“Nathalie Stutzmann warmed up both the musicians and the audience.” (HS, 15.12.2022) The French conductor made her debut in front of the Helsinki Philharmonic Orchestra two years ago almost to the day and charmed the entire concert hall. Stutzmann makes her return with a programme of Beethoven that brings dazzling sound, light and timeless beauty to the dark season.
Ludwig van Beethoven (1770–1827) dreamt of becoming a pianist-composer until deafness put an end to that. On the programme for his last public appearance were the premieres of the 5th, 6th and Choral Symphony, plus 2 movements from his Mass in C and the 4th Piano Concerto. He also improvised at the keyboard. The concerto got a good reception, despite the fact that the audience had to sit through a marathon concert virtually sight-read by poorly-rehearsed singers and players in a freezing cold hall. Those expecting something more dramatic were nevertheless disappointed and the concerto was soon forgotten.
The opening is an immediate break with tradition in that it begins with a piano solo. During the enigmatic second movement only 72 bars long, piano and orchestra engage in an intensive dialogue sometimes said to have been inspired by the myth of Orpheus and the furies, but there is nothing to substantiate this claim. The third movement is a sprightly, dancing Rondo.
An ardent anti-monarchist, Ludwig van Beethoven (1770–1827) admired the young Napoleon and on its completion dedicated his third symphony to his hero. But when Bonaparte declared himself Emperor of France only a couple of months later, Beethoven was so disgusted that he crossed out the original title and dedication, replacing them with the words “Sinfonia eroica, composed to celebrate the memory of a great man”. His contemporaries were astounded by the symphony (which Beethoven always regarded as his best), and no wonder, for the scope, dramatic structure and techniques were unlike anything they had ever heard. The Eroica is justifiably recognised as a landmark in the history of music.
The first movement is a radical re-interpretation of sonata form and its potential, ingeniously and logically developing little motifs. The second is a funeral march, the third a Scherzo, and the finale a set of variations on a theme Beethoven had already used in his ballet The Creatures of Prometheus and his E-flat major variations for piano, Op. 35.
Francesco Piemontesi (born 1983 in Locarno) is a Swiss-Italian pianist. His wide repertoire includes works from the Baroque era to contemporary music, and he performs around the globe.
Piemontesi is a renowned interpreter of the solo works and piano concertos of Ludwig van Beethoven. In the 2024 autumn season, Piemontesi will perform Beethoven’s Piano Concerto No. 4 in six international concerts before his guest appearance as the piano soloist with the Helsinki Philharmonic Orchestra. He is scheduled to feature the concerto at the BBC Proms in London, in the United States, and in Hungary. Additionally, Piemontesi will perform other works of the composer in recitals and concerts across Europe. From 2025, he will present Beethoven’s piano sonatas at London’s Wigmore Hall.
Piemontesi studied at the Hochschule für Musik und Theater Hannover. He has been Artistic Director of the music festival Settimane Musicali di Ascona in Switzerland since 2012.
The French conductor Nathalie Stutzmann (born 1965) has been Music Director of the Atlanta Symphony Orchestra since 2022, becoming only the second woman in history to serve as the artistic leader of one of the USA's top orchestras. She is also Principal Guest Conductor of The Philadelphia Orchestra since 2021.
Stutzmann’s anticipated return to the Helsinki Philharmonic Orchestra features a Beethoven programme, which can be considered a prelude to her spring 2025 concert series with the Atlanta Symphony Orchestra. In their ambitious fifteen-concert Beethoven Project, running from January to May, the ASO and Stutzmann will present Beethoven's Symphonies Nos. 1–8, the Triple Concerto, and as the grand finale, the Missa Solemnis.
Nathalie Stutzmann first made her name as a contralto. With a quarter-century celebrated worldwide career, she decided to live her dream and become a conductor. She studied conducting with the legendary Finnish conductor and teacher Jorma Panula and was mentored by Seiji Ozawa and Simon Rattle.
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.
