Concert review | When Kaija Saariaho's piece began, tears came to the eyes – Olivier Latry made the new organ of the Musiikkitalo shine

Organ music

Olivier Latry, organ, in Musiikkitalo. Anssi Karttunen, cello. – Saariaho, Florentz, Alain, JS Bach, Dandrieu, Dupré, Widor.

The music house the empty stage is dominated by the organ's console. A cellist sits on the chair next to it Anssi Karttunento the music desk Olivier Latry.

When Kaija Saariaho (1952–2023) An offering starts for cello and organ, tears come to the eyes. Thanks to Saariaho, we are here now, but he himself is no longer experiencing this.

Thanks to Saariaho's donation of a million, the Musiikkitalo organ project really started. The end result is worth all the investment. This amazingly fine concert instrument from the Austrian Riegel Orgelbau organ building enables what, for example, Saariaho wants to convey with his music.

We get micro-intervals, spectra, swaying notes. In the mournful piece, cello and organ play seamlessly together.

The opening concert Saariaho's friend, the organist of the Notre Dame Cathedral, Olivier Latry, professor at the Paris Conservatoire, had been asked to be the soloist. Latry has also been heard Jan Lehtolan to lead the organ procurement expert board.

Olivier Latry had chosen a program that allowed him to present different aspects of the versatile instrument. This instrument does not directly conform to any style, but is intended for playing all kinds of music. Soinn's basic structure is tidy and enables everything exciting around it.

The first taste of the queen's arsenal of musical instruments came with African-French rhythms. by Jean-Louis Florentz L'Enfant Noir has been completed as a compulsory work for the 2002 Paris organ competitions. Its polyrhythmic base first took the player to the dusty streets and then transported from there to the mystical atmosphere of the jungle.

Latry continued presentation of the world of organ sound by a French Jehan Alainin Aria. The organist does the lion's share of his work when he selects and programs the instrument in advance, changing the tones that create the desired sound as the pieces progress. Arian the second theme kept the listener well involved as Latry picked the best from Rieger's candy store.

by Johann Sebastian Bach Prelude and fugue in G major (BWV 541) challenged the ears in a fun way: a familiar piece, but not church acoustics.

The organ building and the acoustic design of the Musiikkitalo can be congratulated. The quietest sounds of the organ descend softly in the hall and you can c
learly understand the characteristic quality of the different tones.

Latry took full advantage of this feature Jean-François Dandrieu (1682–1738) in three Christmas carols and Marcel Dupré (1886–1971) in Christmas Carol Variations. They are played by pewter pipes and dulcians, various horns and strings, enhanced by 3rd and 5th pipes, choosing from 124 tones. From the bass pipes, a lot of rasp comes out. The rich feast of Christmas carols softened Latry's skillful, virtuosic entertainment.

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There are exciting organ years ahead.

The concert officially decided by Charles-Marie Widor The fifth symphony was familiar to most. The work offered yet another great opportunity to enjoy both the registration and the stepless volume control, even the song of the birds and the stream before the spectacular Toccata.

Ancient organ-building skills and modern technology meet in Musiikkitalo and open up new opportunities for the composers of our time to realize their visions. One can only thank and congratulate everyone involved. There are exciting organ years ahead.