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Francofonia Concert - Fauré Requiem

Writer's picture: Helsingin KamariorkesteriHelsingin Kamariorkesteri

Updated: Jan 24

Concert at the Helsinki Cathedral on March 25th 2025. Helsinki Chamber Orchestra | Viva Vox Choir | James S. Kahane, conductor. Tickets available soon!



The French Institute of Finland and the Helsinki Chamber Orchestra in collaboration with the Embassies of Austria, Belgium, Switzerland and Canada, invite you to the Francofonia Concert on Thursday March 25, 2025 at 7 p.m. in the Cathedral of Helsinki! This year, Austria is the guest of honor at the event.


The annual Francofonia concert is a recurring yearly event that has taken place since the creation of the orchestra. It celebrates the “Month of Francophonie”, an important event for the French speaking countries around the world. The Helsinki Chamber Orchestra collaborates for the occasion with the French Institute in Finland and the French Embassy in Finland, to propose a concert centered around French and/or Finnish Music, as well as a guest country specially highlighted every year. This year, the concert will have as a guest of honor Austria, and feature for the occasion the Schönberg's masterpiece, Verklärte Nacht (Transfigured Night), as well as Mozart's Divertimento K. 138. The event will culminate with the performance of Fauré’s Requiem with the Viva Vox Choir. Notably, the concert will take place at the Helsinki Cathedral (“the White Cathedral”), Helsinki's most famous monument. The concert will be conducted by the orchestra's principal conductor, James S. Kahane.


Program

  • Wolfgang Amadeus Mozart: Divertimento K. 138

  • Arnold Schönberg: Verklärte Nacht (version for String Orchestra)

  • Intermission (10')

  • Gabriel Fauré: Requiem

 

Wolfgang Amadeus Mozart: Divertimento K. 138

The Divertimento K. 138 in F major was composed in 1772, a year rich with social, political, and musicological significance. Most notably, Wolfgang Amadeus Mozart was just 15 years old. At that time, he was a renowned child prodigy and the pride of Salzburg, guided by his father Leopold, from whose influence he would later struggle to break free. It was also the year Count Hieronymus Colloredo became Prince-Archbishop, with whom Mozart would eventually have a tumultuous working relationship.


The divertimenti from this period reflect the innocence of Mozart's youth. Before more formal classification after 1780, the genre typically comprised “diverting” music, meaning light, possibly outdoor music or background music for social events. Grove Online cites H.C. Koch’s definition as music meant to “please the ear rather than express different shades of emotion.” It is therefore ironic that today’s 'proper' performances in concert halls may align less with the era’s context than its use in wedding gigs.


Nonetheless, the composition's beauty remains evident more than two centuries later. In the style of the operatic composer he was destined to become, the first violin's singing melodic lines lead the way through the first two movements, sharing prominence with the other string parts only in the final rondo movement.


See the full score here: Divertimento K. 138


Arnold Schönberg: Verklärte Nacht

Verklärte Nacht (Transfigured Night), Op. 4, is a string sextet in one movement composed by Arnold Schoenberg in 1899. Composed in just three weeks, it is considered his earliest important work, and while written for 2 violins, 2 violas, and 2 cellos, Schoenberg also produced an arrangement for string orchestra in 1917, revised in 1943, and the present performance will showcase the piece in its string orchestra setting. Verklärte Nacht was inspired by Richard Dehmel's poem of the same name, combined with the influence of Schoenberg's strong feelings upon meeting Mathilde von Zemlinsky (the sister of his teacher Alexander von Zemlinsky), whom he would later marry. The movement can be divided into five distinct sections which refer to the five stanzas of Dehmel's poem; however, there are no unified criteria regarding movement separation. The poem itself describes a man and woman walking through a dark forest on a moonlit night. The woman shares a dark secret with her new lover: she bears the child of another man. The stages of Dehmel's poem are reflected throughout the composition, beginning with the sadness of the woman's confession, a neutral interlude wherein the man reflects upon the confession, and a finale reflecting the man's bright acceptance (and forgiveness) of the woman: O sieh, wie klar das Weltall schimmert! Es ist ein Glanz um Alles her (See how brightly the universe gleams! There is a radiance on everything).


Two people are walking through a bare, cold wood;

the moon keeps pace with them and draws their gaze.

The moon moves along above tall oak trees,

there is no wisp of cloud to obscure the radiance

to which the black, jagged tips reach up.

A woman’s voice speaks:


"I am carrying a child, and not by you.

I am walking here with you in a state of sin.

I have offended grievously against myself.

I despaired of happiness,

and yet I still felt a grievous longing

for life’s fullness, for a mother’s joys


and duties; and so I sinned,

and so I yielded, shuddering, my sex

to the embrace of a stranger,

and even thought myself blessed.

Now life has taken its revenge,

and I have met you, met you.”


She walks on, stumbling.

She looks up; the moon keeps pace.

