In Toulouse, alongside Mao Fujita, Tarmo Peltokoski reflects on musical obsession, interpretive challenges, and the subtle craft of creating sound, balance, and meaning beyond the written score.
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Reading time estimated : 3 min
It might be hearing Lutosławski’s music for the first time. That happened seven years ago, in 2019, while I was studying at the Sibelius Academy. We worked on his Third Symphony and Chain I for Chamber Ensemble from 1983. I learned these pieces and was completely mesmerized—I instantly became obsessed with his music.
Lutosławski’s Third Symphony
All of them have their challenges, but Penderecki’s Threnody to the Victims of Hiroshima stood out. Looking at the score, it isn’t always clear how it should be conducted. For the players too, their parts don’t fully reveal how it should be played. It demands a lot of thought and careful preparation.
Take the Chopin (Piano Concerto No. 1), for example. The hall is very dry, so the music doesn’t get the warmth it needs naturally. That means the basses and all of the strings must create a sensitive, warm carpet of sound to support the soloist without overpowering them. It’s tempting to just play louder, but the real challenge is to be softer while being even more intense and sensitive than one might expect.
I was immediately impressed by the quality of musicianship and orchestral playing. This is an amazing orchestra, truly world-class. I can’t thank Tugan Sokhiev enough for his work for 20 years at the helm of this fantastic orchestra!
I always bring many books—musicology books on different composers and works, but also fiction and other subjects. I like having a variety of reading material with me wherever I go.
