(2021) is the latest novel by Nobel laureate Kazuo Ishiguro. Set in the U.S. in an unspecified future, the book is told from the point of view of Klara, a solar-powered robot. Beautifully written science fiction story which raises many questions. What’s the core of a human being?
(2008). Elizabeth Strout received the 2009 Pulitzer Prize for Fiction for this novel about Maine-based retired math teacher Olive Kitteridge and her warm-hearted husband Henry. Choosing grumpy, elderly, overweight woman as the main character is unusual. But how respectfully and genuinely Strout writes about Olive and the people around her!
(2014) is a novel by the Canadian writer Emily St. John Mandel. In the book, a fictional swine flu pandemic has devastated the world, killing most of the population. After the destruction of the infrastructure, the life returns to the time before the development of technology. But Beethoven and Shakespeare still remain and their works are performed by a nomadic orchestra and theater group.
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(2013) by Mia Kankimäki. A humorous story about a Finnish lady who gets a grant – despite her lack of Japanese language skills – to research the writer Sei Shōnagon who lived at the turn of the 11th century. Most of the time she just hangs around and enjoys her time in Kyoto. When reading about her lazy, sometimes aimless sabbatical, one learns a lot about both historical Heian period and the current postmodern reality in Japan.
based on Agathe Christie’s “Murder on the Orient Express” detective story, at Komödie am Kurfürstendamm im Schiller Theater in Berlin. We had bought the tickets because Hercule Poirot was to be played by Katharina Thalbach, a legendary German actress we greatly admire, who had also directed the play. Her daughter Anna Thalbach and granddaughter Nellie Thalbach, who are also actresses, were supposed to be acting, too.
Right at the beginning of the show, it was announced that Katharina Thalbach had tested positive for COVID-19 and couldn’t act. What a disappointment! Daughter Anna Thalbach stepped into the role of Hercule Poirot with one day’s notice. Of course, she didn’t know the text by heart, so she walked around with the manuscript. But what a brilliant professional she was! Despite the book she was carrying, Anna Thalbach delivered a virtuosic portrayal of Poirot, from the “elderly gentleman’s gait” to the genuine French accent. Her original role in the play was also played skilfully by Karina Krawczyk.
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The show was really great, fine actors (incredibly funny Christoph Marti as Helen Hubbard was my favourite). The sets and costumes were magical. We enjoyed the truly impressive dancers, and music was good, too!
). It was wonderful to hear this liturgical composition, which I worked on for 8 years, in its natural setting, i.e. as part of a solemn Catholic mass in the medieval cathedral of Turku. It was here that Blessed Bishop Hemming worked in the 14th century.
The event itself was exciting and I had slept pretty badly beforehand. During the rehearsals, however, it had quickly become clear that the Suomen Laulu choir knew my demanding piece excellently – they had been practicing it for almost a year already. St. Michel Strings had no difficulty in performing the orchestral part. Concertmaster Jyrki Lasonpalo played the violin solos soulfully. And Pilvi Listo, to whom the composition is dedicated, was as musical and magnificent at the organ as always. I was especially happy that the conductor was Esko Kallio – he had studied my composition really deeply and thoroughly and was able to carry out my ideas sensitively and impressively.
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, also had its premiere in the Holy Mass. This composition is actually for either clarinet or viola and piano. Because our clarinetist got sick, we ended up performing the piece in the following way: I played the piano part on the grand piano of Turku Cathedral, and the organist Pilvi Listo played the melody on the chamber organ. It was a workaround, but actually the piece worked beautifully that way, too!
Lasts about 35 minutes, so the Holy Mass turned out to be quite long. Towards the end of the Mass, some of the children present became restless and started making a fuss in the church. Some parents took their children to the playroom behind the altar, which was actually supposed to be closed and reserved only for the use of the choir. This did not calm the children down but made them clown around even more. It increased the noise in the ancient Gothic church. I heard that the commotion had also disturbed the concentration of some performers, although they were still able to perform wonderfully. It is still unclear whether all this racket ruined the radio recording made by the Finnish Broadcast Company YLE. It would really be a pity.
On the other hand, I thought: This was a Holy Mass, not a concert. Everyone can come to the Mass, including children, and children are allowed to be children. They don’t need to behave like adults and some fuss and noise is OK. I myself have several children and I know that the kids cannot always behave nicely in church.
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If my children get restless and start to disturb the Mass with their noises, me or my husband take them outside the church to calm them down. When they behave somewhat calmly again, they are allowed to come back to the Mass. I have tried to teach my children that although children are always allowed to come to the Holy Mass, the church is not a playground. Sometimes this works out, sometimes it does not. At the premiere of my composition, my own children behaved exceptionally beautifully. The reason for the silence might have been that my youngest, 5-year-old son, was sleeping a good part of the time! Older children enjoyed the devout atmosphere and music.
We were 900 people in the Cathedral. The Mass was celebrated by Bishop Emeritus Teemu Sippo SCJ and concelebrated by over a dozen other priests from Finland. There were of course hundreds of Finnish Catholics but also Lutherans in the Mass. I am grateful to all the friends who came to listen from near and far – even from Italy.
Composed by me will be performed at the Diocesan Feast of the Catholic Church of Finland in Turku Cathedral. The performers are St. Michel Strings, Suomen Laulu choir and organist Pilvi Listo. The music is conducted by Esko Kallio. The mass will be celebrated by Bishop Emeritus Teemu Sippo SCJ.
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My composition is a Latin mass suitable for the liturgical use of the Catholic Church. I wanted to celebrate with it the memory of Blessed Bishop Hemming. Hemming served as bishop of Turku in the 14th century and was an important person in our country. He was also a close friend of Saint Birgitta of Sweden.
Like any traditional Mass, the composition has five movements: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. My late romantic work is much influenced by the music of Johannes Brahms, but also by the music of the earlier romantics as well as baroque and renaissance composers. The Mass is cyclical in form, meaning that the same themes and subjects are repeated in different parts. In Kyrie, Gloria and Agnus Dei I have used various traditional polyphonic techniques such as fugue, fugato and double canon. Credo and Sanctus are more homophonic and romantic in style.
Searching for new musical innovations and experiments is not the purpose of composing for me. Primarily, I want to be honest with myself as a musician, lean on my experience of the music I like and perform the most, and look for beauty. I trust that if I write sincerely and at the highest level possible for me, my music will also reach its listeners. In my Mass, I want to support the experience of holiness and mysticism through the traditional form. Especially in the Credo, I also sometimes describe the events mentioned in this particular prayer, i.e. the text of the Christian confession of faith, for instance the suffering and resurrection of Jesus Christ.
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I started writing the mass in 2012. The work progressed slowly, mainly because many of the polyphonic techniques I used were difficult for me and I had never composed such a large piece. In the following years, also my second and third children were born, and I had little time to compose. By 2020, I had written first versions of three movements and sketched others.
When all my concerts as a pianist were cancelled due to the corona pandemic, I had more time to invest in composing. I worked on my Mass under the guidance of Dresden professor Matthias Drude and finally also orchestrated it. The first versions had been for choir without accompaniment, the following versions for choir and organ. I wrote numerous versions of all the movements before they took their final form. The composition was completed at the end of 2020. I dedicated it to my close friend, the organist and harpsichordist Pilvi Listo, who will also play the organ in the first performances of the mass.
I am happy
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