20 JANUARY FRIDAY SERIES 7 Helsinki Music Centre at 7 pm

Sakari Oramo, conductor Olli Mustonen, : No. 2 in C Minor, Op.18 35 min I Moderato – Allegro II Adagio sostenuto III Allegro scherzando

INTERVAL 20 MIN

Igor Stravinsky: The Firebird 45 min

Introduction

First tableau The Enchanted Garden of Kastchei – Appearance of the Firebird, Pursued by Prince Ivan – Dance of the Firebird – Capture of the Firebird by Prince Ivan – Supplication of the Firebird – Appearance of the Thirteen Enchanted Princesses – The Princesses’ Game with the Golden Apples. Scherzo – Sudden Appearance of Prince Ivan – Round Dance of the Princesses – Daybreak – Prince Ivan Penetrates Kastchei’s Palace – Magic Carillon, Appearance of Kastchei’s Monster Guardians, and Capture of Prince Ivan – Arrival of Kastchei the Immortal – Dialogue of Kastchei and Prince Ivan – Intercession of the Princesses – Appearance of the Firebird – Dance of Kastchei’ Retinue, Enchanted by the Firebird – Infernal Dance of All Kastchei’s Subjects – Lullaby – Kastchei’s Awakening – Kastchei’s Death – Profound Darkness

Second Tableau Disappearance of Kastchei’s Palace and Magical Creations, Return to Life of the Petrified Knights, General Rejoicing

Interval at about 7.45 pm. The concert ends at about 9.00 pm. Broadcast live on YLE Radio 1 and the Internet (yle.fi/rso).

1 SERGEI RACHMANINOFF The energetic main theme of the finale, with its characterful rhythms, contrasts (1873–1943): with a second theme that ranks as one of PIANO CONCERTO NO. 2 Rachmaninoff’s greatest melodies. The main theme plays the leading role in the develop- The second has always been the most po- ment section, summed up in a free fugato pular of the four Piano Concertos by Sergei derived from the theme, while the second Rachmaninoff, and all in all one of the best- theme builds up to a magnificent climax – loved works in the romantic concerto reper- the dramaturgical apex of the whole concer- toire. The reasons for this lie in the flowing to and the fulfilment of all the soaring melo- melodies, aglow with emotional fire, and the dic promise of the concerto’s opening bars. brilliance so rewarding for the , virtu- osic yet always rooted in the core musical Kimmo Korhonen (abridged) substance. And however spontaneous and unfettered the melodies may seem, they are supported throughout by a close-knit moti- vic network that links the movements toget- (1882–1971): her and gives the various themes a certain family resemblance. THE FIREBIRD The opening movement has two main the- mes, the first of which is more “motif-like”, Igor Stravinsky had a chance to experiment the second of a broader, more singing natu- with a variety of genres in the course of his re. The element whipping the music along long life, yet his own characteristic voice can in the development is a little motif that ac- always be heard in them all. His aim was not companies the splendid recapitulation of to compose beautiful music in the traditio- the main theme on the piano (Maestoso. nal sense. As a , he was regarded Alla marcia) and that also occupies a minor as an enfant terrible, even though his lifes- role in the finale. tyle was anything but irregular and he was The slow movement begins in the same no bohemian artist. In addition to prizes he key, C minor, as that in which the first ended; attracted criticism and controversy. One of this is unusual. In the space of a few bars it the most memorable moments of his life nevertheless slips into E major for a dreamy was no doubt the outcry caused by the pre- main theme. The key relationship between miere of his ballet The Rite of Spring (1913). the first and second movements is thus the The Firebird (1910) is, along with the bal- same as in the C minor Piano Concerto by lets The Rite of Spring and Petrushka (1911), Beethoven, but because of the introducto- one of Stravinsky’s best-known works. It ry first few bars, the effect is quite different. was a commission from Sergei Diaghilev Around the middle of the movement the (1872–1929), ballet and opera impresario music becomes development-like, while the and founder of the Ballets Russes opera- short, more lively episode looks prophetical- ting in Paris, though Diaghilev had originally ly ahead to the Scherzo section embedded planned to give the commission to someone in the slow movement of Rachmaninoff’s else. The work was well received by audien- third Piano Concerto.

2 3 ces and critics alike and won Stravinsky an international reputation. The Firebird is based on elements of Sakari Oramo’s term as Chief Conductor Russian folk tales. With a magic firebird’s of the Finnish Radio Symphony feather, Prince Ivan is able to overthrow King (FRSO) began in August 2003. An accomp- Katschei the Immortal. The story focuses on lished violinist, he began his career as co- the opposition and tension between good leader of the orchestra in 1991 and went on and evil, natural and supernatural. The hu- to obtain a diploma in the class mans are represented by diatonic music and of Jorma Panula at the . the mythical creatures by chromatic and In addition to the FRSO, Sakari Oramo “Oriental”-sounding music; this was a de- is Chief Conductor of the Royal Stockholm vice borrowed by Stravinsky from his com- Philharmonic Orchestra and conductor position teacher, Nikolai Rimsky-Korsakov of Kokkola Opera in . He regularly (1844–1908). The Firebird’s colourful plu- also conducts the Ostrobothnian Chamber mage is painted in chromatic woodwind Orchestra and has been appointed its warbles and quick, muted string tremolos. Artistic Director as of autumn 2013. In spring The work also reveals a striving towards 2008 he resigned from his 10-year term as freer harmony, airy melody and sensuality Music Director of the City of Birmingham inspired by French music. The richly colour- Symphony Orchestra but continues as the ful orchestration blends with the dissonance orchestra’s Principal Guest Conductor. and emphasis on rhythm characteristic of Mr Oramo has conducted many of the Stravinsky. world’s leading , such as the In addition to the 45-minute ballet version Berlin, New York, Los Angeles and Chicago The Firebird exists in three shorter orchestral Philharmonics, the Concertgebouw, Paris, suites (1911, 1919 and 1945) differing in sco- Cleveland and Minnesota Orchestras and ring, length and sequence designed for con- the Staatskapelle Dresden. His engage- cert performance. The original ballet music ments in the 2011/12 season include ap- will, however, be heard today in its entirety. pearances with the German Symphony Orchestra Berlin, the Vienna Symphony and Johanna Tiensuu the Frankfurt Radio Symphony Orchestra. This programme note was produced in With the FRSO Mr Oramo has toured partnership with the degree programme in to Benin, Vienna, Prague, Germany, Spain musicology at the University of Turku. and elsewhere and appeared at the Canary The writer is a student of musicology. Islands, Edinburgh and Bergen Festivals and the BBC Proms in London. Together they went on tour to Japan in 2005 and 2007. Sakari Oramo received an Honorary Doctorate in summer 2004 from the University of Central England in Birmingham. In summer 2008 he was awarded the presti- gious Elgar Medal in recognition of his work to further the reputation of Elgar and his

