(gentle hopeful music) - [Announcer] Minnesota Orchestra, together with YourClassical MPR and Twin Cities PBS is live with performances, interviews, and more, on television, radio and online.

This is Minnesota Orchestra.

(dramatic music) (gentle hopeful music) (audience applauding) - Happy new year, everyone.

And welcome to Orchestra Hall in Minneapolis.

My name is William Eddins.

I am a conductor and pianist and a longtime friend of the orchestra.

And tonight I am your host.

This evening is the start of Minnesota Orchestra's highly anticipated Sibelius festival.

As we celebrate Finnish composer, Jean Sibelius.

Let's begin.

Music director, Osmo Vänskä will take the podium and the Minnesota Orchestra will perform Sibelius's Symphony No.

7.

(audience applauding) (quiet thoughtful music) (quiet pensive music) (gentle pensive music) (sweet gentle music) (gentle pensive music) (gentle thoughtful music) (quiet pensive music) (sweet gentle music) (gentle thoughtful music) (sweet gentle music) (gentle thoughtful music) (quiet thoughtful music) (sweet gentle music) (gentle thoughtful music) (quiet dramatic music) (gentle pensive music) (sweet thoughtful music) (gentle thoughtful music) (gentle pensive music) (gentle mournful music) (dramatic music) (gentle thoughtful music) (dark mournful music) (gentle thoughtful music) (gentle pensive music) (gentle mournful music) (gentle thoughtful music) (gentle pensive music) (gentle music) (bright playful music) (gentle thoughtful music) (gentle mysterious music) (bright mysterious music) (dramatic mysterious music) (dramatic music) (gentle mysterious music) (bright playful music) (dramatic playful music) (gentle mysterious music) (bright playful music) (gentle thoughtful music) (dramatic music) (bright mysterious music) (dramatic mysterious music) (dramatic music) (dramatic mysterious music) (dark mysterious music) (mysterious music) (dark mysterious music) (mysterious music) (dramatic mysterious music) (tense dramatic music) (sweet gentle music) (gentle mysterious music) (bright music) (sweet gentle music) (light gentle music) (dramatic music) (gentle thoughtful music) (sweet gentle music) (gentle thoughtful music) (dramatic thoughtful music) (dramatic music) (dark dramatic music) (dark melancholy music) (dramatic mysterious music) (light mysterious music) (dramatic thoughtful music) (bright mysterious music) (gentle mysterious music) (dramatic mysterious music) (gentle mysterious music) (dramatic music) (dramatic music) (bright hopeful music) (bright mysterious music) (dramatic music) (mysterious music) (mysterious music) (dark mysterious music) (thoughtful music) (light hopeful music) (bright hopeful music) (gentle thoughtful music) (gentle thoughtful music) (dramatic music) (dramatic mysterious music) (gentle mysterious music) (gentle hopeful music) (gentle thoughtful music) (sweet gentle music) (gentle thoughtful music) (dramatic music) (gentle mysterious music) (dark mournful music) (dramatic hopeful music) (audience applauding) The monumental 7th Symphony of Jean Sibelius, from its opening, dark ascending scale, through the triumphant C major closing, it's a work that redefines the symphonic form.

Yet was also the last musical utterance of the Finnish master, even though he lived another 33 years after its completion in 1924.

Perhaps the radical nature of the work was a border past which even his extraordinary imagination could not take him.

There was rumor of sketches for an 8th symphony, but none were found.

Musicologists suppose that Sibelius burned all his unfinished works shortly before his death in 1957.

We have a tremendous evening planned for this special New Year's program.

We will chat with musicians, meet a local handbell ensemble and learn about the Minnesota Orchestra's tradition of recording under the leadership of music director Osmo Vänskä.

We will spend the evening exploring the very special relationship Osmo and this orchestra have with Jean Sibelius.

In fact, Osmo has conducted more than 300 concerts of Sibelius's music with the orchestra during his 19 season tenure.

Performances for which they have received great renown, both here in the United States and around the world, especially in Europe.

I am particularly looking forward to their performance of the 2nd Symphony later on in the concert, one of my all time favorite pieces.

For now, something completely different, humor.

See it's an element of many composers repertoire.

