About the Site-Specific Sound and Light Installation Okeanos (2014)

Okeanos_teoskuva

The rotunda on the third floor of the Turku Academy’s observatory, completed in 1819, is circular. As it were, the ‘cartographers’ of antiquity imagined an inhabited world, the Oikoumene. The known world was surrounded by the great Okeanos stream, the source of all the water in the world. Okeanos is also the name of the new sound and light installation by IC-98, i.e. Patrik Söderlund and Visa Suonpää, in a darkened rotunda. The dark space itself is impressive.

Fine is also the space-filling composer Max Savikangas’ collage of sounds, at the heart of which is Savikangas’ arrangement of the Finnish folk song When I forsook my home, performed by the singers of the Helsinki Chamber Choir…

The darkness of the rotunda is broken by a lone light spot that illuminates the stucco decorations of the roof with the zodiac sign for Scorpio. In Christian iconography, Scorpio refers to Judas, the betrayer of Christ. In antiquity, Scorpio symbolized Africa, one of the four continents. Connected to Scorpio, the wistful Finnish folk song becomes an universal allegory of departure, referring to boat refugees who lay their lives at the mercy of the Mediterranean in the hope of a better life.

Despite its symbolic openness – or perhaps precisely because of it – Okeanos becomes an artwork of international level, with a subtext that criticizes the fortress of Europe – Oikoumene – beneath its poetic surface.

Lars Saari, Turun Sanomat 17.12.2015

The site-specific sound and light installation Okeanos (2014) was made for Vartiovuori Observatory, built in Turku, Finland, in 1819, which later served as a Naval Academy (1836–1967). In the building, navigation is intertwined with the cosmos, scientific and political power with mythology. The work treats the observatory as a Northern watchtower, as well as a lighthouse, with their undertones of colonialism and of the current flows of migration.

The installation occupied the top-floor rotunda, along with a polyphonic soundscape, an adaptation of a Finnish folk song Kun minä kotoani läksin (When I forsook my home). In the darkened space the zodiac sign for Scorpio – one of the twelve signs depicted in the circular frieze – was illuminated.

The sound landscape of Okeanos is presenting the following theme and atmosphere: on the Mediterranean Sea, on a sinking boat with a broken engine, there is a group of refugees having been trying to get to Europe. They have realized that they will soon die, either by drowning or by shark attacks. The sound landscape consists of sounds recorded and gathered by me such as wooden creaks of the boat, turbulences and splashes of the water having leaked into the boat, noises and rumbles of the high sea waves, humming and whining of the wind against the boat’s structures  – and of recorded vocal materials, either whispered, spoken, cried or sung.

The mentioned folk song is heard every now and then as such, but I also deconstructed its melody and lyrics into their bare elements and derived from these new syllables, new four-note chord glissando successions and new simple melodic motifs and composed with them. The density of events is slow and the mood is desperate, however on the other hand somewhat spiritual.

No special sound processing was used in mixing the sound landscape, to gain an illusion of a natural sound image, which is then hugely echoed by ca 4 second reverb in the unique acoustics of the big 15-meter-diameter and 6-meter-high observatory dome. Two loudspeakers and the light projector (actually a video projector playing a fluctuating white screen video file to mimic a dynamic light spot) were installed in the middle of the dome two thirds up to the elegant steel spiral stairway.

The work is related to Oikoumene (Greek: οἰκουμένη, oikouménē, lit. “inhabited”), in which a fortress surrounded by an ocean stands for Europe. In ancient Greek it referred to the known world, the inhabited world, or the habitable world. Under the Roman Empire, it came to refer to civilization and the secular and religious imperial administration. Our installation Okeanos focuses attention on the individual tragedies taking place now on the Mediterranean.

First presentation took place between December 12th 2014 and January 11th 2015 as part of a group exhibition entitled On the Blue Planet, produced by The Artists’ Association of Finland and curated by Marketta Haila .

Concept and visualisation: IC-98
Music and sound design: Max Savikangas
Choral conducting: Nils Schweckendiek
Singers of The Helsinki Chamber Choir:
Heta Kokkomäki, soprano, Nairi Azezian, mezzosoprano, Martti Anttila, tenor and Jouni Rissanen, bass
Recording: Pekka Mikael Laine

Listen to the recording of Okeanos

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About my Composition Azonal for Viola and Ensemble (2015-16)

MaxSavikangas_Azonal_Bowing
Photo: Riitta-Liisa Ristiluoma

At least as much as of Oscar Bianchi’s music, I got this time from Max Savikangas’s premiered Azonal (non-zonal), completed this year.

