Kalevi Aho was born in Forssa, Finland, in 1949. He played the mandolin from a young age, then became proficient on the violin. In 1968 he studied composition in Helsinki under Einojuhani Rautavaara, and later with the German composer Boris Blacher. He is the most prolific contemporary composer of symphonies and concertos in Finland (possibly even all of Europe), having presently written 18 of the former and 43 of the latter. As composer-in-residence with the Lahti Symphony Orchestra from 1992, and currently their composer laureate, most of his orchestral music has been recorded on the BIS label, initially conducted by Osmo Vänskä.
Aho’s symphonies vary in style and specific inspiration. Some feature a solo instrument or instruments, such as violin (No. 3), organ (No. 8), trombone (No. 9) and six percussionists (No. 11). No. 17 for large orchestra, subtitled Symphonic Frescoes, was written in 2017. Lasting just under an hour, it is a genuinely epic work, consisting of two monumental symphonic statements separated by a delightfully sinister scherzo, “Scherzo Macabre”.
The composer in his note reflects that this major piece came at a point in his career where he hoped to sum up his creative progress so far; it contains an abundance of ideas and stylistic shifts, held together by the organic development of themes and his expert way with textural effects. Some of the climaxes are distinctly modernist and dissonant, but there are many passages of delicacy and lyrical introspection.
The first movement, “From the Deep”, begins as you would expect, rising from the depths of the orchestra into a long, winding theme that slowly builds to a climax. The opening’s lugubrious double-bassoon brings a hint of Ravel’s Piano Concerto for the Left Hand, until sombre brass and harp place us directly in Sibelian territory. ‘Postmodern Mahler’ is how I would describe the furtive scherzo, seemingly modelled on the scherzo movement of Mahler’s Seventh Symphony.
The finale, at 23:11 the longest of the three movements (if only by eight seconds) is titled “Distant Songs”. This section features even more references to the composer’s work up to this point, including a substantial part for pipe organ. Aho’s 17th is a tremendous creation, and I look forward to becoming more closely acquainted with it over time.
The Lahti Symphony Orchestra have long been champions of Aho’s music, and play this symphony to the manner born, relishing the pointed orchestral textures and subtle changes of mood. Vänskä moved on eventually to Minneapolis (let’s hope he is not there now!), but those shoes have been well and truly filled here by Erkki Lasonpalo. The 40-year-old local whizzkid is yet another student of conducting guru Jorma Panula. He handles the long-term structural contours of this monolith with authority. The sound quality (SACD) is, as usual with BIS products, sensational. Brace yourself for an exciting voyage of discovery.
Composer: Kalevi Aho
Work: Symphony No. 17
Performer: Lahti Symphony Orchestra/Erkki Lasonpalo
Label: BIS BIS2676 (SACD)
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