Think Haydn's Surprise Symphony or Beethoven's Rage Over A Lost Penny.

Now this component is something we don't normally associate with Sibelius, who is usually considered a more serious, if not cerebral composer.

Yet tonight, we will hear five humoresques for violin and orchestra that Sibelius composed in 1917.

These delightful pieces reveal a quirkier, more tongue-in-cheek side of the great composer.

It is as if he got tired of everyone asking him, "Why so serious?"

Well, the humoresques are also difficult and they require quite a high level of imagination to perform both by the violinist and the orchestra.

Now Sibelius himself was a very accomplished violinist.

Although he eventually had to give up the instrument because of a tremor in his hand.

But because he was such a wonderful violinist himself, his writing for the instrument is very idiomatic.

The Minnesota Orchestra has, of course, performed many of these pieces before.

And these particular humoresques are, well, they're part of a set of music that really brings out a wonderful, I don't know, special character of Sibelius and of course of this orchestra.

Now the orchestra is going to be joined tonight by a wonderful young violinist who is making her debut here in Minnesota.

She is the winner of the 2019 Queen Elisabeth Competition, one of the major competitions for violin in the world.

And she was the first prize winner in 2019.

Her name is Stella Chen and she will be tonight's soloist for these five humoresques by Jean Sibelius.

(instruments tuning) So here is Stella Chen, the 2019 Queen Elisabeth winner, the violinist performing with the Minnesota Orchestra and Osmo Vänskä.

(audience applauding) (bright dramatic music) (bright mysterious music) (bright music) (dramatic mysterious music) (dramatic mysterious music) (dramatic music) (mysterious music) (dramatic mysterious music) (gentle mysterious music) (dramatic music) (audience applauding) (gentle music) (mysterious music) (dark mysterious music) (light playful music) (quiet playful music) (mysterious music) (bright playful music) (gentle thoughtful music) (bright playful music) (gentle pensive music) (bright playful music) (mysterious music) (gentle pensive music) (thoughtful music) (bright music) (thoughtful music) (bright playful music) (gentle thoughtful music) (bright playful music) (audience applauding) (gentle pensive music) (gentle thoughtful music) (sweet gentle music) (pensive music) (gentle thoughtful music) (gentle pensive music) (sweet yearning music) (gentle yearning music) (gentle pensive music) (gentle music) (gentle yearning music) (gentle thoughtful music) (gentle yearning music) (gentle hopeful music) (audience applauding) (dramatic music) (light playful music) (sweet playful music) (sweet playful music) (bright gentle music) (light playful music) (dramatic music) (sweet playful music) (light happy music) (gentle thoughtful music) (light playful music) (dramatic music) (bright music) (gentle mysterious music) (dramatic music) (light playful music) (gentle music) (light playful music) (audience applauding) (dramatic music) (bright mysterious music) (bright music) (bright frantic music) (gentle music) (gentle thoughtful music) (sweet yearning music) (gentle music) (bright dramatic music) (gentle music) (sweet gentle music) (gentle dramatic music) (upbeat playful music) (sweet gentle music) (gentle hopeful music) (bright frantic music) (gentle hopeful music) (dramatic frantic music) (gentle yearning music) (audience applauding) (audience applauding) - Five humoresques for violin and orchestra by Jean Sibelius.

Performed by the Queen Elisabeth winner, Stella Chen.

Now these pieces are on the opposite side of the compositional spectrum from the mighty symphonies, but they are also a glimpse into the composer's sense of humor that we don't normally see.

But while we are backstage, I'd like to introduce a good friend of mine, the Minnesota Orchestra's principal tuba, Steven Campbell.

Hi, Steven.

- Hey, Bill.

- How are you tonight?

- Good.

Happy New Year.

- Happy New Year to you as well.

So listen, we brought you on because we're hearing rumors about an issue that Sibelius has had with your instrument, or let me be more specific with a certain tubaist.

Could you explain?

- Yeah, you know, it's a real shame.

Sibelius wrote so well for the tuba.

And if I could go back in time and borrow a phrase from Spider-Man, I would go to this guy and say "With great power comes great responsibility," because Sibelius being such a great composer for the, well, for the entire orchestra, but for the tuba, this guy showed up drunk and pretty much ruined the performance.

