Friday 27.9.2019 19.00 Season concert 3
from 25/19/11 € Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021
Friday 27.9.2019 19.00 from 25/19/11 € Espoo Cultural Centre
Platinum 2020-2021 Silver 2020-2021

Dalia Stasevska always plans programmes with integrity. The freshly appointed Principal Guest Conductor of the BBC Symphony Orchestra brings to Tapiola a programme inspired by cinema and the stage, demonstrating how the forces of nature and the movement of the human body influence how music is made. Star violinist Vadim Gluzman performs the Violin Concerto of Oscar-winning composer Erich Korngold.

Hanns Eisler´s work 14 Ways to Describe Rain will be performed together with the fill Regen (dir, Joris Ivens, 1929).
The work is performed by
Meri Englund, violin
Jussi Tuhkanen, viola
Jukka Rautasalo, cello
Aapo Järvinen, flute
Olli Leppäniemi, clarinet
Roope Gröndahl, piano




Open 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.

Hanns Eisler

14 Ways to Describe Rain, with the film Regen (1929), directed by Joris Ivens

When the Nazis came to power in 1933, Eisler was forced into exile. In 1938, he was granted a visa to the USA, and there he created a successful career as a film composer. Eisler’s chamber ensemble work 14 ways to describe the rain was completed in 1941 as the score to the silent documentary Rain by Joris Ivens (1928). It went on to find a life of its own as a concert piece, and as such it is one of Eisler’s finest creations. He himself regarded it as his best chamber music work. He dedicated it to his former teacher Arnold Schönberg, who like him was in exile in the USA and at whose home the piece was premiered on Schönberg’s 70th birthday in 1944.

The 12-tone row forming the basis of the piece opens with an allusion to Schönberg’s name, A–Es–C–H–B–G (in German musical notation E flat is ‘Es’, B natural is ‘H’ and B flat is ‘B’). From its lyrical opening, the work grows into a set of variations traversing many contrasting moods. Eisler said, in reference to the war raging in Europe at the time, that the title might also be understood to mean ’14 ways to be sad with dignity’.

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

Igor Stravinsky

Danses Concertantes

Soon after war broke out in September 1939, Stravinsky emigrated to the USA, where he remained for the rest of his life. He received a commission from the Werner Janssen Orchestra in Los Angeles, and he completed Dances Concertantes to this commission in Hollywood in January 1942.

Dances Concertantes is scored for a 24-piece chamber orchestra. While it was intended as a concert work, it has inspired many choreographers because of its dancelike character.

Danses Concertantes is typical of Stravinsky’s Neo-Classical period. It is closely related in both time and style to the Symphony in C; indeed, the opening of ‘Pas d’action’, the second movement of Danses Concertantes, is almost identical to the opening of the finale of the Symphony. Apart from its dancelike qualities, a key feature of the work is its ‘concertante’ chamber music texture. Stravinsky rarely uses a full tutti, instead giving space to solos and dialogue between instrument groups.

Dances Concertantes is a five-movement suite in which the first two and last two movements are played without a break. The work opens with a brisk and quirky martial introduction, a brief recapitulation of which also concludes the work. The most extensive movement is the middle one, a theme and four variations.

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

Claude Debussy / Leopold Stokowski

Clair de lune with the deleted scene from the film Fantasy (Walt Disney Productions, 1940)

Debussy originally completed Suite bergamasque, which became one of his most popular piano works, in 1890 but revised it extensively before it was published in 1905. The best-known movement in the four-movement suite is the third, Clair de lune, one of the most famous pieces in all of classical music.

There are several orchestral versions of Clair de lune. Leopold Stokowski (1882–1977), a British conductor wrote his arrangement of Clair de lune in 1937, and it was originally intended to be included in the legendary Disney animated feature Fantasia (1940), for which Stokowski was in charge of arranging and conducting the music. The Clair de lune sequence – a night scene in the Florida Everglades featuring white storks – was actually completed but eventually cut from the released film.

True to its name, Clair de lune is a delicate nocturnal mood piece. Stokowski furnished the piano texture with sophisticated orchestral colour, and although he remained faithful to the material, the arrangement highlights the sentimental nature of the piece. Then again, Debussy’s original title for the piece was Promenade sentimentale.

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

Erich Korngold

Violin Concerto

Korngold was regarded as Austria’s finest emerging composer, and the opera Die tote Stadt (1920) propelled him to the top. In a decisive turn in his life, he departed for Hollywood in 1934 and never came back. He wrote 18 film scores and won two Oscars for his music to Anthony Adverse (1936) and The Adventures of Robin Hood (1938).

When Korngold decided to stop writing for the screen in 1946, he had recently completed his Violin Concerto (1945), which was premiered by Jascha Heifetz in February 1947. It has since entered the core repertoire, thanks to its wonderful melodic writing and virtuoso violin part. It is in the same rich late Romantic vein as Korngold’s film music, and indeed he adapted themes from his film scores for the concerto.

The first movement begins like a love scene, with the theme from the film Another dawn (1937). The second subject is livelier, a reprise of a theme from Juarez (1939). Towards the end of the movement there is a solo cadenza punctuated by orchestral comments. The main subject of the slow movement (Romance) is from Anthony Adverse. The movement begins dreamily and meditatively, but there is also plenty of scope for the violin to sing and glow. The virtuoso finale begins with a fresh, folk-like air; its second subject was taken from The Prince and the Pauper (1937).

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

After-concert sessions


Interview with Dalia Stasevska and Vadim Gluzman.
Arranged by the Friends of Tapiola Sinfonietta.


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