About my viola compositions 1994–2016

 

MaxSavikangas_photo3_HeikkiTuuli

In my compositions, I have constantly aimed at widening the expression scale of my own instrument viola, and consequently of other instruments as well. However, for me the new playing techniques and timbres thus produced (e.g. Sul tasto ‘pan’, Bend-buzz-pizzicato, Circular bowing, Whisked whistle, Glissando repetition or Mirror pizzicato) 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.

Improvisation has a special meaning to me as a performing musician. When I’m allowed the improvisational freedom as a player – and the responsibility which follows it – it certainly heightens my musical experience (and hopefully the listeners’ as well) and gives a possibility for such music to be invented which might be impossible to achieve by notational means.

In addition, the starting point for my notated instrumental compositions might often be improvising. I enjoy improvising on the viola, and as usually happens, some spontaneous ideas survive and begin to live their own lives in my mind. Some of these ideas may end up as starting points of my written compositions. Larger musical forms are often derived from those interesting sound events – taken that they have been interesting and strong enough to stay in the focus of my imagination. The nucleus of my composing is therefore the heard sound, perhaps in opposition to some more abstract ideas on paper or in a computer.

This doesn’t mean that I wouldn’t have a great interest in music which is notated very carefully to the smallest detail. Would it be, then, possible to find connections and interactive links between improvised and written down music? Wormholes? For me, absolutely! One connection can be found in timbral thinking: the interchange and tension between contrasting timbres can propel the music along, on equal terms with the other more traditional devices such as melody, harmony and rhythm (timbre should here be understood broadly as an umbrella term for all the components of a sound event).

Please feel free to listen to my 13 viola pieces and read the scores.

More coming up!

Watch below me premiering my piece Azonal Advice in 2009 in Helsinki.

Watch below a short animated film Flora (2012) by artist Pirjetta Brander for which I have composed the soundtrack with multitrack violas and FX pedals.

About my composition Azonal for viola and ensemble (2015-16)

MaxSavikangas_Azonal_Bowing

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

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.