Introduction

Destroy, erase, eliminate, forget. There are many such words in the biography of composer Nikolai Roslavets. For decades, the Soviet system tried to erase him and his works from card indexes, catalogues, archives, and concert repertoires – almost with success. The score of his first violin concerto was for a long time thought to have been lost, but it was eventually found in the Moscow archives in 1989. Violinist Simone Lamsma learned the concerto in ten days after receiving an unexpected invitation to perform. Her dedication paid off, and Roslavets’ concert has since remained in Lamsma’s repertoire. 

Three puppet characters – Petrushka, Moor and Ballerina – have an adventure in Stravinsky’s trilogy, for which the composer collected material from street performances and folk tunes. The version for a giant orchestra, which premiered in Russia in 1913, received a chilling review from Stravinsky's friend Andrei Rimsky-Korsakov, who thought the work foreshadowed the emergence of musical futurism: “Petrushka glitters with an artificial assortment of bright rags and patches and clatters with ringing rattles.” The reference to the collage technique – albeit in a negative tone – was apt: at the same time, artists such as Pablo Picasso and Georges Braque were using newspaper cuttings as material for their paintings. 

Artists

Olari Elts
conductor
Simone Lamsma
violin

Programme

    19:00
    Anatoly Lyadov  
    From the Apocalypse 
    Nikolai Roslavets
    Violin Concerto No. 1
    Intermission
    Justė Janulytė 
    Apnea 
    21:00
    Igor Stravinsky
    Petrushka (1947)
Musiikkitalo Concert Hall
Olari Elts
Simone Lamsma
Anatoly Lyadov  
From the Apocalypse 
Nikolai Roslavets
Violin Concerto No. 1
Intermission
Justė Janulytė 
Apnea 
Igor Stravinsky
Petrushka (1947)