Beethoven's 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. 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.
Daniele Rustioni (b. 1983) is one of the most compelling conductors of his generation and is a major presence at leading opera houses and symphony orchestras. In 2022, the International Opera Awards named him ”Best Conductor.” In November 2024 he has been appointed Principal Guest Conductor of the Metropolitan Opera, starting with the season 2025/26.
Now in his eighth season as Music Director of Opéra National de Lyon, Rustioni concludes his tenure in summer 2025. He was Principal Guest Conductor of the Bavarian State Opera till October 2023, a position created especially for him for the first time in the history of this iconic German House. He has led performances at the nearly all of the most important international opera houses and festivals, and made his Carnegie Hall debut with the Met Orchestra in February 2023.
Highlights of the 2024–2025 season include debuts with the London Symphony Orchestra, Philharmonia Orchestra, Philharmonie de Luxembourg, New York Philharmonic, Detroit Symphony and San Diego Symphony. He returns to the Danish National Symphony Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestra Sinfonica Nazionale della RAI, among others.
| Violin 1 Pekka Kauppinen Tero Latvala Jan Söderblom Eija Hartikainen Katariina Jämsä Helmi Kuusi Elina Lehto Ilkka Lehtonen Jani Lehtonen Harry Rayner Angeles Salas Salas Satu Savioja Elina Viitasaari Susan Hwang Violin 2 Nikola Nikolov Anna-Leena Haikola Kamran Omarli Teija Kivinen Teppo Ali-Mattila Eva Ballaz Dhyani Gylling Matilda Haavisto Anna-Maria Huohvanainen Siiri Rasta Krista Rosenberg Virpi Taskila Viola Atte Kilpeläinen Lotta Poijärvi Aulikki Haahti-Turunen Tuomas Huttunen Kaarina Ikonen Tiila Kangas Mariette Reefman Hajnalka Standi-Pulakka Jaakko Laivuori Laura Paakkari Cello Lauri Kankkunen Tuomas Ylinen Beata Antikainen Veli-Matti Iljin Fransien Paananen Inkeri Rajamäki Ilmo Saaristo Saara Särkimäki Bass Ville Väätäinen Paul Aksman Tomi Laitamäki Adrian Rigopulos Miranda Erlich Sami Koivukangas | Flute Elina Raijas Enna Puhakka Oboe Hannu Perttilä Paula Malmivaara Clarinet Maura Marinucci Osmo Linkola Bassoon Markus Tuukkanen Erkki Suomalainen Horn George Strivens Mika Paajanen Joonas Seppelin Trumpet Thomas Bugnot Michael Olsen Timpani Tomi Wikström |
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.