And Sibelius, Speaking of not seeing much of his humor, he did not find the humor in that and decided to stop writing for the tuba.

- Oh, that's a shame.

Was that the 2nd Symphony?

- The 2nd Symphony, yeah.

- The premier of that?

- Yes.

It was a premier of sorts.

Yeah.

- Oh, that's terrible.

- Yeah.

- I'm so sorry for you and tubaists.

- Yeah, it is a drag.

It is a drag, 'cause even listening to the 7th symphony, just, you know, earlier in the program, I'm sitting there going, yeah, perfect spot for tuba right there.

Come on.

I even asked Osmo once to write the definitive edition as if this guy never did that and have a tuba part written for these pieces.

- So is that what you like about Sibelius's writing for your instrument, this lyricism that you were talking about?

- Yeah.

He throws lyrical lines, as well as you know, I'm a timpanist, I'm a bassist, and then there's a solo tuba parts.

And there's one spot in the second movement that if you're familiar with the piece, you'll know the line, but if not, you can just sing along with the words that have been written for it, it's ♪ I play the tuba ♪ Yeah.

So enjoy that.

And right before that, the violins come in and they, you know, it's ♪ He, he plays the tuba ♪ And then I come in, ♪ I play the tuba ♪ Yeah.

So.

- It's amazing how many words we have in classical music pieces that hopefully the public does not know.

- That's right.

I have a lot of time usually back there during the rush to make up words to songs sometimes, so.

- Well, thank you so much for- - Of course.

- For being with us this evening.

Enjoy your own performance of the 2nd Symphony later.

- Of course, I think I might have time to hit the bar real quick.

- Ah, no, no, no.

Don't do that.

- No, just kidding.

- Okay.

Thank you so much.

- All right.

Happy New Year.

- Happy New Year.

Steven Campbell, he is the principle tubaist here of the Minnesota Orchestra.

We have much more to come tonight before Silver Ainomäe, the Minnesota Orchestra's associate principal cellist joins us for Meet Us On The Mezz, we're going to see a delightful video about our friends from Twin Cities Bronze, a local handbell choir, please enjoy.

(bright chiming music) - Handbells came about in the 1600s in England because of all the church tower bells that needed to practice.

And it was very cold in the towers and you couldn't practice without disturbing the whole town.

Handbells were developed so you could practice inside.

Twin Cities Bronze is a group of auditioned handbell ringers guided by three principles, performing, innovating, and educating.

Performing is why we exist.

Innovating is increasing our art form, what we can do with handbells, what we can do with our composers.

And then education is one of our favorite things that we do.

We like to work with church groups, school groups, and we travel around the country.

Several parts that are very important, the handle is what we hold.

The handbells are very unique.

The bells are cast of bronze, which is an alloy of tin and copper.

So to ring the bell, there's a lift.

And then a little squeeze of the hand after ringing, to stop the sound, you damp the bell on your shoulder.

Each individual ringer is responsible for about two pitches, as opposed to an entire line of music, which you would get in an orchestra or a choir.

So it could be many people playing one line.

(bell ringing) The most important skill for a handbell ringer is rhythm.

(bells chiming) - Like most people I started in my church, my church handbell choir.

I've been in the group for 16 years and I love it.

Good people.

We play some really challenging music and I feel like I'm surrounded by some very talented musicians.

- And we're stretching our forearms.

Generally before a performance we'll stretch to keep our muscles from hurting and keep us ready to go.

And switching to right hand.

We'll also warm up on our parts because even if we've practiced on our own outside of rehearsal, it doesn't really make sense until everyone plays together.

We play without a conductor.

So we rely on facial expressions and breathing, which is especially challenging during this time when we have less face to show.

(bright music) - The cool thing about handbells and handbell music is there are a lot of composers that are living today, and there's a lot of music being written for this instrument.

You can actually talk to the composer.

You can call them up and ask them what they were thinking or what they would like us to do or how we should interpret this piece.

- So now we're going to play a piece that I wrote called "Fanfare in F." I wrote "Fanfare in F" last summer when we were playing mostly in driveways and parking lots, sometimes garages and on the lawn.

And we needed some repertoire that would work without tables and without too many ringers in case someone were to get sick.

