Hämeenniemi: Kamarisinfonia

The Chamber Symphony is played from the start to finish withour a break but falls into fourn distinct movements: Elegia I – Scherzo I – Elegia II – Scherzo II.

Both Elegies and both Scherzos are based on the same musical material but they are not repetitions of each other. The melodies, both slow and sad, quick and playful, reach their expressive focal point only on the second time around.

At surface level the quick and slow music constitutes a dramatical contrast, but at deeper level all the ideas in the chamber symphony can be traced back to the same core musical idea. May this serve as a metaphor for the tension between the unity and disunity in life.

© Eero Hämeenniemi, 4/2001 (translation by © Susan Sinisalo)

Sibelius: Symphony No. 6

Jean Sibelius’s Symphony No. 6 in D minor, Op. 104, has gained increasing recognition in recent decades among his seven symphonies. Previously, it might have seemed to fall between the cracks in the public’s perception. It lacks the heroic climaxes of the second or fifth Symphony, nor does it evoke the vivid imagery of travels to Italy or swans in flight.

The symphony is often listed as being in D minor, although the D-minor key signature is absent from its opening. Instead, its key can be described as D Dorian, a modal cousin of D minor. This modal quality introduces an occasional, tension-raising uncertainty about the tonal center of the thematic material. The tonal “haze” is apparent in the main theme, presented by the flutes and oboes.

The Dorian mode in the symphony has led some writers to associate it with the Renaissance composer Giovanni Pierluigi da Palestrina (1525/6–1594). Cecil Gray (1895–1951), an early Sibelius scholar, was the first to draw this parallel, though his assessment was based on a mistaken notion that Sibelius only turned to modal writing in this symphony. Additionally, Sibelius demonstrates contrapuntal mastery here that Palestrina himself did not achieve. Where Palestrina’s style remains rooted in conservative diatonicism, Sibelius’s work diverges through its sharp chromaticism.

In the Sixth Symphony, Sibelius writes effortlessly for the symphony orchestra, avoiding major balance issues among the instruments. By this time, he had also encountered the mannerism of certain conductors, who often led performances at too slow a tempo. In response, he marked the second movement Allegretto moderato, a quicker tempo than typical, in an effort to nudge conductors toward something close to an andantino.

As in many of Sibelius’s works, this symphony has been interpreted as reflecting Finnish lake landscapes. Yet it is equally valid to consider this one of Sibelius’s most urban symphonies. The premiere took place in February 1923 with the Helsinki City Orchestra. Once again, Sibelius included a harp in the orchestra, an instrument associated with salons and theater pits. The dance and salon rhythms in the symphony feel like glimpses into miniature realities seen through softly lit windows, while the extended thematic lines and rhythmically prominent gestures coexist in layers, illuminated by the countless shades of pale gray.

Despite these nuances, the sixth symphony is not a decadent work. It seeks connection and unity. Its layers do not pull apart, nor does the diversity of characters lead to fragmentation or feelings of despair. Instead, it offers a cohesive and affirming experience.

Sasha Mäkilä

Finnish conductor Sasha Mäkilä has made a name for himself as a versatile artist with a broad repertoire ranging from baroque to contemporary. Sasha Mäkilä’s conducting career has taken him to four continents and to major ensembles, focusing his visits on Asia and Eastern Europe. He has also worked with the Finnish National Ballet and the Savonlinna Opera Festival.

Mäkilä studied conducting at the Sibelius Academy, at the St. Petersburg State Conservatory and at the American Academy of Conducting at Aspen. Originally a cellist, he has also studied cello at the Helsinki Conservatory and musicology at the University of Helsinki. Mäkilä has served as assistant conductor at the Cleveland Orchestra in the United States and to Kurt Masur at Orchestre National de France. Currently, Sasha Mäkilä is the Artistic Director of the Helsinki Metropolitan Orchestra and a visiting researcher at the University of the Arts Helsinki.

HMO

The Helsinki Metropolitan Orchestra (HMO) was born in July 2017 when 70 musicians joined forces one evening and organized a symphony concert in the Temppeliaukio Church. The Rachmaninov and Sibelius performances conducted by Sasha Mäkilä along with Alina Sorjonen’s skillful piano playing elevated the atmosphere to new heights. The new orchestra’s calendar was soon filled with upcoming concerts.

During the six years of operation, HMO has established its position in the musical life of the Helsinki Metropolitan Area. The orchestra has also performed major church music works in collaboration with choirs such as Suomen Laulu and Viva Vox. Over the years, HMO has also served as an opera orchestra in Giuseppe Verdi’s Rigoletto and Fredrik Pacius’s King Charles’ Hunt. The orchestra’s activities include training new conductors through annual masterclass courses and inviting young talented musicians as soloists. In addition to numerous domestic performances, the orchestra embarked on an extensive tour of China, culminating in Shanghai, during the turn of the year 2018-2019.