Käsiohjelma: Urut soikoon!
27.5. klo 19.30
Sävellysprojektin toinen päätöskonsertti pidetään Musiikkitalon Organo-salissa torstaina 28.4.2022 klo 18. Projektin säveltäjät esittelevät teoksensa Aikamme musiikin luentosarjassa Musiikkitalon auditoriossa samana päivänä klo 13.15–14.45.
Tämän konsertin järjestää Taideyliopiston Sibelius-Akatemia yhteistyössä Kallion seurakunnan kanssa.
Ohjelma
Arttu Punkkinen: Suborbital
- Anni Nousiainen
Nicholas Main: Ein Orgeltagebüchlein
- Aleksanteri Wallius
Pilar Miralles: Theme and Variations after “Alle Menschen müssen sterben”
- Leevi Lipponen
Ali Hosseini: Gereh for Organ
- Erik Ohtamaa
Teosesittelyt
Arttu Punkkinen
A bit like its orbital mechanical counterpart, Suborbital contains dynamics from too loud to inaudible and speeds from very slow to very fast. While the analogue is not exact in any way, Suborbital can be regarded as a short (chemically powered) suborbital spaceflight: A very loud beginning, followed by some rather tranquil moments, which then transition into some very quick and hot action.
The piece puts low reed stops and polyrhythms to good use, while not forgetting to explore subtler registrations in lyrical landscapes, and that sometimes more is more.
Nicholas Main
In the past couple years, several of my close friends have gotten into journaling and encouraged me to try it. Having a background in poetry, I thought diary keeping would come naturally, but I ended up finding it too literal a medium to express the specific shades of emotions I wanted to put on the page. While drafting materials for this piece, I found the organ, in its wide range of voice leading capabilities, a very malleable and direct mode of expression for recording emotional landscapes. This Orgeltagebüchlein, or “Little Organ Diary,”provided a medium that felt more honest to pour myself into. Presented are two “diary entries” in the key of F. The journal is bookended with and interrupted by fragments of an obnoxious canonic motive, representing a nihilist irony.
Pilar Miralles
Theme and Variations after “Alle Menschen müssen sterben” is a set of choral variations for organ after the choral BWV 262 by Johann Sebastian Bach. The choral set as a theme for the variations was chosen because of its lyrics which, being the piece instrumental music, must be given as an extra musical element that is this text, and whose roughly translation would be:
Alle Menschen müßen sterben, / Alles Fleisch vergeht wie Heu; / Was da lebet, muß verderben, / Soll es anders werden neu. / Dieser Leib, der muß verwesen, / Wenn er anders soll genesen.
Everybody must die, / all flesh passes like grass; / Whatever lives must perish / if it is to become new elsewhere. / This body must rot / if it is elsewhere to recover.
This little text presents a conceptual framework for the piece, based on the Latin idiom ex nihilo, nihil fit, or “nothing comes from nothing.” Applied to music and arts overall, this sentence invites us to reflect about the heritage we carry with us, treated as a burden or as a support depending on our specific historical conditions. The remaining question is how such heritage is pushed beyond by artists and why.
Ali Hosseini
Gereh translates into a ‘knot’ or a ‘tie’ from Farsi. You observe it from every side possible. You try every method you know of. You use force. Nothing works. Until it does.