2 3 music, and in 2009 he was honoured with dedicated his fifth Piano Concerto. Foremost a British OBE for his services to British mu- in Mustonen’s own recent compositions has sic. In December 2010 the Finnish President been orchestral and . His awarded him the prestigious Pro Finlandia first Symphony is scheduled to be premie- medal. red in February 2012. His publisher is the Mr Oramo’s term as Chief Conductor of German Schott Musik International. the FRSO ends in spring 2012. He will be Olli Mustonen has an extensive disco- succeeded in autumn 2012 by Hannu Lintu, graphy, taking in a number of award-win- the orchestra’s eighth Chief Conductor. ning sets. These include the recordings for Decca of Alkan and Shostakovich Preludes. He nowadays records on the la- OLLI MUSTONEN bel, as both pianist and conductor. His most recent releases include the comp- Pianist, conductor and composer combi- lete Beethoven Piano Concertos with the ne in Olli Mustonen in an all-round musi- Tapiola Sinfonietta, Respighi’s Concerto in cianship of a magnitude rarely encounte- modo misolidio with the FRSO and Sakari red. This season he appears as soloist with Oramo, and solo albums of works by the Leipzig Gewandhaus Orchestra un- Bach, Tchaikovsky, Sibelius, Rachmaninoff, der and the Mariinsky Prokofiev, Shostakovich and others. Theatre Orchestra under Valery Gergiev. Olli Mustonen has been the recipient of Also, he will conclude his complete cycle many Finnish distinctions in recognition of of Beethoven piano concerti as soloist and his services to music. director with the Melbourne Symphony Orchestra. In the role of conductor Mustonen has, THE FINNISH RADIO in recent years, collaborated both with SYMPHONY ORCHESTRA Finnish orchestras and such ensembles as the Camerata Salzburg, the Deutsche The Finnish Radio Symphony Orchestra Kammerphilharmonie Bremen, the WDR (FRSO) is the orchestra of the Finnish Symphony Orchestra, Cologne, the Broadcasting Company (YLE). Its mission Tchaikovsky Symphony Orchestra, Moscow, is to produce and promote Finnish musi- Northern Sinfonia, the Scottish Chamber cal culture. Its Chief Conductor since 2003 Orchestra, the NHK Symphony Orchestra, has been Sakari Oramo. The new Chief Tokyo, the Estonian National Orchestra and Conductor as of autumn 2013 will be Hannu the Weimar Staatskapelle. With the Helsinki Lintu, following a season (2012/2013) as Festival Orchestra formed by him he has the orchestra’s Principal Guest Conductor. toured in Central Europe, Japan and China. Jukka-Pekka Saraste, now the orchestra’s Collaboration with many leading contem- Honorary Conductor, was Chief Conductor porary is another feature of Olli 1987-2001 and still collaborates closely Mustonen’s profile: John Adams, Einojuhani with the orchestra. Rautavaara, , to name just The Radio Orchestra of ten players found- three. It was to Olli Mustonen that Shchedrin ed in 1927 grew to symphony orchestra

4 5 strength in the 1960s. Its previous Chief Conductors have been Toivo Haapanen, Nils-Eric Fougstedt, , Okko Kamu, Leif Segerstam and Jukka-Pekka Saraste. The latest contemporary music is a ma- jor item in the repertoire of the FRSO, which each year premieres a number of YLE com- missions. Another of the orchestra’s tasks is to record all Finnish orchestral music for the YLE archive. With Sakari Oramo the orchestra has re- corded music by Bartók, Hakola, Saariaho, Respighi, Kaipainen, Kokkonen and others, and the debut disc of the opera Aslak Hetta by Armas Launis. The FRSO disc (Ondine) of Symphonies 3 & 5 by Nordgren won the Académie Charles Cros Award in 2000, and that of Magnus Lindberg’s Concerto the BBC Music Magazine Award in 2006. That of the Sibelius and Lindberg Concertos (Sony BMG) with as the soloist received the MIDEM Classical Award in 2008, in which year the New York Times chose the other Lindberg disc as its Record of the Year. The FRSO regularly tours to all parts of the world and has so far given over 300 con- certs abroad. During the 2011/2012 season its foreign engagements include an appear- ance at the prestigious Beethoven Festival in Bonn and a concert at the Amsterdam Concertgebouw. All the FRSO concerts both in Finland and abroad are broadcast, usually live, on YLE Radio 1. They can also be heard the world over via the Internet (yle.fi/rso).

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