Tag Archives: Pekka Kuusisto

New music – Council: This Day, Every Day (Bedroom Community)

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posted by Ben Hogwood, with text from the press release

Council, the collaborative project of American singer-songwriter and composer Gabriel Kahane and Finnish violinist and conductor Pekka Kuusisto, have released their debut album This Day, Every Day via Bedroom Community.

The album follows the singles Panic (feat. Elizabeth Ziman) and mirrorworld, which features synth and drum programming by Nick Sanborn of Sylvan Esso.

Council brings together two artists who have spent their careers refusing easy categories. American singer-songwriter and composer Gabriel Kahane has built a singular body of work spanning song, contemporary classical music and orchestral writing, collaborating with artists from Sufjan Stevens and Phoebe Bridgers to the San Francisco Symphony. Finnish violinist Pekka Kuusisto is equally difficult to contain: an internationally celebrated soloist, conductor and champion of new music whose practice moves freely through contemporary composition, folk traditions, electronics and improvisation. Together, they make something neither would make alone.

The seeds of Council were planted in 2015, when Kuusisto met Kahane and immediately began quizzing him about a tiny orchestration detail on one of his records. Kahane’s first reaction was essentially: who is this guy? A year later, after performing together in Helsinki, he was “immediately smitten by his sound, his musicianship, his whole vibe.” Long-distance collaborations became writing retreats in Finland and the United States, and over the following decade a shared musical language took shape. This Day, Every Day is its first full-length document.

Across twelve tracks, piano, guitar, acoustic and electric violin, harmonium, percussion, electronics and close, finely shaped vocals form a sound world that can be intimate one moment and violently expansive the next. The songs move between private experience and the wider pressures of contemporary life: mental illness, grief, memory, friendship, fatherhood, war, political disillusionment and the psychological exhaustion of the digital age.

Opening single Panic establishes the album’s central impulse. That willingness to expose what is normally concealed runs throughout the record. Tetris places fighter pilots killing time between missions against a relentlessly propulsive violin figure. Crawlspace turns intimacy into something dreamlike and subterranean. mirrorworld featuring synth and drum programming by Nick Sanborn of Sylvan Esso, enters the distorted reality of conspiracy, online performance and information overload. Elsewhere, The End of Days Inn asks uncomfortable questions about the artist’s own complicity in the systems they criticise.

The album was co-produced with Kahane’s longtime collaborator Joseph Lorge, whose subtle interventions help shape its unusually tactile sound; additional guests include Elizabeth Ziman, Eliza Bagg, Samuli Kosminen, Logan Strosahl and Ted Poor.

For Kuusisto, Council is “the two of us trying to make sense of a number of things by exposing vulnerable parts of ourselves to each other.” The result is a record that is tender in both senses of the word: gentle and comforting, but also raw, exposed and painful to the touch.

Published post no.3,064 – Saturday 31 October 2026

On Record – Helsinki Philharmonic Orchestra / Pekka Kuusisto; BBC Scottish SO / Martyn Brabbins – Jaakko Kuusisto: Symphony (BIS)

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BBC Scottish Symphony Orchestra / Martyn Brabbins (Birthday Variations); Helsinki Philharmonic Orchestra / Pekka Kuusisto (Symphony)

Various Pictured Within: Birthday Variations for M.C.B. (2019)
Jaakko Kuusisto (comp. Pekka Kuusisto & Eskola) Symphony Op.39 (2020-21)

BIS 2747 [66’32”]
Producers Andrew Trinick (Variations), Robert Suff (Symphony) Engineers Graeme Taylor (Variations), Enno Mäemets (Symphony)
Live recordings, 13 August 2019 at Royal Albert Hall, London (Variations); 8 December 2022 at Music Centre, Helsinki

Reviewed by Richard Whitehouse

What’s the story?

The BIS label issues one of the most fascinating among recent releases, one that juxtaposes a latter-day equivalent to Elgar’s Enigma Variations with a posthumously completed symphony by one of Finland’s leading conductors which now becomes a tribute to his untimely passing.

What’s the music like?

