Archive Dive into the archive

Emelie Mayer became a household name in Berlin, both for her compositions and sculptures, which were another art form she mastered. Her first two symphonies were both premiered in Stettin and her success was even greater in Berlin. There her music was mainly played in private homes, but in 1850 a public concert was given at the Royal Theater with exclusively Emelie Mayer's compositions. She became popular with both critics and audiences and followed her works to the cities where they were performed; Cologne, Munich, Lyon, Brussels and Vienna. As a composer, she was versatile and productive. Eight symphonies, 15 concert overtures, a lot of music for piano, voice, violin, etc. She worked hard but also enjoyed helping others, for example by giving composition lessons to other women.

Allegro con brio Largo Rondo: Allegro The first sketches for the Third Piano Concerto can be dated to 1797, when Beethoven was greatly inspired by listening to a performance of Mozart's Piano Concerto No. 24 in the same key. The handwritten manuscript is dated 1800, but he continued to refine the design until early 1803. The first performance of the Third Piano Concerto took place on 5 April 1803 at the Theater an der Wien. A newspaper article states that Beethoven did not receive a particularly long applause, even though he had gathered all his most devoted admirers for the evening. The reason is that he was already beginning to be regarded as a strange scoundrel. Beethoven's pupil Ferdinand Ries reported that Beethoven played the solo part in the Piano Concerto in good spirits, but that many notes "fell under the table". When it came to the composition itself, however, Ries believed that no composer he knew even came close to the master - and we are still willing to agree today. Despite its serious key, Beethoven's Third Piano Concerto is not a grand and tragic drama, unlike his other works in C minor (for example, Symphony No. 5, the Symphony of Fate). On the contrary, this concerto has a classically clear structure. The largo in particular is transparently simple and butterfly-like. The outward-looking final rondo, on the other hand, is more concerned with sharp shifts between both emotions and keys.

Gustav Mahler (1860-1911) Symphony No 1 "Titan" The first symphony was premiered in Budapest with the composer as conductor. The music attracted violent criticism, because this was something that was not expected. Mahler had made a name for himself as a brilliant opera conductor but as a composer he was virtually unknown, and now he came up with an ambitious, stylistically variegated and strangely personal symphony. Few works by Mahler have since undergone so many revisions - right up until 1898. When the first version was found in the 1960s, it was clear that the differences were large. The opening is compelling: it begins with an unforgettable feeling of space and stillness. Perhaps Mahler was thinking of when he was left alone in the forest by his father with the promise not to move until his father returned - and it took many hours. Gradually, thematic fragments emerge: horn calls, trumpet fanfares, birdsong. The second movement was first called "Full Sails" and reflects a longing for nature and lively, Austrian-inspired peasant dances. "Mourning march à la Callot" he called the third movement, and the etching intended by the artist shows the dead hunter being carried on a stretcher by the animals of the forest. It is a parodic picture and a highly parodic piece of music, which is based on the well-known children's song Frère Jacques in an ironic, grotesque and bitter minor version. In the trio part there is another quote from Lieder eines fahrenden Gesellen. The finale is the despair of a wounded heart. He borrowed the title of the movement from Dante: "From inferno to paradise". Music may seem to start in hell, and Mahler was probably a long way to paradise. But he didn't get there yet, he did so only in the second symphony - and it was started immediately after the first.

Jurjen Hempel made his highly acclaimed debut in 1997 with Rotterdam Philharmonic. Recent engagements have been with Netherlands Philharmonic Orchestra, the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra, Basel Symphony Orchestra, BBC SO London, BBC SSO Glasgow, BBC NOW Cardiff, Deutsches Symphony Orchestra Berlin. He also has been twice guest conductor with the Royal Concertgebouw Orchestra. After a successful production of Mozart’s Die Entführung aus dem Serail, the Opéra de Toulon appointed him as Music Director starting 2018. He studied conducting with David Porcelijn and Kenneth Montgomery at the Utrecht Conservatorium. On invitation of Seiji Ozawa he studied as a Conducting Fellow at the Tanglewood Music Center where he worked with Bernard Haitink and Lorin Maazel. As finalist and prize-winner at the Sibelius Conducting Competition he received many invitations from Finnish Orchestras.

