Tänä aamuna Puistokallion piknikillä puut saivat nimet. Puut nimettiin tunnettujen porvoolaisten kulttuurihenkilöiden mukaan; kyseessä eivät siis ole mitkä tahansa puut.
Porvoon vanhassa kaupungissa olevan pienen mutta hyvin viehättävän, talojen katveessa hieman piilossakin olevan puiston, niinsanotun Puistokallion kaikki puut (4) aiotaan kaataa lukuunottamatta yhtä raitaa. Tämä tapahtuu kuulemma turvallisuussyistä; kaupunki on käsityksessä, että puut olisivat niin huonokuntoisia, että ne uhkaisivat lähelläolevia taloja. Puiden kaatoa perustellaan toisellakin syyllä; Porvoon vanhalle kaupungille on niinkin äskettäin kuin 2018 hyväksytty niinsanottu rakennustapaohje, jonka mukaan Porvoon vanhassa kaupungissa ei saisi olla taloja korkeampia puita. Olipa jostain kaivettu 1700-luvun maalauskin, jossa tuon puiston paikalla olevat puut olivat nykymittaa pienempiä, joten vielä oltiin kaivettu kulttuurihistoriallinenkin peruste. Yleensä vain silloin kun jotain asiaa yritetään perustella useammalla eri syyllä, kyse on siitä, että kaupunki ei usko yhden argumentin yksinään olevan riittävän vankka, joten tässä käytetään kolmea kyseenalaista perustetta, joiden kaupunki ilmeisesti uskoo yhdessä muodostavan yhden käyttökelpoisen perustelun kaataa puut.
Puut kuuluvat kaupunkiin. Hellepäivien määrä on huomattavasti kasvanut omana elinaikanani, saati 1700-luvulta. Isot puut, joita puistoon jäisi vain yksi, varjostavat sekä puistoa mutta myös läheisiä taloja, joista tulee muuten pätsejä. Puuton puisto on käyttökelvoton; 8-9 kuukautta vuodesta tuuli puhaltaa sen läpi ja loppuajan se on sietämättömän kuuma täysin katveettomana. Toki puut sitovat hiiltäkin, vaikka kaupungilta oltiin surkuhupaisasti perusteltu sitä, että kyllä alueen vanhat puutalotkin sitovat hiiltä.
Vahinko, että EU:n ennallistamisasetus ei ole vielä ehtinyt astua voimaan, sillä Porvoo omilla toimillaan tekisi sen tavoitteisiin yltämisen mahdottomaksi.
Nyt pitäisi kiireen vilkkaa päivittää vanhan kaupungin rakennustapaohjetta. Jos kerran sen ohjeen mukaan vanhat puut eivät siksi kuulu vanhaan kaupunkiin, että eihän niitä ollut siellä 1700-luvullakaan, niin samoilla perusteilla sieltä pitäisi poistaa esimerkiksi autotkin, eihän niitäkään ollut 1700-luvulla. Kaupungin viranhaltijoiden pitäisi myös esittää ne tutkimukset, joiden perusteella kaadettaviksi suunnitellut puut olisivat vaarallisen huonokuntoisia.
Puistokallio liikuttaa porvoolaisia. Päivän varoitusajalla Facebookin kautta organisoituun puistotapahtumaan osallistui kymmeniä ihmisiä. Erityiskiitos kuuluu Sari Orkomiehelle, Tuuli Hirvilammelle ja Olli Pajaselle sekä Perttu Hietaselle, joka esitti runoja ja lauloi.
PS. Tämä ei ole vihje kaupungin viranhaltijoille, joilla ei ilmeisesti ole tähdellisempääkään tekemistä kuin tehdä kaupungista asuinkelvoton puita murhaamalla, mutta allaoleva kuva esittää puistikkoa vain satakunta metriä itään Puistokalliolta. Tässä puistossa on neljä vieläkin kookkaampaa puuta. Milloin te tulette kaatamaan nekin? Ja mitä tähän puistoon sitten jäisi?
Chopin is the ultimate piano composer in the sense that he thinks pianistically. Furthermore, he has not other music to speak of with the exception of a cello sonata. Every pianist has to take a position of some kind to his music even if not all play it extensively or are primarily known for other kind of music. I am thinking of pianists such as Glenn Gould, Wilhelm Kempff, Artur Schnabel, Alfred Brendel or Edwin Fischer, mostly Germanic pianists or pianists with Germanic education who are more closely associated with Beethoven, Schubert, Schumann, Brahms, Mozart and Bach.
For many years Chopin´s music didn´t speak to me, but about a year ago I for some reason had another go with the legendary Alfred Cortot recordings. I had tried some of them already in the 90s but by that time was not that enthusiastic about them. But now time was ripe and I found an unprecented source of poetry in his readings. Since then Chopin has not only been rehabilitated but been a constant for me.
