#finnish radio symphony orchestra

[morgana-lefay]

Käärijä performing "Cha Cha Cha" feat. Finnish Radio Symphony Orchestra | Emma Gaala 2024

[lesser-known-composers]

Ernest Pingoud (1887-1942) : Symphony No 2

Jukka-Pekka Saraste - Finnish Radio Symphony Orchestra

[beardedmrbean]

Official observations of Finland’s 106th Independence Day began at 9am Wednesday with a flag-raising ceremony on Tähtitorni Hill in Helsinki's Ullanlinna district.

Hoisting the Finnish flag in bright, cold weather were members of a YMCA scout troop from Rastila, eastern Helsinki, accompanied with singing by the Viipurin Lauluveikot. The male choir was founded in 1897 in Vyborg, which is now part of Russia.

Delivering a speech at this year’s flag ceremony was Speaker of Parliament Jussi Halla-aho (Finns).

Independence Day commemorates December 6, 1917, when the Finnish Parliament approved a declaration of independence from Russia that had been issued by the Senate. Finland had been a Grand Duchy under the Russian Empire since 1809. The Senate was led by Pehr Evind Svinhufvud, who became the republic’s third president in the 1930s.

At 10.30, President Sauli Niinistö laid a wreath at the Tomb of the Unknown Soldier in Helsinki's Hietaniemi Cemetery, followed by Defence Minister Antti Häkkänen (NCP) and the Defence Forces Commander, Gen. Timo Kivinen.

The annual Independence Day parade began in Oulu at noon, organised by the Finnish Army's Kainuu Brigade, which is based in Kajaani.

The parade view from the Raatti Stadium and the march past the Merikoski Bridges at 1pm were broadcast live on Yle channels, while a compilation of the highlights shown later.

Disruption at ecumenical service

Niinistö also took part in a traditional ecumenical service at Helsinki's Lutheran Cathedral at noon. The Lutheran Bishop of Oulu, Jukka Keskitalo, delivered the sermon, and a prayer was read in the indigenous North Sámi language.

Pastor Kari Kanala said in a social media post that the service was briefly disrupted by some attendees seated in an upper loft.

"Palestinian flags, a peace song, etc. I don't know what to think. In any case, we are here praying for peace anyway," he posted on X, adding that the disturbance only lasted for about a minute.

Helsinki Police Chief Commissioner Patrik Karlsson confirmed the incident to Yle. He said that 10 people participated in the protest, dropping two banners expressing support for Palestine from the loft. Police removed two people from the event, telling them they could continue their demonstration outdoors.

Police said they have received notifications of four other demonstrations later in the day, including two that were scheduled to begin at 4pm. A traditional university students' torchlight procession was to begin an hour later.

Sibelius and a TV gala

Beginning at 3pm, the Radio Symphony Orchestra offered an Independence Day concert from the Helsinki Music Centre. Featuring works by Finnish composers Magnus Lindberg, Esa-Pekka Salonen and Jean Sibelius, was broadcast live on Yle Teema and Areena, and at 7pm on Yle Radio 1.

The day culminates in the annual ball at the Presidential Palace, which starts at 7pm.

Niinistö and his spouse, Jenni Haukio, host the reception for the 10th and final time. They have hosted it annually since he took office in 2012 except in 2020-21, when it was cancelled due to the pandemic, replaced by modest virtual events. In 2013, the event was held in Tampere as the Presidential Palace was under renovation.

Voting for Niinistö’s successor begins just over a month from now.

The TV and online broadcast of the gala is typically Finland's most-watched media event of the year, sometimes attracting more than 2.5 million viewers.

[talentforlying]

@ofmusicandprayers: ♬!!! — SONGS I LOVE

de selby pt.2 - hozier! first of all, the music video fucks beyond belief. second of all, domhnall gleeson my beloved, one of my initial fc options for constantine. third, i simply goddamn love this song, and finally, the cyclical nature of hellblazer! dissociation and the need to run as fast and as hard as you can to outpace your fate, whatever it takes! the symbolic killing & burying of one version of yourself to start over and begin anew, but it's still you in that body, and all the choices you made before will be made again! despair and exhaustion with the knowing of this, and yet still you start the cycle again in the hopes that this time it'll be different! that's motherfucking john constantine right there!! like:

what you're given, what you live in / darlin', it finds a way to live in you

he was dealt the hand he has, he didn't choose it, but he's still the one who picks up the spade and digs himself a deeper hole, every fucking time. he's given and takes the option to start with a fresh slate over and over again, but he still makes the choices that put him back where he used to be, and i flatly ignore the idea that his dead twin was manipulating events the whole time, that was all constantine. every failure, every grinding himself back down into sharp angles, every time something went wrong, was him being unable to break the cycle. he never needed any supernatural intervention to fail. he does that to himself, because there's no real separating line between john constantine and the hellblazer:

i don't need to know where we begin and end / i'd still know you, not being shown you / i only need the workin' of my hands

also, the way the narrator detaches himself from being the cause of his own failings is very reminiscent of constantine's habit to wallow in his grief as a victim, trying to find penance in the reliving of his pain instead of in making any effort to change his behavior so it won't happen again:

