Schumann Cycle I

Fri 19/01/2024 19:00 - 20:30


Antonello Manacorda's long-awaited return to Helsinki leads the audience and the orchestra into the mysterious triangle of the concert experience.

“The audience is always part of the performance. It is a mysterious triangle: composer, musicians, and audience. One hears the audience. Their impact is most powerfully felt in their silence.” (classicalvoice.org) Conductor Antonello Manacorda's long-awaited return to Helsinki leads the audience and the orchestra into the mysterious triangle of the concert experience. Manacorda and Robert Schumann are our celebrated guests for two weeks!

Robert Schumann: Symphony No. 4

Having devoted the 1830s almost entirely to music for the piano, Robert Schumann (1809–1856) then turned his manic attention first to songs and then symphonies. His first symphony, written in a mere few weeks, was a great success and encouraged him to believe that writing a symphony was child’s play. His second, clearly influenced by Beethoven’s fifth, soon proved him wrong, however. Its premiere was a disaster, it got banished from sight and would be left to gather dust for the next ten years. It then reappeared in 1851, its errors corrected and with lighter instrumentation under the title of Symphony No. 4 in D Minor, Op. 120.

In writing a symphony with movements linked together without a break, Schumann took symphonic unity further than any of his predecessors had done. Whereas Berlioz, for example, in his Symphonie fantastique, kept coming back to his theme either as such or with only minor changes, Schumann in practice based the whole of his D-minor symphony on a single motif first heard in the slow introduction to the first movement. The result was a homogeneous work in a single movement abounding in familiar melodies.

Robert Schumann: Symphony No. 3 in E-flat Major, Rhenish, Op. 97

The Rhenish Symphony by Robert Schumann (1810–1856) is a combination of romantic licence and classical form: the rhythms and melodies are allowed to go their own ways, but within a very strict framework. Instead of the usual four movements, this symphony has five; Schumann was possibly inspired here by the example of Beethoven’s Pastoral, which also has five. Both works also reflect the images conjured up in their composers’ minds by nature and certain landscapes. The second movement of the Rhenish, a Ländler dance with a gently rocking theme, was originally titled Morning on the Rhine.

Schumann had been impressed by the Rhine since taking up the post of director of music in the city of Düsseldorf in autumn 1850 and a visit soon after to another city on the river, Cologne. Sadly, he nevertheless soon began to suffer from depression and tried to commit suicide by drowning himself in the river. Though rescued on that occasion, he died in a mental asylum two years later.

Violin 1

Pekka Kauppinen
Jan Söderblom 
Kreeta-Julia Heikkilä 
Katariina Jämsä 
Helmi Kuusi 
Elina Lehto 
Jani Lehtonen 
Kalinka Pirinen 
Satu Savioja 
Elina Viitasaari 
Serguei Gonzalez Pavlova
Neea-Noora Piispa

Violin 2
Anna-Leena Haikola 
Kamran Omarli 
Teija Kivinen 
Heini Eklund 
Teppo Ali-Mattila
Sanna Kokko
Virpi Taskila
Mathieu Garguillo
Venla Saavalainen
Aimar Tobalina

Torsten Tiebout 
Lotta Poijärvi
Ulla Knuuttila
Carmen Moggach
Hajnalka Standi-Pulakka
Remi Moingeon
Hanna Semper
Laura Világi

Lauri Kankkunen
Beata Antikainen
Basile Ausländer
Mathias Hortling
Aslihan Gencgonül
Hans Schröck

Adrian Rigopulos
Tuomo Matero
Eero Ignatius
Tomi Laitamäki

Elina Raijas 
Jenny Villanen

Hannu Perttilä
Nils Rõõmussaar
Paula Malmivaara

Osmo Linkola
Harri Mäki

Mikko-Pekka Svala 
Noora Van Dok

Mika Paajanen 
Miska Miettunen
Jonathan Nikkinen
Sam Parkkonen

Pasi Pirinen 
Mika Tuomisalo

Valtteri Malmivirta 
Anu Fagerström
Joni Taskinen

Tomi Wikström 


Antonello Manacorda


    Robert Schumann
    Symphony No. 4
    Robert Schumann
    Symphony No. 3 ”Rhenish”
Series IV
Antonello Manacorda
Robert Schumann
Symphony No. 4
Robert Schumann
Symphony No. 3 ”Rhenish”