Cecilia Damström (f 1988) Nixus Cecilia Damström from Helsinki has written commissioned works for various ensembles and festivals since 2014. Her compositions have been awarded several national and international composition prizes. Extinctions, commissioned by the Finnish Radio Symphony Orchestra, was nominated for the Nordic Council Music Prize 2024. About Nixus from 2021 she says: “The Latin word “nixus” can translate as effort, pressure or strain. Nixus is dedicated to anyone who suffers from mental illness in any form. In this work, I try to illustrate how thoughts jump back and forth at a rapid pace, and often form a kind of hamster wheel, a vicious circle from which it is difficult to break out. I try to describe how the thoughts often lead to very gloomy moods and anxiety, which can even become physical manifestations in the body, like palpitations and pressure in the chest.” The work was premiered in February 2021 by the Joensuu City Orchestra under the direction of chief conductor Eero Lehtimäki.

Aaron Copland (1900-1990) Appalachian Spring, suite Copland was a child of the new century, and would come to embody the new era's hopes for the American way of life - not least through the cowboy ballets Rodeo and Billy the Kid. His career was long and rich. He was one of Leonard Bernstein's favorite composers. In the 1920s, he had been a student of the legendary Nadia Boulanger in Paris, and then quickly came under the wing of the conductor Koussevitsky. It was for his Boston Symphony Orchestra that he early composed some of his most brilliant works. Although Copland composed in most genres, he has been most noted for his colorful, rhythmically vital and magnificent orchestral music. The art of ballet particularly interested him and in 1943-1944 he composed Appalachian Spring for Martha Graham's ballet group. She premiered it in October 1944. The orchestral theater in the Library of Congress theater in Washington DC is very small, accommodating only an ensemble of 13 musicians, and for such an ensemble the ballet was also composed. But in the spring of 1945, the composer arranged a shortened version of the ballet for symphony orchestra, something that turned out to be his most performed work. It was Martha Graham who chose the title for the ballet, and she took it from a poem by Hart Crane, which really had nothing to do with the plot. The ballet tells the story of a settler community in Pennsylvania at the turn of the last century. In the slow introduction, we get to know the main characters: the settler woman with a habit of moving in the wilderness, the preacher, the young foreman and his fiancée, as well as a group of four women in the preacher's entourage - all participating in the dance. A quiet prayer takes place and then a love duet. The preacher leads a new dance which reveals his Irish background, and several of the people take up their own dances until the preacher blesses the young couple with a new prayer - and here Copland has also included the old salvation tune The Gift to be Simple. The ballet ends with the young couple left alone and strengthened in their new house. Stig Jacobsson

Felix Mendelssohn (1809-1847) Symphony No. 5, Reformation Symphony No. 5 was written in 1831 and was on the verge of not having a premiere at all. The Paris Conservatoire orchestra did not think it was melodious enough and refused to play it. Mendelssohn also called it "a complete misfit". Instead, it premiered in Berlin the following year. The symphony was written to commemorate the Reformation and the first movement is based on the hymn Dresden Amen. Wagner would use the same melody in Parsifal. The second movement is a lively scherzo, while the third movement, marked Andante and in G minor, is mainly for the strings. The finale also quotes a hymn, the well-known Our God is a mighty fortress to us. At the end of the intense coda, Mendelssohn offers a final, loud variation of the chorale in which the entire orchestra joins in.

Finnish conductor Maria Itkonen has established herself as a versatile conductor, both in opera and orchestral repertoire. Highlights of the past season included debuts at the Teatro de la Maestranza in Seville and the Auditorium-Orchestre National de Lyon, with the Helsingborg Symphony Orchestra and the Ostrobothnian Chamber Orchestra. Itkonen has conducted the Helsinki Philharmonic Orchestra, the Royal Stockholm Philharmonic Orchestra, the Tampere Philharmonic Orchestra, the Malmö Symphony Orchestra and the Turku Philharmonic Orchestra. She made her debut at the Stockholm Folk Opera in 2022 with Norma and has premiered several works by contemporary Finnish composers. Maria Itkonen studied conducting with Professor Jorma Panula in Finland and at the Royal Academy of Music in Stockholm. Before focusing on conducting, she had a career as concertmaster in leading European orchestras.

