Beethoven V

Friday 25.10.2019 19.00 Season concert 5
Sold out Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021
Friday 25.10.2019 19.00 Sold out Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021

Klaus Mäkelä continues his Beethoven cycle, leading the audience from the unknown to the well known: the world premiere of Sauli Zinovjev’s Un Grande Sospiro is followed by the upbeat Harp Concerto of Glière, with the virtuoso Emmanuel Ceysson as soloist. The concluding number is by far the best known of Beethoven’s symphonies, Symphony no. 5, where ‘fate knocks at the door’. The evening begins with a presentation of the works on the programme and concludes with a selection of chamber music.

Emmanuel Ceyson signs his cd´s at the interval. 

The concert is sold out.



Pre-concert talk


Klaus Mäkelä introduces the concert in Tapiola Hall.

Sauli Zinovjev

Un Grande Sospiro, world premiere

Sauli Zinovjev came to the attention of the Finnish musical public in November 2014 when he won 3rd prize in the International Uuno Klami Composition Competition with his orchestral work Gryf (2013).
Since the success of Gryf, Zinovjev has added several well-received works to his catalogue. Orchestral works seem to be emerging as the core of his output, although chamber music works are also important.

The expressive scale in Zinovjev’s idiom extends from soaring melodies to intensive sound fields and powerful rhythmic pulsation; his works often have a strong emotional charge, almost Romantically tinted. Zinovjev has stressed the freedom of artistic creativity, saying that “there are no rules. Any musical event can be preceded and followed by anything at all.” At the same time, he is careful to point out that this does not imply musical anarchy but simply an aesthetic approach. “The composition will set its own boundaries.”

Un Grande Sospiro (2018) being premiered here was commissioned by the Tapiola Sinfonietta, the Kymi Sinfonietta and the Lausanne Chamber Orchestra and is dedicated to conductor Klaus Mäkelä.

Shortened from Kimmo Korhonen's work presentation
Translation: Jaakko Mäntyjärvi

Reinhold Glière

Harp Concerto in E flat Major, op. 74

Glière was born in Russia into a family of German descent. His output is extensive, including operas, ballets, three symphonies and other orchestral works, and numerous chamber music and piano works.

Glière’s Harp Concerto (1951) is typical for his style: traditional, Romantic and lovely, cast in the conventional three-movement concerto form. The opening movement centres on the soaring main subject introduced by the harp and the wistfully sentimental second subject reminiscent of Tchaikovsky and Rachmaninov. The development section leads into a harp cadenza, and the recapitulation begins with the second subject. The slow middle movement comprises a theme played by the harp unaccompanied, a set of six mainly lyrical variations and an extensive coda. The finale presents with a lucid and almost Classical-style lightness but also incorporates Russian national tones.

Shortened from Kimmo Korhonen's work presentation
Translation: Jaakko Mäntyjärvi

Ludwig van Beethoven

Symphony no. 5 in C minor op. 67

The Fifth Symphony was premiered at a gargantuan four-hour concert that Beethoven organised at the Theater an der Wien on Thursday 22 December 1808. This also included the public premieres of the Fourth Piano Concerto, the Pastoral Symphony and a number of other works.

In his Fifth Symphony, Beethoven established the template for a grand triumphant symphony. The work begins in a defiant C minor but is elevated to a radiant C major in the final movement. The role of the finale as the goal of the entire work is heightened by Beethoven’s addition of a piccolo, double bassoon and three trombones in this movement only. Although ending a minor-key work in a major key was not a new idea as such, here the device acquired real meaning: Fate is something against which we must struggle and over which we can triumph.

The first movement is fanatically dense and concentrated, dominated almost throughout by the brief opening motif. “It makes one fear the house is falling down,” said Goethe when the work being performed by the young Mendelssohn on the piano disrupted his bourgeois domestic peace. The opening motif also germinates the themes of the other movements; this is perhaps the least apparent in the slow movement, although the rhythmic shape remains recognisable.

The third movement is where one would expect to find a scherzo, but this one is a far cry from Beethoven’s usual essays in breakneck speed. The fugato in the Trio section is a burst of energy, but the end of the movement tapers into a mysterious, suspenseful transition that leads in a uniquely conceived way straight into the bold fortissimo opening chords of the finale. The close connection between the two last movements is reinforced by a reminder of the scherzo reappearing at the end of the development section, leading into the recapitulation of the finale. Beethoven takes the ending ritual to ecstatic heights, almost to excess but genuinely intoxicated with triumph.

Shortened from Kimmo Korhonen's work presentation
Translation: Jaakko Mäntyjärvi

aftenglow in tapiola hall


A discussion by conductor Klaus Mäkelä and composer Sauli Zinovjev.
Chamber music.

Free entrance.


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