Musica nova 2019: Tribute to Pan Sonic

Warm thank you to everyone who came to our Musica nova 2019 – Tribute to Pan Sonic concert at the Helsinki Music Centre on Fri 1.2! It was a blast, pure joy! I feel a possible future was initiated.

I feel gratitude to the incredibly talented people I had the pleasure to play and develop the piece with: my collaborator, the musician and composer Petteri Mäkiniemi, and our cellist Jaani Helander and bass clarinettist Heikki Nikula.

My gratitude goes equally to the Helsinki Philharmonic Orchestra, Korvat auki ry and Musica nova Helsinki for inviting us and making this all possible! And not to mention the sound technician Erik Roos and visual technician Tuukka Aimasmäki for their invaluable work. And last but not least, to the fellow composer duos Ava Grayson & Tuomas Ahva, Jouni Hirvelä & Atte Häkkinen and Tytti Arola & Thorkell Nordal, whose delightfully diverse and imaginative pieces created indeed a rich and colourful evening in sound and music – similar to experiencing Pan Sonic in one of their concerts, always an adventure.

Petteri and I are currently in the studio mixing our first album that’s based on the material we developed for the concert. We’ll also release the concert recording, together with the live visual material, soon.

Here are some photos of the evening. All photos by Maarit Kytöharju (except the 2nd photo by Jukka Hautamäki).

Ginette & Afrorithm – Musica nova 2019 Q&A

As Petteri Mäkiniemi and I are preparing to perform in the Pan Sonic Tribute concert at the Helsinki Music Centre next Friday 1.2, as part of the Musica nova 2019 festival, we did a brief interview for the festival about the upcoming performance. The original posts are in Finnish, recreated here in English. Topic: Petteri’s Ginette and my “afrorithmic” system.
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In the Tribute to Pan Sonic concert the composer, music producer and sound artist Ilpo Jauhiainen and the musician, composer and instrument maker Petteri Mäkiniemi will present a partially improvised new work in which electroacoustic composition, minimalism and experimental electronic music meet West African musical influences, in a form inspired by Pan Sonic’s abstract, subdued and uncompromising aesthetic.

The concert will be realized together with musicians from the Helsinki Philharmonic Orchestra at the Helsinki Music Centre on Fri 1 February.

Ginette

Petteri, what is Ginette?

Ginette is an electronic musical instrument designed and built by me, based on the French ondes Martenot electronic instrument developed in 1928. Ginette is played so that the right hand controls the pitch by moving a ring along a wire, while the left hand controls the loudness of the note with a stepless key. The design of the instrument enables expressive gestures such as vibrato, glissando and a wide dynamic range similar to bowed string instruments. All this happens through the fingertips of the player, not by turning knobs. In the musical performance I’m fascinated by the naked presence of human condition – how for example a gentle touch of the hand or an intimate blow from the mouth is audible in the characteristic sound of an instrument. This is also possible in electronic music. Currently I’m developing a new, more versatile version of Ginette.

Petteri Mäkiniemi (l) and Ilpo Jauhiainen (r). Photo: Heta Kaisto

Ilpo, in your performance you intend to use elements of field recordings made in West Africa that can be set to progress autonomously during the gig with the help of generative algorithms. What does this self-evolution of algorithms mean in terms of the live performance?

Generative i.e. self-evolving and -organizing elements bring a degree of surprise and added liveliness to the performance, both for the audience and performers alike. In this scenario, a computer sort of improvises how it transforms and reproduces the source material with the rules and processes that we’ve provided, and operates thus as one of the “human” performers. Algorithms can be designed to produce almost any kind of behaviour, but we’re fascinated mostly by certain consistency where the music evolves in a slightly random, probabilistic manner while retaining a recognizable character – like a river that flows. In our performance one of the field recordings progresses and changes quite freely on its own whereas with the others the program introduces tiny variations around the gestures made by the performer.

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Recently we also had our first rehearsal with the full ensemble for the concert. The ensemble consists of Jaani Helander (cello), Heikki Nikula (bass clarinet), Petteri Mäkiniemi (Ginette) and me (“afrorithmic generator”).

From the clockwise: Jaani, Heikki, Ilpo, Petteri (taking the photo)

This was my first time of playing together with members of a philharmonic orchestra, and it felt and sounded exhilarating!