For me it is Nocturnes that are Chopin´s prime achievement. And of those if I had to point out just one, it would be op. 27 no 2 in D-Flat. Until now I have quite happily been content with the two Arthur Rubinstein recordings, and Rubinstein´s Nocturnes and Chopin in general is unsurpassed in its natural authority. There is no excessive sentimentality, just the music that is played fortright, muscularily and straight, head held up. One could say that this is masculine Chopin. 10/10. His early 1930s Nocturnes are just as good. Playing: 10/10. Recording: 8/10 (stereo cycle), Interpretation 10/10.
I have a dualistic relationship with Claudio Arrau´s Nocturnes. Generally Arrau is one of my very favourite pianists. Arrau is educated in Germany and that shows in his very serious approach. In Arrau´s hands the Chopin Nocturnes are larger than life, almost symphonic. Nevertheless, he loses some of the simplicity and poetry that is inherent in this music. Arrau´s Nocturnes are somewhat studied and there is none of the Chopinian volatility. Arrau´s large conception and fulsome sound is almost too much of a good thing and one can only sip occasionally into his Nocturnes. They are certainly not easylistening background tapestry. Arrau´s Nocturnes are as if Schubert would be transformed into Bruckner. Playing: 10/10. Recording: 9/10. Interpretation: 7/10
Vladimir Ashkenazy is beautifully recorded and he produces certainly a ringing tone. The late influential Seppo Heikinheimo in particular endorsed these recordings as one of the most beautiful things he ever knew. Ashkenazy´s Nocturnes are stuff of dreams, perfectly realised. But maybe a bit dreary, as he offers no surprises or quirks. His Op. 27 no 2. is exquisitely controlled. Ashkenazy´s Nocturnes are lullabies, and as such there hardly are more beautiful available. Playing: 9/10. Recording: 9/10. Interpretation: 8/10
Maria-Joao Pires is a newer recording that instantly became a modern classic. She plays with a focused, quite narrow tone. Usually her playing is quite introvert, but she surprises every now and then with sudden outbursts of crescendi and forti. The ultimate litmus test, Op. 27 no 2 starts clangily and almost aggressively but settles then. I have tried these recordings a few times and still they are not quite amongst my favourites. Playing: 8/10. Recording: 9/10. Interpretation: 7/10
Nikita Magaloff is very well recorded. He plays with round tone where any violent outbursts are totally absent. This is the antithesis of Pires. In his playing there comes no inobtrusive personality in the way but instead experience and authority. It is very hard to point out any foults in his playing, so it is a matter of personal taste. Maybe his playing is a bit goofy, but then, these are night pieces. No one will feel hard done by his Nocturnes though. Playing: 9/10. Recording: 10/10. Interpretation: 8/10
Fou Ts´ong plays with forceful fingers, sprigthly rubato and singing, rich tone. His Chopin is never dull and that is the reason I respond personally to it. Recording is not the most fullbodied but Tsong´s forceful pianism more than compensates. Playing: 9/10. Recording: 8/10. Interpretation: 9/10
Ivan Moravec´ recording of Nocturnes come highly endorsed and for reason. His is pianism from another world or beyond, and he finds layers of sound that most pianists have no idea of. In Op. 27 no 2 he is more unhurried than anyone. This is playing beyond lovely and all possible criticism so that heart stops. Playing: 10/10. Recording: 9/10. Interpretation: 10/10
Thierry de Brunhoff is an interesting case; a student of Cortot and Edwin Fischer who abandoned a burgeoning musical career and retired in the age of 40 to a monastery. His education stands him in a good stead, as his Nocturnes are played with impeccable taste and sense of line. In Op. 9 no 3 the piano sound turns clangy in forte. If the recording treated his forti more fairly, this would be a strong set indeed. Playing: 8/10. Recording: 7/10. Interpretation: 8/10.
Samson Francois, the rogue among pianists has left us uneven legacy in Chopin. In Nocturnes he had some of his better days. There is nothing roguish about his pianism though; his playing is permeated with singing tone and tasteful rubato. In Op. 15 no 2 rubato is quite extensive but not wilful. There is not a hint of exaggerated emotivity but feeling. Francois is not always that well served by engineers but here recording doesn´t come in the way. Playing: 9/10. Recording: 7/10. Interpretation: 9/10.
Tamas Vasary manages a simplicity and naturality of expression. His round tone suits the music, and there is nothing forced or suited in his playing. His playing attempts not to be larger than the music is. His rubato sounds also coming naturally from the music, without being forced outside. Playing: 9/10. Recording: 8/10. Interpretation: 10/10.
