Jukka Tiensuu: Plus IV 9‘
Jean-Philippe Rameau: Pièces de clavecin en concert, No. 5 13’
I. La Forqueray
II. La Cupis
III. La Marais
Perttu Haapanen: ...hojas de nubes 12’
Maurice Ravel: Ma mère l’Oye 10’
V. Le Jardin féerique
Sebastian Fagerlund: Breathe 13’
Our generation of young adults is living through its first major world crisis. We feel deeply affected by the decline of the values we were taught are universal. We are noticing the slow but steady decline of human rights, the ever more open attacks on the intellectuals. Altogether, this is contributing to us dealing with some serious existential questions – maybe for the first time ever.
It has been said that “Art imitates life.” Likewise, it demands a work of selection, teaching us to avoid indecisiveness and stand our ground. The proposal of musical order, even in many different ways, might then act as a counterweight to what our generation perceives as a chaotic world.
In the project „DELIRIUM/CLARITY“ music is set as a worthy opposite force to the chaos of our lives. With the repertoire selection, we are making some bold choices, combining contemporary pieces with the heirdom of baroque and impressionism. Dressing it all in the unique sound possibilities of our trio.
Naturally at first glance Rameau’s “Pieces de clavecin en concert” seems more „ordered“ as the “Plus IV” by the Finnish composer Jukka Tiensuu, but both pieces are built on similar principles. As a harpsichordist the baroque forms are no stranger to Tiensuu, writing “Plus IV” in a form of stretto canon - an echo of the past but with a modern twist.
Ravel often found his clear thought by seeing the world through children’s eyes. With “Ma mére l'Oye” he wanted to evoke the poetry of childhood, which naturally led him to simplify his style and to refine his means of expression. This composition in this sense is a clear contrast to Rojkos pessimism.
Sebastian Fagerlund’s “Breathe” is a composer's way of materializing intense feelings of helplessness, caused by a loss of his friend and as such most purely impersonating music as a way to reach clarity.
The ending bars of the piece leave the audience in a contemplating state and invite them to examine their own life choices.