It was clearly a great idea that the BBC commission a piece to mark Martyn Brabbins’s 60th birthday, featuring 14 composers with whom this stylistically most wide-ranging of current British conductors has been associated. The outcome is Pictured Within: Birthday Variations for M.C.B. – each composer having provided a variation on the ‘anonymous’ theme for what here becomes an inverse take on Elgarian procedure in the latter’s Variations on an Original Theme; a work whose ground-plan also furnishes the formal framework of the present piece.

It is worth considering the ways in which these composers seem either inhibited or liberated by their placing (determined beforehand by Brabbins) within the overall scheme. Given this theme – understated to a fault – yields its potential more from the harmonic then melodic or rhythmic angle, the most successful tend to make a virtue of such constraints: thus the ‘Tact 60’ of Variation I finds Dai Fujikura hinting guardedly at ‘C.A.E.’. David Sawer capriciously conjures ‘H.D.S-P.’, while Sally Beamish offers a deftly ironic parallel to ‘R.B.T’ and Colin Matthews rumbustiously complements ‘W.M.B.’ Iris ter Schiphorst captures the pensiveness if not the geniality of ‘R.P.A.’, whereas violist-turned-composer Brett Dean proves a natural fit for the undulating poise of ‘Ysobel’ and Win Henderickx evokes ‘Troyte’ with real gusto.

His ruminative Variation VII finds Richard Blackford emulating more the connection with a country house than ‘W.N.’, while Harrison Birtwistle throws caution to the wind in a darkly inward contrast to ‘Nimrod’, and ‘Sixty Salutations’ finds Judith Weir in an engaging take on the halting charms of ‘Dorabella’. Gavin Bryars rouses himself to unexpected activity in his reading of ‘G.R.S.’, whereas Kalevi Aho is more suited to the sombre eloquence of ‘B.G.N.’ and Anthony Payne ably plumbs the inherent mysteries of ‘***’. John Pickard then takes on the daunting challenge of ‘E.D.U.’ in The Art of Beginning – the mingling of portentousness and humour appearing to make light of its Longfellow association, but whose organ-capped apotheosis confirms real appreciation of the ‘right ending’ as constituting an art unto itself.

The coupling is as unexpected as it proves apposite. Remembered as a notable violinist and a versatile conductor, Jaakko Kuusisto (1974-2022) turned increasingly to composition and, at his untimely death through brain cancer, had planned a symphony for Osmo Vänskä and the Minnesota Orchestra. Acting on behalf of his widow, his younger brother Pekka and copyist Jari Eskola realized this piece from several minutes of extant fragments such that Kuusisto’s Symphony takes its place as the last statement by one who ostensibly had much more to give.

Playing just over 25 minutes, the work falls into two separate movements. Shorter and more outwardly cohesive, the first of these emerges as imperceptibly as it evanesces – taking in a tersely rhythmic central episode, then a warmly expressive melody with more than a hint of American post-Minimalism. Almost twice as long, the Lento seems more discursive but no less absorbing – picking up where its predecessor left off as it builds to impulsive climaxes, separated by an eloquent span derived from a chorale-like theme. Nothing, though, prepares one for the ending – a sequence of quietly interlocking ostinato patterns, evidently inspired by light signals beamed in the Gulf of Finland and underpinned by undulating timpani. The effect is haunting and unworldly but, for these very qualities, wholly fitting as a conclusion.

Does it all work?

Pretty much always. Those expecting an Elgarian ‘re-run’ may be disconcerted by Pictured Within, but this only serves to reinforce the stylistic autonomy and variety of the composers involved (three of whom sadly no longer with us) in what is a tribute to Brabbins’s acumen for involving them in the first instance. Quirky and compelling, the Kuusisto is appreciably more than a labour of love on behalf of those who brought about its completion: both works deserving revival for their intrinsic merits rather than commemorating a particular occasion.

Is it recommended?

Absolutely. These live performances (that of Pictures Within being that of the premiere) have come up well as presented here, while there are detailed notes on each piece by John Pickard and Jaani Länsiö. This fascinating release more than justifies itself musically and artistically.

