Kalevi AHO (b. 1949)
Chamber Music
Prelude, Toccata & Postlude for Cello and Piano (1974) [9:36]
Lamento in Memoriam Sakari Laukola for Two Violins (2001) [4:36]
Halla for Violin and Piano (1992) [7:40]
Sonata for Solo Violin (1973) [20:57]
In Memoriam Pehr Henrick Nordgren (2009) [10:09]
Piano Sonata No. 2 Homage ā Beethoven (2016) [26:30]
Samuli Peltonen (cello)
Sonja Fräki (piano)
Jaakko Kuusisto (violin)
Pekka Kuusisto (violin - Lamento)
rec. 2017/18, The Kalevi Aho Hall, Lahti, Finland
BIS BIS-2186 SACD [80:43]
This is the first single BIS SACD that I have reviewed since they have adopted the no-plastic delivery system, and I must say, I am highly impressed. Firstly, the gatefold sleeve is of a higher grade of cardboard than certain other companies provide, so much so that I can see it lasting longer than others, whilst secondly, the packaging harks back to the days of LPs, with the disc itself packed in a paper sleeve which is then placed in one side of the cover, simple, but the attention to detail makes all the difference, the booklet is tucked into the other side of the cover.
The disc itself offers the listener a varied and interesting cross section of Kalevi Aho’s chamber music that spans nearly forty-three years, making this a most valuable release. Whilst his music can divide critics, most will agree that he is certainly one of the most individual voices composing today, I have only ever found one piece that I cannot get on with, his Sonata for Two Accordions (BIS-1886), and I now have quite a bit of his music. his music can be stark and challenging, but also rewarding and is in no way unapproachable to the listener. I am glad to say that all of the six works featured on this disc are the latter; yes they are a little thorny at times, but they are still listenable too and accessible, with all having a sense of purpose and one even a hint of Beethoven.
This Hybrid SACD opens with a wonderful performance of the Prelude, Toccata & Postlude for Cello and Piano, a work that sets the scene well for what we get on this disc of strongly articulated and impressive emotional music, with the highly syncopated Prelude forming a fantastic introduction to the string music of Aho. The central Toccata offers Samuli Peltonen a real chance to show off, with the virtuosic string of notes akin to a perpetuum mobile with Sonja Fräki given some equally demanding music to play, the result being remarkable. As a contrast to this, the Postlude offers more tranquil, meditative music, its sad air readying the listener for the two memorial pieces included on the disc.
Wonderful as the cello work is, it is in the music for violin, Kalevi Aho’s own instrument, that the finest music can be found, especially the two works composed as memorial pieces. The first of these, Lamento composed for Two Violins in Memory of Sakari Laukola and which was premiered at the young musician’s funeral service in 2001. Here Jaakko Kuusisto is joined by his brother Pekka Kuusisto in what is a stunning performance of this short work. The work despite its brevity, packs an emotional punch, this is something that the Kuusisto brothers bring out to the full leaving the listener in no doubt that this piece was composed as a memorial. This is followed by Halla, a short work from 1992 for violin and piano, here again Jaakko Kuusisto is in excellent form and he is wonderfully matched by Sonja Fräki’s thoughtful playing.
The next two pieces on this disc are for solo violin and are the only works featured on this disc that I already knew, as I have them played by Renate Eggebrecht (TRO-CD 01452). The first of the works is the Sonata for Solo Violin of 1973 which, while Kuusisto offers a powerful and convincing performance, his overall timings are just short of two minutes faster than Eggebrecht’s; I do like her performance, especially in the slower music, although Kuusisto comes into his own at the quicker tempos. So, both the performance of Kuusisto and Eggebrecht have a lot to offer, with both performances welcome on my shelves. The second work, In Memoriam Pehr Henrick Nordgren, is for me, the finest performance on this disc, and whilst there is very little to choose tempo-wise between Kuusisto and Eggebrecht here, it is Kuusisto who clearly comes out on top. His performance is one of real intensity and again the emotion he achieves with his playing is almost tangible, a truly splendid performance, one in which Jaakko Kuusisto shines. The other star here is the recording, whilst the Troubadisc sound is very good, it cannot compare to the sound of this BIS Hybrid SACD, even if the stereo sound of this disc is superior. Sadly during the lockdown my access to a proper SACD system was curtailed, but even listening through my Blu-ray player and the 5.1 setting on the TV, gives a good idea of the difference, with the sound better and more detailed than plain stereo.
The final work could be seen as a follow up to Sonja Fräki’s excellent disc of Aho’s solo piano music (BIS-2106 SACD), with her performance of the Piano Sonata No.2 Homage ā Beethoven of 2016. It is not very difficult to hear where Beethoven comes into this Sonata with the opening statement being based upon the Hammerklavier Sonata, but this is Beethoven for the here and now, as Aho treats the theme in his own innovative manner, not exactly subjecting it to a series of variations, rather twisting and moulding the theme to suite his own purposes whilst building his own material in a similar fashion to the way that Beethoven develops his own first movement. The slow second movement is uniquely Aho’s, with his own particular piano style written large throughout. The third scherzo-like movement can again be seen to take its lead from the second movement of the Beethoven, which is again bent out of all proportion. The fourth movement takes its emphasis, not from Beethoven but from the sound of bells. Whilst the final movement brings together thematic material from the previous movements, blending and mixing them together until a new and altogether different sound emerges, more akin to Messiaen as it imitates the songs of birds, and it is this that leads it to the calm conclusion of the movement and the sonata as a whole. The work was composed as a gift for Sonja Fräki in 2016, who in that year had completed her doctorate at the Sibelius Academy on the subject of Aho’s piano music, with her performance showing a great love and understanding for this music.
The performances are excellent, and this would make this an excellent introductory disc for anyone who only knows Kalevi Aho’s orchestral works. The music is varied and is introduced by the composer himself in his wonderful booklet notes, these form a guide through these nuanced pieces which will help anyone new to this music. As already mentioned, even in stereo, the sound is excellent and detailed, this is enhanced when listened to in 5.1 sound, whilst I look forward with anticipation to when I can take this disc to a friend and hear it through his SACD multi-channel system, as I just do not have the room here to do it justice.
Stuart Sillitoe