(if i was any closer) if i was any closer / (i could only lose me) i could be lost / (if i fade away, let me fade away) no more than i was

i also really love the reference to the third policeman, because de selby is described as someone whose initial works were lost, and is provided with sparse, mostly-contextual detail; reminds me a lot of constantine and how his legend has spread, through word-of-mouth and context. if you met him on a day he saved your life, he's as good as a god; if you met him on a day he failed, he's cruel and capricious. the principal de selby theory being that human existence is "a succession of static experiences each infinitely brief" feels very much like a description of comics as a whole, and a summary of constantine's life through that lens!

+ song for sandalphon: gonna switch it up with a classical piece, violin concerto "distant light" cadenza iii - finnish radio symphony orchestra, because i can see him playing this at the vatican by himself, full orchestra kind of filling itself in through sheer force of skill, and it just feels right? like the dissonance that still feels like a single note very much gives me 'angel amongst humans' vibes, something old and experienced and more layered than you could possibly imagine right underneath the surface. the part at 3:10 has biblical-angel-of-many-eyes energy to me and it's fascinating to imagine some of that coming out when he plays, and then the final lead into a waltz also feels right.

[opera-ghosts]

OTD in Music History: Jean Sibelius (1865 - 1957) dies peacefully at his iconic home (named "Ainola" after his beloved wife Aino) in Järvenpää, Finland, a few weeks shy of his 92nd birthday. One of the greatest musical nationalists of the 20th Century, Sibelius remains a Finnish cultural icon who is widely recognized as one of the most important symphonists of the modern era. Sibelius’s international fame can be traced back to the tremendous success of his ever-popular tone poem "Finlandia" in 1899, and his stature only continued to grow during the next decade. His good friend Ferruccio Busoni (1866 - 1923) premiered his 2nd Symphony in Berlin in 1901, and noted British composer Granville Bantock (1868 - 1946) commissioned his 3rd Symphony in 1907. The justly-famous Violin Concerto (1903) also dates from this early period, although Sibelius didn’t published what are arguably his finest works -- the 5th Symphony (1919), the 6th Symphony (1923), the 7th Symphony (1924), and the tone poem "Tapiola" (1925) -- until after World War I. But then came the silence. For the last 30 years of his life, Sibelius suffered from one of the most monumental writers' blocks in musical history. He produced next to nothing, although rumors (some stoked by Sibelius himself) continued to swirl that he was preparing an 8th symphony. According to his wife, one day in the mid-1940s, the elderly Sibelius got drunk and then sat down and burned a tremendous amount of manuscript material in the fireplace at Aino -- and that was that. He apparently found this bonfire to be cathartic, and no substantial manuscripts were found after his death a decade later… PICTURED: A c. 1950's headshot photograph of Sibelius, which he has signed and inscribed "An das Sinfonie-Orchester des N.W.D.R. in Dankbarkeit." (The North West German Radio Symphony Orchestra was a radio orchestra founded by British occupation authorities after World War II.)

This historic clip shows Jean Sibelius at his home, Ainola. The first moving images of Jean Sibelius dates from the spring of 1927, when he was filmed at Ainola by the Finnish cinematographers Heikki Aho and Björn Soldan. Aho and Soldan were the sons of the noveliest Juhani Aho, and had grown up in the close vicinity of Sibelius and his family. In the 1927 film, we see an urbane and relaxed Sibelius on the Lake Tuusula road. The images are striking: in his bowler hat, the composer has a casual, Anglo-Saxon air which differs from later portrayals of the Karsh-ian Sibelius as the brooding and forbidding musical titan. The documentary also provides intimate glimpses of family life at Ainola: we see a happy Aino in the role of home-maker and her daughters picking apples in the garden (one runs up the path that would eventually lead to Sibelius's final resting place). Their father reads the newspaper and contentedly puffs on his cigar. In one scene, Soldan's camera catches the composer at work at the piano; another shows his daughter Margareta playing a violin solo, caught against the light filtering through a window. In 1945, shortly before his 80th birthday, Sibelius agreed to be filmed again by a Finnish film team. This time, Aho and Soldan show us a very different Sibelius, the aged composer watching the forests, cranes and lakes, full of autumnal nostalgia.