Buy

For purchasing options, and to listen to audio clips, visit the Presto website. For more information on the artists, click on the names for more on Martyn Brabbins, Pekka Kuusisto, the BBC Scottish Symphony Orchestra and the Helsinki Philharmonic Orchestra For dedicated resources on the composer, you can visit a website dedicated to Jaakko Kuusisto

Published post no.2,265 – Friday 9 August 2024

New Music at the BBC Proms

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For our UK readers, a nod in the direction of BBC4 tonight – where there is a chance to experience some of the standout new music heard during this year’s BBC Proms festival.

There is a chance to experience more of one of today’s standout orchestral composers, Andrea Tarrodi – her Birds Of Paradise is featured, inspired by footage from David Attenborough’s Planet Earth and performed by the Deutsche Kammerphilharmonie Bremen, conducted by Pekka Kuusisto (above, photographed by Mark Allan).

From the first night comes Let There Be Light, by Ukrainian composer Bohdana Frolyak, while the National Youth Orchestra perform The Whole World, a heady new work from Errolyn Wallen.

You can watch from 8pm here

On record – Aurora Orchestra / Nicholas Collon: Music of the Spheres (DG)

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Pekka Kuusisto (violin), Iestyn Davies (countertenor), Sam Swallow (vocalist), Aurora Orchestra / Nicholas Collon

Mozart Symphony no.41 in C major K551 ‘Jupiter’ (1788)
Richter Journey (CP1919) (2019)
Dowland arr. Muhly Time Stands Still (1603)
Adès Violin Concerto ‘Concentric Paths’ (2005)
Bowie arr. John Barber Life on Mars? (1971)

Deutsche Grammophon 4838228 [69′]

Recorded 9 June 2019, Maida Vale Studio 1, London

Written by Ben Hogwood

What’s the story?

Only the Aurora Orchestra could put together an album running from Mozart to David Bowie. Yet as we have seen from their previous themed releases such as Insomnia and Road Trip, there are no gimmicks involved in their musical choices and a clear theme runs through the programming.

Music of the Spheres is no exception, beginning with Mozart’s Jupiter symphony before music from Max Richter (Journey), Dowland via Muhly (Time Stands Still) and the Violin Concerto of Thomas Adès, subtitled Concentric Paths. The soloist here is Pekka Kuusisto, while the Aurora play the Jupiter symphony entirely from memory, as they did in the BBC Proms in 2016.

What’s the music like?

There is something for everyone here. Mozart’s Jupiter symphony is his 41st and final essay in the genre, setting a new bar for the form when it was completed. While the first three movements are particularly fine it is the finale that comes in for the greatest acclamation, for its well-nigh perfect fusion of melody and counterpoint.

Richter’s Journey CP1919, is inspired by and named after the discovery of the first Pulsar star. It fits perfectly onto the tail of the Mozart, running at a slow speed and operating in C minor rather than the earlier piece’s key of C major.

By contrast Adès’ Concentric Paths operates in a wider orbit, the violin soaring at great heights over the compelling orchestral writing, which has in its spiralling strong echoes of the music of Benjamin Britten. As soloist Pekka Kuusisto has described, ‘it’s hyper-emotional music for people in an accelerating world’.

Complementing these instrumental pieces are two songs of identical length but very different form – a serene early 17th century song from Dowland and one of the best-known pop songs of the 20th century. Having heard from Jupiter and CP1919, Sam Swallow asks, to effective arranged accompaniment, is there Life On Mars?

Does it all work?

Pretty much! The Jupiter gets an athletic performance from the Aurora Orchestra – no dallying here, or lingering on expressive notes. That does mean a darkening of the slow movement, and maybe some constricted phrases, but by contrast it means an exciting first movement, a mysterious Menuetto and a lithe finale, busy and brilliantly played.

The Richter is haunting and really effective, its simplicity leaving the orchestra plenty of room to create a remote atmosphere. The songs are great too – Iestyn Davies is the perfect choice for the Dowland, with Nico Muhly’s sensitive orchestration, while Sam Swallow puts his own stamp on Life on Mars? without losing the essence of the original, which is an impressive achievement.

Yet the performance I kept coming back to was Pekka Kuusisto’s white-hot rendering of the Adès. This is terrifically difficult music to play, but he makes it sound easy even at the highest points of the violin range, and the moods range from serenity to power and even anger as the music moves relentlessly forwards. On occasion I have to admit I find Thomas Adès music hard to relate to emotionally, but this is a clear exception and the music digs deep.

