Foley artist Heikki Kossi and the Avanti Chamber Orchestra brought the sounds of films into the music.
Umo Helsinki duo, Avanti! & Heikki Kossi and the Finnish Baroque Orchestra at the Music Hall.
At first Umon Kasperi Sarikoski (trumpet) and Seppo Kantonen (piano) played a couple of longing versions of jazz songs. The Finnish Baroque Orchestra filled the half of the latter concert with sensitive and light interpretations Max Richterin Vivaldin For four years new interpretations.
They were great to hear, but in the middle was the most exciting part of the concert. Foley artist Heikki Kossi presented Tomas Djupsjöbackan conducted by a chamber orchestra accompanied by Avant Sami Klemolan composition Jack and the Specifics (2017).
Foleyt are the sounds of movies that don’t come out in filming, but in the workshops of professionals like Kos – steps, the rustle of clothes, the creak of a door. Kossi also does them for big Hollywood productions.
In general, foley sounds should not be noticed. If the audience pays attention to them, they are badly done and the illusion of truth is shattered. Kossi has made foley live in front of an audience for silent films. In it, the birth of sounds is made visible, a performance.
Now the foliage was still completely detached from the pictures. Kossi was the soloist of the concert and Avant’s part was even minimalist in many places. Koss’s instruments attracted attention from, among other things, a parimetric metal tube and a herd of small rubber pigs.
Conflict between the nature of the instruments used – their timidity, their scrupulousness, their playfulness – and the drama of the sounds produced by them also brought comic dimensions to the performance, even though the mood of the music was even gloomy. The encounter of opposites enlivened.
The use of rhino and special objects as instruments is not in itself exceptional. Among others, the German band Einstürzende Neubauten, which played in the same hall a couple of years ago, rose to fame.
But Jack and the Specifics tells a story and the narrative feels fresh. The beginning seemed clear. The rustle of the wind, the footsteps, the creaking of the door, and so on, told how the protagonist came home on an autumn evening, poured himself a drink, and began to read a book.
After that, the church and the bang left room for the imagination. The sound puzzle may not have been exactly to be solved. It was clear that it was not a comedy but an exciting one, perhaps even a horror story. Aliens in space in it could attack.
For a while came along Emmi Pennanen, who danced to the beat of the wooden rattle and rumble produced by Kos surprisingly naturally. The course of the story was not illuminated either.
But abstract mystery created its very own powerful chaotic atmosphere and tilted the performance from storytelling to music. A rather peculiar peculiar performance left something to be missed.
This year, Heikki Kossi will receive the Nordic Flair Award from the Love and Anarchy Festival and its Finnish Film Affair professional event for his foley work.