The sharp Tampere Philharmonic was in absolutely brilliant form, once again proving it belongs among Finland’s top orchestras.
Summary:
The Tampere Philharmonic presented orchestral Americana through the works of three composers. Conductor Robert Moody led the orchestra with exceptional mastery.
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**Americana** is a term used to describe art rooted in North American tradition, history, and nature. The Tampere Philharmonic delivered a magnificent program of orchestral Americana, showcasing the works of three composers. The master of ceremonies was the American conductor Robert Moody, making his Finland debut. He led the Tampere Philharmonic to an impeccable performance.
The evening’s highlight was Aaron Copland’s *Third Symphony*. This work parallels the symphonies of Dmitri Shostakovich; the traditional symphonic form is used to reflect the spirit of its time and place—in this case, the optimism brought about by the end of World War II.
Like Shostakovich, Copland creates tension through contrasts between fateful brass outbursts and intimate woodwind interludes. The string section paints a majestic landscape with no boundaries, and the symphony itself is as vast as the United States.
Moody expertly commanded the symphony’s grand arc. With a minimalist conducting style, he was able to adjust nuances of the orchestra’s performance on the fly. The alert Tampere Philharmonic played in top-notch form, once again proving its place among Finland’s elite orchestras.
The first two movements were dominated by the wind section, while the strings shimmered like moonlight over a prairie in the slow movement. The special sensitivity of the first violins lit up the Andantino section, led by concertmaster Maria Itkonen.
Copland’s *Fanfare for the Common Man* gave the symphony an uplifting finale, much like Beethoven’s *Ode to Joy* in his Ninth Symphony. The theme passed from one section to another, showcasing the high skill level of the flutists, among others. The climactic conclusion was a commanding effort by the entire orchestra.
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**A Stunning Cellist**
A different aspect of American music was heard in Mason Bates’ *Cello Concerto* from 2014. This work focuses less on themes and material development and more on rhythms, tone colors, unexpected shifts, and cultural diversity.
The orchestra, under Moody’s direction—well-versed in Bates’ compositions—expressed the work’s minimalist rhythms and, at times, its Japanese-inspired tonal palette, especially in the percussion.
The solo cello in Bates’ concerto acts as a Zen-like meditator. Outright virtuosity is fleeting, as in the finale, which unfolds like a gripping thriller with rapidly changing twists.
The dazzling Canadian cellist Bryan Cheng mastered Bates’ music astonishingly naturally, even in its intricate pizzicato effects. Depending on the listener, the performance was likely enchanting, enigmatic, or invigorating—or all three.
Cheng thanked the audience with an encore: the Catalonian folk tune popularized by Pau Casals, *The Song of the Birds*. With a few words, Cheng emphasized the importance of the song’s message of peace in today’s troubled world. He then delivered a cello interpretation of the serene and beautiful melody, touching the hearts of the listeners.
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**American Energy**
The third American piece was Leonard Bernstein’s suite of three dance episodes from the musical *On the Town*. The Tampere Philharmonic showcased its versatility in this genre as well, with the big band swinging effortlessly.