Is it recommended?

Yes. The Aurora’s albums are great at bringing music of very different origins together, exposing new elements and old qualities, and it does so again here. Freshly minted Mozart and brilliantly played contemporary works, plus a good deal of imagination. What’s not to love?

Listen

Buy

You can purchase this recording from various digital outlets via the Presto website

BBC Proms 2016 – Pekka Suusisto, Thomas Dausgaard and the BBC Scottish Symphony Orchestra

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Pekka Kuusisto High Res 6 - credit Maija Tammi

Pekka Kuusisto (c) Maija Tammi

Prom 27; Royal Albert Hall, 5 August 2016

You can watch this Prom from its BBC broadcast – the Grime and Tchaikovsky here and the Stravinsky here

For sheer musical enjoyment this Prom took some beating.

Right from the start it was clear the players of the BBC Scottish Symphony Orchestra were at the Royal Albert Hall to enjoy their Friday night, and in Pekka Kuusisto they had a more than willing accomplice.

It was Kuusisto’s first appearance at the festival, and as he arrived onstage he gazed in wonder at the full hall, taking in its scope and bidding a cheery ‘hello’ to the front ranks of the Prommers. At that moment you sensed his performance, even before he played a note, had gone up a gear.

Sure enough, his performance of Tchaikovksy’s Violin Concerto was dazzling, but he was careful not to let technical feats overshadow the core of the music’s emotion. As the longer first movement unfolded so did the ardent, lyrical phrases, until we reached the solo cadenza, where just a flick of the eyes and arms were enough to get the audience laughing. Kuusisto plays a lot of his music as though for the first time, the childlike innocence (not to mention his boyish face!) a combination of pure enjoyment. The audience, wrapped up in the occasion, applauded as though he had finished, fully aware there were two more movements to come.

These were the doleful Canzonetta, reminding us of the serious circumstances in which the piece was composed (Tchaikovsky’s disastrous and shortlived marriage, made in spite of his convictions around his homosexual orientation) and a finale that brushed all that aside, its main tune from the violin scampering all over the orchestra as they tried to keep up.

Both violinist and orchestra rightly received a rapturous ovation, but Kuusisto was not done, returning for a traditional Finnish song. Following Sol Gabetta’s lead from the First Night he did the singing, while BBC SSO leader Laura Samuel gamely added a rustic accompaniment. Even the audience were involved, singing one of the phrases as Kuusisto brought the house down.

Even after that the enjoyment was yet to peak, for Thomas Dausgaard – who had shaped Tchaikovksy’s phrases rather beautifully – led them in a vibrant account of Stravinsky’s Petrushka. The composer’s second ballet is perhaps his most tuneful, full of Russian folk song references as it tells the tale of the ultimately doomed puppet. The colours of this performance were given by the BBC SSO at their very best, with superb contributions from Mark O’Keeffe and Eric Dunlea (trumpets), a beautiful, child-like solo from flautist Charlotte Ashton, and wonderful contributions from solo woodwind, brass and percussion alike – not to mention the brilliant efforts of pianist Lynda Cochrane and Julia Lynch on celesta.

Dausgaard was enjoying himself, and although on occasion the music was a little fast it was never less than energetic, the players relishing the shades of colour in The Shrovetide Fair, and the irresistible hooks and dance rhythms Stravinsky threads through the music.

Dausgaard is due to take over full time as chief conductor of the orchestra in the autumn, and on this evidence the two look set for a fruitful musical relationship.

eardleyCatterline in Winter (c) The estate of Joan Eardley.

Beginning the concert was the first part of Helen Grime’s Two Eardley Pictures, a new piece commissioned by the BBC and with its second part today. This one, Catterline in Winter, portrayed the fishing village of the North of Scotland, capturing it in steely, metallic colours – reflecting the dark grey sky and the icy blasts of a seemingly ever present wind. It is always difficult to appraise a new piece on first hearing, but this was an impressive and brightly lit score that is well worth hearing for a second time – preferably in the company of the second, Snow.

Ben Hogwood