Finland

Borealis 2019 (Part 2)

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Nearly but not quite everything that took place at this year’s Borealis festival was light years away from the world of conventional concert performances. The most notable exception to this was the first event i attended, at the Nykirken on Friday evening, given by Sjøforsvarets musikkorps, the Norwegian Naval Forces Band, conducted by Ingar Bergby. They presented three works, two by Norwegian composers and the other by British composer James Clapperton. Written in 2012, Clapperton’s Doroga Zhizni was by far the most overtly earnest of the three pieces. A saxophone concerto written as a commemoration of the Siege of Leningrad, it was difficult to know to what extent this considerable layer of baggage helped or hindered the work. Which is not to say it wasn’t an enjoyable experience. Though its musical language was staunchly conservative, often channelling post-minimalistic prettiness, the interplay between soloist René Wilk (for whom the work was written) and the band was at times highly dramatic. This was the piece at its best; when Clapperton sought to tap into the emotional heft of his subject the music became a generic kind of insipid ‘In memoriam lite’, pseudo-emotive blather that did its inspiration neither any favours nor sufficient justice. It would perhaps have been best to hear the piece without any knowledge of its supposed backstory; as it was, reconciling what we heard with Clapperton’s aspirations proved all but impossible.

It was also quite difficult to square the notes for Therese B. Ulvo‘s Excavation – which spoke about digging away at the brilliance and beauty of the wind band, causing it to be “stripped down to its bones”, and exploring what remained – with the music itself, but in practice it hardly mattered. The piece threw together various opposites, initially managing to sound simultaneously refined and primitive (distantly evoking something of Stravinsky) and putting equal emphasis on melody and noise. In addition to this, while the band as a whole were generally in consensus about their activities and behaviour, the harmonic nature of the music floated completely freely. Only later did it more demonstratively draw nearer to the implications of its title, ideas becoming ‘stuck’ and being explored at length, almost as if they were being worn down and eroded. The weirdly fanfaric way Excavation developed a fin de siècle quality later on was fascinating and the latter half of the piece in particular was deeply engrossing, ultimately unleashing walls of noise so enormous they practically blew themselves out. Read more

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Free internet music: Brothomstates, Stephan Mathieu

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The next recommendations in my series looking at free internet music are a pair of pieces exploring extremes of computer-mangled audio. The first is a new release from Finnish composer Lassi Nikko, better known as Brothomstates, and even writing his name in the context of a new release – something i never thought i’d be able to do – has immediately put a big smile back on my face. i’ve been a Brothomstates fan for many, many years; since 2001 in fact, when Claro – a gloriously euphoric blend of ambient, electronica and IDM – was released on the Warp label. That in turn led to me plundering his back catalogue, both his 1998 self-released debut album Kobn-Tich-Ey (apparently one of the earliest ever MP3 album releases, which in many respects contains the seeds of what would become Claro) as well as his extensive collection of music created as part of the once vibrant demoscene community, under the name Dune. Both the album and the demoscene tracks are still all freely available online courtesy of scene.org, though anyone wanting to explore the latter should bear in mind they’re all in S3M or MOD format, which will need to be played in VLC media player (which can also convert them), Winamp or an equivalent. Read more

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Kaija Saariaho – Adriana Songs (UK Première)

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Hyvää itsenäisyyspäivää, Suomi!

Today is an important day for the country of Finland, marking the 100th anniversary of their declaration of independence from the Russian Republic. To mark the occasion i’m turning to one of Finland’s most celebrated composers, Kaija Saariaho, specifically to an intense song cycle she composed in 2006. Adriana Songs for mezzo-soprano and orchestra, began life in Saariaho’s opera Adriana Mater (set to a libretto by Lebanese writer Amin Maalouf); of the opera’s seven tableaux, she adapted material from the odd-numbered movements – Clartés, Deux cœurs, Rages and Adriana – to form this four-movement cycle. The subject matter is grave in the extreme: set in the context of war, the character of Adriana is raped by a man from her immediate community, becomes pregnant and gives birth to a son, Yonas. To protect him from the truth, Yonas’ family pretend that his father died heroically, but when the truth emerges, in Yonas’ late teens, he decides to track him down and kill him. Eventually, when Yonas finally confronts his father he discovers the man is blind, and decides to spare his life, returning home to his mother. Read more

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Proms 2017: Lotta Wennäkoski – Flounce (World Première)

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After eight weeks of (for the most part) serious music-making, the Last Night of the Proms, quite reasonably, is primarily disposed to the aim of letting of steam and just having fun. For the contemporary composer chosen to get the evening going each year, the enormous sense of occasion – even more so than at the first night – must be so impossible to ignore (and why would you?) that one can’t help wondering to what extent they feel their creativity is being given an opportunity to shine or simply go through the expected motions. Harrison Birtwistle’s Panic, from the 1995 Proms, remains a benchmark for ruthless originality in this concert, though it’s worth remembering that that particular piece was not a concert-opener, but occupied a prime position later in the concert. How nice it would be if the tradition of commissioning a world première for the last night could return to being a more major work in the concert rather than the amuse-bouche that the Proms seems to believe is sufficient. Perhaps then composers could do their own thing both more expansively and in the way they’d really like, although the experience and aftermath of Panic may well have scared off the Proms organisers for good on that score. (Apropos: i wonder what would shock people today?)

Nonetheless, one or two of the commissions in recent years – i’m thinking particularly of Tom Harrold’s Raze (2016) and Mark Simpson’s Sparks (2012) – have demonstrated the capacity and the courage to try and squeeze some imagination into their tiny sliver of the evening. And the same was true of last night’s curtain-raiser, Flounce, by Finnish composer Lotta Wennäkoski. Read more

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Proms 2017: pre-première questions with Lotta Wennäkoski

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This evening, Finnish composer Lotta Wennäkoski‘s new work Flounce will literally become the beginning of the end, getting started the Last Night of the Proms. For the final time this year then, here are my pre-première questions, together with Wennäkoski’s answers and her programme note for the piece. Many thanks to Lotta for her responses. Read more

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Proms 2016: Magnus Lindberg – Two Episodes (World Première)

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Last week, i finally got round to watching a concert i’d recorded last year celebrating the music of film composer John Williams, featuring highlights from throughout his long career. For better or worse, i couldn’t help recalling that concert again and again during last night’s world première at the Proms of Magnus Lindberg‘s Two Episodes, performed by the London Philharmonic Orchestra conducted by Vladimir Jurowski. In some respects, this wasn’t entirely a surprise. Always a demonstrably accessible composer, Lindberg’s work in the last few years has reached more and more into the kind of musical language associated with movie soundtracks (a quality i’ve pointed out with regard to both Al largo and Era). What was surprising, though, was that the piece was entirely conceived to serve as an homage to the work following it in the programme, Beethoven’s Ninth Symphony. Read more

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Proms 2014: Haukur Tómasson – Magma; Jukka Tiensuu – Voice verser (UK Premières)

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Nothing remotely ordinary, it often seems, can come from Scandinavia. This notion was emphatically corroborated at the Proms in the recent pair of UK premières from Iceland’s Haukur Tómasson and Finland’s Jukka Tiensuu. i can’t help wondering whether they succeeded as strongly as they did in part for essentially the same reason, namely that they each embody a remarkable immediacy, even a simplicity. That’s not to say that these are simple pieces—they couldn’t be much farther from it—but there’s an overwhelmingly apparent sense of directness from both composers such that, put crudely, what you hear is precisely what you get. Read more

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