Expanding the sound of contemporary music with a flair for multi-artistic global and social awareness.
Photo: Maarit Torvinen
I don’t think contemporary music needs to live in its own bubble, but it can let the world in and help structure it. It’s worth listening to with an open mind, empathizing and paying attention to what is interesting, engaging, moving, or fun for oneself.
Max Savikangas
Photo: Ville Hautamäki
I enjoy contemporary music and its renewable challenges, playing the viola, improvising, listening – and composing. My works originate from, for example, contemplation, kinaesthetics, improvisation, listening to my inner voice and the sounds of the world, visual arts, literature or experimental sound processing. Ideas that emerge this way often begin to live in my mind and become the basis for my scores and/or media compositions.
Max Savikangas
Photo: Tuomas Tenkanen
As a composer-musician, I have sought to expand the expressive means of the Viola through new playing techniques and experimental live electronics, which has also led to the exploration and utilization of the expressive possibilities of other instruments. Alongside melody, harmony, and rhythm, timbre is broadly understood as a general concept encompassing all elements of sound events.
At best, different hoots, wails, hisses, gushes, whispers, crackles and buzzes are by no means effects or seasoning added afterwards to the music, but an organic and sensual part of expression, which the virtual acoustic space formed by sound reproduction and sound manipulation can further expand.
Max Savikangas
Photo: Tuomas Tenkanen
Although music’s language is incapable of expressing anything semantically precise, I can, for instance, utilize our instinctive interpretive ability for timbre, developed by evolution, and strive for the listener to associate the overall musical experience with their values, perhaps even their inevitable contradictions, thereby prompting contemplation of their values even after the musical experience.
Max Savikangas
Photo: Tuomas Tenkanen
NEWS
23 MAR 2026
Chamber Symphony ‘Saimaa’ for The Lappeenranta City Orchestra
Milko VesalainenThe Lappeenranta City Orchestra
Photos: LCO.
The Lappeenranta City Orchestra (GM Milko Vesalainen) has commissioned Max Savikangas to compose a 25-minute chamber symphony. The working title Saimaa refers to Finland’s largest lake, on the southern shore of which Lappeenranta is located.
The instrumentation has been agreed on based on the orchestra’s standard lineup, augmented with percussion: 2 flutes, 2 oboes, clarinet, bassoon, 2 French horns, timpani, percussion, and strings (4 first violins, 3 second violins, 2 violas, 2 cellos, and double bass). The second flutist will double on piccolo, the second oboist on english horn, and the clarinetist on bass clarinet.
The premiere will take place in early 2028 in the Lappeenranta Hall.
19 MAR 2026
Videos of Whisked Whistle for Symphony Orchestra (2011) by Max Savikangas available
Score follower video of Whisked Whistle for Symphony Orchestra (2011) by Max Savikangas. The soundtrack is a recording from the Wolrd Premiere on 25th of January 2012 at the Helsinki Music Center by the Finnish Radio Symphony Orchestra, conducted by Santtu-Matias Rouvali.
Score follower video of Max Savikangas’ Azonal for Viola and Ensemble (2015–16) available
Score follower video of Azonal. The soundtrack is a live recording of the World Premiere in 8 APR 2016 at Helsinki Music Centre, Sonore Hall with the composer Max Savikangas on the solo viola, and Uusinta Ensemble, conducted by József Hárs.
World Premiere of Trois amis in 19 OCT 2025 in Max Savikangas’ composition concert Maximum Chamber Music. Malla Vivolin (fl/a.fl), Max Savikangas (vla), Lily-Marlene Puusepp (hp). Audiovisual recording and editing Anders Pohjola. Published with permission from the composer and performers.
Score video of Trois amis. The sound track is the live concert recording made in the 2nd performance 7 FEB 2026 at the Helsinki Harp Festival, Helsinki Music Centre, Camerata Hall, performed by Malla Vivolin (fl/a.fl), Max Savikangas (vla), Lily-Marlene Puusepp (hp). Published with permission from the composer and performers.
3 FEB 2025
World Premiere of Max Savikangas’ Viola Sonata (2025)
My goal in this composition project was to compose a full-scale Sonata for viola and piano, in which the instruments are equal partners with each other and in which the expressive means of contemporary music are widely used.
The Sonata was commissioned by and is dedicated to an especially talented violist Katrīna Anna Pelnēna, with whom I had workshops and discussions on the becoming sonata. Thank you so much Katrīna! I asked pianist Fanny Söderström to join the project in an early stage. I knew her as superb and sensitive pianist for whom trusted I could write a full-weight piano part and who would undestand instantly, how to play with a violist. READ MORE
Video recording of the World Premiere of the Sonata for viola and piano (2025) by Max Savikangas, premiered by Katrīna Anna Pelnēna, viola and Fanny Söderström, piano in Max Savikangas’s composition concert Maximum Chamber Music in 19 OCT 2025, Helsinki, Balder Hall. Audiovisual recording and editing Anders Pohjola.
Score follower video of Max Savikangas’ Sonata for viola and piano (2025). The soundtrack is from the World Premiere, for details see above.
12 DEC 2025
World Premiere of Max Savikangas’ Ylang Ylang for piccolo solo (2025)
Katlijn Sergeant premieres Ylang Ylang for piccolo solo (2025) by Max Savikangas at the Grand Finale concert of the Finnish Flute Festival, 5 OCT 2025, Helsinki Music Centre, Sonore Hall.
Score follower video of Ylang Ylang for piccolo solo (2025) by Max Savikangas. The soundtrack is from the World Premiere, see details above.
Katlijn Sergeant premiered Ylang Ylang for piccolo solo (2025) by Max Savikangas at the Grand Finale concert of the Finnish Flute Festival, 5 OCT 2025, Helsinki Music Centre, Sonore Hall. READ MORE.
You can now enjoy watching and listening to the video recordings of the 8 pieces performed in Max Savikangas’ composition concert Maximum Chamber Music, which was given in OCT 19 2025 at the Balder Hall, Helsinki, Finland. Please find the embedded YouTube playlist below!
Max Savikangas, viola, performing his composition AI Viola? (2025) for viola and artificial intelligence in his composition concert Maximum Chamber Music in 19 OC 2025.
As the Finnish Composers’ Association celebrates its 80th anniversary, I would like to participate in the Celebration – Composers 80 concert series with my eighth composition concert!
Maximum Chamber Music SUN 19 OCT 2025 Helsinki trailer
The program includes 8 of my chamber music compositions from 2005–2025, two of which will have their premieres and the remaining six I have selected from my production based on the criteria of compositional weight, engagingness, variety and multidisciplinary nature. Not forgetting the fun! During the performance of the three works, a video related to them will be projected.
Welcoming words by the host of the concert, M.Mus. Ville Komppa and Composer Max Savikangas.
Watch and listen to the World Premiere of War or Peace (2024) by Max Savikangas, performed by The Gothenburg Symphony Orchestra and conductor Santtu-Matias Rouvali.
