Paavo Heininen is notable as one of the first Finnish composers to adopt the 12-note technique (around 1960); but he has consciously developed a separate strand of semi-pastiche as well. The two sides are well illustrated here—the Second Symphony of 1962 is post-Hindemith neo-classical, whereas the Arioso for strings and the Second Piano Concerto are strictly 12-note (at least they sound like it).
I'm not convinced that either style has produced music of lasting value, however. The Symphony alternates between a kind of jog-trot inconsequentiality and a rather trite milk-and-water lyricism. Heininen is musical enough to create an impression of symphonic momentum, but it is still not the real thing; nor does it establish a convincing alternative consciousness (the traditional four-movement scheme is solidly in place). There are dozens of such works gathering dust in radio orchestra libraries all over Europe. Fidgety is the adjective that again and again comes to mind, both here and in the Piano Concerto No. 2. The latter, skilfully played by Ilmo Ranta, is more of a concertante piece than a concerto, and nowhere is a strong soloistic personality established in the thematic material. Not that the piece lacks ideas; rather it is wasteful with the ones it has. It is difficult to avoid the conclusion that invention has been sacrificed on the altar of system. Allied to a narrative as dark and obsessive as that of his opera The Damask Drum (which I reviewed in March) Heininen's serial idiom can exert a powerful spell; in pure instrumental media it is less satisfying.
The Arioso has some gravely passionate moments and seems determined to overcome the resistance of its self-imposed disciplines. All in all it is an impressive example of this type of piece. But the type itself has proved genetically deficient and now shows every sign of imminent extinction.'