[burlveneer-music]

Tyondai Braxton - Telekinesis

Telekinesis—an eighty-seven-piece work for electric guitars, orchestra, choir and electronics—will be released on November 11, 2022, via New Amsterdam and Nonesuch Records. Featuring the Metropolis Ensemble conducted by Andrew Cyr, the Brooklyn Youth Chorus conducted by Dianne Berkun Menaker, and chamber choir The Crossing conducted by Donald Nally, Telekinesis is the first studio recording of the work. Telekinesis is the result of a co-commission by the Southbank Centre London and Musica Nova, Helsinki Festival. The world premiere took place on April 18, 2018 at Queen Elizabeth Hall with the BBC Concert Orchestra and BBC Singers, followed by a performance at Helsinki Festival by the Finnish Radio Symphony Orchestra. Andre de Ridder conducted both performances. Braxton calls Telekinesis “the latest and largest example of intersections between my electronic music and notated music, both sonically and philosophically.” Throughout the recording and production process, Braxton sought to “create an environment where electronic instruments and acoustic instruments coexist in a place that feels balanced and organic.” To achieve that, the orchestra, choir, and electronics were tracked section by section at Oktaven Audio in Mt Vernon, New York from August 2021 to March 2022 by engineer Ryan Streber. This allowed for a hyper-detailed mix session with Seth Manchester at Machines with Magnets in Pawtucket, RI. As a studio recording, the mix recreates how an orchestra would be placed (with some exceptions), but is exaggerated in its width and in the closeness and depth of certain instruments, surrounding the listener. Braxton says: “As a science fiction and horror fan, the initial idea was to write an opera based on the Japanese manga masterpiece Akira, although over time, I realized I was more interested in the story as an invisible thematic guide rather than something more literal. Among a number of storylines in Akira is the idea that a young boy comes upon the ability to move objects and generate energy with his mind. Entirely enthralled with his own power and apparent limitless potential, and despite his inability to physically and mentally control this force, he launches unrestrained into its use. Ultimately, his hubris overtakes and destroys him. The power of the mind has been a compelling consideration for me and is an underlying theme in this piece.” Composer, Electronics, Celeste: Tyondai Braxton Metropolis Ensemble: Andrew Cyr, artistic director/conductor Brooklyn Youth Chorus: Dianne Berkun Menaker, conductor The Crossing: Donald Nally, conductor Cover Art: "Sanctuary City" by Grace Villamil

[rndyounghowze]

PHL-13 Salonen Conducts Sibelius

Philadephia Orchestra

Conducted By:

Esa-Pekka Salonen

Presented At: Kimmel Center Verizon Hall

This week marks the beginning of a two-week residency for Salonen at the Philadelphia Orchestra. The Finnish-born conductor now splits time between London and San Francisco. But this past weekend and the next he’s bringing deeply personal musical pieces with him to The Philadelphia Orchestra. This week was a showcase of a piece called “Radical Light” by his late friend Steven Stucky. Then he collaborated with Ricardo Morales on the clarinet to bring his original composition “Kinema” to Verizon Hall. Ending the performance was a stunning rendition of Finnish composer Jean Sibelius’s “Symphony No. 5". The performances were captivating and showcased the skill of highly seasoned musicians.

Radical Light

Certain composers write music for strings that feel like choreographers instead. Stucky wrote pieces for strings that play with delay, echo, and unison. If you were listening to this song on the radio it would sound like a cascade of strings on a bed of woodwinds and brass crashing into a floor of percussion. Watching it in person we say a sea of violin bows moving in such a pattern that it felt like they were dancing. Violinists have so many ways to attack the strings. You can pluck them, bow them, strike them, etc. This makes the very act of playing a bowed instrument a unique drama style. What is very interesting about the end of a symphony piece is when the last musical strains hang in the air and the entire hall is silent. No one knows whether to clap or not. They are ready at any moment for the music to start again. Or maybe they aren’t ready to leave the immersive musical world that Stucky’s piece put us in.