George Bizet (1838-1875) L'Arlésienne Suite No. 1 Preludium Menuett Adagietto Carillon Author Alphonse Daudet depicted the countryside and people of exotic Provence. One of his most beloved short stories he called The Girl from Arles, which he expanded into a drama in five acts. The play eventually became an opera by Francesco Cilea (1897), but the stage music composed by Georges Bizet was most appreciated. In total, he contributed 27 short vignettes for a small chamber orchestra of 26 musicians, the Théatre de Vaudeville could not afford more. Bizet himself contributed free piano playing. A few movements were written for choir. The first performance on 1 October 1872 was a complete flop, and the play was closed after 21 performances for half a salon. The author exclaimed: "It was a dazzling fiasco with the most charming music in the world, costumes of silk and velvet, and Opéra-Comique scenery. I left the theater dejected, and with the same laughter that pierced the tragic scenes still in my ears, I resolved to write no more plays." But Bizet believed in his music and was eager to save it, so he immediately compiled four of the pieces into an orchestral suite, while arranging them for large symphony orchestra, retaining the important saxophone part; an exciting, new instrument that until now has been mostly used for experiments. This first suite was premiered six weeks after the stage premiere, and was an immediate success. He did not keep the chronology of the drama, it was more important that the movements create a unity. The plot is very simple but told with psychological depth in a dreamy and poetic way. "His name was Jan. He only had eyes for one - a little girl from Arles, dressed in velvet and lace, whom he had once met in the market place in Arles. At his house - to begin with - the party was not looked upon kindly. It was said that the girl was coquettish and her parents were not from the area, but Jan wanted his girl from Arles at all costs. He said: I will die if I don't get her." These few words capture and summarize the whole story. Everything revolves around her, but the girl from Arles never appears on stage, and he takes his own life when it becomes clear to him that she has another lover. Those who know their Christmas music recognize the Kings' March in the opening movement.

Valses nobles et sentimentales Modéré - Assez lent - Modéré - Assez animé - Presque lent - Assez vif - Moins vif - Epilogue: Lent When Claude Debussy heard Ravel's Valses nobles et sentimentales in 1911 he exclaimed: "He has the finest ear anyone ever had!" Ravel was himself aware that this time he had composed something very special. "The title Noble and sentimental waltzes reveal my intentions to compose a series of waltzes such as, for example Schubert did it," wrote the composer. But there ends the innocent comparison, because these eight pieces are packed with harmonic dynamite, which when it exploded made contemporary listeners mad and upset. You can't compose like this! Debussy had only heard the original piano version, for Ravel did not write the elegant and ingenious orchestral ring until the following year. The music also came to be used for the ballet Adélaïde performed at the Châtelet in Paris on 22 April 1912 with the composer as conductor. Today we have gotten used to the piece's piquant French seasoning and can easily make us fall in love with the scents that the contemporaries were appalled by. The eight movements are played without pause and contains great contrasts in rhythmicity within the three-stroke model of the waltz. The suite ends with an epilogue, a slow, dreamy, surreal waltz where the harmonic refinement reaches its peak. Much later, in 1920, Ravel completed yet another "choreographic poem" with three measures - La Valse.

In recent years, Lars Kvensler has regularly conducted the University of Gothenburg Symphony Orchestra (UGSO). In May 2024, he led an all-evening performance of Prokofiev's Romeo and Juliet at Stora Teatern in Gothenburg. In autumn 2023, he was conductor and musically responsible for the musical Så som i himmelen at the Royal Theater in Copenhagen. At Gothenburg Opera, Lars Kvensler has conducted Julglitter och Operakaos, Disney's The Hunchback of Notre Dame and a number of concerts. Since 2011, Lars Kvensler is conductor and artistic director of the Skottårsorkestern, Ronneby. 2008–2016 he was conductor and artistic director of the Liseberg Orchestra. As a conductor, Lars Kvensler has visited the Gothenburg Wind Orchestra, Wermland Opera's orchestra, Orchester de Cannes, Borås Symphony Orchestra, Hemvärnet's Music Choir Gothenburg, Lundby Symphony and the Swedish Navy's Youth Music Choir, Karlskrona. As a violinist, Lars Kvensler was trained in Gothenburg and Budapest and has long been employed in the orchestra of the Gothenburg Opera. He is an active chamber musician in the Bergström Quartet.