Daniel Barenboim plays dreamily and beautifully enough but is not quite inside the Chopinesque idiom. He does nothing wrong but no wrong doesn´t make it especially right. Playing: 8/10. Recording: 8/10. Interpretation: 7/10.
Stefan Askenase doesn´t in particular dwell in sentimentality. His playing is prosaic but in quite a positive sense of the word. He gives an authoritative impression of playing the notes and not less, not more in the same sense than e.g. Magaloff. In the forte of third Nocturne the piano sounds turns quite clangy and at the same time echoish. Playing: 9/10. Recording: 6/10. Interpretation: 9/10
Alexander Brailowski plays fortright and recording is not the most fullbodied. Playing: 7/10. Recording: 5/10. Interpretation: 7/10.
Vlado Perlemuter is recorded in boomy acoustics by Nimbus. Perlemuter plays very unsentimentally and crispily despite the acoustics that fail his tone - Perlemuter is not especially rich in tone - and moreover, his dynamics. He recorded a 10-nocturne selection. In particular op. 27 no 1 sounds quite horrible. Op. 27 no 2 is more successful, but even here is acoustics fail to make justice to his individuality. Playing: 9/10. Recording: 6/10. Interpretation: 8/10.
Maurizio Pollini has recorded the Nocturnes quite late in his career so that the pyrotechnical ability that was apparent in his Etudes and Preludes, are absent in here. Nevertheless, playing is still very assured. But Pollini is Pollini: he doesn´t dwell in emotions. Pollini plays the notes correctly but certainly doesn´t linger. His Chopin is dry-eyed in bit of the same manner as Brailowsky. The old Pollini can still chisel these works to perfection. Playing: 9/10. Recording: 9/10. Interpretation: 8/10.
Kathryn Stott is recorded in a boomish church acoustics that make her sound rounder and blurs her attack. Some delicacy is missed as well. That is a pity as she clearly has a very good feel for the Nocturnes and good taste as well as op. 27 no 2 shows as there is feeling but no excessive sentimentality. This would be amongst the top recommendations if recording made greater justice to her playing. Playing 9/10. Recording 7/10. Interpretation 9/10.
Bernard d´Ascoli, a blind pianist has quite a beautiful tone and his piano is very well recorded, probably the best recorded of all Nocturnes. He plays generally with good taste without obtrusive agenda on the music, safe for additional trills in op. 9 no 2. His op. 27 no 2 is quite fine even if it somewhat falls short of the very greatest distinction of Rubinstein or Moravec. Playing 8/10. Recording 10/10. Interpretation: 8/10.
Brigitte Engerer is a fine pianist, who plays with unfailing taste. In her hands Nocturnes are night music; there is none of the tempestuousness of a Pires. Her playing is from the same inobtrusive, selfless cloth than Magaloff´s, but not quite that sumptuous. This is quite good indeed without the last ounce of distinction. Playing 9/10. Recording 8/10. Interpretation: 8/10.
Nadia Reisenberg plays with simplicity and convincing rubato upon second hearing. She clearly identifies with the music without instilling any outsize personal quirks. Recording is oldish but very good, projecting the piano tone very faithfully. This is a hidden gem; thanks Markku Mölläri! Playing 9/10. Recording 8/10. Interpretation 9/10.
Nelson Freire, a Brasilian pianist was just reaching a sort of a cult position in pianism when he passed away. At any rate, it is evident from the first bars that this recording belongs to the very finest of all. Freire has a rich tone, tasteful rubato and he is unable to produce an ugly tone. This comes quite close to Moravec in conception. In Op. 15 no 3 his philosophical, considered playing borders being aloof. Nevertheless this is playing of seasoned, rare mastery. In op. 27 no 2 he carefully avoids sentimentality; yet he instills much feeling. Playing 10/10. Recording 10/10. Interpretation 10/10.
Earl Wild is much more than a supervirtuoso. In the opening op. 9 no 1 there are no fireworks; instead concentrated pianism that barely touches mezzoforte. He manages the dynamics impeccably; however, his playing is not overtly rich in sonorities, rubato or imagination. Good playing without being specially memorable. Playing: 9/10. Recording: 9/10. Interpretation: 7/10.
Alexis Weissenberg does not dwell in high romanticism. Instead his style is prosaic, dynamics carefully controlled. He is obviously a very accomplished pianist, but for me his dryish tone, quiet playing and prosaic style does not quite speak. Nevertheless his op. 27 no is telling in its simplicity of expression despite the flattish recording. Playing 9/10. Recording: 7/10. Interpretation: 8/10
Adam Harasiewicz has won the Warsaw Chopin competition. No small feat, even if he quite hasn´t enjoyed a big international career. He unsuprisingly clearly has a natural feel for the idiom, but his playing is not that interesting. So that´s about the international renown, then. Playing 9/10. Recording 8/10. Interpretation: 8/10.
