(audience applauding) - Good evening everyone.

And welcome to Orchestra Hall in Minneapolis.

I'm your host, Sarah Hicks.

And we're thrilled you've joined us for "This is Minnesota Orchestra."

We are broadcasting live on television, the radio, and streaming online.

So those of you who are here in Orchestra Hall might notice some things are a little bit different than you're accustomed to, the lighting, the robotic cameras, but you don't have to do anything differently.

Just applaud and cheer, and enjoy the concert like you usually would.

This is an evening of firsts and lasts.

It's an Orchestra Hall debut for the Sphinx Virtuosi, and it's the last live TV broadcast for our music director, Osmo Vänskä.

We'll be hearing a world premiere that is also a final work, "Symphony" by Jaakko Kuusisto, completed by his brother, Pekka Kuusisto.

Rounding out the program is Mendelssohn's "Concerto in D Minor for Violin and Piano," featuring our concert master Erin Keefe and pianist Juho Pohjonen.

The Sphinx Virtuosi will be with us throughout the concert, and they begin our evening with two solo selections: Foley's "Ev'ry Voice," and the finale of Ginastera's "Concerto for Strings."

Please welcome the Sphinx Virtuosi.

(audience applauding) (audience applauding) (audience cheering) (expressive music) (audience applauding) (audience cheering) - Thank you all so much for that warm welcome.

We are the Sphinx Virtuosi, a self-conducted string ensemble comprising 18 of the nation's top Black and Latinx classical musicians.

And we are delighted to share selections from our program "Tracing Visions."

We represent the Sphinx Organization, committed to transforming lives through the power of diversity in the arts.

Founded in 1997, the national organization conducts many programs from early childhood education, to supporting professional artists and administrators.

You just heard "Ev'ry Voice" composed by Xavier Foley, the winner of the 2014 Sphinx Competition.

This work is an homage and pays tribute to the Black National Anthem, and was commissioned in 2020, when the ideals of unity were invoked amidst uncertainty, tragedy, and hope.

This next piece is titled "Finale Furioso," and is the last movement of Alberto Ginastera's "Concerto for Strings."

It is virtuosic, energetic, and completely unrelenting.

We hope you enjoy.

Thank you.

(audience applauding) (frenzied music) (audience applauding) (audience cheering) - An absolutely electric performance of the finale of Ginastera's "Concerto for Strings" in a dynamic Orchestra Hall debut by our guests tonight, the Sphinx Virtuosi, composed primarily of alumni of the internationally renowned Sphinx Competition.

Let's learn more about the Sphinx Organization they represent.

(lush music) - The mission of the Sphinx Organization is transforming lives through the power of diversity in the arts.

(lush music) In essence, the work that we do is meant to help classical music be as vibrant and representative and reflective as our communities are today.

(lush music) And really to make sure that every young person of any background in any zip code would have the same opportunities and equity of access to classical music and all of its incredible benefits.

(lush music) - Sphinx to me is a family.

It's la familia, as we call it.

I'm the manager of ensemble advancement and artist engagement with the Sphinx Organization.

I lead and manage the National Alliance for Audition Support, and we empower individual musicians of color with financial support and audition previews and audition intensives and training to equip themselves to surpass the barriers that have been put in place for generations in the orchestral world.

Personally, I've been directly impacted by this work.

Before I took on this position to work with Sphinx, I was actually a recipient of the same financial support that I am now distributing.

So I have a firsthand understanding of what it's like to have to take auditions and be under a lot of financial pressure to perform really well.

And when I received a NAAS grant to take an audition, I had no mind of the financial implications.

I was completely focused on the performance and completely focused on how I was playing and communicating myself in the audition.

And I ended up winning a position for a small ensemble that I was able to take because of the NAAS support.

(lush music) - The partnership with Minnesota Orchestra is really profound.

It means to us that a major orchestra in America today is willing and able to prioritize diversity and inclusion in the arts and classical music.

And that is powerful.

That's a great example to set for the rest of our field, for many of our artists, and really for the rest of the industry to say that we can work and we can co-curate content, and we can really think artistically as a unit, as a team, contributing our voices and really putting really our resources where our mind and where the words are.

And that's really powerful and fantastic.

I'm excited to see what this collaboration brings and also what other blueprints we can create together to set a nice example, a meaningful example for the rest of the field.

(lush music) - I've subbed with the orchestra for many years.

I've been able to stand on that stage as a professional with them.

