Paavo Heininen (born 13 January 1938) is a composer, essayist, pianist and teacher. A highly revered figure in Finnish musical circles, he is known as a prolific composer of symphonies and other orchestral works, chamber music, vocal music and piano pieces. He also guided a generation of young composers at the Sibelius Academy during a teaching career of more than forty years.
His natural starting point was from the beginning modernism. According to him, there is no need to change direction since to him, modernism means being open to all the possibilities that exist.
Vocal music is, however, perhaps closest to Heininen's heart because of his passion for texts: the marriage of word and music is, in his opinion, something unique, allowing the composer and the poet to express more together than they could ever do alone. Heininen has composed two operas during the 1980s: Veitsi (The Knife, 1985-88) and Silkkirumpu (The Damask Drum, 1981-83).
His work list contains six symphonies, dating from different stages in his career. The fifth symphony was commissioned by the Finnish Broadcasting Company and premiered in 2003, and the sixth was premiered in 2015 by the Helsinki Philharmonic Orchestra. According to Heininen, composing for the stage has vitally influenced the way he thinks about the symphony. His ‘symphonies’, in the sense of a credo or a foray into new territory, have actually been the Adagio…concerto per orchestra in forma di variazioni… (1963/66) and DIA (1979), that is to say orchestral works that were generically classified as ‘concerto for orchestra’. The Damask Drum, subtitled ‘concerto for singers, players, words and images’ in fact has the same function, on an even greater scale and with weightier meaning. The most important work in Heininen’s catalogue in recent decades would in this sense be the oratorio Te Deum Creaturae (Opp. 92, 77, 93), the first half of which (Kaukametsä) was premiered five years ago by the Finnish RSO.
Heininen started exploring electro-acoustic music during the latter half of the 1970s and the potential of the computer in the early 1980s. His key works from that period include the tape composition Maiandros (1977) and the orchestral Dia (1979). During the 1990s the stylistic spectrum expanded resulting in two "jazzy" works for big band (Wolfstock and Bookends, 1996-97).
Paavo Heininen has also produced a wealth of instrumental and chamber music, among them Discantus I for alto flute, Poesia squillante ed incandescente – Sonata per pianoforte, Piano Trio Op. 91, Mazurki for piano and Variations for organ. He has also composed organ trios, duos for every orchestral instrument and piano, sonatas for various instruments, six string quartets and a lot of pieces for piano solo.
The reconstructions of works by Aarre Merikanto, his former teacher, constitute a chapter in themselves in Heininen's output. In his violin concerto Tuuminki (A Notion, 1993) Heininen inhabits the world of Merikanto, and indeed the title continues with the words "of what might have been Aarre Merikanto's 3rd Violin Concerto". In the Flute Concerto Autrefois (2008/10) Leevi Madetoja serves as an approximate model. Autrefois was born of the essence of Madetoja, but his world has been allowed to expand a bit over the stylistic horizon of his day.
Paavo Heininen’s other orchestral works include e.g. the large Opus 66 (Music for Strings) containing a number of dance-like suites in 2-8 movements, Violin Concerto (1999), Concerto for Piano and Orchestra No. 4 (2004-05) and Organ Concerto Aiolos (2012-13) – a nine-movement, 90-minute offshoot of the Bruckner-Mahler tradition.