Conductor Hannu Lintu, borrowed by the BSO for the night from Finland’s Tampere Philharmonic Orchestra, earned rave roars from the audience for his execution of Beethoven’s Seventh. But don’t let that fool you… this man makes the case for modern music.

It’s no accident then that he shared the night with Scottish percussionist Colin Currie. I saw Colin Currie play a tour de force solo show back in December ’06 – thanks to the Shriver Hall Concerts.  His arsenal of percussive equipment took up the entire breadth of stage at the Baltimore Museum of Art’s auditorium, and he raced up and down the full spectrum without tiring. And two encores!

This time, Currie indulged us with Einojuhani Rautavaara’s Incantations. This was another BSO co-commission. The opening movement strikes with intense immediacy, as if we’re in a play that’s started at the middle… after the king’s already been dethroned and before a new one takes over. The strings lend a chorale-like backdrop to Currie’s handiwork on the xylophone. At the work’s height — the Expressivo — Currie’s vibes created a crisp, almost geometric force laid over the messy, teeming world.

Racing back and forth from vibes to xylophone and back again backed, as in the open, by violins made one question who was the “skin” — the fluid melodic being — in this music and who the “skeleton” — an impression, which stands the whole idea of percussion in a piece on its head. After all, what is percussion in most symphonic works but underpinning and punctuation? The main punctuations here came with Currie’s quick, almost comedic strikes of the chimes.

Rautavaara certainly underutilized Currie’s skills here, despite composing at Currie’s request. The overall impression of the work, while engaging, never coalesced into something truly stratospheric — which I maintain is the necessary condition of calling something an “incantation.” I mean, it is about a shaman after all.

Back in the day, Jean Sibelius awarded Rautavaara a music scholarship, calling him: “the most promising Finn” on the scene. Now, Mr. Rautavaara is an advanced 81 years old and very much beloved by his countrymen. So it was perfectly just to compare the two Finns by an opener of Jean Sibelius’ famous Finlandia.

Read the rest…

When last we saw Karita Mattila, this blond soprano was biting the lips of John the Baptist – after his decapitation. She again gave Richard Strauss a workout with Four Last Songs. The conductor, Andreas Delfs, pitch-hit this gig for Mikko Franck in what was billed as an all-Finn tour de force: Finnish conductor, Finnish composer and Finnish soprano.

When told of the change, we lamented bitterly, because now Finn composer and conductor were out of the picture leaving us only the sun of Karita to light up the hall. We were to hear Helsinki’s own Einojuhani Rautavaara’s Manhattan Trilogy. This exciting composer was hand-picked by Sibelius himself to get a one-year stipend to go to Julliard – a move that paid off. Instead of his symphonic poem of much promise with movements Daydreams, Nightmares, and Dawn, we got Frederick Delius. Read the rest…