Janne Mertanen offers no mean playing at all in Op. 27 no 2. His sound is round, touch delicate and just an appropriate amount of tenderness. He is also very well recorded. His Op. 27 no 1 is extremely beautiful and dreamy to the point of droopiness. Nevertheless this is beautiful playing that shows clear identification with the idiom. Playing: 9/10. Recording: 9/10. Interpretation: 9/10.
Jan Lisiecki is even more dreamy and plays with a round, quiet tone. He tends to press the music even quieter when one already sensed that he played quietly. He is a real mr. Diminuendo. So an added injection of vitality would be needed. I have a feeling that I am experiencing a phenomenon instead of listening to music. Playing: 8/10. Recording: 9/10. Interpretation: 7/10.
Idil Biret, a prolific Turkish pianist who has studied with Kempff and Cortot has recorded all of Chopin´s oeuvre for Naxos. Her Nocturnes are very distantly recorded as if she played behind a curtain. Clearly she has feel for the idiom but the recording makes this a non-starter. Biret plays quite well indeed, but there are better options. Playing: 8/10. Recording: 7/10. Interpretation: 8/10.
Ingrid Haebler, who just passed away in 93, was an underrated pianist. She is a little bit echoish and distantly recorded. She plays with lively rubato and impeccable taste but with a smallish piano tone, probably due to limitations of recording. She doesn´t linger in sentimentality. Playing 9/10. Recording 7/10. Interpretation: 9/10.
So: the top recordings for me include Rubinstein, Moravec, Vasary and Freire. This music is quite performer proof, so basically all the recordings I listened to were quite good.
Kirjoitin vähän yli vuosi sitten suhteellisen paljon jaetun bloggauksen niistä syistä, miksi katsoin Vihreillä menevän kehnosti. Olen edelleen paljolti samoilla linjoilla, mutta joitakin syitä on tarkentunut lisää. Jaoin tällaista pohdintaa Outi Alanko-Kahiluodon ja Krista Mikkosen Facebook-seinille:
1) Kaupungeissa ilmaston ja luonnon vastakkain asettaminen, jolloin paikallinen luonto säännönmukaisesti uhrataan "ilmastoviisauden" nimissä. Tätä nyt näkyvästi symboloi viimeksi Mannerheimintien remontti, jossa katua levitetään Hesperianpuistoon, jotta fillarikaistat saataisiin mahtumaan.
2) Samastumispintojen puuttuminen miehille ja yleensäkin muille kuin korkeakoulutetuille naisille (tähän liittyy liiallinen kiintyminen feminismin käsitteeseen, ja olisi parempi puhua tasa-arvosta). Tästä osoituksena veikataan toistuvasti vääriä hevosia, kuten Helsingin pormestarinvalinta on jo kahdesti osoittanut.
3) Kalastellaan samoilla vesillä vasemmistopuolueiden kanssa. Kun tarjolla on Li Andersson, Sanna Marin tai Minja Koskela, miksi tyytyä haileaan kopioon?
4) Jatkuva Kehä kolmosen ulkopuolisen maailman dissaaminen ja suoranainen tölvintä (Oskala, Diarra) ilman että puoluejohto siihen puuttuisi. Yksi osoitus tästä ilmiöstä on myös se, että eduskuntaryhmän enemmistö (yliopistokaupunkien edustajat) kannatti päivystysasetusta, joka lakkautti synnytyslaitoksia.
5) Jos ei asiaa pysty tiivistämään ymmärrettäväksi, sitä ei ole olemassa. Jo kymmeniä vuosia on ylimielisestikin väitetty, että Vihreät eivät ole vasemmalla tai oikealla vaan edellä. No, ehkä ovat. Mutta siellä edellä ei ole äänestäjiä.
6) Tosikkous. Vihreät liitetään woke-kulttuuriin kaikkine ylilyönteineenkin.
7) Yleisesti: huono kyky taktiseen ajatteluun ja ajatella oman linssin ulkopuolelta.
8) Ja vaikka kansa ei aina tietäisikään, niin ei nyt herran jestas lähdetä tiuskimaan kansalaisille, kuten ainakin Facebookissa on näkynyt, jos ei kansalainen vain nyt satu ymmärtämään vihreää politiikkaa niin kuin poliitikko itse oli asian tarkoittanut.
Miksi vihreässä politiikassa puuttuu jatkuvuus ainakin henkilömielessä käsitettynä?
