New works for orchestra generally do not have it easy, but intelligent programming can sometimes give enough context for audiences to be open to the intrusion upon the repertoire. The Helsinki Philharmonic Orchestra (HPO) chose to program the world premiere of Sauli Zinovjev’s First Symphony, subtitled Taste of Metal and co-commissioned by the Oslo Philharmonic and Orchestre de Paris, alongside a piece so hated by its composer that the existing score had to be reconstructed from its parts after his death, plus a violin concerto originally panned by critics.
The Voyevoda is a symphonic ballad based on The Ambush by Polish poet Adam Mickiewicz. It was one of Tchaikovsky's last programmatic pieces and his first attempt at using the then-new celesta. in the poem, a government officer comes home, only to find his wife in the garden with another man. The officer orders a servant to shoot the presumed affair partner, but the servant shoots the officer instead.
Conductor Hannu Lintu led the HPO in a performance that more than justified ignoring the composer’s negative assessment of the piece. The orchestra played with such precision and tight section cohesion that there was no question it was their story to tell. Lintu, for his part, maintained excellent, clear, energetic control of tempi and dynamics. Three flutes contributed real structure rather than mere ornamentation. Dramatic tension was held with enough care that even those unaware of the plot could certainly hear the journey, the romance, the deathly denouement.
Violinist Daniel Lozakovich joined the orchestra for Tchaikovsky’s Violin Concerto. While he played meticulously, he did so with little apparent connection to the piece or with the HPO. So far as a concerto is a conversation between soloist and orchestra, Lozakovich gave the impression that he was going through the motions, delicate and aerobic as they were. There was nothing faulty in his playing, and his handling of the lyrical theme was especially fine, but he seemed most present in moments when his part matched that of the first violins. Again, the strength of the flutes in select passages was striking, and the abundance of pizzicato strings was handled with such uniformity of conviction that it rendered the orchestra one giant harp.
Purportedly inspired by the works of sculptor Markus Copper, Zinovjev's Taste of Metal attempts to track metal’s movements from within the planet to the surface: low, flow, glow and blow. The first impression is bewilderment at the instrumentation, requiring four percussionists in addition to timpani with bells, gongs, two sledgehammers and more, plus visits from the deep-voiced cousins of all of the orchestral regulars: contrabassoon, bass trombone, bass clarinet; plus tuba and organ.
The work came across more mud than metal. The second movement was the most traditionally musical, with sometimes pleasant, sometimes meaningful repetition and variation. The third movement, in particular, had some beautiful passages for cello and for bass. While the percussion was energetic and full of aggressive quips lifted from the Slavic greats, often without comprehensible comment, it was routinely the case that each instrument was talking over the next, a battle between forte and fortissimo. It did not seem fully intentional, nor did it seem like an issue Lintu could solve from the podium. A studio recording might paint a more generous picture, but in vivo most melodies were muddied by the engulfing sound of huge, reverberating low notes. The HPO nevertheless showed themselves to be a tremendous instrument, Lintu a steadfast and sensible leader, but neither Lozakovich nor Taste of Metal seemed at home sharing their stage.