The world premiere was given in Gothenburg on 4th, 5th and 6th of September 2024, conducted by Santtu-Matias Rouvali, who was also the initiator of this commission. Additional performances were given in Malmö on SEP 13th and in Copenhagen on SEP 14th (Danish Premiere). Andrew Mellor of The Strad Magazine wrote a positive review on the Malmö performance.
PRROGRAMME: Max Savikangas: AI Viola? (2025) for viola and artificial intelligence, World Premiere Max Savikangas: Kranker Matthäus (2006) for flute and viola Max Savikangas: Kepler-22b (2012) for viola and piano
Between the performances, Brinkhall soi Festival Artistic Director József Hárs will discuss the concert’s themes with the artists and the audience.
The duration of the concert is ca 50 min., no intermission.
The concert is part of the Celebration — Composers 80 anniversary concert series of the Society of Finnish Composers.
AI Viola? rehearsal with Max Savikangas on the viola and Anders Pohjola on sound and computing.
The themes of Max Savikangas’ composition concert Reflections into Space are: What can the use of artificial intelligence in music mean? Is the experience of holiness possible without faith? Is there intelligent life on other planets?
The new solo viola composition AI Viola?, which will have its premiere at the concert and was composed for the festival, puts the composer-violist in a duet – via artificial intelligence software – with himself and his own production, in real time and unpredictably. The flute-viola duet Kranker Matthäus falls silent for a moment at the edge of J.S. Bach’s St. Matthew Passion amidst the fervour of a tightly composed contemporary musical work. The first planet outside the solar system discovered by NASA’s Kepler space telescope inspired the composer to write the work Kepler-22b for viola and piano, at the end of which an extraterrestrial being comes to visit – to soar back into space.
POSTHUMAN science fiction opera (2023) with AI soloist is now available for international touring via Greta Tuotanto (Greta Productions)!
New trailer video 2025 (dur. 3’33”) for Posthuman science fiction opera.
Music: Max Savikangas Libretto, direction and visualization: Teemu Mäki Choreography: Petri T. Kekoni
POSTHUMAN is available as a visiting performance with the original, Finnish cast…and we can also make it anew, with new cast and new partners.
The opera’s story takes place long after the extinction of human species, in a planet far away from Earth. It’s populated by highly evolved nonhumans, who know next to nothing about the now-extinct humans. However, they are curious about humans and have in their possession bits of human DNA and human memes. Using these remains and fragments they decide to conduct a scientific laboratory experiment, to learn about the humans. They put human genes and memes into a nonhuman child…and wonderful things happen…
JAN 25th 202
Finnish premieres of new orchestral composition War or Peace were given in Turku on 16 and 17 JAN 2025 by the Turku Philharmonic Orchestra, cond. John Storgårds
Max Savikangas introduces the Finnish Premiere (in Finnish)
SEP 25th 2024
World Premiere of War or Peace (2023-4) given in Gothenburg, Malmö and Copenhagen in SEP 2024 by the Gothenburg Symphony Orchestra, cond. Santtu-Matias Rouval
Max Savikangas introducing the World Premiere of War or Peace (in Finnish with English subtitles)
The world premiere was given in Gothenburg on 4th, 5th and 6th of September 2024, conducted by Santtu-Matias Rouvali, who was also the initiator of this commission. Watch and listen to the video on YuTube:
Additional performances were given in Malmö on SEP 13th, in Copenhagen on SEP 14th (Danish Premiere).
The Finnish premiere was be given in Turku on JAN 16th and 17th 2025 under the direction of John Storgårds.
New World Premiere album available on streaming services
Beat Furrer Duos for violin/viola & piano cover (photo: David Furrer 2014. Album cover design: Lauri Toivio / Uusinta Publishing Ltd.)
Ernst von Siemens Music Prize 2018 laureate Beat Furrer is one of the most influential composers of our time. He turns 70 this year. On April 26, 2024, Uusinta Publishing Ltd. released Uusinta Ensemble’s new two-track EP featuring Beat Furrer’s duets for violin/viola and piano, for streaming services only.
Maria Puusaari, violinMax Savikangas, violaEmil Holmström, piano
Photos: Tuomas Tenkanen / Uusinta Ensemble
The meditative ‘Lied’ for violin and piano (1993) is performed by Uusinta Ensemble’s violinist Maria Puusaari and pianist Emil Holmström.
The second track, a virtuoso piece ‘a due’ for viola and piano (1998) receives its official Wolrd Premiere recording with this album, performed by Max Savikangas on the viola and Emil Holmström on the piano.
The music was recorded at the Sello Hall, Espoo, Finland by Markku Veijonsuo, who also produced and edited the recording. The album is available on Spotify and many other platforms (some links below) – enjoyable listening!
POSTHUMAN – Space Opera for the Finnish YLE Radio 1 / Areena (2024)
Trailer of the radio space opera Posthuman (Ihmisen jälkeen),premiered on 29th March 2024 by the Finnish Broadcasting Company YLE Radio 1 channel and now available on the online platform YLE Areena. Photos: Maarit Kytöharju
“No pity. No trace. No memory. No park named after them.”
Machine (tenor) in the 5th Scene of Posthuman
Radio broadcast on the Finnish Yle Radio 1 Channel : The First Act of the opera was broadcasted on March 29th 2024. The Second Act of the opera was broadcasted on March 31st 2024.
The whole opera is now available for listening on the Ääniversumi (Soundverse) series of the YLE Areena online podcast platform:
Composition: Max Savikangas Libretto and direction: Teemu Mäki
What happens when post-human beings conduct an experiment in which human genes and memes are put into a non-human child?
What comes after man? If anyone remembers us, what can they know about our species? What do they think of our civilizations? Are post-human beings more advanced than humans, and if so, what does that mean? Are they smarter and more powerful than us, or more compassionate and selfless than us? Are they corporeal, individual beings or a stream of bits or tendrils with no sense of separateness?
Our opera deals with these questions and in that sense is a posthumanist work. On the other hand, it also deals with quite traditional human questions: What is it to be human? Why are we the way we are? What are we aiming for by making children? What does the world of adults look like through the eyes of a child? Where has the human species reached so far and what is next? What is it to be mortal? What would we be like if we were immortal?
We also ponder these questions because the ongoing sixth mass extinction is our fault. If we don’t want to become extinct, we have to change. What can we learn from a birch, a machine, a fog, a child and, for example, a slime fungus called Physarum polycephalum?
This radio piece is based on the opera premiered in the Pannu Hall of the Dance House Helsinki in March 2023. The radio version has the same music as in the original work, but the interludes are new, with the help of which you can follow the story without seeing the events.
Video recording of the 25th anniversary concert of Uusinta Ensemble, UUSINTA 25: JUBILEE in February 3rd 2024. Programme booklet.
Posthuman Sci-Fi Chamber Opera (2020-23)
Posthuman Teaser 1
Posthuman Teaser 2
Music for the new 2-hour multi-artistic science fiction chamber opera Posthuman was composed by me during 2020–2023 with the kind support of the Kone Foundation.
