In 1837, a scientist claimed that Swiss waterfalls, rivers and lakes resonate in F major. The same key, associated with the peace and balance of nature, also sounds in Beethoven’s Pastoral Symphony, which expresses the joy of being out in nature.
Californian Gabriella Smith was never meant to be a composer. She wanted to study ecology or marine biology and learn about climate change. But she became a composer, nonetheless. Breathing Forests, commissioned for organist James McVinnie, reflects the complex relationship between humans, forests, climate change and fire.
“Breathing Forests is a reflection on the complex relationship between humans, forests, climate change and fire,” says Gabriella Smith (b. 1991), a sensational US composer of music bearing echoes of such genres as rock, country music and minimalism.
The massive sound and architecture of the organ feels something like the grandeur of a forest to me.
“The massive sound and architecture of the organ feels something like the grandeur of a forest to me, and its breath reminiscent of the glorious exchange of carbon dioxide to oxygen that forests perform on a massive scale. Because of their role as one of our planet’s biggest carbon sinks, forests are more essential now than ever before.”
“Breathing Forests in three movements (I. Grow, II. Breathe, III. Burn) that roughly follow the traditional fast-slow-fast concerto form. It is a sonic forest, growing, breathing, burning and regenerating, containing both sadness for the losses we can never get back, and joy – a celebration of forest ecosystems, their vital role in the fight against climate change and of all participating in the fight for our future, and an invitation to get to work.”
Ludwig van Beethoven (1770–1827) is reputed to have once said he preferred the company of trees to that of people. He took long walks in the countryside, and the emotions it aroused in him are well reflected in his Pastoral Symphony. This was, however, not intended as a detailed account of what he saw, being “more an expression of feeling than tone painting”, as he wrote in the score. Though initially unwilling to provide any guidelines to the content, he did in the end agree to give its five movements descriptive titles: I. Awakening of happy feelings on arriving in the country, II. Scene by a brook, III. Joyful gathering of the country folk, IV. Thunder. Storm, and V. Shepherds’ song: happy and thankful feelings after the storm.
Beethoven spent six years writing the symphony – often sketching it in his mind during his rambles in the wilds, and it was premiered in Vienna in 1808 in a mammoth concert the programme for which also, among other things, included his fifth symphony, fourth piano concerto and Choral Symphony.
James McVinnie (born 1983) is an English organist and pianist whose unique career is distinguished by many different musical genres. His roots are steeped in the traditions of Anglican church music, and he has held organ playing positions at St Paul’s Cathedral and Westminster Abbey. McVinnie has since collaborated with Philip Glass, for instance, and many leading figures in contemporary music have written concerto and solo works for him. The composers with whom he has worked include Niko Muhly, David Lang, Bryce Dessner, and Hildur Guðnadóttir, to name a few.
He also directs the James McVinnie Ensemble, a collective of virtuoso keyboardists dedicated to exploring work by contemporary and emerging composers – often with strong political themes. The ensemble’s roots go back to 2017 with a performance of Music in Twelve Parts by Glass at London’s Barbican Centre.
McVinnie studied music in Cambridge under Sarah Baldock, Thomas Trotter and Hans Fagius, among others.
Pekka Kuusisto (b. 1976) is one of Finland’s most renowned musicians. At the commencement of the Helsinki Philharmonic Orchestra’s 2025/26 concert season, Kuusisto began his third and final year as Principal Guest Conductor. Additionally, as Co-Artistic director, he is a member of the Artistic Leadership Team responsible for planning the programme. In the HPO’s concerts, Pekka Kuusisto will perform as a soloist, conductor, and also as a player-director at the front of the orchestra with his violin.
Pekka Kuusisto’s career as a solo artist took off in 1995 when he won the International Jean Sibelius Violin Competition at the age of 19. Since then, he has toured concert halls around the world. Kuusisto’s repertoire spans classical music to modern experiments. He improvises and composes, readily intertwining music with other art forms, aiming to make concerts more accessible and engaging for the audience.
In addition to Helsinki, he frequents Oslo (Norwegian Chamber Orchestra), Gothenburg (Gothenburg Symphony), and Bremen (Deutsche Kammerphilharmonie).
Kuusisto performs on the Antonio Stradivarius violin, “ex-Sandars”, Cremona 1695, generously loaned by the Anders Sveaas’ Charitable Foundation, ASAF.
Yes, but only before or after the concert. During the concert we just want you to enjoy the music. This way you won’t disturb the musicians or other audience members.
Only the orchestra has a dress code. You can dress as you like.
You can give the ticket to a friend or donate it to a music student by calling 09-3102 2700 or sending an e-mail to helsinki.philharmonic@hel.fi by 3pm on the day of the concert.
