Lapland’s chamber orchestra painted Lapland’s nature – Culture in Piano-Espoo

Outi Tarkiainen’s Polar Pearls sounds Sibelian at times.

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The Lapland Chamber Orchestra at the Piano-Espoo concert in the Espoo Cultural Center on September 23. John Storgårds, conductor, Marianna Shirinyan, piano, Emil Holmström, Hammond organ. – Bach, Klemola, Tarkiainen.

Lapland nature is the mindscape of the Lapland Chamber Orchestra. It is the northernmost professional orchestra in the EU.

John Storgårds has faithfully served as the orchestra’s artistic director since 1996. The orchestra must be especially dear to him.

In addition to its Lapland concerts, the orchestra has played successfully in different parts of the world. Sometimes it rarely has time to stop in the capital region.

The concert ended Outi Tarkiainen Polar Pearls -concerto for chamber orchestra. Tarkiainen is known as the magical tone painter of Lapland’s nature.

Tarkiainen certainly knows the Lapland Chamber Orchestra more than well. The eight-part concert is a glittering, colorful musical spectrum and string of pearls, where the orchestra’s musicians, strings, woodwind players, horn player and percussionist get to shine together and take turns with their skills and poetic expressiveness.

Minimalistic the banging first part reminded me Philip Glassin, and with a similar rhythmic spell, the work also ended, as if excitingly interrupted in the middle of everything. Only some quiet whining could still be heard from somewhere far away. The sound of an animal in the wild?

Polar Pearls – parts of the concerto burst out with brilliantly imaginative and beautiful melodic and sonorous blossoms. The general look is neo-romantic.

Tarkiainen also gives its various gems of nature, such as the raccoon, the sooty butterfly, the fell owl, a lively mind and emotions.

Sibelian features have been noticeable in Tarkiainen’s music before, but now the enigmatically dark cello solo rose straight up as if from the depths of the first movement of Sibelius’ fourth symphony. It was apt to strengthen the pantheistic sacred atmosphere of nature mysticism.

Sami Klemola Ghost Notes, concerto for Hammond organ took the thoughts to the electronic world of ghosts and horror.

In the first part by Emil Holmström Hammond absorbed string players into his expanding digital sounds. In the second part, the strings tried in vain to fight against the raw lumps of chords thrown by the Hammond organ. In the third part, such a multi-voiced lively flood of speech erupted from the bows that they got the upper hand for a moment.

At the end, the Hammond began to play as if underwater, letting a bubbling surface and eventually covering the soundscape in a drowning flood of electronic timbres.

Klemola has once again made a work of his own, radical, different from the mainstream.

The concert the piano soloist was a captivating Armenian-born Marianna Shirinyanwho called two Bach’s piano concert hall.

The first performance was the F minor concerto, in the first movement of which a modern piano rumbled under the orchestra. Slow part, accompanied by string pizzicatos Largo was a perfect, beautifully sung Bach gem.

In the extreme parts of the E major concerto, there was a good balance between the piano and the orchestra, the sound of the piano was ringingly light and suitably dry. Now we could hear the great joy of motorized movement together.

Correction at 16:58: John Storgårds has been the director of the Lapland Chamber Orchestra since 1996, not since 1972, as was erroneously stated earlier in the article.

By Editor

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