(light hopeful music) - [Chris] It's an interesting instrument to play.

It's a good challenge.

- I enjoy the friendships that come out of working with people so closely.

I really like the sound of handbells and the different sounds that you can make.

It's a true team effort to make a song with that many people playing only two notes each.

- [Chris] I actually work for the orchestra and I am always surrounded by the music here at Orchestra Hall.

And now I get to be part of it.

I get to play in the lobby for our guests.

So it's an honor.

- [Amy] It's really fun to play at Orchestra Hall.

Lot of people have never heard handbells before.

It's a really festive time of year to be playing.

And I think handbells really bring in the joy of the season.

(gentle hopeful music) (audience applauding) - So I was brought up in the Anglican tradition and I remember pulling the giant bells of these great cathedrals.

And I can assure you, these bell towers can get a bit chilly, but it's warm up here on the N. Bud Grossman Mezzanine, which is right above the Roberta Mann Grand Foyer at Orchestra Hall.

And this is the setting for Meet Us On The Mezz.

Now, while the crowd here enjoys intermission, this is our chance to talk with some of the artists and musicians who make these concerts possible.

Tonight our guest is Silver Ainomäe, the Minnesota Orchestra's associate principal cellist, who sits on the hot seat right next to my long-time friend, the principal cellist Tony Ross.

Welcome, Silver.

- Thank you, Bill.

- Thank you for joining us today.

You enjoying yourself so far?

- I am.

Absolutely.

It's been a lot of fun.

- Excellent.

Excellent.

Listen, we knew you were coming, so we put out the call on social media for people to send in questions to ask you.

And we have three questions we would like to ask you, okay.

- Please.

- All right.

First of all, what was it that attracted you to the cello?

- Well, both of my parents are musicians and they worked at the Opera House and I practically grew up in that same building because of that.

That was the alternative for childcare.

And I spent a lot of time there.

So I naturally went that path and started on piano first and it didn't really click immediately for me.

So I went on a, basically my mom's favorite instrument was cello and I continued with that.

There was a wonderful teacher available in Tallinn and it really immediately felt like that was the right instrument for me.

- Okay, listening to mom, good idea.

Okay, so you're from Estonia.

- Yeah.

- So what do you miss about Estonia?

- Probably those endless days in the summer, you know, where the sun barely sets and it doesn't even get dark.

I do miss that for sure.

- Doesn't that also mean endless nights in the winter.

- You do pay that back.

- Okay, we'll go over that.

So how about a favorite moment from your time here with the Minnesota Orchestra?

- Well, that's difficult.

There've been so many good moments and some of the tours that I've already had the chance to do in my five years here.

I would say the BBC programs in London, those were really, really special moments there to perform on that huge festival.

- Now at the Royal Albert Hall, right?

- Yes.

Yes.

- Nice intimate hall of 5,000.

- Exactly.

There were a few people.

- Yes, well, listen, before you go and I know you've got to play the second half, we have a speed round of questions we would like to throw at you.

Okay.

Are you ready?

- Yes.

- Okay.

Let's go.

How do you take your coffee.

- With soy milk.

- Okay.

Favorite Sibelius symphony and why?

- Probably 2.

And I think there's something historically that's just been the first performances, et cetera, but it's wonderful.

- Okay.

We know you're a hockey fan.

Offense or defense?

- Offense for sure.

- Oh, all right.

Thinking of notable Finns, John Sibelius, Osmo Vänskä, which do you prefer in Finland?

The city of Helsinki or the small town of Lahti.

- I lived in Helsinki for awhile.

So I do prefer Helsinki.

- So you're biased.

- Yes.

- Favorite traditional Estonian dish?

- (sighs) Mashed potatoes.

- I didn't expect that.

- That's not very unique, but yeah.

- Okay.

Well, here's a softball for you.

Hot tub or sauna.

- Sauna.

- Oh, the sauna.

Thank you for the proper pronunciation too.

All right, thank you, Silver Ainomäe.

He is the associate principal cellist of the Minnesota Orchestra.

Thank you for joining us this evening.

- Thank you.

- Enjoy the second half.

- I will, thanks.

- And that wraps up tonight's Meet Us On The Mezz.

