The RSO concert again featured works from small ensembles that were rarely performed.
Radio Symphony Orchestra Chamber Music Concert at the Music Hall 7.4. Hannu Lintu, conductor. – Rautavaara, Sibelius, Lindberg, Shostakovich. Streaming concert.
The third During the Corona Wave, symphony orchestras have shrunk to chamber music ensembles, and the audience has remained entirely in their home audiences. The brilliant brass band at the RSO concert had 15 players.
Now has at least been an opportunity to hear seldom performed works by various small ensembles.
Einojuhani Rautavaara composed Playgrounds for Angels to the English brass band Philip Jones, which premiered it in Helsinki in 1982.
“But the grim truth was that Philip’s sons played it like pigs,” Rautavaara recalled. It was supposed to have “growls, growls, and howls” in it, but they were just in the wrong places.
Hannu Linnun the brass band, led strikingly, played skillfully like angels, though rather than angels, animal associations came to mind.
The fast-moving staccatom Trumpets were like a furiously chirping bird, the trombones and tuba in turn like a roaring and roaring herd of cattle.
There was a lot of humor on the playground. The crows were able to use their characteristic means of playing, they were virtuoso soloing, taking measurements from each other, and making ore-echoing sound contacts.
Iron hazard Playgrounds there was a brass chamber music dialogue. Magnus Lindbergin Ottoni in turn made a handsome symphonic impression. Lindberg composed it in 2005 for the renowned brass section of the Chicago Symphony.
Lindberg handles instruments with skillful liveliness and playfulness. From the continuous little soloing, he builds a cohesive, energetically pulsating and flickering symphonic fabric, which Bird painted with enthusiasm.
Contrary to Rautavaara’s work Ottoni there is little arousal of foreign musical associations. It may be because musical laws, motivational development, dominate so strongly Ottonin a good-natured travel process.
The lack of an audience could be due to the New Helsinki Quartet, the violinists Petri Aarnio and Taija Angervo, viola player Ilari Angervo and such Tuomas Lehto listened very intensely to their own inner voices Sibelius Voces intimae in the string quartet. The musicians stopped capturing the intertwining of the work’s mystery, pain, and ecstasy.
Concert finally soprano Miina-Liisa Värelä, mezzo-soprano Jeni Packalen, tenors Tuomas Katajala and pianist Kirill Kozlovski presented Shostakovich Songs of Jewish folk poetry op. 79A. Shostakovich composed the songs in 1948, but the public premiere was not until 1955.
The dance rhythms of Klezmer music brought a desire for life to many songs, the overall tone had to be chosen and distressing. Even though the singers sang about positive emotions, they always felt like they had a piece in their throat. Fear, distress and lack lurk.
The performance was impressive and captivating. The singers articulated each transliterated Russian word so clearly that it was easy to follow the translation.
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