Carl Nielsen (1865-1931) Flute Concerto Nielsen tailored the music to the intended musician, and since the flutist Holger Gilbert-Jespersen was a tasteful and elegant man with a Gallic temperament, his concert was bright and chamber-musical, but with unexpected outbursts. The music is characterized by vitality and good mood. In a typical Nielsen way, the music eventually finds its way to the right key. Originally it was in D major, but immediately after the premiere on 21 October 1926 at the Salle Gaveau in Paris, the composer reworked the concerto and had it end in E major. The flute has then been out on many tonal excursions and now seems to have difficulty finding home; by chance, the boozy bass trombone enters the game and happens to be right - and therefore also takes credit from the soloist. One readily agrees with the Swiss composer Arthur Honegger, who was present at the premiere of the concert: "It has small dimensions but is filled with beautiful combinations, such as the dialogues between flute and timpani or bassoon. It is piquant, flowing and not without humor."

Jurjen Hempel made his highly acclaimed debut in 1997 with Rotterdam Philharmonic. Recent engagements have been with Netherlands Philharmonic Orchestra, the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra, Basel Symphony Orchestra, BBC SO London, BBC SSO Glasgow, BBC NOW Cardiff, Deutsches Symphony Orchestra Berlin. He also has been twice guest conductor with the Royal Concertgebouw Orchestra. After a successful production of Mozart’s Die Entführung aus dem Serail, the Opéra de Toulon appointed him as Music Director starting 2018. He studied conducting with David Porcelijn and Kenneth Montgomery at the Utrecht Conservatorium. On invitation of Seiji Ozawa he studied as a Conducting Fellow at the Tanglewood Music Center where he worked with Bernard Haitink and Lorin Maazel. As finalist and prize-winner at the Sibelius Conducting Competition he received many invitations from Finnish Orchestras.

Bela Bartók (1881-1945) Concerto for Orchestra Introduzione Gioco delle coppie Elegia Intermezzo interrotto Finale When this music was written in 1943, Bela Bartók had two years left to live. He had come to the United States fleeing a Europe at war and clawed his way through a few lean years in New York. The honorary doctorate at Harvard provided no income. In addition, he became increasingly ill, what previously appeared to be tuberculosis turned out to be leukemia. But he continued to compose as always. Work was his life - and pleasure too, if you will. Like a child, he rested by doing other things. He was first and foremost a music ethnologist, that is, a recorder and collector of folk music. And it was among other things this immeasurable library, more than 13,000 melodies, he was so keen to save the Second World War. Countless trips in Hungary, Romania, Bulgaria, Slovakia and Turkey were made with a phonograph as a memory aid. In between, he composed, on top of that a whole lot of teaching as income and change, and of course an extensive activity as a concert pianist in many countries. In addition, he was interested in collecting plants, beetles, learning new languages. Palestrina's music was always on the piano and he never traveled without his thumbed score of Stravinsky's The Rite of Spring under his arm. Is there a diagnosis for this? we would ask today. The music Bela Bartók wrote was highly influenced by all the music he saw and heard on his collecting trips, but in the later works you can also hear how fascinated he was by the Baroque masters. The concerto for orchestra was commissioned by the Sergei Koussevitsky Music Foundation. Bartók himself has described the music as a journey from austerity via an ominous song to a life-affirming ending. Like Mozart, he composed incredibly quickly, he couldn't get an idea out of his head until the next one appeared. With such a cacophony within, it is no wonder that throughout his life he sought out quiet places. Bartok himself saw the collection of folk music as his greatest and most important deed for more than one reason: "My own idea is the brotherhood of peoples, brotherhood despite all wars and conflicts. I try - as best I can - to serve that idea in my music: therefore I reject no influences, whether Slovak, Romanian, Arabic, or from other sources." (Bartók, 1931) KATARINA A KARLSSON

Aaron Copland (1900-1990) Appalachian Spring Copland was a child of the new century, and would come to embody the new era's hopes for the American way of life - not least through the cowboy ballets Rodeo and Billy the Kid. His career was long and rich. He was one of Leonard Bernstein's favorite composers. In the 1920s, he had been a student of the legendary Nadia Boulanger in Paris, and then quickly came under the wing of the conductor Koussevitsky. It was for his Boston Symphony Orchestra that he early composed some of his most brilliant works. Although Copland composed in most genres, he has been most noted for his colorful, rhythmically vital and magnificent orchestral music. The art of ballet particularly interested him and in 1943-1944 he composed Appalachian Spring for Martha Graham's ballet group. She premiered it in October 1944. The orchestral theater in the Library of Congress theater in Washington DC is very small, accommodating only an ensemble of 13 musicians, and for such an ensemble the ballet was also composed. But in the spring of 1945, the composer arranged a shortened version of the ballet for symphony orchestra, something that turned out to be his most performed work. It was Martha Graham who chose the title for the ballet, and she took it from a poem by Hart Crane, which really had nothing to do with the plot. The ballet tells the story of a settler community in Pennsylvania at the turn of the last century. In the slow introduction, we get to know the main characters: the settler woman with a habit of moving in the wilderness, the preacher, the young foreman and his fiancée, as well as a group of four women in the preacher's entourage - all participating in the dance. A quiet prayer takes place and then a love duet. The preacher leads a new dance which reveals his Irish background, and several of the people take up their own dances until the preacher blesses the young couple with a new prayer - and here Copland has also included the old salvation tune The Gift to be Simple. The ballet ends with the young couple left alone and strengthened in their new house. Stig Jacobsson