Now, many of you may be familiar with the Minnesota Orchestra recordings of Sibelius.

We thought we would share with you why producing the recordings has been special for music director, Osmo Vänskä.

(dramatic music) - When we play concerts at Orchestra Hall in Minneapolis, that is for our home audience.

And then when we are doing recording, it's also for the home audience, but it goes out and it's important to show the quality of the orchestra outside of Minnesota.

(instruments tuning) - The Minnesota Orchestra stands out.

It's really the only top 10 or 12 orchestra in the United States, which still has this really fertile relationship with a commercial company, which is not its own label.

- There have just been so many highlights.

Oh, we did all of the Sibelius symphonies.

We're in the process of finishing all the Mahler symphonies.

And we did all the Beethoven symphonies.

That's a huge chunk of recording that we've done.

It's been amazing.

- [Rob] Just a few points and then we have it.

- The idea came from BIS, the Swedish recording company, whom I have been working for years and years.

They said, what do I think about Beethoven cycle and it all came together.

- [Rob] Really was spectacular.

You finally found the energy and the tension again.

- For me, Rob Sophie's the best producer in the market.

I have said often that if you have a very good producer, then it's like a masterclass for the orchestra.

(dramatic music) - The Beethoven recordings, very interesting.

And I think it goes back to the same things, which characterize all his music making.

He has a very crisp rhythmic sense and their views were just fantastic.

(dramatic music) - We're really fortunate 'cause Orchestra Hall has a beautiful acoustic, but the way recordings happen now it's very different than when they used to put one mic up and they would just get what they got.

Many times you would think that every time you play, you would be like, oh my gosh, this might be the take.

But because you are repeating a lot, you have to stay focused, but relaxed physically because of the repetition.

Professional musicians sometimes are like endurance athletes.

We have to take care of ourselves so that we can perform well.

(scale playing) - We were thinking about what comes after Beethoven, it goes again, back to BIS.

Well, it might be interesting to do again, Sibelius.

Why, we have already one?

And then they said, have you recognized that it's 15 years since we did the recording and that is really?

As a human being and as an artist, I'm not the same guy who I was 15 years ago or 20 years ago.

And also one fact is that the string section is larger and that gives you more possibilities to do more colors.

(gentle music) - [Ellen] Sometimes when you go in to listen to the tracks you've just laid down, you're a little bit surprised, but it really opens your ears to, oh, this is what Osmo was saying when he says he wants it shorter here, or this is a teeny bit out of tune, or this can be better.

(gentle music) Our Sibelius recordings were really magical because Osmo understands the sound painting of Sibelius.

- He's done a huge number of Sibelius recordings for BIS, two recordings of the symphonies.

And he's been called the greatest living Sibelius conductor.

I think there's probably nobody with his authority in that music at the moment.

- It's really nice feeling when something like Grammy happens to us because it means that there are people who like what we are doing.

So it's like a bonus when some good reviews are coming or Grammy's coming.

Can you use this?

- Yeah.

Yeah.

- Yeah, okay.

I would say that if we decide to do any recording, the bar is always very high.

So why not Mahler?

(laughs) Because it's also great music and the orchestra would love to play it.

And yes, there are like hundreds of layers, which we should do exactly as Mahler wrote.

And it is really difficult.

(gentle music) But the Minnesota Orchestra is a great orchestra.

So I think, not only me, many people thought that this is an excellent project for us.

- He has the orchestra trained and playing in a way where you can hear so much of what's going on in his recordings of Mahler symphonies, which are very thickly scored.

- Sounds really great.

Super in tune the top notes- - It's really satisfying to think that, you know, one day when I retire, I'll have these things to say, I was a part of this and that that's pretty special.

Kind of shown a light on our city and brought goodness to the world.

(dramatic triumphant music) - [Rob] It could well be that the BIS/Minnesota Orchestra relationship is one of the last great orchestra label relationships in American music history.

And it's been an extremely good one.

- We have people who love the orchestra.

That is our number one.

And if the recordings are good enough, people outside of Minnesota, that they are interested about the orchestra, because we don't give up before the highest quality is there.

And what happens in the studio is going to happen next time in the concert.

The recordings are helping us to get the orchestra, little by little, better and better.

(dramatic music) - Incredible, the meticulous work to create the collection of recordings.

