Finland

Kaija Saariaho – Adriana Songs (UK Première)

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Hyvää itsenäisyyspäivää, Suomi!

Today is an important day for the country of Finland, marking the 100th anniversary of their declaration of independence from the Russian Republic. To mark the occasion i’m turning to one of Finland’s most celebrated composers, Kaija Saariaho, specifically to an intense song cycle she composed in 2006. Adriana Songs for mezzo-soprano and orchestra, began life in Saariaho’s opera Adriana Mater (set to a libretto by Lebanese writer Amin Maalouf); of the opera’s seven tableaux, she adapted material from the odd-numbered movements – Clartés, Deux cœurs, Rages and Adriana – to form this four-movement cycle. The subject matter is grave in the extreme: set in the context of war, the character of Adriana is raped by a man from her immediate community, becomes pregnant and gives birth to a son, Yonas. To protect him from the truth, Yonas’ family pretend that his father died heroically, but when the truth emerges, in Yonas’ late teens, he decides to track him down and kill him. Eventually, when Yonas finally confronts his father he discovers the man is blind, and decides to spare his life, returning home to his mother. Read more

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Proms 2017: Lotta Wennäkoski – Flounce (World Première)

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After eight weeks of (for the most part) serious music-making, the Last Night of the Proms, quite reasonably, is primarily disposed to the aim of letting of steam and just having fun. For the contemporary composer chosen to get the evening going each year, the enormous sense of occasion – even more so than at the first night – must be so impossible to ignore (and why would you?) that one can’t help wondering to what extent they feel their creativity is being given an opportunity to shine or simply go through the expected motions. Harrison Birtwistle’s Panic, from the 1995 Proms, remains a benchmark for ruthless originality in this concert, though it’s worth remembering that that particular piece was not a concert-opener, but occupied a prime position later in the concert. How nice it would be if the tradition of commissioning a world première for the last night could return to being a more major work in the concert rather than the amuse-bouche that the Proms seems to believe is sufficient. Perhaps then composers could do their own thing both more expansively and in the way they’d really like, although the experience and aftermath of Panic may well have scared off the Proms organisers for good on that score. (Apropos: i wonder what would shock people today?)

Nonetheless, one or two of the commissions in recent years – i’m thinking particularly of Tom Harrold’s Raze (2016) and Mark Simpson’s Sparks (2012) – have demonstrated the capacity and the courage to try and squeeze some imagination into their tiny sliver of the evening. And the same was true of last night’s curtain-raiser, Flounce, by Finnish composer Lotta Wennäkoski. Read more

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Proms 2017: pre-première questions with Lotta Wennäkoski

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This evening, Finnish composer Lotta Wennäkoski‘s new work Flounce will literally become the beginning of the end, getting started the Last Night of the Proms. For the final time this year then, here are my pre-première questions, together with Wennäkoski’s answers and her programme note for the piece. Many thanks to Lotta for her responses. Read more

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