But there is something unique about this particular performance for me, because it is the first time I will stand on that stage as an invited guest.

And that feels innately different and hugely important to me, from someone who came to my first orchestra concert at Orchestra Hall when I was maybe nine and has been coming ever since; to stand on that stage in this particular moment.

and with that particular ensemble and as an invited guest, it just feels really special.

(lively music) Sphinx has a deep acknowledgement for representation, so that always feels good.

I remember knowing as a kid that I didn't see a lot of people like me.

And so it is, it fills me with a sense of purpose when I get to be the representation for someone else.

(lively music) - The change has begun, but it's nowhere near complete.

No matter what we do to put money in people's pockets to help them grow or to help fund initiatives in orchestras, there's no greater impact than listening, hearing, and being a part of these conversations that are helping people cultivate a sense of belonging and feeling that they are one with the organizations that they are a part of.

(lively music) - The more we show by example that this excellence is inseparable from diversity, the more it becomes the norm for young people to envision themselves at the helm, on the stage, in corner offices, in leadership seats.

(lively music) - The Sphinx Virtuosi will be playing alongside the Minnesota Orchestra for the remainder of our program, beginning with our next selection.

We conclude the first half of our evening with an unusual combination in the concerto world, a duo concerto for violin and piano, written when Mendelssohn was 14, the same year he wrote 12 string symphonies and countless chamber works.

This work is in three movements: a sparkling allegro; a wonderful andante; and an absolutely dizzying presto.

Minnesota Orchestra concert master Erin Keefe and pianist Juho Pohjonen now take the stage to perform Mendelssohn's "Concerto in D Minor "for Violin, Piano, and String Orchestra."

The Minnesota Orchestra led by Osmo Vänskä.

(audience applauding) (dramatic music) (audience applauding) (elegant music) (lively music) (audience applauding) (audience cheering) - Hard to believe Felix Mendelssohn was 14 when he wrote that concerto for piano and violin, played tonight by Juho Pohjonen, piano, and Minnesota Orchestra concert master Erin Keefe.

Those two have been friends for about 10 years, have a wonderful rapport, and big hugs after that concerto.

Conducting tonight is Osmo Vänskä, with the Minnesota Orchestra joined by visiting artists from Sphinx Virtuosi.

I'm Melissa Ousley in the MPR radio booth, and Sarah Hicks is backstage tonight.

Hello Sarah.

- Hi Melissa.

- Wow.

The outer movements of that concerto are so fast and then the middle one just tugs at your heartstrings.

And it makes me think of Osmo's emotions tonight, which they must be all over the map.

I mean, he just heard his wife and his good friend Juho play that joyful concerto.

And very different music after intermission.

What's the vibe like backstage?

- Well, it's unusually busy here backstage as we have not just our soloists, but also the Sphinx Virtuosi, and some special guests that we'll meet in a little bit.

And we've all been really energized by the first half of this concert.

But I would say there's a sense of anticipation for the second half and some really complicated feelings about the performance of the Kuusisto.

- I remember talking to Osmo about a year ago when the orchestra was finally playing big symphonic music after the pandemic.

And I asked him how that felt.

And he quoted the late German conductor, Karl Böhm.

And he said, it's much better if the audience is crying, but not the conductor and not the players.

They have to stay in control.

And you've worked along Osmo many times.

Have you experienced those tears or the laughter with him?

- Well, first of all, that's a great quote by Karl Böhm.

I'm gonna steal that one.

While I've been really moved to tears during many performances, I really associate Osmo with laughter.

My earliest memory of him was when I auditioned for the assistant conductor position with the orchestra way, way back in, I think it was 2005.

I had to do a little intro for a piece like you would do for an educational concert.

And I cracked a really subtle little joke and I took a beat for it to land and Osmo who had looked really, really stern to that point, he laughed, and I thought, "Oh, okay, "he's got a sense of humor.

"I think I can get along with them."

- I asked him a while back, if there's a stereotype of Finnish people not showing their emotions or showing their emotions.

And he said, "The Finnish people, we don't speak, "and we don't really talk very much, with one exception "and that's when we're drinking."

(both chuckles) And then he went on to say, "I think I'm the exception to that "because I can express my emotions without alcohol."

(both chuckle) - That does sound like Osmo, both quintessentially Finnish and also far from Finnish, and with that sense of humor I was talking about.

Thanks, Melissa.

It's always great to chat with you.

- Thank you, Sarah.