The premiere was be given in Finnish with both Finnish and English subtitles.Future performances can be localized with translated subtitles to the local language and English subtitles.
The performers include a conductor, four vocal soloists, an AI soloist, a 4-member choir, two dancers and a 10-member instrumental ensemble. Both singers and instrumentalists are amplified and manipulated by live electronics and spatialization.
The libretto is written, by my request, by Finnish artist, director, poet, writer and Doctor of Fine Arts Teemu Mäki, who also directed and visualized the premiere.
Choregraphy for the opera was made by Petri Kekoni for dancers Anna Stenström and Meri Pajunpää of the Petri Kekoni Company.
The venue of the premiere was the rough and hard-edged, post-industrial and high-tech equipped Pannu Hall of the new Dance House Helsinki.
My composition Trois amis takes as its historical point of departure Claude Debussy’sSonata for Flute, Viola, and Harp (1915), which inaugurated the repertoire for this distinctive trio. Over the course of more than a century, dozens of works have been written for the flute–viola–harp combination. Trois amis received its World Premiere in 19 OCT 2025 in my composition concert Maximum Chamber Music by Malla Vivolin (fl/a.fl), Max Savikangas (vla), Lily-Marlene Puusepp (hp).
World Premiere of Trois amis in 19 OCT 2025 in Max Savikangas’ composition concert Maximum Chamber Music. Malla Vivolin (fl/a.fl), Max Savikangas (vla), Lily-Marlene Puusepp (hp). Audiovisual recording and editing Anders Pohjola. Published with permission from the composer and performers.
Finnish composers, too, have contributed to this repertoire: Kaija Saariaho’sNew Gates (1996) and Lotta Wennäkoski’sCiphers (2014) may be cited as notable examples. I had the privilege of performing both works as a violist at the Time of Music Festival in Viitasaari in 2017, together with flutist Malla Vivolin and harpist Lily-Marlene Puusepp. In fact, it was on that occasion that the spark to compose a trio of my own was first ignited.
For the contemporary composer, the harp presents particular challenges owing to its diatonic tuning and pedal system. Yet in time, even a composer without practical training on the instrument—as in my case—can learn, to harness these features and to devise ways of writing more chromatic music for the harp. Thank you for your help and patience, Lily-Marlene and your harpist colleagues!
As Debussy already intuited, the flute–viola–harp trio offers remarkably fertile ground for creating a wealth of musical structures, textures, characters, and atmospheres, despite comprising only three instruments. None of them naturally overwhelms the others.
Score video of Trois amis. The sound track is the live concert recording made in the 2nd performance 7 FEB 2026 at the Helsinki Harp Festival, Helsinki Music Centre, Camerata Hall, performed by Malla Vivolin (fl/a.fl), Max Savikangas (vla), Lily-Marlene Puusepp (hp). Published with permission from the composer and performers.
The flute, one of the most agile of instruments, can carry richly varied music on its own.
The viola, with its distinctive timbre and playing techniques, acts as a mediator between flute and harp: its pizzicato resonates with the harp’s plucked strings, while its bowed sound merges seamlessly with the flute’s sonority.
The harp, for its part, spans a broad register and, with its resonant and multifaceted tone, functions equally well as a melodic, harmonic, bass, colouristic, or accompanimental instrument.
Extended techniques available on each instrument, and the timbres produced thereof further expand the web of interconnections.
I wish to express my warmest gratitude to harpist Lily-Marlene Puusepp, who commissioned this work, and to the Teosto Commission Fund, whose generous support made the project possible.
Video recording of the World Premiere of the Sonata for viola and piano (2025) by Max Savikangas, premiered by Katrīna Anna Pelnēna, viola and Fanny Söderström, piano in Max Savikangas’s composition concert Maximum Chamber Music in 19 OCT 2025, Helsinki, Balder Hall. Audiovisual recording and editing Anders Pohjola.
Score follower video of Max Savikangas’ Sonata for viola and piano (2025). The soundtrack is from the World Premiere, for details see above.
The goal of the composition project was to compose a full-scale Sonata for viola and piano, in which the instruments are equal partners with each other and in which the expressive means of contemporary music are widely used.
The motivation of the project was to fill a gaping gap in the Finnish viola sonata repertoire of the 2020s and to create a completely independent new work, which viola players would be excited to take up.
The Sonata is cast in three movements, which could be describes as follows: I Angst. Present; struggle, pain, anxiety caused by the inevitable end. II Threnody. Past; sorrow mixed with gratitude and relief. III Awakening. Future; sunrise, spring, birth, start of new life, vitality.
The Sonata was commissioned by and is dedicated to an especially talented violist Katrīna Anna Pelnēna, with whom I had workshops and discussions on the becoming sonata. Thank you so much Katrīna! I asked pianist Fanny Söderström to join the project in an early stage. I knew her as superb and sensitive pianist for whom trusted I could write a full-weight piano part and who would undestand instantly, how to play with a violist.
The Word Premiere was given by Katrīna and Fanny in my composition concert Maximum Chamber Music in 19 OCT 2025, Helsinki, Balder Hall. You can watch and listen to the whole concert here.
You can also have look at the score and you can order the digital (pdf), or printed sheet music here.
The composition of the Sonata was supported by the Finnish Cultural Foundation and the Sibelius Fund of the Society of Finnish Composers. Thank you!
I’d like to conclude with a special message to all viola–piano duos out there: I hope you find this new Sonata for viola and piano interesting and try it out – if they can do it, you can do it!
Katlijn Sergeant premieres Ylang Ylang for piccolo solo (2025) by Max Savikangas at the Grand Finale concert of the Finnish Flute Festival, 5 OCT 2025, Helsinki Music Centre, Sonore Hall.
Score follower video of Ylang Ylang for piccolo solo (2025) by Max Savikangas. The soundtrack is from the World Premiere, see details above.
The inspiration for my new solo piccolo work Ylang Ylang arises from two seemingly disparate sources: what the commissioner, Katlijn Sergeant, told me about the flower Ylang Ylang, and a recurring nightmare from my childhood.
Native to Southeast Asia the Ylang Ylang blossom is renowned for its distinctive fragrance—feminine, rich, and floral, yet with sweet, woody, even slightly banana-like and sour undertones. My nightmare, by contrast, was an unsettling sensation of floating in a soft cloud, like cotton candy, and then being suddenly pierced by a sharp spike.
These ideas converge and intertwine in the piece. The Ylang Ylang is evoked through the ambiguous, almost intoxicating tonal colour of the augmented triad, while the nightmare takes shape in a chromatic three-note cell from which much of the music is derived—alongside, of course, the piccolo’s piercing high register.
As a gesture of gratitude, I have dedicated Ylang Ylang to its commissioner, Katlijn Sergeant—a true devotee of contemporary piccolo repertoire—who will also give the premiere on 5 October 2025 at the Finnish Flute Festival.
I hope you enjoy the piece.
