Organization

Estonian National Opera

Dirigat

Arvo Volmer

Orchestra

Estonian National Opera Orchestra

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Estonian National Opera Chorus

Sänger

Sopran

Kristel Pärtna

Soprano

Estonian National Opera Symphony Concert

Tallinn

Estland

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Concert Various

Public

Sinfonie Nr. 6 in d-Moll, op. 104

Stabat Mater

Genehmigt

Estonian National Opera Orchestra conducted by Arvo Volmer will perform all symphonies by Jean Sibelius within the series of Estonian National Opera symphony concerts.
Symphony No. 6 may be Jean Sibelius’ most enigmatic symphony. It doesn’t offer the kind of heroic and triumphant journey we experience in the Second and Fifth Symphonies, or the strange, brooding darkness of the Fourth. Instead, it drifts through a soundscape which is shimmering, austere, and mysterious. “The Sixth Symphony always reminds me of the scent of the first snow,” said Sibelius. The music is full of sheen, bright colours as high strings blend with flutes, and occasionally harp as if sunlight was glinting off of freshly fallen snow. Through a sense of shivering mystery, there are bursts of joy, but there are also moments of darkness which pop up suddenly, without any warning.

Francis Poulenc (1899–1963) was born in Paris. He became widely known while still a young man and his fame was promoted by cooperation with the Ballets Russes and Sergei Diaghilev. French musicologist Claude Rostand has characterised Francis Poulenc as a composer who is equally inhabited by a monk and a dandy in love, a peasant and a gentle rascal, stressing the creative versatility of the composer. His works often combined seriousness and a true Parisian style evoking memories of a Parisian music hall. 
Poulenc wrote the Stabat Mater in response to the death of his friend, theatre artist Christian Bérard. He considered writing a Requiem, but, after returning to the shrine of the Black Virgin of Rocamadour, he chose instead the more human text of the Stabat Mater, a 13th century poem depicting the sorrow of Mary as she stands at the foot of the Cross. Poulenc’s Stabat Mater premiered in 1951 at the Strasbourg Festival.
The Stabat Mater is primarily a serious and pious work. However, the composer breaks character in a few movements, making the work speak personally, spiritually, but in a worldly cloak.
Of the Stabat Mater, the composer wrote, „I think I have three good religious works. May they spare a few days of purgatory, if I do narrowly avoid going to hell.”

English

Kuues sümfoonia d-moll op. 104 on Jean Sibeliuse üks mõistatuslikemaid sümfooniaid. Selles puudub teise ja viienda sümfoonia heroiline ning triumfeeriv emotsioon ja neljanda sümfoonia mõtlik süngus. Kuues näib kulgevat justkui mööda sädelevat, tasast ja müstilist helidemaastikku. „See sümfoonia meenutab mulle alati esimese lume lõhna“, on helilooja öelnud. Keelpillide ja flöötide kõrged helid põimuvad omavahel, maalides kuulajate ette kirkaid värve nagu lumelt tagasi veiklevad päikesekiired. Müstilisest värelusest tungivad esile rõõmupursked, mida tasakaalustavad ootamatult sisse põikavad tumedamad meeleolud.

Francis Poulenc (1899–1963) sündis Pariisis ja sai tuntuks juba noore heliloojana, millele aitas kaasa koostöö Vene balletitrupi ja Sergei Djagileviga. Prantsuse muusikateadlane Claude Rostand on iseloomustanud Francis Poulenci kui muusikut, kelles elavad kõrvu munk ja armunud keigar, talupoeg ning heasüdamlik ja õrn väänkael, kujundlikult rõhutades autori loomingu mitmekülgsust, milles kohtuvad nii tõsidus kui ka Pariisi muusikalilavade kergus.
Stabat Mater valmis Poulencil pärast tema hea sõbra, teatrikunstnik Christian Bérardi surma. Algselt hellitas ta mõtteid reekviemi kirjutamisest, kuid pärast palverännakut Rocamadouri, kus asus Musta Madonna kuju, valis ta inimlikuma ja mitte nii range Stabat Materi teksti. 13. sajandi luuletekst kujutab Neitsi Maarja valu risti jalamil, kus rippus Jeesus. Stabat Mater jõudis esmaettekandeni 1951. aastal Strasbourgi Festivalil.
Kuigi Stabat Mater on tõsine vaimulik teos, on Poulenc endale omaselt astunud mõnikord selle pühalikust karakterist välja, lastes muusikal kõneleda intiimsemas ja maisemas keeles. 
Poulenc on teose kohta öelnud: „Ma arvan, et mul on kolm head vaimulikku teost. Lühendagu need paari päeva võrra minu puhastustules põlemise aega, kui mul õnnestub põrgusse minemist vältida.“

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