- Well, it looks like our soloists have been able to catch their breath after that superb performance of Mendelssohn's "Concerto for Violin and Piano," a piece which I have never heard live, so that was a nice first for me as well.

So, welcome to Erin and Juho.

(people speaking indistinctly) - Hello, Sarah.

It's been a while.

Nice to see you again.

- Great to see you too.

It has been a while.

So Erin, there are a lot of pieces for piano and violin, lots of chamber music, but not so many concertos for this duo.

Can you tell us what sort of technical issues have you come across with this piece?

- Yeah, I didn't quite realize until we started the rehearsal process quite how different it can be, because when I'm doing a concerto, just myself and the orchestra, I'm standing within the orchestra, but because we have a giant piano, I have to stand quite far forward.

So one of the biggest technical issues I would say is the visual aspect.

Because Juho and I play so much together and he has to crane his neck to one side to see me.

And also hearing is a little bit different when you're that far from the orchestra.

So, I rely quite a bit on turning around to look at Osmo or to Juho.

- So, sight lines and listening very different from the usual concerto stance.

- Exactly, yeah.

- Really interesting.

So continuing with that, Juho, you play a certain way for chamber music.

You play a certain way for solo music.

You play a certain way for concertos.

This kind of puts it all together.

What are you thinking about?

What's that process?

- Well, the challenge in this kind of music probably is to marry somehow the chamber music aspects and the concerto aspects, especially in terms of dynamic balance, because on piano, we always just play with illusions of dynamics.

So if you think about the piano sound, there's the attack, which is very sharp, and then the decay to nothing.

So we basically have all the dynamics within just one note.

So that means that in chamber music, I just have to kind of create the illusion that I'm playing loud without covering the other player.

So I'm actually not using any force at all.

And in concertos it's the opposite.

So sometimes when the orchestra is playing and I want to be in front of the orchestra, I actually have to use quite a lot of power, but the sound is still quite small.

So in this kind of piece, the challenge is to find the right balance between the two of these.

- And to go back and forth as well.

That is interesting.

- Yes.

But it helps a lot actually to have Minnesota Orchestra because they're so sensitive, and Osmo.

Yeah.

- So Erin, speaking of the Minnesota Orchestra, what's it like to step out in front of your colleagues into the solo position?

- Oh, after 10 years, it's a little bit easier than it used to be.

I think at the beginning I felt a lot of pressure like I had to prove myself.

But now they've heard me on good days, they've heard me on bad days, so there's a little bit less on the line.

But I do find that playing a concerto is one mindset; I'm the soloist, or in this case, one of two soloists.

But when I'm playing in the orchestra, I'm one of 16 of my section.

And then suddenly I have to play this gigantic solo, and it's a completely different mindset.

I find that actually somewhat trickier, to be honest.

- I'd never thought of it that way.

Yeah, you have to sort of switch back and forth as well.

Very interesting.

You two have played for many years together, and Juho, you have worked with Osmo, you're a friend and you must have some Osmo stories.

Could you share one with us?

- Well, my favorite, let's say the second favorite memory with Osmo was the very first time I played with him.

I was just a young kid, maybe 20-something.

And we did a tour with the Lahti Symphony Orchestra in Japan.

I played the Grieg concerto many times in different venues, some really small, big venues and some really smaller venues.

So that's how I learned the concerto.

But then let's go to the favorite memory, which is my debut with the Minnesota Orchestra 20 years later.

And I played the same concerto here, so it was like a full circle for me.

- That's a wonderful sort of coming home.

- [Erin] We'll see you again in 20 years.

(all chuckles) - Hopefully sooner than that.

Thanks so much for stopping by guys.

- Thank you, Sarah.

- Great to talk to you.

- So, we've gained some insight about our soloists, and now we turn to our other guest artists, the Sphinx Virtuosi, to hear more about the Sphinx organization and particularly about Sphinx LEAD.

I'm delighted to be joined by Jennifer Bowman.

Welcome Jennifer.

- Hi.

How are you?

- Good.

Good to see you.

Thanks for joining us.

- Yeah, thank you for having me.

- Jennifer, you are a member of the third cohort of Sphinx LEAD, or Leaders in Excellence, Arts, and Diversity.

It's a two-year leadership program designed to evolve the industry landscape.

Tell us a little bit more.

- Yeah, so I think of Sphinx LEAD as an accelerator for arts leaders who are ready to do even greater things in their career.

The program offers a really strong community to support their advancement in the field, as well as mentorship.