Sheet music (pdf or paper) is distributed by Music Finland.
In my view, music is a human expression to another human. If there is no difference between whether a piece is composed by a human or a machine, then the entire function of art in a postmodern society is ignored. It is to deal with the meanings and values that artists feel are important to express.
Max Savikangas
The Helsinki first performance of AI Viola? in 19 OCT 2025 in Max Savikangas’ composition concert, Balder Hall. Max Savikangas, viola, Anders Pohjola, sound design and computing. Audio and video recording Anders Pohjola.
The world premiere of AI Viola? (2025) in July 11th 2025 at the Music at The Brinkhall Festival, Brinkhall manor, Turku, Finland. Max Savikangas, viola, Anders Pohjola, sound design and computing. Audio and video recording Anders Pohjola.
Max Savikangas: AI Viola? for viola and artificial intelligence (2025) Premiere: July 11th 2025 Music at the Brinkhall festival, Turku, Finland Max Savikangas, viola Anders Pohjola, sound design and computing.
Artificial intelligence has come to stay and is available to a wider audience – including us composers and musicians. I first used artificial intelligence in my science fiction chamber opera Posthuman (2023), the last scene of which features an artificial intelligence soloist. I produced the artificial intelligence singing using the Vocaloid vocal synthesis software published by Yamaha. The end result was intended to sound like a highly advanced non-human being who tries to imagine what a human singing might sound like. It succeeded.
AI Viola? is my latest attempt to combine artificial intelligence with composition and performance. In this work, I use the SOMAX2 artificial intelligence software produced by IRCAM, to which I have fed four of my previous solo viola compositions as recordings played by myself. The pieces are Song of the Blissful (1994), Death at Work (1997), Extraterrestrial (2001) and Azonal Advice (2009).
Rehearsing AI Viola?
The software segmented the recordings according to the parameters I provided, and now when played new viola music that I had composed, the artificial intelligence reacted by throwing in snippets from my previous solo viola compositions into two audio outputs. In other words, I was playing a trio with myself in a way!
Anders Pohjola not only performed sound monitoring during the performance, but also participated artistically in the performance by adjusting the settings of the artificial intelligence program.
I wanted to use this piece to present my musical grammar. The piece contains half an hour of music for solo viola I had composed earlier and also completely new music. It already forms a musical space that tells how I think with the viola as a composer-musician. Artificial intelligence enables what I cannot do otherwise.
Artificial intelligence has not revealed anything really new or surprising about my musical grammar, but it has assembled my solo viola music to date into a unified, spherical space where everything is present and it can all manifest itself in many ways
Discussion during the concert at the Brinkhall manor. From left József Hárs, Max Savikangas and Anders Pohjola. Photo: Margit Tuokko
In my view, music is a human expression to another human. If there is no difference between whether a piece is composed by a human or a machine, then the entire function of art in a postmodern society is ignored. It is to deal with the meanings and values that artists feel are important to express.
It’s impressive in itself if a universal artificial intelligence can do anything, but what does it want to say and to whom? What makes a human work more valuable is precisely the humanity and meaning that only another human being can understand and experience.
Despite this, I am interested in listening to music made by AI and I will certainly continue to experiment with using AI to compose and perform music. However, I approach AI music differently than I do with music composed by humans. As a composer, I also do not intend to give AI too much decision-making power. I want to keep AI as a tool but keep the important artistic decisions to myself. In AI Viola?, AI also has its own creative contribution, but only within the limits that I have invented.
The thrill of composing is that you can’t be quite sure where it will lead, but it still feels fun and meaningful. If someone, say an artificial intelligence, gave me the goal, then what would I become? Someone who just works hard to finish what was given to me from the outside?
Many thanks to the Music at the Brinkhall festival and its artistic director József Hárs for the invitation to give a composition concert and for the encouragement to compose a new piece for viola and artificial intelligence for it. It was fascinating!
I would like to warmly thank the Music at the Brinkhall festival 2025 and its artistic director József Hárs for the invitation to give a profile concert! It’s a great pleasure and honor to have the opportunity to perform my works with top musicians in the historic setting of the Brinkhall manor. Welcome to Reflections into Space!
Max Savikangas
PRROGRAMME Max Savikangas: AI Viola? (2025) for viola and artificial intelligence, World Premiere Max Savikangas: Kranker Matthäus (2006) for flute and viola Max Savikangas: Kepler-22b (2012) for viola and piano
Between the performances, Music at the Brinkhall festival’s Artistic Director József Hárs will discuss the concert’s themes with the artists and the audience.
The duration of the concert is ca 50 min., no intermission.
Max Savikangas, viola and compositionSound and computingLauri Toivio, fluteSalla Pynssi, pianoJózsef Hárs, host
The themes of my profile concert Reflections into Space are: What can the use of artificial intelligence in music mean? Is the experience of holiness possible without faith? Is there intelligent life on other planets?
My new solo viola composition AI Viola?, which will have its premiere at the concert and was composed for the festival, puts me as the composer-violist in a duet – via artificial intelligence software – with myself and my own production, in real time and unpredictably. The flute-viola duet Kranker Matthäus falls silent for a moment at the edge of J.S. Bach’s St. Matthew Passion amidst the fervour of a tightly composed contemporary musical work. The first planet outside the solar system discovered by NASA’s Kepler space telescope inspired me to write the work Kepler-22b for viola and piano, at the end of which an extraterrestrial being comes to visit – to soar back into space.
AI Viola? rehearsal with Max Savikangas on the viola and Anders Pohjola on sound and computing.
PROGRAMME NOTES
AI Viola? (2025) for viola and artificial intelligence World Premiere
Artificial intelligence has come to stay and is available to a wider audience – including us composers and musicians. I first used artificial intelligence in my science fiction chamber opera Posthuman (2023), the last scene of which features an artificial intelligence soloist. I produced the artificial intelligence singing using the Vocaloid vocal synthesis software published by Yamaha. The end result was intended to sound like a highly advanced non-human being who tries to imagine what a human singing might sound like. It succeeded. AI Viola? is my new attempt to combine artificial intelligence with composition and performance. In this work, I use the SOMAX2 artificial intelligence software produced by IRCAM, to which I have fed four of my previous solo viola compositions as recordings played by myself. The software has segmented the recordings according to the parameters I provided, and now when I play new viola music that I have composed, the artificial intelligence reacts by throwing in snippets from my previous solo viola compositions into two audio outputs. In other words, I’m playing a trio with myself in a way! Anders Pohjola will not only perform sound monitoring during the performance, but will also participate artistically in the performance by adjusting the settings of the artificial intelligence program.
