Composer: Esa-Pekka Salonen
Works: Mimo II (1992), Yta III (1986), Yta IIb (1985), Yta II (1985), Yta I (1982), Meeting (1982), Nachtlieder (1978), Concerto for Alto Saxophone and Orchestra (1980/1, rev. 1983)
Performers: Jorma Valjakka (oboe), Anu Komsi (soprano), Anssi Karttunen (cello), Jukka Tiensuu (harpsichord), Tulja Hakkila (piano), Mikael Helasvuo (alto flute), Kari Kriikku (clarinet), Pekka Savijoki (alto saxophone), Kullervo Kojo (clarinet), Juhanni Lagerspetz (piano), Finnish Radio Symphony Orchestra
Recording: Culture Hall, Helsinki; Finnish Broadcasting Company Studio M1; Astoria Hall, Helsinki; Järvenpää Hall; Puotila Chapel; Roihuvuori Church, Helsinki; 1986-1993
Label: Brilliant
Esa-Pekka Salonen stands as a formidable figure in contemporary classical music, both as a conductor and composer. This compilation of his earlier works, recorded between 1978 and 1993, offers a fascinating glimpse into his evolution as a composer. Spanning a range of styles from the expressionistic to the experimental, these pieces encapsulate Salonen’s burgeoning interest in the capabilities of orchestral and instrumental textures, while also reflecting the influence of his predecessors such as Alban Berg and Luciano Berio.
The recording opens with “Nachtlieder,” a work from 1978 that already bears the hallmarks of Salonen’s intricate compositional style. The piece is steeped in expressionism, with its harmonic language echoing the emotional depth of Berg’s “Vier Stücke.” Jorma Valjakka’s oboe performance is particularly noteworthy, capturing the nuanced dynamic contrasts that Salonen demands. The subtle interplay between the soloist and the orchestral fabric sets the stage for the explorative nature of the subsequent works.
As the album progresses, the “Yta” series presents a striking demonstration of Salonen’s fascination with the technical prowess of individual instruments. Each “Yta” is a virtuosic showcase, from the ethereal qualities of “Yta I” for alto flute to the more robust textures of “Yta III” for cello. Anssi Karttunen’s cello playing in Yta III reveals a rich tonal palette, navigating the demanding passages with a dexterity that enhances Salonen’s complex rhythms and shifting sonorities. The arrangement of “Yta IIb” for harpsichord by Jukka Tiensuu adds a refreshing contrast, highlighting the piece’s Baroque influences while remaining firmly rooted in Salonen’s modern idiom.
“Floof,” a work for soprano and small ensemble, stands out for its whimsical text and virtuosic demands placed upon Anu Komsi. Her performance is both theatrical and technically impressive, reminiscent of Berio’s “Sequenza III.” The interplay between voice and instruments creates a surreal landscape, where Salonen’s humor and inventiveness shine through. The engineering captures the clarity of the ensemble, allowing the intricate textures to resonate in a balanced manner.
The “Concerto for Alto Saxophone and Orchestra” marks a pivotal point in Salonen’s compositional journey. Here, one can hear the transition from frenetic experimentation to a more mature, lyrical style. Pekka Savijoki’s saxophone performance is marked by a robust expressiveness, navigating the rapid-fire passages with remarkable agility, while the orchestral textures reveal Salonen’s growing interest in longer melodic lines and warmer sonorities that would characterize his later works. The engineering of this recording is commendable, presenting the orchestra and soloist in a well-defined acoustic space that enhances the dialogue between them.
The concluding work, “Mimo II,” is a testament to Salonen’s orchestral mastery. Its coloristic orchestration and elegant lines reflect his mature style, balancing complexity with accessibility. The Finnish Radio Symphony Orchestra performs with a precision that underscores the clarity of Salonen’s intentions. Each player is attuned to the nuances of the score, resulting in an engaging performance that breathes life into the music.
This collection not only serves as an archive of Salonen’s early achievements but also as a vital document showcasing his compositional growth. The performances are uniformly excellent, marked by a deep understanding of the works and a palpable connection between the performers and the composer’s vision. Salonen’s dual role as conductor and composer ensures that the interpretation aligns seamlessly with his intentions, establishing a cohesive narrative throughout the recording. The historical significance of these works, coupled with their technical demands and emotional depth, affirms Esa-Pekka Salonen as a composer whose contributions to contemporary music warrant serious consideration and appreciation.
