Composer: Kalevi Aho
Works: Symphonies Nos. 2 & 7
Performers: Lahti Symphony Orchestra/Osmo Vänskä
Recording: January 1998, Church of the Cross, Lahti
Label: BIS
Kalevi Aho, born in 1949, occupies a singular position within the landscape of contemporary Finnish music, emerging as a composer who, while not a radical innovator, adeptly synthesizes the rich traditions of his predecessors with modern sensibilities. His Second Symphony, originally composed in 1970 and revised in 1995, exemplifies this blend of tradition and innovation. Structurally ambitious, it unfolds as a one-movement triple fugue, segmented into five distinct sections that traverse a wide emotional and textural spectrum. This symphony invites comparisons with Sibelius’s own late works, notably the Seventh Symphony, in its logical contrapuntal development and thematic rigor.
Osmo Vänskä’s interpretation of Aho’s Second Symphony is marked by an acute awareness of its intricate structure. The slow introduction gradually coalesces into an energetic central section that culminates in a vigorous presto, demonstrating Vänskä’s ability to maintain both clarity and momentum. The Lahti Symphony Orchestra responds with a polished and cohesive sound, their playing imbued with a sense of purpose that enhances the symphony’s contrapuntal intricacies. Notably, the musicians articulate the thematic material with precision, allowing the listener to engage deeply with Aho’s complex textures, particularly in the fugue sections, where the interplay of voices is both rigorous and fluid.
Aho’s Seventh Symphony, on the other hand, represents a departure into a more programmatic realm, derived from an uncompleted opera based on Karel Čapek’s Insect Life. Here, the composer delves into a vivid sonic landscape populated by a myriad of insects, each represented through diverse musical idioms. The work is not merely a depiction of nature; rather, it serves as a satirical lens through which modern life is scrutinized. Vänskä’s direction in this symphony embraces its eclecticism, with a dynamic range that oscillates between humor and introspection. The use of distortion and unexpected harmonic turns mirrors the chaotic essence of post-modern life, effectively underscoring Aho’s critique.
The engineering quality of this BIS recording is exemplary, capturing the orchestra’s sound with clarity and depth. The acoustic of the Church of the Cross in Lahti provides an ideal backdrop, allowing every nuance of the performance to resonate. The transparency of the orchestral texture is particularly noteworthy; one can discern the layers of Aho’s intricate polyphony without any muddiness. This technical prowess aligns well with the demands of Aho’s compositional style, where clarity of line is paramount.
Comparatively, while there are other recordings of Aho’s symphonies available, Vänskä’s interpretation stands out not only for its technical excellence but also for its emotional engagement. The Lahti Symphony Orchestra captures the duality of Aho’s music—its intellectual rigor and its emotional depth—making this recording a compelling addition to the contemporary symphonic canon.
Aho’s works, particularly Symphonies No. 2 and No. 7, reveal a composer deeply engaged with the dialogue between tradition and innovation, offering listeners both intellectual stimulation and emotional resonance. This BIS recording, with its superb orchestral performance and high production quality, serves as an essential introduction to Aho’s symphonic oeuvre, positioning him as a vital voice in the modern classical landscape.
