Friday 23.10.2020 19.00 Season concert
From 29/23/12 € Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021
Friday 23.10.2020 19.00 From 29/23/12 € Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021

Daníel Bjarnason is among the most interesting performing artists of our time, whose music has been described as “coming eerily close to defining classical music’s undefinable brave new world” (Time Out New York). His work has been recognised on numerous occasions at the the Icelandic Music Awards.
The soloist, pianist Juho Pohjonen, is regarded as one of today’s most exciting Nordic instrumentalists.

This concert includes Bjarnason conducting his own piano work ‘Processions’ and Johannes Brahms’s Second Symphony, which is charmingly bright.

We kindly ask you to check up-to-date information: Special arrangements in Autumn 2020

Daníel Bjarnason website

Juho Pohjonen website




Pre-concert talk

18:15-18:35 Tapiola Hall

Kimmo Korhonen introduces the concert.

Daníel Bjarnason


Daniel Bjarnason is the best-known classical composer in Icelandic music, which as a whole has emerged as a magnificently original and rich branch of musical culture in recent decades. He is extremely eclectic as a composer, working not only with classical ensembles but also with musicians in experimental rock. In his music one may find both drawn-out layers of sound and passionately pulsating energy, both lyrical brilliance and jarring roughness. His output includes orchestral and chamber music, solo works, choral works, film music and the opera Brødre [Brothers], commissioned by the Royal Danish Opera and premiered in 2017.
Processions (2009) has a strong meta-musical dimension, meaning that it consciously refers to other kinds of music and types of traditional expression, including historical musical gestures or topoi. The work may be briefly described as a modern interpretation of the grand piano concertos of the Romantic era in the spirit of Tchaikovsky and Rachmaninov, even if it is not actually titled a concerto. The gestures and emotional power of the music are very firmly rooted in Romanticism, but the music is also very much that of a composer of our time.
The opening movement of three, ‘In Medias Res’, starts off in the middle of the action, as the title indicates, with grand, heroic soloist gestures from the piano. The movement is colourful in expression and texture, ranging from pompously dissonant to lyrically sensitive (like a modern nocturne), from chorale solemnity to Bach-Baroque swing. The middle movement, ‘Spindrift’, provides a moment of calm with its hymn-like tranquillity, despite the music rising to two powerful culminations. The finale, ‘Red-handed’, follows without a break and emerges as a multi-layered rhythmical flurry racing forward like a fantastic mechanistic machine.

Johannes Brahms

Symphony No. 2


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