Emelie Mayer became a household name in Berlin, both for her compositions and sculptures, which were another art form she mastered. Her first two symphonies were both premiered in Stettin and her success was even greater in Berlin. There her music was mainly played in private homes, but in 1850 a public concert was given at the Royal Theater with exclusively Emelie Mayer's compositions. She became popular with both critics and audiences and followed her works to the cities where they were performed; Cologne, Munich, Lyon, Brussels and Vienna. As a composer, she was versatile and productive. Eight symphonies, 15 concert overtures, a lot of music for piano, voice, violin, etc. She worked hard but also enjoyed helping others, for example by giving composition lessons to other women.

Jurjen Hempel made his highly acclaimed debut in 1997 with Rotterdam Philharmonic. Recent engagements have been with Netherlands Philharmonic Orchestra, the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra, Basel Symphony Orchestra, BBC SO London, BBC SSO Glasgow, BBC NOW Cardiff, Deutsches Symphony Orchestra Berlin. He also has been twice guest conductor with the Royal Concertgebouw Orchestra. After a successful production of Mozart’s Die Entführung aus dem Serail, the Opéra de Toulon appointed him as Music Director starting 2018. He studied conducting with David Porcelijn and Kenneth Montgomery at the Utrecht Conservatorium. On invitation of Seiji Ozawa he studied as a Conducting Fellow at the Tanglewood Music Center where he worked with Bernard Haitink and Lorin Maazel. As finalist and prize-winner at the Sibelius Conducting Competition he received many invitations from Finnish Orchestras.

Orkesterkommentar: Till Göteborgs Symfonikers stora projekt hör framförandet av Liszts samtliga symfoniska dikter. Minns ni det? Idén kom från förre intendenten Sven Kruckenberg som med iver och envishet såg till att Liszts 13 tondikter och två symfonier framfördes i Göteborgs Konserthus. Projektet påbörjades med Dantesymfonin den 17 oktober 1968 under Norman Del Mars ledning och avslutades med Heroïde funèbre den 28 oktober 1977 med Peter Maag som dirigent. Ett riktigt maratonlopp! Reaktionerna var blandade men den följande diskussionen livlig och uppfriskande. Sven Kruckenberg minns själv: ”En stor del av orkestern förstod sig inte på Liszt, men många i publiken tog emot honom med intresse. ”Synen på Liszts musik har i mångt och mycket förändrats sedan dess vilket Jan Ling bland annat tar upp i sin intressanta bok Franz Liszt och 1800-talets konstmusik (Gidlunds, 2009). Franz Liszt är tveklöst en av senromantikens stora förgrundsfigurer. Han mer eller mindre uppfann den symfoniska dikten som enligt ordboken är en ”orkesterkomposition i fri form och symfonisk stil med utpräglat programmatiskt innehåll, vanligtvis ensatsig”. Les préludes betecknas i Liszts verkförteckning också som Symfonisk dikt nr 3. Pluralformen Les préludes är något förbryllande. Liszt skrev och framförde verket första gången 1848 som preludium till sitt stora kör- och orkesterverk De fyra elementen. När stycket reviderats och första gången spelades i sin nya form i Weimar 1854 lade Liszt till raden ”Efter Lamartine” på titelbladet. Där syftar han på en dikt av den franske lyrikern Alphonse de Lamartine (1790-1869) som ingår i samlingen Méditations poétiques från 1820. Titelns pluralform får sin förklaring i Lamartines rader: ”Vad annat är vårt liv än en följd av preludier till den okända sång, vars högtidliga begynnelsetoner stäms upp av döden? Kärleken är varje tillvaros strålande morgonrodnad. Men vilket livsöde finns, vars första ljuva lycka inte brutits av något oväder, som med sin dödande stormvind krossat dess illusioner och med sin olycksbringande blixt splittrat dess altare?” Les préludes är typisk för den eklektiske Liszt. Här finns arvet från den preussiska militärmusiken (som även är tongivande hos Liszts förebild Beethoven) och romantikens ljuva klanger i skön förening med den typ av tematisk bearbetning (metamorfosteknik) och kromatisk äventyrlighet som Wagner skulle dra till sin spets. Liszt var för övrigt en stor inspirationskälla för Wagner som sedermera blev Liszts svärson. Les préludes fick ny aktualitet i 1940-talets Tyskland när Hitler valde stycket som signaturmusik till journalfilmer från nazisternas krigståg i Europa. Det kan Liszts musik inte lastas för men det säger oss något om dess attraktionskraft och karaktär med rötter som sträcker sig långt ner i det tyska kejsardömets psyke och historia. Stefan Nävermyr

