Mustonen Sallinen’s Kullervo, and in May 2017 he translated (abridged) by Susan Sinisalo conducts Sibelius’ Kullervo in a special project with Finnish National Opera and Ballet with director and choreographer HANNU LINTU Tero Saarinen. Previous productions with Finnish National Opera have in- Chief Conductor of the Finnish Radio cluded Parsifal, Carmen, Sallinen’s King Symphony Orchestra since August Lear, and Wagner’s Tristan und Isolde in 2013, Hannu Lintu previously held the spring 2016. Lintu has also worked with positions of Artistic Director and Chief Tampere Opera and Estonian National Conductor of the Tampere Philharmonic Opera. Orchestra, Principal Guest Conductor Hannu Lintu has made several re-cor- with the RTÉ National Symphony dings for Ondine, Naxos, Avie and 3 Hyperion. His recording of Prokofiev also assumes the role of Artistic Partner Piano Concertos with Olli Mustonen and with the Saint Paul Chamber Orchestra the Finnish Radio Symphony Orchestra in Minnesota. He likes playing the dual was released in September 2016, while role of soloist-conductor, not only with other recent releases include recordin- his regular orchestras but also with the gs of Mahler’s Symphony No. 1, a selec- London Chamber Orchestra, the Mahler tion of works by Magnus Lindberg, and Chamber Orchestra, the Deutsche Messiaen’s Turangalîla Symphony with Kammerphilharmonie Bremen, the Angela Hewitt and Valerie Hartmann- Irish Chamber Orchestra, the Britten Claverie. Lintu has received several acco- Sinfonia, the Tapiola Sinfonietta and lades for his recordings, including a 2011 others. Grammy nomination for Best Opera Last season, Kuusisto returned as the CD plus Gramophone Award nomi- soloist with the City of Birmingham nations for his recordings of Enescu’s and Toronto Symphony Orchestras, the Symphony No.2 with the Tampere Scottish Chamber Orchestra and the Philharmonic Orchestra and the Violin Helsinki Philharmonic, and gave solo re- Concertos of Sibelius and Thomas Adès citals at such illustrious venues as the with Augustin Hadelich and the Royal Amsterdam Concertgebouw and the Liverpool Philharmonic Orchestra. Wigmore Hall in London. His August Hannu Lintu studied cello and piano appearance at the London Proms was at the Sibelius Academy, where he later an unprecedented media hit, not only studied conducting with Jorma Panula. for his brilliant rendering and glowing He participated in masterclasses with critical reviews of the Tchaikovsky Violin Myung-Whun Chung at the Accademia Concerto but also for his encore, which Chigiana in Siena, Italy, and took went viral on the internet: Kuusisto first prize at the Nordic Conducting singing and playing a Karelian folk song Competition in Bergen in 1994. and getting the audience to join excit- edly in the refrain. Pekka Kuusisto has also engaged with PEKKA KUUSISTO people across the artistic spectrum: juggler Jay Gilligan, designer Aamu Pekka Kuusisto is an unusually versa- Song and the Richard Alston Dance tile, liberal-minded musician, equally at Company, for example. He also works home as the soloist in a Violin Concerto with a number of musical line-ups, such as in the world of electronic music. In as the Rajaton vocal ensemble, the Don 1995, he was the first Finn to win the Johnson Big Band and American Salsa Jean Sibelius Violin Competition, and in Dura. His regular partners in chamber 2013, he was the recipient of the Nordic music include Anne Sofie von Otter, Council Music Prize. Bengt Forsberg, Olli Mustonen, Ismo In January 2016, he became Artistic Eskelinen and Nicolas Altstaedt. He col- Director of the Australian Chamber laborates closely with many contem- Orchestra Collective and this season he porary composers, among them Nico 4 Muhly, Thomas Adès and Sebastian uring the 2016/2017 season the FRSO Fagerlund and has premiered and re- will premiere five Finnish works com- corded Fagerlund’s Violin Concerto. missioned by Yle and feature such pi- Pekka Kuusisto is Artistic Director oneers of Finnish Modernism as Väinö of Meidän festivaali (Our Festival) in Raitio and Uuno Klami. The programme Järvenpää, Finland. He mastermind- will also include orchestral works by ed concert series at the Hämeenlinna Stravinsky, symphonies by Mahler and Verkatehdas 2009–2011 and the Avanti! Bruckner, Haydn’s The Seasons oratorio Chamber Orchestra’s Summer Sounds and concertos by contemporary com- festival in 2011. posers. Among its guest artists will be soprano Karita Mattila and mezzo-so- prano Michelle DeYoung, conductors THE FINNISH Esa-Pekka Salonen, Teodor Currentzis RADIO SYMPHONY and Gustavo Gimeno, and pianist Daniil Trifonov. ORCHESTRA The FRSO has recorded works by Mahler, Ligeti, Sibelius, Hakola, The Finnish Radio Symphony Orchestra Lindberg, Saariaho, Sallinen, Kaipainen, (FRSO) is the orchestra of the Finnish Kokkonen and others, and the debut Broadcasting Company (Yle).
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