Max Savikangas, viola and compositionAnders Pohjola, sound and computing
In his St Matthew Passion, J.S. Bach rewrites the chorale Wenn ich einmal soll scheiden by Hans Leo Hassler (1564-1612), which is heard several times throughout the passion. I first heard the Matthew Passion as a small boy in April 1976, when I dropped by the Helsinki Cathedral with my mother on an evening walk. She stayed in the vestibule, but I, a curious boy, went inside. Just then the chorale began to play and my skin hairs reacted to the music. However, I had an uncomfortable feeling that someone was staring. And indeed, a tall, dark-featured man next to me was staring down at me intently. I had to flee back to the vestibule. When I told my mother, a lady commented: “But didn’t you notice that you were wearing a cap?”. Does the experience of holiness disappear from a non-believer like me? I don’t think so, it just moves into everyday life – into the dishwater, as my artist colleague Teemu Mäki put it.
Rehearsal video clip of Kranker Matthäus for flute and viola (2006) by Max Savikangas in 30 JUN 2025, Lauri Toivio, flute, Max Savikangas, viola.
Kepler-22b (2012) for viola and piano
See the score. Watch video recording of a live performance below.
The title Kepler-22b refers to the first confirmed extrasolar planet 600 light years away from Earth, found by NASA’s Kepler Space Telescope to orbit within the habitable zone of a Sun-like star. The discovery was announced December 5, 2011. For me, a longtime science fiction reader, hearing about this NASA discovery was an exhilarating explosion of thoughts and feelings. The most convenient way for me as an artist to celebrate, explore, contemplate and share them was to compose music! The composition of Kepler-22b was supported by the Arts Promotion Centre Finland and the piece is dedicated to NASA.
Max Savikangas: Kepler-22b for viola and piano (2012). Live video recording March 31st 2023 at the Värinää festival, Järvenpää House, Juhani Aho Hall, Järvenpää, Finland. Max Savikangas, viola, Tuomas Turriago, piano. Video and audio recording and editing: Pekka Mikael Laine and Janne Laine.
As the Finnish Composers’ Association celebrates its 80th anniversary, I would like to participate in the Celebration – Composers 80 concert series with my eighth composition concert!
In AI Viola? (2025) Max Savikangas will play in trio with himself assisted by AI
The program includes 8 of my chamber music compositions from 2005–2025, two of which will have their premieres and the remaining six I have selected from my production based on the criteria of compositional weight, engagingness, variety and multidisciplinary nature. Not forgetting the fun! During the performance of the three works, a video related to them will be projected.
Maximum Chamber Music SUN 19 OCT 2025 6 PM in Helsinki – trailer.
In my composition concert, I will perform as a viola player in two works: I will begin the concert with my new piece Ai Viola? for viola and artificial intelligence (2025) and later I will play the viola part in the premiere of my new trio Trois amis for flute, harp and viola (2025).
Max Savikangas’s Sonata for viola and piano (2025) will receive its premiere in the concert by Katrīna Anna Pelnēna, viola and Fanny Söderström, piano.
On this video Max Savikangas demonstrates a short sum-up of the extended viola palying techniques and sounds produced with them in the concert.
The 13 musicians I have invited to perform with me in the concert are often the players or ensembles that commissioned the work in question. I am extremely proud of this cast of performers, as they are the most talented and trustworthy musicians, who know my musical language and are able to give the best possible interpretation of my works. It should be mentioned that Olli-Pekka Tuomisalo and Risto-Matti Marin will be giving their 31st performance of my concert-closing composition Black Metal!
Balder Concert Hall, Helsinki
Balder Hall is an atmospheric baroque-style concert hall in the heart of Helsinki, built in 1931 on top of a house built in 1814. Their grand piano is a sophisticated vintage Steinway & Sons from 1901.
The concert will be hosted by M.Mus. Ville Olavi Komppa, who professionally and interestingly hosted the Uusinta Ensemble’s Modern Classical concert series 2021-22 in the Paavo Hall of the Finnish Music Centre.
Welcoming words by M.Mus. Ville Komppa and Composer Max Savikangas.
Total duration of the concert including intermissions and discussions is approx. 2 hours 15 min.
Welcome!
PROGRAMME
AI Viola? for viola and artificial intelligence 2025 (12 min.) Commissioned by the Music at the Brinkhall festival 2025. Max Savikangas, viola Anders Pohjola, sound design and computing
This Much I Know for bass singer and piano, Scene 7 from the science fiction chamber opera Posthuman 2023, text Teemu Mäki (5 min.) Tuukka Haapaniemi, bass Jussi Littunen, piano Video projection, dir. Teemu Mäki (2023)
Spectroblaster for baryton trio 2010 (11 min.) Commissioned by and dedicated to the Finnish baryton trio. Finnish baryton trio: Markus Kuikka, baryton Markus Sarantola, baroque viola Sami Mäkelä, baroque cello
Sonata for viola and piano 2025 (25 min.), World Premiere Commissioned by and dedicated to the viola player Katrīna Anna Pelnēna. Katrīna Anna Pelnēna, viola Fanny Söderström, piano
——— Intermission ca 20 min., cafe open———
Kaliki for solo cello 2003 (6 min.) Commissioned by and dedicated to Markus Hohti. Sami Mäkelä, cello Video projection, dir. Teemu Mäki 2006
Thai for mezzo-soprano and piano 2005, text Juha-Pekka Hotinen (11 min.) Susanna Tollet, mezzo-soprano Jussi Littunen, piano Video projection, dir. Teemu Mäki 2005
Trois amis for flute/alto flute, viola and harp 2025 (25 min.), World Premiere Commissioned by and dedicated to harpist Lily-Marlene Puusepp. Malla Vivolin, flute Max Savikangas, viola Lily-Marlene Puusepp, harp
Black Metal for baritone saxophone and piano 2007 (5 min.) Commissioned by and dedicated to saxophonist Olli-Pekka Tuomisalo. Olli-Pekka Tuomisalo, baritone saxophone Risto-Matti Marin, piano
Composer Magnus Lindberg (photo: Saara Vuorjoki) and Violist Lawrence Power (photo: Askonas Holt)
Background
The Finnish Radio Symphony Orchestra and violist Lawrence Power premiered Magnus Lindberg’s Viola Concerto on February 28th and 29th, 2024, at the Helsinki Music Centre under the direction of Nicholas Collon. The piece was commissioned by the Finnish Radio Symphony Orchestra with support from private individual Karolina Blåberg. It was a wonderful moment to witness the premiere with many colleagues.
In his program notes, the composer writes: “After having written two cello concertos (1999 and 2013) and two violin concertos (2006 and 2015), I thought for many years about composing a Viola Concerto. The instrument has played an important role in classical music, defining to a large extent the mid-register textures of different characters from ‘allegro’, ‘andante’, ‘adagio’, ‘presto’ etc., but it has enjoyed less prominence as a solo instrument. Yet the instrument is enormously rich, thanks to its different expressive modes, possessing a huge variety of possibilities…I typically have a collection of characters, with various degrees of contrast between them. These characters follow each other in a whirlpool-like rapid manner, often giving the music a kaleidoscopic nature. This then undergoes a process of clarification towards more uniform expressions, employing a multitude of different techniques: filtering, diluting, variations, metamorphoses, developments etc.”