Emelie Mayer became a household name in Berlin, both for her compositions and sculptures, which were another art form she mastered. Her first two symphonies were both premiered in Stettin and her success was even greater in Berlin. There her music was mainly played in private homes, but in 1850 a public concert was given at the Royal Theater with exclusively Emelie Mayer's compositions. She became popular with both critics and audiences and followed her works to the cities where they were performed; Cologne, Munich, Lyon, Brussels and Vienna. As a composer, she was versatile and productive. Eight symphonies, 15 concert overtures, a lot of music for piano, voice, violin, etc. She worked hard but also enjoyed helping others, for example by giving composition lessons to other women.

Truls Mørk is an acclaimed cellist and performs with the most prominent orchestras including the Orchestre de Paris, Berliner Philharmoniker, Vienna Philharmonic, Concertgebouw Orchestra, Munich Philharmonic, Philharmonia and London Philharmonic and Gewandhausorchester Leipzig. In North America, he has appeared with the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Boston Symphony Orchestra and Los Angeles Philharmonic. Conducting collaborations include Esa-Pekka Salonen, David Zinman, Manfred Honeck, Gustavo Dudamel, Sir Simon Rattle, Kent Nagano, Yannick Nézet-Séguin and Christoph Eschenbach, among others. In the 2024-2025 season, Mørk returned to the Rotterdam, London and Bergen Philharmonic Orchestras, RAI Turin, Orchestre Phiharmonique de Radio France and the ORF Vienna Radio Symphony Orchestra. Truls Mørk is a great advocate for contemporary music and has given over 30 world premieres. He has performed Esa-Pekka Salonen's Cello Concerto with a number of prominent orchestras, Victoria Borisova-Olla's Cello Concerto Oh Giselle Remember Me, Rautavaara's Towards the Horizon, Pavel Haas's Cello Concerto with the Vienna Philharmonic and Jonathan Nott, Penderecki's Concerto for Three Cellos with the Hafliði Symphony Orchestra and Charles Hallgrímsson's Cello Concerto commissioned by the Oslo Philharmonic, Iceland Symphony and the Scottish Chamber Orchestra. He last visited the Gothenburg Symphony in season 2016-2017 when he was Artist in Residence.

With her expressive body language, natural stage presence and infectious musicality, Eva Ollikainen is one of the leading conductors of our time. Since 2020, she has been chief conductor and artistic director of the Iceland Symphony Orchestra and previously chief conductor of the Nordic Chamber Orchestra. In the 2024-2025 season, Ollikainen makes her debut with the Orchester National de France, Tonhalle-Orchester Zürich, Danish Radio Symphony Orchestra, London Philharmonic Orchestra and Auditorium-Orchester National de Lyon. She makes guest appearances with the Wiener Symphoniker, returns to the Deutsches Symphonie-Orchester Berlin, the Helsinki Philharmonic and the Gothenburg Symphony and conducts an August Everding production of The Magic Flute at the Staatsoper Berlin. In opera, Ollikainen has also conducted at Semperoper Dresden, Det Kongelige in Copenhagen, Gothenburg Opera, Royal Opera in Stockholm and the Finnish National Opera. Eva Ollikainen is curious about contemporary music and performs a wide repertoire with the Iceland Symphony Orchestra. She has a close collaboration with the Icelandic composer Anna Thorvaldsdottir. In 2023 Ollikainen released her album ARCHORA / AION on Sono Luminus to critical acclaim; the album was selected by the New York Times as one of the best of 2023. Eva Ollikainen won Jorma Panula's conducting competition at the age of 21. She regularly teaches at the Sibelius Academy and founded Iceland's Conducting Academy in 2021.

