Concert Review Jukka Tiensuu’s whistle pair hypnotizes with his ambitions in a recorder concerto: Eero Saunamäki played two flutes at the same time and even played and sang at the same time

Culture|Concert review

Classic

Tapiola Sinfonietta at the Espoo Cultural Center 2.12. Dima Slobodeniouk, conductor, Eero Saunamäki, recorder. – Takemitsu, Tiensuu, Sibelius.

Japan the most internationally renowned composer Pipe Takemitsu (1930–1996) composed music for over a hundred films. At the beginning of his concert, Tapiola Sinfonietta performed a string orchestra series in which music from three Takemitsu film music was heard.

The most Japanese atmosphere was born Funeral Music in a song Takemitsu composed for the film Black Rain (1989). The film takes place in Hiroshima after the atomic bomb. Its dark, slow stream of grief rises from some deep collective pain and horror.

Waltz (1966) surprises with its connecting Viennese charm. Its bitter, slightly decadent tone gives its own spice. Takemitsu, if he wished, completely mastered the “Western” musical language.

The first paragraph, Music for Training and Rest (1959) is associated with a Puerto Rican boxer José Torresiin. Pontevat pizzicatoes perhaps describe rehearsal and entertaining melodies with moments of rest in both blues and Latin tones.

When the conductor Dima Slobodeniouk and the orchestra was already in place, Jukka Tiensuun Apposoloist of the recorder Eero Saunamäki did not appear anywhere. It was the first surprise of a whimsical flute concerto.

Behind the door on the right, however, a beep began to sound and a longed-for soloist appeared behind the door with a happy drummer. Saunamäki could have changed his white costume to a clown costume that would have suited this instrument circus full of constant surprises and absurd comic situations.

Saunamäki played two recorders at the same time, played and sang at the same time and used special modern playing methods.

Sometimes I could hear a familiar longing folk song, which, however, was made very strange by the micro-intervals. In part, it seemed that Tiensuu was mocking the regularities of the traditional concert format and making a farce.

The parody of the recorder is not a parody, however, but a short fantasy journey that amazed with its whimsical vocal ingenuity, rhythmic alleys and the soloist’s playful and mesmerizing skill that dominates all tricks.

Sibelius in the Seventh Symphony Slobodeniouk built such a magnificent form that the psychological time of the 22-minute symphony seemed much longer.

The rich “organic” motif network changed kaleidoscopically, looking for its way and new sound modes, recharging tensions, intoxicated with a Mediterranean wave dance in the rondo episode, and culminating in a spectacular, great and devout trumpet-themed anthem.