Her dark gaze drowns in light.

A man’s voice speaks:  


“Do not let the child you have conceived

be a burden on your soul.

Look, how brightly the universe shines!

Splendor falls on everything around,

you are voyaging with me on a cold sea,

but there is the glow of an inner warmth

from you in me, from me in you.


That warmth will transfigure the stranger’s child,

and you bear it me, begot by me.

You have transfused me with splendor,

you have made a child of me.”

He puts an arm about her strong hips.

Their breath embraces in the air.

Two people walk on through the high, bright night.


Schoenberg, the 20th-century revolutionary and later inventor of the twelve-tone technique, is perhaps best known among audiences for this early tonal work. The piece derives its stylistic lineage from German late-Romanticism, and is as such a clear expression of the Dionysian ideals in music. Indeed, the piece expresses the inner feelings and turmoil of the characters, and at moments evidently takes a chaotic turn in accordance with their conflicted emotions.


See the full score here: Verlärte Nacht (original version for string sextet)


Gabriel Fauré: Requiem

Gabriel Fauré’s Requiem in D minor, Op. 48, is one of the most unique settings of the Mass for the Dead and probably the best known French Requiem ever written. Composed between 1887 and 1890, it reflects a deeply personal and introspective view of death, full of "warmth", offering comfort and hope rather than the dramatic terror often associated with traditional Requiem settings. Fauré himself described death as “a deliverance, an aspiration to happiness rather than a painful experience,” and his Requiem expresses this serene and consoling perspective.


Fauré began work on the Requiem after the death of his father and during his time as organist at the Church of the Madeleine in Paris, where he was exposed to the traditional liturgical music of the church. Initially conceived for a small choir and orchestra, the work was first performed in 1888 in a version for chamber orchestra. Fauré later revised it, adding brass and full strings for a richer orchestral texture, resulting in the version most commonly performed today.


Originally structured in five movements, Fauré later added two additional ones to the Requiem. The opening Introit et Kyrie begins with a calm, reflective mood, followed by the Domine Jesu Christe, where the choir offers a prayer for mercy. The Sanctus is characterized by its soaring, ethereal quality, a striking contrast to the more somber movements. The famous Pie Jesu, a delicate soprano solo, is one of the best known sections of the work, expressing a tender prayer for peace. The Agnus Dei is a meditation on peace, while the Lux Aeterna brings a sense of light and eternal rest. The Libera Me features a more intense plea for deliverance from eternal death, though it retains an underlying sense of calm assurance through most of the movement. The In Paradisum, the final movement, is a very personal addition by Fauré - and omitted in many Requiems - , a radiant and uplifting vision of paradise providing a serene and hopeful conclusion to the work.


Fauré’s Requiem is notable for its departure from the grandiosity and theatricality of other Requiem settings, such as those by Verdi or Berlioz. Instead of focusing on the fear of judgment and the terror of the afterlife, Fauré presents a peaceful, comforting vision of death as a restful passage to eternal peace. Through lush harmonies, lyrical melodies, and a deeply expressive use of choral and orchestral forces, Fauré created a work that is both a reflection on mortality and a celebration of eternal life.


See the full score here: Requiem (original 1893 version for church performance)


 

Choir: Viva Vox

The chamber choir Viva Vox was founded in the spring of 1992. Since1994, it has been the chamber choir of the Helsinki Cathedral. The choir is conducted by Seppo Murto.

The purpose of Viva Vox is to revive and maintain a lively interest in choral music of different periods. The repertory includes both old and contemporary Finnish and foreign music. Viva Vox has recorded new Finnish sacred music by Erik Bergman, Einojuhani Rautavaara and Jyrki Linjama.

Besides church services Viva Vox gives concerts in Helsinki and elsewhere in Finland. The choir has performed in Germany, Italy, the United Kingdom, Estonia, Iceland, Hungary and Sweden.

The repertory of Viva Vox today encompasses church music throughout the ages, such as the Mass in B minor by J.S. Bach, the German Requiem by Johannes Brahms, Requiems by W.A. Mozart, Gabriel Fauré and Joonas Kokkonen and Petite Messe Solennelle by Gioachino Rossini. Smaller works, like cantatas by J.S. Bach and D. Buxtehude and a wide array of a cappella choir works are included in the repertory, too. Two major works, The Dream of Gerontius by Edward Elgar and War Requiem by Benjamin Britten were included in the choir's repertory in 2014 and 2017.

The choir has performed in a new Finnish opera "Luther" composed by Kari Tikka, in close association with The Finnish National Opera.



Soprano: Inka Kinnunen


Inka Kinnunen is a soprano, choir conductor and organist who has been working at the Helsinki Cathedral Parish since 2014. She has been the artistic director of Helsinki Cathedral Chamber Choir Viva Vox since 2019 (except for autumn 2022).


