Inkinen resumes Beethoven cycle! Special interview

Interviewer: Haruka Takasaka

—The Beethoven Cycle, which was suspended due to the pandemic, will resume this April.

　Yes, we have been hindered by the COVID-19 pandemic, but we are moving forward again to complete the project. Following the tradition established by our founding conductor Akio Watanabe, we will also feature early works by Sibelius, and we would like to be the first purely Finnish orchestra to complete this cycle.
　It's been 13 years since we started working with the Japan Philharmonic Orchestra. We were sad that we hadn't been able to see each other for two years, but even though we hadn't performed together in a long time, it didn't feel like we had been apart for a long time, and we were able to quickly get back into our style.

--With the COVID-19 pandemic bringing more time to spend at home, some people may have started listening to classical music. What do you hope classical music lovers and beginners alike can look forward to from these two Beethoven programs?

　One program features the 6th "Pastoral" and 5th "Fate," while the other begins with Sibelius's "En saga" followed by the 2nd and 4th symphonies. The nine symphonies are packed with elements of Beethoven's development, so I believe this will be a rich journey that will allow you to feel the progression of his works over the course of one week. It will be a special opportunity for those hearing his works for the first time, and even those who are familiar with them will be excited to see what kind of performance will unfold. This is because great works offer a wide range of interpretations. You can take traditional approaches, or explore crazy new ideas. There is also a Romantic interpretation with a large ensemble. There is also an interpretation that sticks to period performance and eliminates vibrato, which I don't like. Each has its own potential.

- The Fifth Symphony is a masterpiece that has been performed by many historically renowned composers, but what will your performance be like? What are you aiming for, such as a new interpretation or originality?

　Even if I conduct in the same way, each orchestra produces a different piece of music, so in that sense, my music is always original and new. Simply put, I aim to create music that the audience will find natural at that moment. My goal is to have the listener feel that there are no other possible interpretations. Of course, other interpretations are certainly possible. And the goal shouldn't be to create something new or unusual. Doing so risks creating music that is different from what the work is really trying to convey. Personally, I don't like that kind of performance. I believe that persuasiveness is created by respecting the work and performing with conviction. The audience will witness a shocking drama as they go from being so devastated and devastated at the beginning to singing a triumphant tune at the end.

You've already had a long career, but 41 is considered a young age in the classical music world, especially for a conductor. Is there anything you can do at your age, or is there anything that you find difficult?

　I believe that experience is more important than age for a conductor. In that sense, Finnish musicians are very fortunate to have the opportunity to gain conducting experience at a very young age. At my current age, I already have about 20 years of experience. As a career unfolds, everything is digested and I change. The same can be said for composers. Take Sibelius, for example. His DNA was already present in his first pizzicato violin and cello piece, written as a teenager. His breakthrough work contained a spark of his desire to show the world what he could do. His final symphony, No. 7, is so concentrated and packed with organically interconnected elements that it's impossible to separate harmony, melody, or structure. Works change throughout a lifetime. It's a long journey. The same thing will happen to performers, as long as they don't refuse to evolve. I hope my music evolves as I get older. Maturity is always a positive thing. However, it is true that works from when the composer was young and full of ambition may be better performed by a younger conductor than by a 95-year-old maestro!

-You mentioned that Beethoven's symphonies show a progression throughout his nine works. Do you sympathize with his tendency to reject his previous works and take on the challenge of each new symphony?

　Yes, I'm always amazed. For example, the revolutionary nature of the Third Symphony, or the overwhelming moment when the Fifth Symphony reaches its triumphant finale. Or the completely different landscape that emerges in the Sixth Symphony. The Seventh Symphony is another big piece, and you wonder what's coming next, and then the Eighth Symphony comes along as if to say, "Sometimes we need a moment of calm, ha ha ha!" It's like a joke. And then he finishes with the great Ninth Symphony. He has a sense of humor, too.

— like creating epic humor throughout life.

　Yes, I think that's right! There's a big contrast between what's happening and what's suddenly happening in a very witty way. There are always moments of surprise, so you don't have time to fall asleep.

—Are there any humorous moments like that in the upcoming program?

　The final section of Symphony No. 2 is one example! I once read that the repeated trills in the section seem to represent a state of being unwell and having gas (laughs). It's a very simple joke.

—Do you actually imagine that when you play...?

　Reading such opinions has stuck with me, so I've been trying to emphasize that element recently (laughs). Stylistically correct performances are no longer enough for me. Even with classical works like the early symphonies, I'm trying to push the boundaries more than before. Especially when I return to classical works after working on works like Mahler's symphonies, I feel a greater desire to explore new things.

--By the way, what kind of person do you think Beethoven was?

 He was, well... I think he would have been a fun guy to hang out with (laughs). I'm sure it would be a very enjoyable time to go out and have a toast after the premiere of one of his pieces. As the night goes on, the conversations will surely get crazier! Beethoven's works have fiery energy, yet are also well-controlled and perfectly orchestrated. Even though he was deaf, everything is in its proper place and is very clear. I believe that such a genius would have made a great contribution to human society in another field, even if he had not become a composer.

- You were originally a violinist, but what made you become interested in conducting?

　I think this is largely due to the excellent system that Finland has. Our schools offer programs for studying symphony scores and other pieces from a very young age as an extension of performer training. This means that soloists and orchestral players alike have the opportunity to study conductorship without the sense of aiming to become a conductor or switching to conducting. It's seen as a way to become as complete a musician as possible. That's why Finland consistently produces young conductors. I myself continued to play the violin in my own trio while studying conducting. It wasn't like I made a switch at some point; as my conducting work increased, I gradually had less time to play the violin.

-Did you take up any new hobbies during the pandemic when concerts were canceled? I heard you have a pizza oven at home.

　Oh, and we also have teppanyaki tools. My cooking repertoire has expanded a lot. I've also started mountain biking. I live in Switzerland, where there are beautiful mountains, so during the first lockdown, I spent weeks in the mountains. My hobby was skiing, which I started at the age of four, but I've found a new hobby: summer sports. It's a bit thrilling and hard, but you can enjoy the spectacular views. Of course, after a few weeks, I've had enough and I want to get back to concerts. Cycling has also helped to relieve back pain, a typical problem for conductors, so it's been very good for my body. It wasn't all bad during the lockdown.　

-Did it also have a positive effect on your physical movements when conducting?

　It's true that I'm freer now that I'm no longer suffering from back problems. In that sense, my age, which allows me to move freely, may be an advantage over the 95-year-old maestro (laughs).

- Finally, let me ask you this: What can we take from Beethoven's music in this current social situation?

　Harnoncourt once said the following about his Fifth Symphony: "At the beginning, one feels like a prisoner in the midst of change, but then one breaks free." In a sense, we are all trapped during the COVID-5 pandemic, and we yearn for freedom. I hope that you can experience this story through the music. And I hope that this will eventually happen in real life as well.

<Performance information>

The 237nd Geigeki Series
Sunday, April 17, 2022, 2:00 PM Tokyo Metropolitan Theatre

Conductor: Pietari Inkinen [Chief Conductor]
Beethoven: Symphony No. 6 "Pastoral" in F major, Op.68
Beethoven: Symphony No. 5 in C minor, Op.67

376th Yokohama Subscription Concert
Saturday, April 23, 2022, 5:00 PM, Muza Kawasaki Symphony Hall

Conductor: Pietari Inkinen [Chief Conductor]
Sibelius: Symphonic Poem "En Saga" Op.9
Beethoven: Symphony No. 2 in D major, Op.36
Beethoven: Symphony No. 4 in B-flat major, Op.60