Hietsun Paviljongin nuorten joulukonsertti tuo paviljongille joulunalusviikolla helsinkiläisen kansainvälisistä nuorista muusikoista koostuva Erinyskvartetin soittamaan Kaija Saariahon Terra Memorian ja Benjamin Brittenin Jousikvarteton klo 20:15.
Konserttia ennen kirjallisuuskeskustelu paon evankeliumista Merja Mäen kanssa klo 19:00.
Ohjelma:
Kaija Saariaho: Terra Memoria
Benjamin Britten: Jousikvartetto nro. 2 C-duuri
Erinys-kvartetti
Elizabeth Stewart, viulu
Joosep Reimaa, viulu
Marija Räisänen, alttoviulu
Stergios Theodoridis, sello
Järjestää: Töölön kaupunginosat – Töölö ry & Klubi H7Live & Hietsun paviljonki
Striimaus: Anders Pohjola
Katsottavissa myös Hietsun kulttuurikanavalla
Striimausta ja kanavaa tukee Koneen säätiö @KoneenSaatio
The Erinys Quartet (bio)
The Erinys Quartet is quickly establishing themselves as a prominent up-and-coming ensemble in the Finnish music scene and abroad. With roots in Estonia, Lithuania, Greece, and the United States, these four musicians have found common ground together in Finland.
The 2022 season brought Erinys to concert halls in Finland as well as Spain, Italy, and the United States.
Erinys Quartet has primarily studied with Marko Ylönen, receiving additional guidance from the Pacifica and Dover Quartets as well as Atte Kilpeläinen from Meta4 Quartet and Günter Pichler from Alban Berg Quartet. They have also worked with members of the Jerusalem, Vermeer, Castalian, Cremona, Chilingirian, and Arod Quartets. Since 2021 Erinys has been supported by Le Dimore del Quartetto, a Milan-based network devoted to developing the careers of young string quartets.
Erinys’ on the programmed pieces:
”Saariaho’s Terra Memoria and Britten’s String Quartet No. 2 are both works that touch on the subjects of existence, life, and death.
Terra Memoria explicitly states this in its dedication to “those departed”. Though Britten is not so direct, the connection to death and destruction becomes obvious when one considers that he wrote the work in 1945 following a recital tour with Yehudi Menuhin of recently liberated concentration camps in Europe.
Saariaho uses vivid, otherworldly musical language in order to tell a story about remembering the dead—not a story in a literal sense, but one told through sound colors and the feelings they invoke in the performer and listener.
At first glance, it is ominous, dark, bleak, and ugly, as are most people’s thoughts about death. However, there are moments of hopefulness, calmness, and positivity hidden in the writing; we are grieving those who have died, but their memory brings back a mixture of emotions.
As performers, we believe this is the essence of the piece. The magic lies in creating these contrasting emotions while maintaining the feeling of death’s inevitability throughout.
Britten, on the other hand, while affected by death, focuses more on the concept of life. The piece invokes strong feelings of something primordial, cosmic, and divine. The material evolves and varies greatly, weaving through an abundance of different moods and emotions—we can’t help but feel there is something profound that permeates the work.
In contrast to Saariaho, Britten always uses beautiful colors; even in his most dissonant and wild passages, the beauty persists. But while in Terra Memoria there are moments of hope within the bleak atmosphere, in Britten’s quartet there are reminders of death and destruction during the celebration of life.
We feel the piece conveys optimism for the future while never forgetting the horrors of the past.”