Kinnunen studied church music at the Sibelius Academy and then went on to study singing and chamber music at the Conservatory of Strasbourg. After this Kinnunen continued her choral conducting studies with Timo Nuoranne at Sibelius Academy and orchestral conducting at International Sasha Mäkilä Conducting Masterclasses. She has continued vocal studies privately and completed the A degree in singing in 2021.

Kinnunen has performed as a soloist in numerous oratorios, e.g. Matthew Passion and Christmas Oratorio by Bach, Messiah by Handel, Requiem by Mozart, Fauré and Duruflé and Elias Oratorio by Mendelssohn. She has also performed as a soloist with many baroque ensembles and orchestras.


Baritone: Luke Scott


Luke Terence Scott is a Scottish baritone whom has recently graduated with a Masters of Music in Opera from the Sibelius Academy under the tutelage of Hannu Niemelä. Scott is also an alumni of the Guildhall School of Music and Drama and the Royal Northern College of Music.


Scott’s operatic roles include the world debut of Borys Slykovtich in Uljas Pulkkis’s opera All the Truths We Cannot See performed both in Helsinki and Los Angeles, David L’amico Fritz, Sid Albert Herring, Guglielmo Cosìfan tutte, Ben The Telephone and City Marshall Henry Street Scene. Scott is looking forward to making his debut at Savonlinna Opera festival as Paris in Roméo et Juliette.


On the concert and competition stages, Scott was heard at the Palais Garnier in France, where he was a finalist in the 7th edition of the Paris Opera Competition. Familiar in competitions, he has been a finalist in the Havets Röst, Elizabeth Harwood Prize and a semi-finalist in the Vincerò World Singing Competition, Hjördis Schymberg Award and Helsinki Lied. He has sung as a soloist for Savonlinna opera festival*, Helsinki Chamber Orchestra*, Sinfonia Lahti, Buxton International Festival, London Symphony Orchestra’s CommunityChoir and Sibelius Academy Symphony Orchestra.


Throughout his career so far and whilst being a Young Artist at Buxton International Festival, he has had the pleasure of working with conductors such as Markus Lehtinen, Adrian Kelly, Stephen Barlow, Nickolas Kok, Chloé Dufresne and Pierre-Michel Durand amongst others.


Scott has participated in Masterclasses with Patrick Fournillier, Jorma Hynninen, Soile Isokoski, Juha Uusitalo, Kevin Murphy, Kamal Khan, Sir Mark Elder, Sir John Tomlinson and Roderick Williams OBE.


Scott is proud to have had his studies and career generously supported by the Finnish National Opera foundation, Taike, the Martin Wegelius Foundation, Selim Eskelin Foundation, Oopperan Kummit RY, Scottish International Education Trust, Caird Trust, the Leverhulme Trust and finally, the Hope Scott Trust.


Conductor: James S. Kahane


James S. Kahane is the Music Director of the Hamilton Philharmonic Orchestra, Principal Conductor of the Helsinki Chamber Orchestra and Principal Conductor of the Orchestre de Chambre de la Drôme. Commended for his ability to “weave the musical phrases together with flexibility and determination, as well as the musicians between them.” (Bachtrack) and to “take the orchestra to its extremes” (Keskisuomalainen), Kahane has conducted first-rate orchestras around the world such as the Israel Philharmonic Orchestra or the Helsinki Philharmonic Orchestra. His debut album with the Helsinki Chamber Orchestra, released by Resonus Classics, has been lauded as a “colossal album that will inspire for generations to come” (The Flute View).

​With a wealth of experience in both the symphonic and operatic worlds, Kahane conducted productions of operas such as Bizet’s The Tragedy of Carmen, Britten’s The Rape of Lucretia and Kokkonen’s The Last Temptaions among others, as well as world premiered of operas such as Kon’s Bas Sheve or Tuurna’s Years of Silence. He has been a regular guest conductor at the Finnish Chamber Opera and was also a conductor at the Helsinki Contemporary Opera Festival on several occasions. During the Spring 2024, Kahane was the Assistant Conductor to Hannu Lintu at the Bayerische Staatsoper for their production of Pelléas et Mélisande by Debussy, for which he was glowingly and publicly credited by Lintu.

Recent years have seen Kahane guest conducting internationally, appearing with orchestras such as the Israel Philharmonic Orchestra, the Orchestre National de Mulhouse, the Miroirs Étendus Ensemble, the Jyväskylä Sinfonia, the St. Michel Strings and the Pori Sinfonietta. He was Susanna Mälkki’s Assistant Conductor at the Helsinki Philharmonic Orchestra for their 2017/2018 season, where he worked at her side and with the orchestra’s guest conductors, aged only 21 at the time. In 2018, Kristjan Järvi invited him to conduct the Baltic Academies Orchestra in Berlin for their first international tour, and the following year, Kahane was offered a conducting fellowship at the Atlantic Music Festival in the United States, where he worked during the summer of 2019.


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