Kalevi Aho’s early symphonies were all written in Shostakovich’s shadow to a greater or lesser degree, but none more so than the Fourth, with its bold orchestration, unorthodox design and vivid, doom-laden atmosphere combining tragedy and nightmare. The work it seems most closely akin to is Shostakovich’s own Fourth, which also seems to depict some unspecified psychological trauma. Both are in three large movements and were their creators’ biggest orchestral scores at the time, although the Finn’s thematic unity is more concentrated and his expressive purpose rather more single-minded. It is the first work of Aho’s I ever heard (a relayed broadcast about 20 years ago of a fine performance by the Tampere orchestra under Paavo Raitio), and I’ve been hooked ever since.
Vanska’s performance is brilliantly paced, never losing momentum in the hellish scherzo with its relentless march subject, or sacrificing any of the instrumental detail, such as the mocking wind-and-violin titters from 7'52'' in the first movement. This is particularly crucial in the Lento third movement, which explores a tonal landscape of the mind reminiscent at times of Maw’s Odyssey (though achieved by different means). The recorded sound is magnificent, the very wide dynamic range encompassing the barest whispers of the strings and massive, brassy climaxes.
The coupling makes a nice foil to the symphony: a beautiful set of six ancient Chinese love-songs (in Finnish translation). Grouped in three pairs, the mood gradually becomes darker from the initial radiance until the sixth finds a new light. Tiina Vahevaara, who premiered the set in 1997, is nicely light and sensual, as required, though her voice is a little raw in the uppermost register.'