Much has been invested in Tarmo Peltokoski, the 24-year-old Principal Guest Conductor of the Rotterdam Philharmonic, who made his debut with the orchestra in May 2022. Amid the hype of recent recording contracts and new appointments, would Peltokoski have the required leadership skills to thrill us all in a highly ambitious programme?
As the frosty world of Kaija Saariaho slowly emerged in Ciel d’hiver, we could almost feel the cold wind blowing across the Winter Sky. A piercing piccolo meandered over metallic sounds, which shimmered, warbled, quivered and rumbled; reaching far into an eternity as far as the eye could see.
In response, Truls Mørk’s opening to Shostakovich’s Cello Concerto no. 2 struck a reflective and understated note, perhaps the composer questioning his own mortality after a heart attack earlier in 1966, the year of composition. With falling semitones and heavy pizzicato chords, Mørk cast the cello as the narrator, living a life of regret only to be reinvigorated by a three-note xylophone fragment providing a welcome ray of sunlight. The podium echoed the restraint and precision, until a thundering bass drum shattered all illusions. However, Shostakovich's cheekiness did not stay away for long as whimsical pizzicatos triggered brilliant flashes in the winter sky.
A much more light-hearted Allegretto ensued. Glissandos, clever harmonics and bombastic brass transported us to a mesmerising mood, free from constraint or worry. The immense precision and intense emotion in Mørk’s playing, double-stopps cascading down the cello, was deeply moving. As Shostakovich pitted the cello against the percussion, what new realm had we entered; would things ever be the same? Such a deeply profound work performed with great authority.
Picking up on the winter sky theme of earlier, Sibelius’ Symphony no. 1 was his first attempt to bring the translucent Finnish landscape to a symphonic realm. And like Saariaho earlier, Sibelius used distinctive woodwind colours to frame the scene – in this case a meandering, opaque clarinet over a distant timpani rumble. Conducting from memory, Peltokoski had the orchestra in the palm of his hands; they were receptive to his every gesture. Controlling Sibelius’ woodwind-rich colour palette and balancing the often unexpected instrumental combinations, Peltokoski unleashed the brass section, bringing the Allegro energico to a thrilling close.
Taking just a moment of stillness to reset the mood, the harp and unison strings gently returned us to a place of restful calm in the Andante and a magical mysticism descended. The horn, bassoon, tuba and double bass combination repeatedly delighted with their intense, inner darkness and incessant pedal notes; such longing and yearning from all those descending phrases.
A frivolous and energetic Scherzo followed. Written in the traditional Minuet and Trio form, this movement is full of contrasts. Novel instrumental groupings delighted, and even descending tuba scales created rich and unexpected harmonies. The Finale, owing much to the romantic lyricism of neighbouring compatriots, Tchaikovsky and Rachmaninov, started well. No one disappointed until the final bars where Peltokoski's rather slow tempo suddenly clouded the path. Quiet reflection may see this corner tackled slightly differently in subsequent performances.
Nonetheless, a youthful enthusiasm had quite obviously infused the RPO, and they were on fine form. Coupled with technical proficiency and an immense repertoire of gestures, Peltokoski’s confidence and astonishing maturity was utterly convincing. His total belief in the musicians on stage was refreshing. Harking from a distinguished line of talented pupils influenced by Finnish teaching legend Jorma Panula, Peltokoski is the real deal!