The piece in fifteen minutes is like a viola concerto written for quite a large ensemble, but without percussion. Nevertheless, the music is rhythmic, energetic and exciting and for a while it feels like this is the first piece by Savikangas that I liked…

Here Savikangas seems to have found a balance between the tousled, rugged, Lachenmann-like crunch and more conventional elements; the elegiac middle section seems surprisingly like it was from the shelf of some composers in the Sallinen Rautavaara-Englund axis.

Uusinta Ensemble’s musicians played mostly enthusiastically under Joszef Hars’s baton, while Savikangas’s own solo performance was in a class by itself.

Wilhelm Kvist, Hufvudsatdsbladet 9.2.2016

My composition Azonal for viola and 12-member ensemble (2015-16) was premiered in the Klang Concert Series in 8th of April 2016 at the Helsinki Music Centre, Sonore Hall by Uusinta Ensemble , conducted by József Hárs and me as the Viola soloist.

The title Azonal (without zones) refers to the type of musical form of the piece; transitions between different musical materials occur without clear boundaries or cuts between them.

The solo part utilizes extended playing techniques and sounds resulting, such as circular bowing, whisked whistle, glissando repetition and rumble, which the 12-member ensemble reflects – not as effects added afterward, but as an integral part of musical expression.

By the end of the piece there is a solo cadenza, which can be also performed as a separate solo viola piece under the title Azonal Advice (which is actually an anagram with the letters in the words Viola Cadenza).

I composed this piece already in 2009 with the intention that it would be later integrated into as a cadenza of a concertante work for viola and ensemble. The cadenza is not fully written out, but utilizes the Directed Modular-Transformative Improvisation Technique developed by me. Including improvisation means, I hope, that each performance will be somewhat different, which might help the piece to stay fresh and interesting over several performances.

Azonal brings the Viola into the spotlight in a new way, as a vital and potent solo instrument of its own right. I dare to claim that the solo part is absolutely idiomatically written for the Viola – it is not at all as difficult to play as it may sound! I also hoped that Azonal would give the listeners a novel, imaginative, energizising and positive musical experience. And indeed, the premiere was welcomed very warmly and enthusiastically by the audience and it also received a positive review in the Finnish press.

The second performance of Azonal took place in 1st of April 2017 at the Annual General Meeting event of the Finnish Viola Society at the Sigyn Hall of the Turku Conservatory, Finland, with a student orchestra, conducted by accordionist Mikko Luoma and me again as the Viola soloist. The second performance went also very well and was cheered enthusiastically by peer violists in the audience.

MaxSavikangas_Azonal_2nd_perf
Photo: Atte Kilpeläinen

Because many told me after these two performances that Azonal might be my best composition so far, I’m hoping that some other viola soloist would take her/his courage in both hands and try it out – You might be surprised!

Recording, score, solo part etc.
Order the performance materials.
(Hold your phone horizontally and scroll down)

Max Savikangas, Composer

Currently I’m composing a 2-hour science fiction chamber opera entitled Posthuman with the kind support of the Kone Foundation.

The performers include a conductor, four soloists, an AI soloist, 4-member choir, four dancers and a 10-member instrumental ensemble. Both singers and instrumentalists will be 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 will also direct and visualize the premiere on October 2021 in Helsinki. The premiere will be given in Finnish with English subtitles.

More info coming up!

Max Savikangas
Max Savikangas_Photo_Ari-Matti_Huotari_copy2
Photo: Ari-Matti Huotari

I enjoy contemporary music with its constantly renewing challenges, improvising, listening to the world, experimenting with sounds—and composing.

As a composer-musician I have wanted to expand the means of expression of my own instrument Viola with new playing techniques and experimental live-electronics, which has led to studying these possibilities of other instruments as well.

The nucleus of my composing is the heard sound. The seeds of my compositions often emerge as a result of (instru)mental improvisation, of savouring all kinds of sound events of the world and of tentative computer sound processing experiments. As a rule, some of these spontaneous ideas thus found begin to lead a life of their own in my mind, ending up as the points of departure for my written-out and/or media compositions.

Max Savikangas
Photo: Ville Hautamäki

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.

At best, different hoots, wails, hisses, gushes, whispers, crackles and buzzes are by no means effects or seasoning added afterwards to the music, but they are an organic and sensual part of expression, which is further expanded by the virtual acoustic space created by means of sound processing and amplification.

Max Savikangas
Photo: Touko Hujanen

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 with an open mind, empathizing and paying attention to what you think is interesting, engaging, moving, fun…

Max Savikangas

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