There's funding to help support the work.

And it's a really amazing experience.

My cohort is in the middle of their second year, and they're already leading orchestras, they're fundraising for some of the top organizations in the country.

They're leading international arts education initiatives.

They're doing really great work.

So I've seen the evidence of what Sphinx LEAD can do.

- Really great work.

Speaking of great work, you have recently been appointed as the director of community and learning at the Houston Grand Opera.

- Yes.

- Congratulations.

- That is so wonderful.

- Thank you.

- So I'd love to hear about your own experience, your journey through Sphinx LEAD that has brought you to this place, this position, personally as well.

- I think my journey starts in the summer of 2020 when I was really thinking about what was happening in society, what was happening in our country, and what I can do as a black woman who's committed to classical music and loves it so much.

And I remember in September of that year, the first two cohorts of Sphinx LEAD actually wrote a blog post that talked about arts administrators of color, we're here, we wanna change, we wanna do better for classical music; hire us.

And that really inspired me to look at the program.

And I know that this program's really contributed to me getting to the position where I am now with Houston Grand Opera.

- How extraordinary that in 2020, that worst of year, is you were inspired and started this journey; that's actually very encouraging to hear wonderful stories like that.

So what do you hope for the future of our industry and particularly in arts administration?

- Yeah, if you look at the Sphinx Virtuosi who were performing fabulously with the orchestra tonight, if you look at my colleagues in the LEAD Program, I just want our field to know that there are people who love this music, love this work, and wanna make it as accessible to as many people as possible, so bring us into your organizations.

Let us collaborate.

Let us figure out how to resolve these big matters together.

But also know that there are many of us who are making our own tables, making our own organizations, so please notice our work as well.

And hopefully we can find ways to collaborate and it only makes classical music better.

So many people are thinking about how to preserve it for years to come.

- And collaboration is key and this is such a wonderful way to do it.

Thank you so much for joining us for a few moments, Jennifer.

- Thank you, Sarah.

- We feel so fortunate to share the stage with the extraordinary musicians of the Sphinx Virtuosi.

Artistic partnerships like this are possible because of the enthusiastic support of our music director, Osmo Vänskä, who tonight is leading the last live television broadcast and the penultimate concert of his 19 year tenure.

And what a remarkable tenure it's been.

Let's look back at some of the highlights of Osmo's time with the Minnesota Orchestra in a video narrated by our very own Brian Newhouse.

(soaring music) - [Brian] Moments like this have swept into our hearts and thrilled us, affirmed music as one of the great gifts of simply being alive.

(soaring music) This orchestra, the Minnesota Orchestra in full flight is a thing of utter wonder, evidence of the powerful chemistry between great players and a visionary leader.

But in the fall of 2000, his first time on the Orchestra Hall podium, few of us had heard of Osmo Vänskä.

Fewer still knew how to say his name.

Praise for the orchestra and its 10th music director quickly started from audiences, guest artists, and critics.

Invitations came from storied concert venues in London, Amsterdam, and Vienna.

At the end of Osmo's first decade, the New Yorker said of a Carnegie Hall concert, "The Minnesota Orchestra sounded to my ears "like the greatest orchestra in the world."

(broad music) Artistic excellence has always been a cornerstone of the Minnesota Orchestra, and Osmo and the orchestra have taken that to unprecedented heights, but that's not the whole picture.

♪ Nelson Mandela ♪ (singing in a foreign language) ♪ Nelson Mandela ♪ - [Brian] Throughout his tenure, Osmo and the orchestra kept reimagining and redefining what an orchestra in the 21st century could do, what it could be, whom it could touch and serve.

The orchestra set about to unite people through shared musical experiences.

And with this approach came new reach, new audiences, and a whole new level of impact across the globe.

These were far more than tours, but partnerships of true musical exchange, as transformational for our musicians as for the local artists.

(lush music) This music has a unique power to touch lives.

And when you have felt that and believed that you wanna make sure others get that same chance, not just in famous cities far away, but here in Minnesota.

The pathbreaking Common Chords tours took the orchestra to Mankato, Bemidji, Hibbing and other towns, each for a week of intensive service brought to life in schools and community centers.

Back home in Minneapolis, Orchestra Hall with its famed acoustics became a very busy recording studio.

- [Technician] Just a few points and... - [Brian] With complete cycles of symphonies and piano concertos by Beethoven, the symphonies of Sibelius, all winning international acclaim, including our first ever Grammy for best orchestral performance.