And of course the Grammy award recognizing Minnesota Orchestra for best orchestral performance of Sibelius's symphonies 1 and 4.

Now we are back in the hall for the second half of tonight's program with the great 2nd Symphony.

It premiered in 1902 with the composer conducting.

After the premier, Sibelius made some revisions.

And it is this version, premiered the year after, that has been a staple of the orchestral repertoire ever since.

Jean Sibelius is generally considered the greatest classical composer ever to emerge from Osmo Vänskä's native Finland.

And Osmo, for his part, has been called by "The London Times," our greatest living Sibelian.

Now we're about to experience these elements coming together in the performance of this remarkable work.

The 2nd Symphony of Sibelius was adopted by the public as an anthem for Finnish independence, though Sibelius's reaction to that has been hotly debated.

He himself described the work as "A confession of the soul."

This endearing and enduring work will close our special New Year's Eve concert, live from Orchestra Hall in Minneapolis.

So here now is the Minnesota Orchestra, led by their long-time music director, Osmo Vänskä, and the great 2nd Symphony of Sibelius.

(audience applauding) (gentle thoughtful music) (gentle pensive music) (light hopeful music) (gentle thoughtful music) (bright hopeful music) (sweet gentle music) (bright hopeful music) (gentle music) (gentle music) (mournful music) (sweet pensive music) (gentle music) (gentle pensive music) (gentle thoughtful music) (gentle music) (sweet gentle music) (dark mysterious music) (dramatic music) (mysterious music) (gentle hopeful music) (dramatic mysterious music) (gentle mysterious music) (gentle hopeful music) (pensive music) (bright mysterious music) (dramatic music) (bright mysterious music) (dramatic music) (quiet tense music) (sweet hopeful music) (dramatic hopeful music) (swelling dramatic music) (dramatic music) (dramatic mysterious music) (gentle mysterious music) (gentle hopeful music) (dramatic music) (gentle pensive music) (gentle triumphant music) (triumphant music) (sweet gentle music) (pensive music) (gentle hopeful music) (pensive music) (bright hopeful music) (pensive 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(dramatic hopeful music) (dramatic music) (gentle hopeful music) (gentle triumphant music) (gentle hopeful music) (gentle triumphant music) (dramatic triumphant music) (gentle yearning music) (hopeful music) (triumphant music) (gentle yearning music) (gentle hopeful music) (quiet tense music) (pensive music) (sweet pensive music) (quiet tense music) (pensive music) (gentle hopeful music) (pensive music) (sweet hopeful music) (pensive music) (sweet hopeful music) (gentle swelling music) (gentle triumphant music) (dramatic triumphant music) (dramatic triumphant music) (triumphant music) (dramatic triumphant music) (triumphant music) (quiet hopeful music) (dramatic triumphant music) (hopeful triumphant music) (hopeful triumphant music) (dramatic triumphant music) (audience applauding) (audience cheering) (audience applauding) The 2nd Symphony of Jean Sibelius, riveting performance by the Minnesota Orchestra and their music director, Osmo Vänskä.

As you can see in here behind me, the audience is on their feet cheering, madly, incredible performance tonight.

Tonight's concert marks the beginning of the Minnesota Orchestra's Sibelius Festival.

And now the music director is giving individual bows, the brass section, principal oboe, going through the woodwinds now, or the horns.

Incredible horn parts here in the Second Symphony.

The two bassoons that open up the second movement, the clarinets, both oboes, and of course the flutes.

Basses is of course get a wonderful, wonderful bow because they provide so much incredible foundation in this piece.

And then, of course, the strings.

Such a wonderful piece, the 2nd Symphony of Sibelius.

I remember growing up on the great Ormandy Philly recording, but it's nothing like hearing this piece live, played by an orchestra that knows how to play Sibelius, conducted by a conductor who has made Sibelius his absolute, this absolute centerpiece of his entire conducting career.

So we are grateful we can connect with you, our audiences, whether you are here in the hall or at home watching on television or online.

Thank you for joining us and happy New Year.

("Auld Lang Syne") (gentle pensive music) (gentle pensive music) (gentle hopeful music) (gentle pensive music) (audience applauding) (gentle playful music)