Kinema

We both saw this piece featuring soloist Morales in two ways. In one way Morales looks like he was extracting the highly technical piece from the clarinet. His fingers worked over the instrument as if they were forcing the notes out of a reluctant woodwind. Yet he also looked like a veteran musician standing over the sheet music with the concentration of a surgeon and the clarinet was his scalpel. Together he and his instrument interpreted the five musical vignettes or scenes (Kinema is Finnish for “Scene”) as if the notes had always been there. Salonen the composer is standing not five feet away yet Morales makes the pieces feel authorless, as if they had always been there. This happens when a masterful composer's musical piece is interpreted by a musician who has spent decades honing their craft. It takes decades of training to make the notes feel that spontaneous.

Sibelius Symphony No. 5

Sibelius received the commission for this piece on his 50th birthday. Historians note that he got inspiration for part of the piece by watching a flock of swans fly away towards the sun. That’s probably why so much of the music sounds like springtime. Dana could hear flowers blooming. Raindrops were falling from the strings section. Ricky heard an earthy sound in the contrabassoon and the woodwinds. We have a feeling that with the tensions of World War I coming up, and Sibelius contemplating this stage in his life he wanted to create a piece that eased tension (don’t quote us we’re not psychic). That’s immediately what this symphony feels like for us. It’s an easing of tension. Salonen led the orchestra through the piece at an even pace. He led us through those moments of tension and release and made sure that we could feel each one of them. By the time the last four staccato notes played into the quiet hall, you could feel the pressure released from the audience by their exuberant cheers.

[iseilio-blog]

Brahms 、Borodin

1833

Brahms: Most Beautiful Adagios (youtube.com)

Brahms - Symphony No 1 in C minor, Op 68 - Järvi - YouTube

@adude394

Simply magnificent. Brahms starts the symphony strong, gets

stronger as he goes along, raises the bar in the Finale, and

takes it to a whole other level in the coda. I love Maestro Järvi’s

tempos, too. Nothing too rushed, nothing too slow. Everything

feels natural. Wonderful performance by a great conductor and

a world-class orchestra.

@kowhort

7 years agoMusic sometimes is like a baby duck who imprints on

its mother. The first time you hear a symphonic work that grabs

you, you never want to listen to another orchestral/conductor if

they can’t deliver the original experience. I’m listening to this one

for the first time and so far so good. It’s the third movement

that will make or break it for me……3rd is pretty good.

@royaltyrick

Although not a great fan of Brahms, I love the melody that

comes in at 35:12 and again at 38:46 in the 4th movement -

many years ago I bought the single ‘Musik zum Verlieben’ by

the Gunther Kallman Choir, which is based on this melody (the

flip side, ‘Elisabeth Serenade’ is based on Ronald Binge’s

piece).

Incidentally, the name Järvi is pronounced YARR-vee, not YAIR-

vee as though it were German (or Swedish). In Estonian (as in

Finnish) the letter ä is pronounced as in English ‘cat’, whereas

the unaccented a is pronounced as in English ‘cart’. Similarly,

Arvo Pärt’s surname is something like 'parrot’. Presenters on

Classic FM and BBC Radio 3 seem unaware of this!

約翰尼斯·布拉姆斯 - 維基百科，自由的百科全書 (wikipedia.org)

神經質 的 Schumann ，與情感內斂的 Brahms ，心中共同的

對象就是 Schumann夫人 Clara Schumann。這個時代仍然本許

過度煽情的手法來寫音樂，同時在音樂技法的發展上也尚未成熟，

因此 Schumann 與 Brahms 都留下了許多歌曲作品贈與 Clara，

雖然並不像許多後來的作曲家有那麼暗示，但卻也都是饒富深情

的作品。

1833

Borodin String Quartet No.2 Esmé Quartet - YouTube

古典心台灣情 上半場 (youtube.com)

亞歷山大·鮑羅丁 - 維基百科，自由的百科全書 (wikipedia.org)

[pastdaily]

The Finnnish Radio Symphony With Anna-Maria Helsing - 75th Birthday Concert For Paavo Heininen - 2013 - Past Daily Mid-Week Concert

Anna-Maria Helsing – bright light on the horizon, appointed Chief Conductor for The BBC Concert Orchestra, starting in October. https://pastdaily.com/wp-content/uploads/2023/07/Yle-Radio-1-Jan-11-2013.mp3 Finnish Radio Symphony – Ann-Maria Helsing, Conductor – Music Of Paavo Heininen – 75th Birthday Concert – January 11, 2013 – Over to Helsinki this week for a special concert featuring the…

[nwdsc]

(Telekinesis | Tyondai Braxtonから)