A thrilling cycle of all 10 Mahler symphonies is nearing completion.

(energetic music) When COVID arrived, the Minnesota Orchestra embraced its mission of making music for the community in new ways, and redefined community yet again as not only our neighbors here in Minnesota, but music lovers we may never meet in states all across America and over the oceans.

(capricious music) New programming choices brought new voices and new urgency to our concerts.

And "This is Minnesota Orchestra" was launched, a multimedia initiative serving livestream, radio, and TV audiences with Orchestra Hall performances, each of which attracted 42,000 people, which is 21 times the number of people who can be seated in the hall.

It was innovation like this, creativity and tenacity in service to audiences, that led Gramophone magazine to name the Minnesota Orchestra as their 2021 orchestra of the year.

- Osmo restored pride to our group.

From the second he arrived, he brought unrelenting high standards and a sense of quality, and the expectation that we were gonna achieve great things together.

I think he's shown us who we are, who we can be, and how can we better serve the people in our community.

And then how can we better reconcile our global and our local aspirations.

When we go on tour to South Africa, or when we go on tour to Cuba, are we doing the same thing at home?

He was very much a part of that.

And I think that is gonna last on the group for a long time.

(shimmering music) - It means a lot, 19 years, and I'm so happy that I have been able to be here.

And I have been involved of this, of this Minnesota Orchestra community, Minnesota Orchestra people.

And we can smile.

We can be proud of what we have done.

I know that I am not the easiest conductor.

I ask a lot of things and I demand a lot of quality and lot of details, because I believe that the music is speaking better that way.

And this orchestra has been able to do it, years and years and years.

This is like an ideal situation for a conductor to have an instrument which is playing so well.

(soaring music) We are willing to do music together, and I cannot ask anything better.

And I hope that the orchestra could do many, many good things, and can get even better.

And I'm happy to follow that when I step down.

(soaring music) - [Brian] This is a golden era for the Minnesota Orchestra, and these successes point to an incredibly exciting and even brighter future.

So this is a night of gratitude for all who have created the foundation for what's to come.

Thank you to the passionate world-class artists who are the Minnesota Orchestra, but in particular, our deepest gratitude to one singular leader.

(audience applauding) (audience cheering) - If orchestras are often compared to large and slightly dysfunctional families, then the music director sits at the head of the table; sometimes guiding, sometimes shepherding, sometimes transforming discord into harmony, and always trying to create the underlying unity, which helps each musician be the best they can be.

And that unity can't be created simply by willing it, so it takes a conductor of both vision and conviction to help move such a large group of people towards the same direction, towards a shared goal.

An orchestra, after all, is a collection of different sounds and colors, of different personalities and approaches that needs quite literally a guiding hand.

And when an orchestra comes together under the hand of a truly compelling musical vision, incredible things can happen.

I've been lucky enough to be a part of this organization for much of Osmo's tenure, so I've witnessed those electric moments in concerts.

I've watched rehearsals during which he would go over and over and over a tiny musical detail.

And I've watched the relationship between Osmo and the orchestra blossom and grow in extraordinary ways.

In the second half of our concert tonight, we're looking forward to watching this marvelous collaboration in full bloom, as Osmo leads the Minnesota Orchestra and the Sphinx Virtuosi in the world premiere of a work by the late Jaakko Kuusisto.

Well, it looks like intermission is wrapping up, so in a few moments, I'll see you on stage for the second half of tonight's concert.

(audience applauding) Before we return to the music, we'd like to take the opportunity to acknowledge First Lady Gwen Walz, and other esteemed guests in attendance this evening, as we honor Osmo Vänskä on this the last live TV broadcast of his illustrious tenure as music director.

To mark the moment, we're honored to be joined by Consul General of Finland and New York, Ambassador Mika Koskinen.

Please welcome Ambassador Koskinen and music director, Osmo Vänskä.

(audience applauding) - First Lady Gwen Walz, Honorary Consul Elaine Kumpula, dear Osmo, ladies and gentlemen: it is a pleasure for me to say a couple of words to pay tribute to Maestro Vänskä's 19 year tenure as Minnesota Orchestra's music director.

Before that, allow me to state that our thoughts are in Ukraine and with the people of Ukraine.

(audience applauding) Dear Osmo, you have led Minnesota Orchestra on major national and international tours, and through highly successful recording projects.

You have also conducted all the major American and European orchestras.

