Mustonen Sibelius

As Bohuslav Martinu gradually becomes better known in the west, his appealing chamber music is increasingly being performed and recorded, as it should be. This SACD of the three cello sonatas joins a respectable number of recordings that are available, though these exceptional performances by Steven Isserlis and Olli Mustonen are sure to give this album a higher profile in the marketplace.

There are two points concerning the piano music of Sibelius that I feel need to be kept in mind. One is that the piano was not a natural instrument for Sibelius to communicate his musical thoughts. The other is that his ability to write appealing music extended to his piano compositions. Merging the two points results in attractive music that does not reflect the masterful orchestral works and symphonies that Sibelius composed. Sibelius wrote most of his piano music in response to financial requirements, while his strongest concentration was saved for his large-scale works. The variable quality of the piano music is apparent in any recorded program, ranging from disjointed and rambling pieces to music of dramatic substance and pieces that delight and sparkle. However, you will not find any hidden masterpieces, as the works do not plumb deep emotional issues or offer the structural coherence found in the works of outstanding composers for the piano.

The surrounding nature always formed an integral source of inspiration for Finland’s ‘national composer’ Jean Sibelius. In his youth the composer imagined birds as various instruments of the orchestra, but also in his mature compositions the element of nature is very much present. When Sibelius moved to his home, Ainola, in 1904 – a place where he was to live and compose until his death in 1957 – his only request was a view to the lake nearby. As Sibelius’ biographer wrote: “When Sibelius first left Helsinki, Järvenpää [where Ainola is located] was to a large extent untouched countryside. Foals and sheep almost nosed their way into the house, and from time to time an elk majestically bestrode the grounds.” This peaceful environment inspired Sibelius to write the main part of his catalogue of works.

No one knows quite when tango was established in Finland, but the style has a long history there – still little known to outsiders – and combines rhythmic interest and yearning melody with a distinctively Nordic melancholy. In this ingeniously curated programme, two Finnish tangos from the 1950s and a tango-based work by Finnish classical composer Aulis Sallinen are woven into a bold tapestry of music from the Eastern Baltic seaboard. Longing, sadness, and a heightened sense of nature infuse all of these works, which also reveal intriguing stylistic connections: the rocking accompaniment of Sibelius’ 'Einsames Lied' seems to prefigure the ‘Baltic minimalism’ of Vasks, Pärt and Zita Bružaité, while Olli Mustonen’s 'Toccata' alternates rhythmic verve with a rich vein of reflective memory. These original compositions are complemented by Robert McFall’s own sensitive arrangements, for a core McFall’s lineup of five strings and piano, and the programme culminates in a truly unique version of Sibelius’s famous 'Finlandia' Hymn.

The Helsinki Chamber Choir (Helsingin kamarikuoro) was founded in 1962 as the Finnish Radio Chamber Choir and assumed its current name in 2005. It is currently Finland’s only professional chamber choir. The choir’s Artistic Director from 2005–2007 was Kimmo Hakola. Since 2007 Nils Schweckendiek has been responsible for the group's artistic planning.