Telekinesis—an eighty-seven-piece work for electric guitars, orchestra, choir and electronics—will be released on November 11, 2022, via New Amsterdam and Nonesuch Records. Featuring the Metropolis Ensemble conducted by Andrew Cyr, the Brooklyn Youth Chorus conducted by Dianne Berkun Menaker, and chamber choir The Crossing conducted by Donald Nally, Telekinesis is the first studio recording of the work. Telekinesis is the result of a co-commission by the Southbank Centre London and Musica Nova, Helsinki Festival. The world premiere took place on April 18, 2018 at Queen Elizabeth Hall with the BBC Concert Orchestra and BBC Singers, followed by a performance at Helsinki Festival by the Finnish Radio Symphony Orchestra. Andre de Ridder conducted both performances. Braxton calls Telekinesis “the latest and largest example of intersections between my electronic music and notated music, both sonically and philosophically.” Throughout the recording and production process, Braxton sought to “create an environment where electronic instruments and acoustic instruments coexist in a place that feels balanced and organic.” To achieve that, the orchestra, choir, and electronics were tracked section by section at Oktaven Audio in Mt Vernon, New York from August 2021 to March 2022 by engineer Ryan Streber. This allowed for a hyper-detailed mix session with Seth Manchester at Machines with Magnets in Pawtucket, RI. As a studio recording, the mix recreates how an orchestra would be placed (with some exceptions), but is exaggerated in its width and in the closeness and depth of certain instruments, surrounding the listener. Braxton says: “As a science fiction and horror fan, the initial idea was to write an opera based on the Japanese manga masterpiece Akira, although over time, I realized I was more interested in the story as an invisible thematic guide rather than something more literal. Among a number of storylines in Akira is the idea that a young boy comes upon the ability to move objects and generate energy with his mind. Entirely enthralled with his own power and apparent limitless potential, and despite his inability to physically and mentally control this force, he launches unrestrained into its use. Ultimately, his hubris overtakes and destroys him. The power of the mind has been a compelling consideration for me and is an underlying theme in this piece.” クレジット2022年11月11日リリース Composer, Electronics, Celeste: Tyondai Braxton Metropolis Ensemble: Andrew Cyr, artistic director/conductor Brooklyn Youth Chorus: Dianne Berkun Menaker, conductor The Crossing: Donald Nally, conductor Producers: Tyondai Braxton and Andrew Cyr Additional Contributors: Ryan Streber, engineer; Seth Manchester, mixing; Matt Colton, mastering Cover Art: "Sanctuary City" by Grace Villamil Co-commissioned by Southbank Centre, London and Musica nova, Helsinki Festival Premiered April 18, 2018 at Queen Elizabeth Hall with the BBC Concert Orchestra and BBC Singers

[garadinervi]

Krzysztof Penderecki (1933-2020)

♥

(image: Penderecki: Threnody to the Victims of Hiroshima Symphony (Tren ofiarom Hiroszimy, 1960), No. 1, Wanda Wilkomirska (violin), Siegfried Palm (cello), Felicja Blumental (harpsichord), Sabine Meyer (clarinet), and Alfons Kontarsky (piano). London Symphony Orchestra, Krakow Philharmonic Chorus, Polish Radio National Symphony Orchestra, Polish Radio Symphony Orchestra, Warner Classics, 2012)

Krzysztof Penderecki, Tren ofiarom Hiroszimy, 1960, Krzysztof Urbański, conductor, Finnish Radio Symphony Orchestra, Helsinki Music Centre, March 13, 2015

[dailyclassical]

Ernest Pingoud - Le chant de l'espace (Song of Space), tone poem for orchestra

Performed by the Finnish Radio Symphony Orchestra with Sakari Oramo conducting

[lesser-known-composers]

Ernest Pingoud (1887–1942) - Flambeaux eteints (Extinguished Torches) , Op. 14 ·

Finnish Radio Symphony Orchestra, Conductor: Sakari Oramo

[theoszczepanski]

Pehr Henrik Nordgren - Symphony No. 3

Conducted by Sakari Oramo with the Finnish Radio Symphony Orchestra. 

[rafiknyclassical]

Very now.

Finnish Radio TV Symphony Orchestra - Hannu Lintu (cond.) Recorded live in concert on XXIII.X.2015 at the Symphony Hall, Helsinki Music Centre, Töölönlahti, Helsinki.

[kinoaida]

Rachmaninov : Piano Concerto n°2 in C minor, Op.18

Seong-Jin Cho - piano

Finnish Radio Symphony Orchestra (Hannu Lintu) 

Helsinki Helsinki Music Centre - Musiikkitalo 

2018-12-12