a song of being there (2016) for voice and cello

This solo piece is based on my Manifesto of Sounding. It reflects a recent concern of expressing abstract thinking in a concrete manner, as music with a narrative.

Trio in multiphonics (2016) for any three string instruments

This piece is an elaboration of my earlier solo study. The open form of the latter has encouraged both the piece and the player to develop during the many performances in recent years. A deeper understanding of the dramatic possibilities inherent in each of the four multiphonics of the piece led me to expand the work in terms of the instrumentation and overall scope.

Wulfie (2015) for tape and optional performer(s)

Based on my "Song for G" below, this drone consists of layers of a massively slowed-down recording of a cello wolf-tone. Various algorithms of time stretch as well as pitch shift are used on the six tracks. Among the magnified phenomena are audible beating resulting from acoustic interference both inside the cello and outside it, bowed overtones and subharmonics . 

A performer may or may not choose to play along with the prerecorded material.

Soivuuden manifesti (2014), a radiophonic work

Click here for more information and to listen.

Song (2014) for two vocalist–instrumentalists

Scored two two male singers also playing soprano recorders, the text to this piece is written Helena Hyvönen, dean of Aalto University in Helsinki, who in her blog describes "a need to establish proper criteria in order to determine the value of an artistic practise".

Openings (2013) for an improvising vocalist

Openings is my first piece that consists of vocal sounds only. In this piece I explore various artefacts produced by a "creative misuse" of the singing apparatus, on both in- and outbreath.

Sillalla (2013) for alto flute and cello

A study of resonance, harmony and breath. I also perform this as a solo version, singing and playing simultaneously. 

Kumu (2013) for percussion and electronics

This improvisation-based work made together with Mikko Hassinen explores the rich resonances of a cymbal tremolo,
highlighted with the proximity effect of extremely close positioning of a microphone and patch I’ve made in Mainstage.

This recorded take makes use of a recorder, too.

Zen for Bow (2012) for a string player

A piece with a process so simple that allows the listener to "stop worrying about what might happen next and to start really listening and getting inside the sounds", as James Tenney would put it. A constant two-voice chord on which the bow speed gradually slows down brings to focus a multitude of physical artifacts normally unheard in "regular" playing.

Song for G (2012) for a string instrument

An exploration of the wolf tone and the subharmonic series. I used this recording as the basis for my tape piece Wulfie.

Ballad (2012), an installation for two or three musicians

I've recorded this piece twice for Yleisradio: here I play it with Pepa Päivinen on tenor saxophone and Timo Kämäräinen on guitar.

Three naïve pieces (2005/2010/2012) for a vocalizing cellist

Three images in sound: Lisbon, Vaarinkaarre and Pajamäki. According to my manifesto, in order to attain a holistic artistry we are to accept both the elevated and the banal impulses to equally be part of our creativity.

RhythmiCone Jam (2012) for virtual rhythmicon and synthesizer

Rhythmicon is an early electronic instrument conceived in the 1930s by Henry Cowell, a pioneer of experimental music. It combined the numbers of an overtone series with a corresponding rhythmical division, creating such patterns as 5:9:11 with ease. I programmed a virtual instrument using Max/MSP and in this piece directed the rather complex midi output to Logic Pro's synthesizers.

Study in multiphonics (2011) for a string instrument

I'm very fond of sounds that come about as a by-product when attempting to do something quite different. This is often the basis of my solo work. Multiphonics or split tones are found between natural harmonics, and can be balanced according to careful manipulation bow position, speed and downward pressure. 

Moments musicaux (2010–) for musicians specific to site and time

Bear's Lament (2010) for a heterophonic ensemble

Bear's Lament is a made-up folk song, jotted down at my family's lakeside cottage in central Finland. The intervals used in the scale are derived from the overtone series of the fundamental G, with the addition of two quarter-tones. It may be performed by any soloist(s) with or without ensemble, in an improvisatory heterofonic manner..

Cello and Drum Machine (2010) for cello and percussion

This piece was an experiment at a singular joint energy of electric cello and drum kit. Recording by Yleisradio, with Mikko Hassinen on drums.

More or less predictable waveforms (2008–9) for a soloist with electronics

During the first minute of this work a Max/MSP patch makes three recordings of random lengths at random times; it then starts to play them back with playback speed, timing and position along a four-channel panomara randomized. The soloist may choose to excercise some amount of control to sculpt the soundscape, or play along with it, or hover in between.

Five pieces (2008) for four musicians

Written with Thomas Buckner, Christian Wolff and Touko Lundell in mind, this piece – my first ever – investigates aspects of unity and separation in a chamber music situation. Recording from October 2008, broadcast by Yleisradio.