Friday 8.11.2019 19.00 season concert 7
from 25/19/11 € Espoo Cultural Centre
Platinum 2020-2021 Gold 2020-2021
Friday 8.11.2019 19.00 from 25/19/11 € Espoo Cultural Centre
Platinum 2020-2021 Gold 2020-2021

Meta4, the brightest string quartet on Finland’s musical scene, celebrates its coming of age at 18 years with the Tapiola Sinfonietta. You are cordially invited to a concert where Meta4, widely acclaimed for their energetic performances, play a wide selection of their favourite pieces. The powerful expressiveness of Widmann is followed by the quiet contemplation of Mahler, and the concert concludes with the military crispness of Haydn’s Symphony no. 100.

Afterglow in Tapiola Hall foyer: Meta4 quartet´s 18th birthday celebration
Meta4Jarmo Saari, guitar
The program includes Matthew Whittall´s String Quartet no. 3 “Strange Geography”, world premiere.
Free entrance. 




OPEN final rehearsal


Come and see how the orchestra works to prepare the evenings concert. The open final rehearsals begin at 10 am and end at 1 pm. You may also leave at the break. An introduction is given in the foyer of the Espoo Cultural Centre at 9.50 am. Admission free.

Jörg Widmann


Jörg Widmann has pursued this calling on two fronts, as one of the most interesting composers of his generation and as a clarinet virtuoso. And although as a composer he works with a modernist palette, his works are often firmly anchored in tradition.

Tradition manifests itself in the ‘music from music’ principle applied in Widmann’s Octet (2004). Its scoring alone links it to the chain of its predecessors, being deliberately the same as in Schubert’s Octet (1824): clarinet, horn, bassoon and string quintet. Schubert, as we know, modelled his Octet on Beethoven’s celebrated Septet (1800), only adding a second violin. Widmann’s five-movement structure also continues in the vein of Beethoven’s and Schubert’s works, more akin to a divertimento than a symphony. The musical content, however, is a sort of deconstruction of the conventional gestures of the Classical-Romantic musical idiom.

In ‘Intrada’, traditional-sounding textures present with increasing harmonic ruptures until the musicians seem to diverge onto entirely different paths. The brief ‘Minuet’ is more like a scherzo than a dance. ‘Lied ohne Worte’ begins as a fragile and introvert tune distorted with microintervals. After a brief culmination, the music becomes increasingly fragmented and finally crumbles away. A brief ‘Intermezzo’, where a folkish tune lurks behind tattered motifs, leads into the ‘Finale’ without a break. This, too, is unconventional – not a fast concluding movement but a slow and decomposing anti-finale.

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

Gustav Mahler

Adagio from Symphony no. 10, arr. V. Mendelssohn and Meta4

Gustav Mahler began work on his tenth and final symphony summer 1910. Mahler completed the sketch for his Tenth Symphony in that summer, but because of his conducting engagements and other commitments, he did not have time to orchestrate the entire work. His health began to decline in spring 1911, and he died in Vienna in May 1911. At his death, the Tenth Symphony remained largely a sketch: he had only completely orchestrated the opening Adagio.

The five-movement symphony opens unusually with an extensive slow movement. Because this Adagio was the last symphonic movement fully completed by Mahler, it is often performed as an independent work – representing Mahler’s last words as a composer, as it were. The music begins as an austere, meditative melodic line but evolves into an intensive emotional flow and comes to a head in a startling nine-note discord, which Deryck Cooke described as “a terror-inducing cosmic apparition”. On the final pages, the music subsides into a gentle resignation.

This programme features the Adagio in a version for strings arranged by Vladimir Mendelssohn.

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

Joseph Haydn

Symphony no. 100 in G major, ‘Military Symphony’

Haydn travelled to London twice, in 1791–1792 and in 1794–1795. He wrote his last twelve symphonies for audiences there, and accordingly they are referred to as the ‘London Symphonies’. These represented the culmination of his career as a symphonic composer. The works were rapturously received, particularly Symphony no. 100 in G major, which was premiered at the Hanover Square concert hall in March 1794. Audiences were particularly thrilled with the second movement, which had to be repeated at several of its performances. Its impact was due to the addition in the second and final movements of ‘Turkish’ percussion instruments (triangle, cymbals and bass drum) that were quite exotic at the time.

The Military Symphony opens with a slow introduction like all except one of the London Symphonies. The fast section of the first movement begins in a lyrical vein but packs an energetic punch. The second movement juxtaposes a naïve, light-hearted romance tune and a warlike section punctuated with percussion; this section is what earned the symphony its subtitle. The Minuet is likewise built up of contrasting light and expansive elements. The finale opens softly, as if restraining itself, but soon erupts into an adventurous 6/8 section with lots of energy and surprising. The return of the percussion instruments from the second movement brings the work to a raucous martial conclusion.

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

aftenglow in tapiola hall


The concert afterparty features the world premiere of Matthew Whittall’s String Quartet no. 3.


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