Igor Stravinsky (1882-1971) Petrushka (1911) The Shrovetide Fair Petrushka's Room The Moor's Room Towards evening: The Fair Petrushka, which is an example of Stravinsky's feeling for Russian folklore, actually comes from Stravinsky's first years as a composer. The young law student, who took private lessons in orchestration, had caught the eye of ballet impresario Diaghilev after some orchestral pieces performed back home in Russia. Djagilev was looking for something musically new and interesting. Paris critics liked the Russian ballet's inventive decor and choreography, but found the music boring. After Stravinsky's Rite of Spring, no critics wrote that anymore. But this was several years ahead, first Diaghilev lured Stravinsky to France. The ballet The Firebird was Stravinsky's definitive breakthrough and perhaps the work that made him truly believe in his chosen profession. Ballet number two, Petrushka, became as popular as the Firebird. Petrushka is about three dolls that appear in Russian markets and the music is as full of color and whimsy as you can imagine such a market could be. The amazing dancer Nijinsky played the lead role at the Théâtre du Châtelet on June 13, 1911. Over 30 years later, in 1947, Stravinsky made a new version in the United States with some adaptations, most likely because he did not have the copyright to his earlier version and had to rewrite it to generate income when the work was performed. I'm probably not alone in thinking that the music for Petrushka is among the most beautiful things Stravinsky wrote. Time and time again, the music evokes smiles. Here there are carousels, love, positivity, romance, slapstick. Close your eyes, and both scents and images come to mind.

At the very first performance of the German composer Max Bruch’s final version in 1868, the audience embraced the work at once. Bruch’s thoughtful approach to instrumentation allows both soloist and orchestra to shine – their interplay flows with melodic richness and expressive warmth. Like Felix Mendelssohn, Max Bruch was a musical prodigy. He wrote his first symphony and a string quartet at the age of fourteen. Yet it must have been a strange fate for a composer whose works were widely performed and admired to be celebrated, for the rest of his long life, almost exclusively for a single piece: the Violin Concerto in G minor. The world’s great violinists adored it, the public adored it, but Bruch eventually grew weary of players who wanted to perform only that concerto. Unfortunately, he had sold the rights to his publisher early on, meaning he received no income from the immense number of performances during his lifetime. Bruch described the first movement as a prelude – a long one – which leads almost imperceptibly into the second movement. Like Mendelssohn, he lets the soloist enter swiftly rather than opening with the full orchestra. Here, inspired melodies unfold in dialogue with the orchestra, interrupted by two brief solo cadenzas. The violin begins the adagio with a nostalgic, heartfelt line, later followed by brilliant solo writing that avoids any hint of undue sentimentality. A short pause leads into an energetic allegro, where a Hungarian-inspired dance takes command, complete with virtuosic solo passages and a romantic theme that captivates and seduces.

Allegro con brio Largo Rondo: Allegro The first sketches for the Third Piano Concerto can be dated to 1797, when Beethoven was greatly inspired by listening to a performance of Mozart's Piano Concerto No. 24 in the same key. The handwritten manuscript is dated 1800, but he continued to refine the design until early 1803. The first performance of the Third Piano Concerto took place on 5 April 1803 at the Theater an der Wien. A newspaper article states that Beethoven did not receive a particularly long applause, even though he had gathered all his most devoted admirers for the evening. The reason is that he was already beginning to be regarded as a strange scoundrel. Beethoven's pupil Ferdinand Ries reported that Beethoven played the solo part in the Piano Concerto in good spirits, but that many notes "fell under the table". When it came to the composition itself, however, Ries believed that no composer he knew even came close to the master - and we are still willing to agree today. Despite its serious key, Beethoven's Third Piano Concerto is not a grand and tragic drama, unlike his other works in C minor (for example, Symphony No. 5, the Symphony of Fate). On the contrary, this concerto has a classically clear structure. The largo in particular is transparently simple and butterfly-like. The outward-looking final rondo, on the other hand, is more concerned with sharp shifts between both emotions and keys.