Aspects of innovative performance practise
in 20th century cello music


Since September 2006 I pursue a doctoral degree at Sibelius Academy in Helsinki. The unique approach to artistic research at this university means that the evaluated part of the degree consists of artistic practise only: in my case five large-scale recitals, the programmes of which can be found below. Some excerpts for listening are on this page.

An additional requirement is a written dissertation. I am working on a series of case studies of experimental 20th century repertoire: drawing from personal experiences I describe a journey of learning to play works requiring new techniques or novel approaches to performance. In between case studies I insert interludes that allow me to discuss some recurring topics of contemporary music performance in a more essaistic manner. An outline of my dissertation can be found here.

Lately I've incorporated into my artistic research a growing interest in psychoanalytical theories that have resonated in particular with my thoughts regarding improvisation. I've recently given a lecture-recital "New and dangerous music" at several conferences, making use of my new six-string electric cello and a Boss GT-10 multi-effect pedal. The synopsis of my presentation is here.




The recitals

I – 9 Oct 2008
Juho Laitinen, cello
Christian Wolff, piano and other instruments
Thomas Buckner, voice
Touko Lundell, trumpet
Max Savikangas, objects

Christian Wolff: For 1, 2 or 3 people (1964)
Morton Feldman: Projection 1 (1952)
Earle Brown: Four systems (1954)
Christian Wolff: Cello suite variation (2000)
John Cage: Sonata for two voices (1933)
Juho Laitinen: Five pieces (2008, fp)
Morton Feldman: Durations 2 (1960)
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John Cage: 26'1.1499", for a string player (1955)

This concert was broadcast on Finnish Radio.
Program notes here (in Finnish).



II – 8 Sep 2009
Juho Laitinen, cello and electronics
Jouko Laivuori, upright piano and synthesizer
Lilli Maijala, viola
James Andean, electronics

Juho Laitinen: More or less predictable waveforms (2008)
Einojuhani Rautavaara: For upright piano and amplified cello (1971)
Giacinto Scelsi: Elegia per Ty (1958)
Henri Dutilleux: Trois strophes sur le Nom Sacher (1976)
Alvin Lucier: Music for cello with one or more amplified vases (1992)
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Kaija Saariaho: Petals (1988)
Juhani Nuorvala: Boost (2009, fp)
Roger Smalley: Echo II (1978)

This concert was broadcast on Finnish Radio.
Program notes here (in Finnish).



III – 12 Mar 2011
Juho Laitinen, cello
Jouko Laivuori, piano
Sirje Ruohtula, light installation

Morton Feldman: Patterns in a Chromatic Field (1981)
Program notes here (in Finnish).



IV – 21 May 2012
Juho Laitinen, cello
Eveliina Kytömäki, piano
N.N, flute
Ensemble conducted by Hannu Lintu

Iannis Xenakis: Kottos (1977)
Elliott Carter: Sonata (1948)
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Juho Laitinen: New work (2012, fp)
Usko Meriläinen: Letter to the cellist (1990)



V – spring 2013

Luciano Berio: Sequenza XIV (2002)
Mauricio Kagel: Match (1964)
Louis Andriessen: La voce (1981)
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Karlheinz Stockhausen: Solo (1964/1965)
George Crumb: Night of the Four Moons (1969)




Dissertation

Introduction
- experimentation as a personal credo

Case study 1
Jukka Tiensuu: oddjob
- working with live outboard gear electronics

Interlude: On notational practises

Case study 2
John Cage: 26'1.1499", for a string player
- coming to terms with a highly complex graphic score

Interlude: On systems of intonation

Case study 3
Juhani Nuorvala: Boost
- learning to play in extended just intonation

Interlude: On improvisation

Case study 4
Juho Laitinen: More or less predictable waveforms
- working with live computer electronics

Case study 5
Christian Wolff: Edges
- incorporating improvisation with corporality




Lecture-recital: New and dangerous music

A musician today must be well versed in performing music of different styles and periods, including challenging repertoire of our time. In  this presentation I touch on the common concepts of "contemporary", "modern" and "new" music, finding for the latter a less common definition whilst looking for an element of deeper creativity shared by all artistic practises.

Regardless of genre, all creative work must include an element of curiosity and playfulness, i.e. that of being experimental. Experimenting is as crucial in ornamenting Bach, or refining a breath in Schumann, as it is in coming to terms with Nancarrow's polyrhythms. It establishes a connection with what is new to us, at any given time.

Experimenting is of particular importance in improvised music. According to my understanding the source of experimentation, regardless of context, is in the sub-conscious of the mind. When improvising, we have no set limits as to how deep inside the sub- conscious we can dig to explore the impulses it is sending us. Approaching the more distant areas of musical imagination is where the "new" music happens, but in order to reach these depths we must try to let go of controlling the flow of the music. Giving up control may cause a degree of anxiety, hence the coupling of "new" and "dangerous" in my title above.

In this presentation I make use of an electric cello, that (because of its limited possibilities to emulate it's acoustic precursor) makes it quite necessary to look for novel ways to use the instrument. Because of my training as a cellist, the technical similarities between these instruments make it easier to put findings of this searching into immediate artistic use. A challenge is to not let the familiar aspects limit one's imagination and the subsequent findings.