Impressions of the Work
In my opinion, Lindberg’s Viola Concerto is a powerful and significant piece. On the first listen, its continuity might seem somewhat elusive and challenging to grasp. However, with repeated listens, the rich and colourful world of characters and harmonies begins to unfold, richly rewarding the listener. This undoubtedly applies to the performers as well. Is this the long-awaited great Finnish viola concerto that might elevate the viola to an equal standing among solo instruments in the minds of the international classical music audience? Could it bring the viola out of its bubble? Time will tell, but I believe such a piece was needed right now.
Impressions from Rehearsals and Performances
Together with Jussi Aalto, Chairman of the Finnish Viola Society, we listened to the rehearsals in the concert hall of the Helsinki Music Centre, which was very interesting but also slightly shocking, as from where we sat in the middle of the stalls, the soloist’s playing struggled to be heard. The string section’s texture is often dense with divisi, making it somewhat challenging for the solo viola’s sound to cut through. During rehearsals, the orchestra played louder than in the performances, where the orchestral parts breathed better. The Music Centre’s hall is also known for its uneven acoustics. In the first concert, the soloist could be heard better from the balcony, but in the second concert, the sound didn’t carry as well to the back of the stalls. Nonetheless, the orchestral part made a huge impression right from the rehearsals, as did those sections of the solo part with thinner and quieter orchestration. In the premiere live TV broadcast (which is available to watch and listen to on YLE Areena for those residing in Finland and Europe with Finnish Yle Areena subscription) the balance between the soloist and the orchestra has been mixed well.
The Style of the Work
Stylistically, the piece is reminiscent of Lindberg’s recent concertos, such as Violin Concerto No. 2 (2015) and Piano Concerto No. 3 (2022). It also brings to mind his earlier, highly acclaimed Clarinet Concerto (2002). The work begins with a motto motif heard in various forms throughout. This is followed by a colourful cavalcade of themes, characters, harmonies, textures, rhythmic motifs, and atmospheres, a journey that Lindberg masterfully binds together with his superb compositional technique. In the composer’s words when we met him: “The feeling at the end is different from the beginning – something has happened. To me, music naturally has a strong narrative level.” The harmonies are wonderfully resonant. Lindberg combines his characteristic spectral harmonies, built on strong bass lines and glittering with dense patterns in the upper register, with pentatonic and even nearly functional harmony, though not in a traditional way. The composer acknowledges that he has increasingly incorporated tonal elements in his works over time; “Why shouldn’t they be used in contemporary music?” And indeed, they sound magnificent. The piece ends particularly brightly yet emphatically, with a movingly noble and open-sounding conclusion.
About the Solo Part
The solo part, in my opinion, meets the demands of a concerto, being substantial, sufficiently present and prominent, and at times skillfully blending with the orchestra. The solo part is technically assuredly solistic and virtuosic. The composer himself stated that he wanted to write a virtuosic solo part that stands out, “The soloist needs to have space, and the music should come through that. But I didn’t want to write mere juggling, hopefully, the virtuosic world arises from the needs of the music.” Additionally, Lindberg shares that his unique way of composing often considers melody a “byproduct” of creating harmonies and textures. Yet, the melodic expression in the Viola Concerto is successful, natural, and impactful. The composer has, in my opinion, internalized the viola’s characteristics as a solo instrument exemplarily, avoiding the trap of composing a “violin concerto a fifth lower,” which could easily result in a dreary sound. With all due respect to our instrument, which is not a violin, you understand what I mean. Nor has he sought cello concerto-like heroism. Thankfully, his starting point was that the viola should be allowed to resonate sufficiently in its unique timbral range, especially on the C string, which this concerto successfully achieves. Of course, the viola’s entire range is comprehensively utilized, as it should be in a concerto.
On the Soloist’s Performance
Soloist Lawrence Power is a truly fine musician and captivating performer. However, based on one rehearsal and two premiere performances, a balance issue was noticeable. Suggestions for solutions: reduce the string section to about half (as much as the divisi allow) and lower all orchestral dynamics by at least one notch. Lower the trumpet desks to the same level as the rest of the orchestra. The soloist could play more often with a firmer bow stroke rather than his preferred style of sweeping after a sharp attack. This would produce a sound richer in overtones, making it more penetrating. Power could also consider using a modern instrument for this concerto. Well, he is unlikely to do so, as the perceived value of the Amati (1590) is too high. But in truth, although the Amati sounded big and wonderfully lush on its own or with a thin accompaniment, its sound blended too easily with even slightly thicker orchestral textures, especially in this concerto’s typical rich string divisi. I tested this practically by slightly boosting the consonant frequencies (a peak around 3.5 kHz) on the premiere recording – and lo and behold, the viola solo was immediately more audible!
The cadenzas of the concerto were significantly different in the two consecutive performances, which I found delightful and inspiring; an element that can keep the piece fresh even after many performances and listens. Lawrence Power showcased his creativity and spontaneity as a musician in the cadenzas. He seemed to be simultaneously listening to himself, the themes of the piece, and the sound of his instrument in the concert hall – inviting the audience to do the same, sharing a delicate moment together. With Lindberg’s permission, the cadenza, which he has indeed fully notated, can be partly improvisational if the soloist wishes. Additionally, in the cadenza, the composer has the soloist sing and play simultaneously – perhaps a trend in the latest contemporary music – to which Power’s natural baritone added a sincere folk music touch.
Lindberg mentions being very interested in improvisation and performing as an improvising pianist himself, for instance with cellist Anssi Karttunen and violist Steven Dann – and Led Zeppelin bassist John Paul Jones (!), who recently composed a full-length opera! Boundaries are made to be broken, although generally speaking, the outcome is rarely successful in my opinion. And I’m not referring to the aforementioned performances, which I haven’t had the chance to hear yet. But the most important thing is the possibility of something new and interesting.
On the Orchestra’s Performance
With the Finnish Radio Symphony Orchestra and especially its string section being central to the sound and narrative of the piece, it was hard to imagine a better, more precise, and expressive orchestra playing such a challenging contemporary music piece. The development of the interpretation from the read-through-like rehearsals (“poco forte”) to the artistically breathing expression in the concert was practically exponential. There wasn’t much rehearsal time, though. One can only wonder why it must be done in such a rush. Wouldn’t it be better for everyone if a couple more rehearsals were granted for a premiere? Nevertheless, conductor Nicholas Collon, who is also an organist-violist, led the orchestra and followed the soloist superbly, appearing to be completely on the same wavelength with his orchestra, compatriot soloist, and Lindberg’s Viola Concerto. A brilliant premiere from the soloist, orchestra and conductor!
On the Reception and Criticism of the Work
The audience at both premiere concerts enthusiastically received the concerto, calling the composer, soloist, and conductor back to the stage several times. It was a moving moment to celebrate the triumph of the viola and new art music. No encore was heard from the soloist nor was one needed; everything was given and received in the concerto.
