In Kirmo Lintinen's Rondo burlesque (2007-2008) for bassoon and piano, the qualitative elements of the bar, with their upbeats, accents and GPs, create a refined musical rhetoric and are very much to the fore. At the premiere, Lintinen's manner of playing, with its sparing use of the pedal obscuring the first beat but not the sense of time, underlined the inherent character of the piece. The roguish poetic metres gambolled jerkily along, and although at surface level the music may appear guileless, Lintinen knows his polyphony, judging by the capital roving of his voices even in the homophonic textures.

Kirmo Lintinen (b. 1967) is a man of many musical talents: composer, pianist and conductor. His catalogue encompasses almost all gen-res and categories of composition, from solo work to opera, and he operates with ease from one to another without being a crossover artist; in his case, the versatility is both internalised and innate. He often finds inspiration in French music of the 1920s and its intrinsic musicality. Humour and playfulness are characteristic elements of his music, as are a natural, musicianly approach and an enchantingly effervescent, even tongue-in-cheek texture.

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Kirmo Lintisen Rondo burlesquessa fagotille ja pianolle (2007-2008) tahdin laadulliset elementit kohoineen, iskuineen ja kenraalipausseineen luovat hienostunutta musiikillista retoriikkaa ja ovat korostetusti esillä. Teoksen ensiesityksessä Lintisen vähäpedaalinen, tahdin ykkösen kadottava mutta taiminsapitävä soittotyyli korosti sävellyksen perusluonnetta. Velmut runojalat jolkottelevat äkkiväärästi ja vaikka pintatuntuma musiikkiin on ryppyotsaton, on Lintinen polyfoniansa opiskellut. Sen verran ovelasti äänet vaeltavat homofonisissakin tekstuureissa!