I remember reading how you describe your work: "When I'm conducting music, "I am hearing it, I am feeling it, "I am breathing it."

I am certain that you have left a mark on many musicians and members of audience here.

Thank you very much.

And congratulations Maestro.

(audience applauding) Tonight, we heard the stunning "Double Concerto" by concert master Erin Keefe, and Finnish pianist, Juho Pohjonen.

And we are able to enjoy now the world premiere of the final work of magnificent Finnish composer, Jaakko Kuusisto.

Jaakko tragically passed away in February, and his brother, Pekka has finalized this piece.

I would like to express my sincere condolences to loved ones of Jaakko Kuusisto.

Ladies and gentlemen, Finland highly values our close close partnership with the state of Minnesota, which many Finnish Americans call home.

Finland and Minnesota have strong ties in culture, sports, and business.

We are very similar in terms of the number of population, geography, and climate.

(audience laughing) Even, I think, we have even colder weather.

(audience laughing) Minnesota and Finland further deepened our strong relations last fall when we signed a letter of understanding on cooperation on sustainable technologies.

The Finnish delegation is visiting Minnesota this week to continue our excellent cooperation.

I am pleased to be here with all of you for this concert.

Join me in celebrating Osmo Vänskä and his extraordinary Finnish cultural contributions to Minnesota and to the world.

Thank you.

(audience applauding) (audience applauding) (audience cheering) - Thank you so much.

Thank you everybody.

Thank you, Mr.

Ambassador, for coming to Minnesota and to our concert.

It's just great to have you and Finland's foundation here tonight to celebrate, as you already said, the premiere of Jaakko Kuusisto's "Symphony."

Thanks, everybody coming to the concert.

And I have had a great time here, a great, great, great time.

And big part of that are you.

You are the best audience, and therefore it's our pleasure to play for you.

Thank you very much.

(audience applauding) - Thank you, Ambassador and Osmo.

As we come to the final work in our program, we'd like to introduce you to Finnish violinist, conductor, and composer, Pekka Kuusisto.

Pekka is a dear friend to the orchestra and to Osmo, as was his late brother Jaakko, whose symphony we premiere tonight.

It was commissioned to be a capstone to Osmo's final season, but unfinished, when Jaakko passed away this past February.

An edition of the work that would allow for this world premiere, was prepared by his brother, Pekka Kuusisto, who we now welcome on stage.

(audience applauding) - Thank you, Sarah.

Dear friends, two handsome slabs of music were what my brother left us with; two handsome slabs making up roughly half a symphony.

When his departure became imminent, Jaakko's wife Maija, who is in this glorious room with us tonight, conversed with Osmo.

The idea emerged that I would try to give Jaakko's "Symphony" a loving completion; one that he was not allowed to create.

Jaakko and I spoke about the symphony a number of times when it still seemed likely that he would get to finish it himself.

And he knew the Minnesota Orchestra.

He knew the virtuosity, the sound, the colors, the brilliant blinding lights, and the deep shadows.

And he knew Osmo; the unstoppable flow of emotion and energy, the attention to detail.

And of course, he knew of the exceptional resonance as this last few weeks of Osmo's time as music director would contain.

And he knew you, he knew the Minnesota audience, and I'm sure he must have absolutely loved, loved, loved, loved writing music for all of you and for your orchestra and for your Osmo.

Composing to complete my brother's "Symphony" is an adventure I shall never be able to take again.

I would like to offer my most heartfelt thanks to the musicians and the administration of the Minnesota Orchestra, to Osmo, to Erin, and to Maija, and an additional two people who are in the room with us tonight: the score technician Jari Eskola.

(audience applauding) Jari worked some really long hours, assisting me with orchestration and creating performance materials, music scores of the quality that Jaakko deserves.

And I would also like to thank my wife, Lena.

She has been an irreplaceable pillar of support in this spring of unfathomable loss.

Dear friends.

(audience applauding) I do wish I would not be here.

Thank you.

(audience applauding) - Thank you, Pekka, for those words and for making this poignant premiere possible.

And thank you all for being with us as we share this music for the very first time.

The orchestra will now tune in preparation for our final work this evening, "Symphony" by Jaakko Kuusisto.

(audience applauding) (orchestra tuning) (orchestra tuning) (audience applauding) (mysterious music) (frenzied music) (broad music) (mysterious music) (veiled music) (poignant music) (mysterious music) (audience applauding) (audience applauding) (audience applauding) (audience cheering) (audience applauding) (audience cheering)