Jukka Isopuro wrote on February 29, 2024, in his review of the concerto for Helsingin Sanomat: “The piece is an even more easily digestible reiteration of the seamless continuity typical of Lindberg. The orchestra introduces a five-note basic motif, which is heard often and partly varied throughout the concerto… While Lindberg’s musical language is empowering and upwardly extroverted, it simultaneously closes in on itself like a shell into a multi-part continuum without gaps or surprises… The piece is like a perpetual motion machine, generating its own energy, which with its Star Wars-like fanfares repeatedly promises a major resolution or turn, but which, after spinning in its loop, eventually just ceases to sound.”
In my opinion, Isopuro falls into a similar trap in his critique as he criticizes Lindberg’s concerto for, namely, closing himself off into his own bubble and preconceptions. Shouldn’t art be approached from its own premises, within the frameworks it creates for itself? Isn’t it most logical – and relevant – to evaluate works based on what they contain rather than what they lack? From this perspective, Lindberg’s Viola Concerto represents the highly developed, mature style of a seasoned composer and, in my opinion, is a brilliant piece, captivating, virtuosic, and charming in sound. The ending is anything but just “the piece ceases to sound,” as it has a very strong sense of arrival and release, underlined by the descending pizzicato scale passages that appear here and there throughout the piece and become significant at the end. The story reaches an impressive conclusion; the viola has stepped out of its bubble as an orchestral and middle voice instrument to become also a full-fledged and independent solo instrument. The tonal elements sound lush and vibrant. Of course, there is the risk that if one leans too heavily on traditional functional harmonies, the weight of history begins to loom over one’s shoulder. One might question whether the old masters did it better. But I think Lindberg has managed to apply tonal elements in a sufficiently original way to avoid such a scenario.
Jari Kallio reviewed the concerto on his blog AIM – Adventures in Music, saying: “A powerhouse world premiere from everybody involved, the Viola Concerto took off with flying colors, wholeheartedly endorsed by the packed Music Centre audience. Destined for far and wide performance trajectories, the Lindberg score is bound to become a repertoire classic.”
I agree; in my opinion, Lindberg’s Viola Concerto stands up brilliantly to comparison with the well-known and respected viola concertos throughout history, such as those by Jörg Widmann, Brett Dean, Bohuslav Martinů, Grażyna Bacewicz, Béla Bartók, William Walton, Anders Eliasson’s double concerto for violin and viola, and of course, the ever-beloved double concerto, Mozart’s Sinfonia Concertante. Among the repertoire of approximately 15 Finnish viola concertos, Lindberg’s concerto, in my opinion, ranks at the top! Previously, the most notable have been Kalevi Aho’s, Jouni Kaipainen’s, Per Henrik Nordgren’s, and Eero Hämeenniemi’s viola concertos (allow me to also mention my own chamber concerto Azonal). I am not yet familiar with Sampo Kasurinen’s highly praised concerto from last year. Aulis Sallinen’s double concerto for clarinet and viola has also been praised.
Conclusion
Magnus Lindberg’s music has undergone a tremendous stylistic transformation over about 40 years, from Kraft (1985) to the Viola Concerto (2023-24). It is possible that he may fearlessly embark on surprising and bold stylistic experiments – and I would very much like to hear such a piece from him – but it may also be that this will not happen. Only the composer himself knows and decides. So be it.
Like many violists, I dare to hope and predict the best success for Magnus Lindberg’s Viola Concerto! A recording is being made by Ondine with the forces from the premiere. The publisher, Boosey & Hawkes, already lists several significant upcoming performances of the concerto, all with Lawrence Power as the soloist – hopefully many more coming up!
November 10, 2024, Royal Festival Hall, London, Philharmonia Orchestra, conducted by Esa-Pekka Salonen (UK premiere)
February 16, 2025, Elbphilharmonie, NDR Elbphilharmonie Orchester, conducted by Alan Gilbert (German premiere)
March 9, 2025, Großes Festspielhaus, Salzburg, Mozarteumorchester, conducted by Aivis Greters (Austrian premiere)
March 14 and 16, 2025, Touhill Performing Arts Center, St. Louis, MO, United States, Saint Louis Symphony Orchestra, conducted by Hannu Lintu (US premiere)
Watch and listen to the World Premiere of War or Peace (2024) by Max Savikangas, performed by The Gothenburg Symphony Orchestra and conductor Santtu-Matias Rouvali.
The world premiere was given in Gothenburg on 4th, 5th and 6th of September 2024, conducted by Santtu-Matias Rouvali, who was also the initiator of this commission.
The reception of the piece was truly positive based on the feedback from both the performers and the audience. The review in the local paper, Göteborgs-Posten was also quite favourable.
Max Savikangas in Gothenburg with the score of War or Peace (photo: Maarit Torvinen)
Additional performances were given in Malmö on SEP 13th and in Copenhagen on SEP 14th (Danish Premiere). Andrew Mellor of The Strad Magazine wrote a positive review on the Malmö performance.
The Finnish Premiere of War or Peace in JAN 16th 2025 by The Turku Filharmonic Orchestra, cond. John Storgårds, Turku Concert Hall, Finland.Max Savikangas in SEP 14 2024 at the Danish Radio Concert Hall (Photo: Maria Andersson / GSO)
In the symphonic tapestry of War or Peace, human values clash and intertwine. By exploring philosophical values and seeking fitting Finnish onomatopoeic words, I’ve woven tensions into the music that echo the complexities of our existence.
Sound, a timeless force, stirs our deepest instincts and emotions. The nuances of timbre – from onset to decay, spectral energy, and dynamics – trigger immediate internal reactions, later dissected intellectually.
Within the interplay of timbre, melody, harmony, and rhythm, I embrace music’s profound ability to delve into the depths of our essence. Though semantics elude us in music, timbre offers a pathway to understanding; timbral analogies and contrasts invite us to ponder our inherent contradictions and complexities.
Ultimately, this composition poses pressing questions: What defines us? Where do we stand? What constitutes a meaningful life? And amidst it all the eternal question remains: War or Peace?
I would like to express my warmest gratitude toward the Gothenburg Symphony Orchestra, The Turku Philharmonic Orchestra and conductor Santtu-Matias Rouvali for making the composition of War or Peace possible. Hence I’ve dedicated it to them all.
Here you can watch and listen video tutorials of me demonstrating some extended Viola playing techniques I’ve enjoyed in my compositions and improvisations. Sometimes one just needs to go beyond the usual!
For me these extended playing techniques and timbres thus produced are not the final goal, but a necessary method to achieve my own musical expression. The hoots, wails, hisses, gushes, whispers, crackles and buzzes are by no means effects or seasonings added afterwards into the music; they are an organic part of my expression.
My motivation to record these tutorials was to inspire and encourage both violists and composers to use them in their music. These are some of my favourites, most with high piercing energy, but they’re surely just a scratch (pun intended) on the surface of the vast Viola sound universe. These examples are presented without much musical context – how to utilize extended playing techniques and timbres produced thereof for a meaningful musical expression is essential and vital and I leave it up to each individual artist. Enjoy!
