Concert evaluation The Helsinki Chamber Choir put the listener’s head on the wheel and held his attention in his power

The farewell concert of the Helsinki Chamber Choir, conducted by Jutta Seppinen, mirrored a wide range of topics from war victims to climate change.

Contemporary music

Klang series concert in the Camerata Hall of the Music Hall. Helsinki Chamber Choir, Jutta Seppinen, conductor. – Tuomela, T. Vesikkala, Haapanen.

Jutta Seppinen conducted by the Helsinki Chamber Choir Farewellconcert reflected a wide range of themes from war victims to climate change.

Akademiska Damkören Lyran ordered Perttu Haapanen work Codecs to last year’s climate change concert. This year, Haapanen has adapted a mixed choir version for the Helsinki Chamber Choir.

Codecsin a huge avalanche of information tended to put the listener’s head on the wheel. It was like the creation of a wild search robot: whistling text lists, random video collages, absurd quotes from politicians. Following it was a demanding multitasking game that also caused stress.

Electronic sound editing with its spatial effects was effective: sound sources often bombarded the listener’s consciousness from all sides of the hall.

The only element of continuity that seemed consistent was choralization, which responds in its own way to visual, conceptual, and spoken stimuli.

In addition to all the confusion, sensible information about the fight against climate change was obtained from a senior researcher at the Finnish Meteorological Institute. Liisa Kulmalan in a video interview.

It was also possible to distinguish sensible concepts from long text lists. The themes of the work are narrowing the language and removing key concepts in political rhetoric.

Haapanen has coded skillfully technology, conceptualism and choral music in a multi-channel Kodecsissa. It held attention downright embarrassingly in its power.

Eventually, the dizzying surfing ended and a sense of peace descended into the hall. The chorus sound became more and more harmonious, and Codecs ended with the toddler singing in a sweet voice Itsy-bitsy-spiderto the song. It was a relief. Absurd humor was part of the spirit of the game.

Juhani T. Vesikkalan Plainte (Complaint) describes a farewell moment where no words are found for feelings of grief and success. The Dadaist language of Erošok is merely sounds and syllables, which do not seem to make sense, but the more powerful the emotional charge. The choral expression consists largely of the modern means of choral singing, the flutter of sounds, the sounds of breathing, the blowing, the buzzing, the noisy sound clusters and fields.

There was also invigorating humor. The moment of separation may not have been so serious and final.

Tapio Tuomela has owned Adieux in memory of the Red Soldiers who died in the Finnish Civil War. The text is Guillaume Apollinairen, the inventor of the word surrealism, French poetry and the Middle Ages Day of Wrath, Dies irae sequence. Prior to the second part, the Red Soldiers, their relatives and also the White Urho Kekkonen snippets of letters.

It was easy to perceive Tuomela’s three-part work. It follows a clear classical formula. In the outer parts, Jutta Seppinen conjured up a feeling of sad hovering and falling that seemed boundless in the choir, and in the middle, the rage of a beast of anger.


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