Star cellist Senja Rummunkainen plays the highly virtuoso solo part in Esa-Pekka Salonen's Cello Concerto in Orchestra Concert I. The Finnish musician in an interview about Wounds and Wonders, the challenges of new music and the melancholy of her home country.
You have already worked with Esa-Pekka Salonen. What makes this collaboration special for you?
Senja Rummukainen: He is one of my favorite composers and an incredibly inspiring musician. Playing his Cello Concerto with him is musically fulfilling; he has such a strong sense of the piece’s complete form, and because of that, it’s very easy to feel musically free and fully supported. Everything breathes together effortlessly, yet with authority. Performing this piece with him is definitely one of my musical highlights. We performed it in Cleveland, and I can’t wait to play it again in Salzburg with the Finnish Radio Symphony Orchestra.
The theme of the Salzburg Easter Festival is »Wounds & Wonders«. How does this theme connect with Esa-Pekka Salonen's Cello Concerto for you?
Senja Rummukainen: In this piece, it’s possible to experience a lifetime, so it definitely fits the theme. At times, the solo cello feels wounded and fragile, alone. But in the next moment, there’s a sense of wonder—whether it’s the wonders of nature or the universe, everyone pulling together.
New music often presents audiences with great challenges. Why should we not be afraid of new music?
Senja Rummukainen: Music and culture, in general, reflect our times and lives, and they change just as people and the world change. Through music, we can actually experience history, visit different places, learn something new, or feel something familiar. For example, I sometimes experience a sense of nostalgia when listening to a completely new piece I’ve never heard before. It’s a beautiful, almost magical thing to happen, and I think it’s worth giving it a try. There’s always something for everyone to discover. Of course, we don’t all have the same tastes in everything—whether old or new—but that’s not the point. I would just encourage everyone to really listen and concentrate for that brief moment we share together. I’ve experienced times when, even if the entire piece didn’t fully engage me, there was one chord that gave me goosebumps at just the right moment. In that case, I think it was already worth it. And sometimes, a challenge isn’t such a bad thing, either!
What’s the challenge for you as a soloist in this particular piece?
Senja Rummukainen: It’s demanding in many ways. First, in the traditionally virtuosic sense—my left hand is very active and fast, and the right hand requires a lot of strength. The piece has many different characters, often within a single movement, and you need to be able to adapt immediately. The chamber music aspects are also tricky, especially the important rhythmic interplay with the orchestra. And, of course, the acoustics of the hall always present their own challenge. But if you simply live in each note, react, and listen to the music, it all comes together in an amazingly organic way, and there’s nothing forced about it.
The orchestral concert will feature Esa-Pekka Salonen, the Finnish Radio Symphony Orchestra, and you performing music by Finnish composers. What is the special essence of Finnish music?
Senja Rummukainen: Finnish music is as varied as there are Finnish composers—each has their own unique experiences of the world, despite sharing the same nationality. I try not to generalize too much about the role of nationality in music, but I do acknowledge that a lot of great music comes from Finland, even though it’s a relatively small country. Perhaps Finnish people seek ways to communicate beyond just words? If I think about traditional Finnish folk music, it tends to be quite introverted and melancholic, and that’s something that has been carried through the centuries. But at the same time, a symphony by Sibelius can have the most joyful sections as well, so it’s not all about melancholy! It’s hard to pin down, really.
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