Viola: Max Savikangas (instrument built by Pekka Mikael Laine in 2002). Audio and video recording: Pekka Mikael Laine Editing and postproduction: Max Savikangas Recorded in September 21st 2023 at the Lassi Kari Studio, Fiskars, Raseborg, Finland.
Bend-buzz pizzicato
Bend the lowest string sideways with left hand fingers so that the string slips to the side of the fingerboard. Now, when you play pizzicato, this is intended to result in a funny buzzing sound (somewhat like Indian instrument Sitar). Use vibrato for every bend-buzz pizzicato note, which strengthens the buzz remarkably.
Bursting
Crunch the bow from normal playing position towards the tail piece over the bridge and back, resulting in a bursting, machine-like sound. In notation, I use an arrow down above a note to denote the movement of the bow towards the tail piece, and an arrow up toward the nut.
Circular bowing
The bow, positioned between the middle and the tip of the bow, is to be swept in a direction parallel to the strings with a slightly circular, free movement, which starts from the upper arm. This bowing technique is intended to result in a blowing-like sound which however has a short, pitched impulse for each note.
Crackle
Press the bow, tilted ca 45 degrees off from its usual position aligned with the bridge, down very hard at the frog with flat hair. Now twist the bow slowly in its place, while maintaining the pressure, approximately 45 degrees so that the bow finally reaches its normal position. This way of playing is intended to result in a dry, crackling, granular, discontinuous sound, like anticipating some violent burst (for example breaking of a tree branch). Sparse crackle is produced by turning the bow very slowly, dense crackle is produced by turning the bow slightly faster.
Glissando repetition
A left hand technique reminiscent of the position change exercise where you have to play the same note with alternating fingers and try to avoid any glissandi sounding out. Here the idea is, instead of avoiding the glissandi, to play them out! This is intended to result in a slightly ‘electric’ sound image (like some electronic toy).
Mirror pizzicato
Pluck the pizzicato behind the left hand (in other words: between the left hand and the nut, i.e. upper saddle). In the beginning of the video, I play glissando back and forth over the middle point of the sounding string, alternating ordinary pizzicato and mirror pizzicato. The sounding result is confusingly, and perhaps slightly amusingly, against what you see, namely subsequent glissandi to one direction. The way of playing I demonstrate towards the end of the video makes it possible of playing two simultaneous four-note glissandi going to opposite directions. Hence, eight notes sounding at the same time on the Viola!
Rumble
Slow bow speed, exaggerated bow pressure, bow close to the fingerboard. Left hand finger pressure is less than normal. This way of playing is intended to result in the note sounding approximately an octave, or, depending on the bow pressure, a major seventh lower than written, with a rumbling sound quality. Brutality is not to be avoided!
Scratch
Exaggerated bow pressure technique sul ponticello, intended to result in a high screeching sound, which is more continuous than granular (like DJ scratching with an LP- player).
Sul tasto ‘Pan’
Position of the bow moltissimo sul tasto, approximately in the middle point of the sounding string. This way of playing is intended to result in a hollow sound, somewhat like the sound of the pan flute (or perhaps the clarinet in a low register, played softly).
Whistle staccato
Whistle staccato is intended to result in high, short, whistling and piercing, somewhat arbitrary flageolet-like sounds. They are not ordinary natural flageolets, but are to be played with sul ponticello and quasi flageoletto, the left hand finger pressed only half way down. The bow should be flying and hitting the string from the air only for a very short time while moving fast.
Whisked whistle
Whisked whistle is to be played sul ponticello and quasi flageoletto. A fast, whisking, over-wide arm vibrato, with the left hand finger sliding rapidly along the string, still pressed only half way down, resulting in a whistling, piercing and whisking, electric guitar feedback vibrato note like sound. I find it musically quite effective to start ordinarily and then move gradually to whisked whislte.
Video recording of Pinja Nuñez premiering Art Rebellion – After the Party in OCT 25 2022.
I believe that timbre in contemporary music is equal to melody, harmony and rhythm and it should be understood as an umbrella term, covering all components of a sound event. In Art Rebellion – After the Party I wanted to deal with the social moral and value conflicts pointed out by a recited text, together and intertwined with the language of music, especially by utilising contrasting timbres achieved with extended cello playing techniques. The performer speaks, recites – Word of Mouth – and also plays the cello, and these two dimensions of expression progress in counterpoint.
The lines to be recited by the cellist whilst playing are quotations from an article by Sonja Saarikoski, entitled After the Party – Sexual abuse, harrasment and humiliation in Finnish classical-music scene which was published in the Image Magazine in 2020 (English translation by David Hackston).
The text can be recited either in Finnish or in English. The theme of the article is sexual harrasment in the Finnish classical music scene and music education, partly based on on the writer’s personal experiences and partly on interviews. Also, themes like abuse of power, sexism and cultural oppression are brought up. The article was awarded an important Hulda Paulo journalistic price.
The silent video art, entitled Kosketus / Touch for the piece is made by visual artist Jaana Kokko. However, the piece can also be (and has been) performed in concert without the projection of the video art.
The premiere of Art Rebellion – After the Party was given in Autumn 2022 at the Helsinki Music Centre, performed by cellist Pinja Nuñez, visual artist Jaana Kokko and lighting designer Sirje Ruohtula. The concert was part of Nuñez’s artistic Doctor of Music project at the Sibelius Academy, Helsinki, Finland, in which she dealt with the relationship between the artist and the society, especially from the standpoint of the performing artist in five concerts.
Text quotations from the article by Sonja Saarikoski to be recited by the cellist in whilst playing:
How many people in the audience realise that they are about to witness a form of violent entertainment?
I don’t believe in anything but music, she wrote. It was her religion.
Bad behaviour and transgressing boundaries is possible when you don’t realise how other people see you.
The idea that some individuals are exceptional is part and parcel of classical music, the idea that there have always been and always will be people who are naturally more gifted than others.
They say that music starts from silence.
Tradition is just one story among many, and it isn’t always a very good story. This isn’t the best of all possible worlds!
We only realised slowly, over time. And as time goes by, we realise all the more. Ultimately, we realise that something needs to change. And to bring about such change, do we need a scapegoat that we can stone? Of all possible candidates, who might it be?
Teachers only fall in love with the prettiest, most talented students, I thought.
Somehow they have ended up with the impression that the antidote to bad self-esteem is picking up a young woman.
The truth is shaped in relation to time: those who know the right people at a particular moment and speak their language garner the most attention. Nobody wants a revolution when they themselves are in power.
We return to things left behind us until someone or something makes it possible for even painful memories to change and become memories like any other. Then they evaporate, transform into shapeless images.
How could I have been so stupid that I actually thought I was talented?
My beliefs forbid female priests – and conductors.
I hope you find this piece an intense and thought-provoking multi-artistic experience!
Sheet Music is available from Music Finland. Video art by Jaana Kokko to be shown during the performance is available from the composer.
Max Savikangas, Composer and Violist 