Basso ostinati per lo jouhikko| video
University of the Arts Helsinki / Sibelius Academy presents:
Basso ostinati per lo jouhikko – Variations of the Renaissance in folk music
Helsinki Music Centre - Helsingin Musiikkitalo - Black Box, November 6, 2018 - 19:00 (EEST / GMT+3)
More information and tickets to the concert
Jouhikko virtuoso Ilkka Heinonen's second postgraduate recital.
What connects a late Renaissance viola da gamba musician and a 19th century Karelian jouhikko (Finnish bowed lyre) player? In addition to the structural similarities in the two string instruments, their players were expected to be able to improvise based on popular melodies of the time.
Jouhikko virtuoso Ilkka Heinonen explores the combination possibilities of Renaissance variation practices and Karelian jouhikko variations in his second postgraduate recital. The compositions based on the basso ostinato from the 16th century receive a more folkish treatment while the melodies of old jouhikko masters transform into diminutions and ricercares, or sink into the stream of the smash hit bass lines of the Renaissance.
Ilkka Heinonen – jouhikko (finnish bowed lyre), voice
Jarmo Julkunen – archlute, baroque guitar, vihuela
Marianna Henriksson – harpsichord, organ
Louna Hosia – baroque cello, viola da gamba
OHJELMA - PROGRAM:
Piilotanssi (Trad., arr. Ilkka Heinonen)
An improvisation based on the jouhikko tune played by a Karelian jouhikko player Feodor Pratšu (1852–1921), this time clad in style of Canario from the 16th century Spain.
Käki (Ilkka Heinonen)
A partly structured improvisation in the style of 16th century virtuosic Southern European viola bastarda –style. It’s based on one of the most famous finnish rekilaulu (a song style) ”kukkuu kukkuu” – also popular amongst the late 19th century Karelian jouhikko players.
Fantasia no1 a3 (William Byrd)
Three Fantasias from the extensive repertoire of the English composer William Byrd (1540–1623) fit well for broken consort, including jouhikko.
Pavan a Nikodemus (Heinonen)
A partly improvised piece based on the jouhikko tunes from Nikodemus Hirvonen collected by a composer Carl Collan on 1854. It has a nature of obituary pavans of the era of the English composer and viol player Tobias Hume (1579–1645).
A fast dance tune from the repertoire of Feodor Pratšu is augemented to a cantus firmus melody. It serves a foundation for the improvisation in the style Diego Ortiz (1510–1570), as it is explained in his treatise Trattado de Glosas (1553).
Fantasia no3 a3 (William Byrd)
A finnish version of the famous Folia-theme of a spanish origins from the notebook of Samuel Rinta-Nikkola (1809) is performed like it could have been played by the Karelian jouhikko players – if they had heard the variations.
Passamezzi moderni (Diego Ortiz)
These two compositions, Recercada tercera and Recercada segunda (Trattado de Glosas 1553) by Diego Ortiz are based on a ground bass line called passamezzo moderno. These are spiced up with improvisations influenced by Karelian jouhikko and kantele music.
Fantasia no2 a3 (William Byrd)
Oulun likat osajaa (Trad./Heinonen)
Crippled passacaglia based on the tunes by the jouhikko player Pekka Lamberg (1863–1929) and the kantele player Iivana Mishukka (1861–1919).
Fantasia (Heinonen Henriksson)
A pure improvisation in the spirit of Diego Ortiz.
Sarabande (Johann Sebastian Bach)
Jouhikko is underlining the fragility of the sarabande composed by Johann Sebastian Bach (1685–1750) from the 5. cello suite (BWV 1011).
Ciaccona (Maurizio Cazzati)
A traditional finnish love song combined with a ciaccona composed by Maurizio Cazzati (1616–1678).
Video, video effects: Keijo Lahtinen
Sound: Marko Myöhänen
Lights: Sirje Ruohtula
Producer: Hans Tinell
Artist photo by Jani Kivelä
Katso lisää - More concert etc videos:
Youtube channel: Uniarts Helsinki
= Playlist: Sibelius Academy Concert Broadcasts
All copyrighted music licenced by Teosto, the Finnish Composers' Copyright Society.