New Music (Listed)

New Music Unlisted - 7 (Kitaptan Sonra)

2016—>

The piece was commissioned by the Jerusalem Symphony Orchestra and the Adele and John Gray Endowment Fund. Composed in 2022. Conductor - Yishai Steckler, Sopran - Tali Ketzef. Premired at the Henry Crown Symphony Hall, Jerusalem Theater, December 5, 2022. Recorded by Avi Elbaz
Dedicated to Peter Pohly

Riddle for the Symphony Orchestra, big choir and sopran

The new piece was written for two incredible musicians - Yael Barolsky and Oded Gezhals,recording - Ronald Boersen.
The premiere was on 1.05.14 

Repercussion for violin and percussion by Hana Ajiashvili

The piece was commissioned by the Meitar Ensemble and with the support the Ernst von Siemens Music Foundation. The premiere was at the CEME festival on December 23. 2023.
 Conductor - Yuval Zorn, Meitar Ensemble, Studio Anette, Tel Aviv, 2023

Impossible sketches for ensemble and electronics

Tube space II for trumpet and trombone (2014)
performed by Elision ensemble (Tristram Williams, trumpet, Benjamin Marks, trombone)

!!! NOT FOR SHARE !!!

Dmitri Kourliandski - Tube Space II

Ensemble Adapter
16 September 2016
Rotation / Adoptions 2016
ExRotaprint, Berlin-Wedding

Ensemble Adapter:
Kristjana Helgadóttir, alto flute
Ingólfur Vilhjálmsson, bass clarinet (& paper)
Gunnhildur Einarsdóttir, harp (& electric fan)
Matthias Engler, percussion (Marimba, 2 cymb., G.C.)

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Studies on Empathy

Commissioned by Ensemble Adapter
with funds provided by Madetoja-säätiö (Madetoja Foundation)

“…the body in the voice as it sings, the hand as it writes, the limb as it performs…” (Roland Barthes, “Le grain de la voix”)*

Studies on Empathy (2016) takes materiality as the medium of musical expression, i.e. the information that the sound carries of its own immediate production: how much force, resistance, friction, sensitivity… I experience this kind of listening as empathetic. This is an important aspect, because, as even modern neuroscience tells us, the opposite of loving your fellow man is not hating them—it is indifference.

Written in positive feelings of continuity, trust, passion and friendship, this work is my second Ensemble Adapter commission to date.

© 2016 Jarkko Hartikainen


* translation from the French original by Stephen Heath; Image Music Text, 1977








www.jarkkohartikainen.net
www.ensemble-adapter.de

Studies on Empathy (2016) for quartet

Tslalei Or was written especially for two great musicians Yoni Gotlibovich and Yuval Zorn, the Premiere was on June 20, 2016 at Jerusalem Center for the Performing Arts

Tslalei Or (2016)

Tapiola Sinfonietta, cond. Mario Venzago
Feb 9, 2017
Musica nova Helsinki
Espoo, Finland

Commissioned by Tapiola Sinfonietta
https://jarkkohartikainen.net/habitus/
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Habitus (2014–17)

Orkesteri kehona. Ihmisistä ja soitinäänistä muodostuvana hengittävänä kehona tilassa. Kehon rajat ja raajat. Niin kipupisteet kuin mukavatkin asennot. Kehon muutokset ajan kuluessa tai suhteessa tilaan, kuten vaikkapa kaatuessa, rasituksessa, istuessa, odottaessa. Henkeä pidättäessä, syvään hengittäessä. Kehon rytmit. Äänestä välittyvä kehollis-empaattinen tunnetieto.

Kehon sanattomat viestit ja vaatimukset. Happi. Liike. Toisto. Venytys. Hermot, kudokset. Muistot ja pelotkin siellä jossakin säikeessä. Beethoven ja Sibelius kehon lihasmuistissa. Kehollinen aikakäsitys ja sitä kautta kehon suhde ympäristöönsä, siihen villiin luontoon, josta se on syntynyt ja jonka selässä se elää. Yhden kehon näkeminen toisen, suuremman, osana. Tai useammasta koostuvana, kulttuuris-yhteiskunnallisena kehona. Konkreettisuus spekulatiivisuuden sijaan.

Niin ja tietenkin valta. Tietoisesti kehoon vaikuttaminen. Esimerkki: stressitilan helpottaminen parasympaattisen hermoston ns. kiertäjähermon jarrua (nucleus ambiguus) painamalla – eli yksinkertaisesti uloshengitystä tietoisesti pidentämällä.

Säveltäminen on vähintäänkin yhteen kehoon vaikuttamista. Minussa nämä ajatukset tuottivat tietynlaista veistoksellis-meditatiivista aaltoilua, jonka “päämotiiviksi” nouseva rytminen profiili on yksinkertaisesti esitettynä, esimerkiksi: 3 (tauko) 6 (tauko). Tämä rytmiteema toistuu, paitsi ihan oikeassa pelko- ja jopa vihakoulutuksessakin käytetyssä hengitysrytmissä, myös esimerkiksi ääneen lausutuissa, sisään- ja uloshengitykseen liittyvinäkin nähtävissä sanapareissa, kuten vaikkapa ‘luo – luota’ tai ‘syvään – ääneen’. Musiikki alkaa sanojen jälkeen, mutta ainahan eri suhteistoja (eräänlaisia kehoja nekin) voi asettaa elämään rinnakkain tai sisäkkäin, kuten olen tässä yrittänyt tehdä.

Habitus (2014–17) on kasvukaupunkini parhaan sinfonisen kehon Tapiola Sinfoniettan tilauksesta syntynyt orkesterikappale, suunniteltu tässä Musica nova Helsinki -festivaalin osana olevassa konsertissa esitettäväksi – ja on kaikille tähän liittyville kiitoksin omistettu.

© 2017 Jarkko Hartikainen

for English translation of the programme note, see https://jarkkohartikainen.net/habitus/

Musica nova Helsinki 2017

Habitus (2014–17) for orchestra

Elevations (2017) for ensemble
flute, oboe, clarinet, marimba, piano, violin, viola, cello, double bass
Fp. 20 August 2017 Schloss Solitude (Stuttgart, Germany) by Ensemble SurPlus, cond. Erich Wagner

Elevations (2017), scored for nine instruments, develops the musical material into multiple, yet transparent interpretations of the concepts of rising, transcending, elevating, or increasing (true to title). The music aims to get higher, to cross thresholds – to increase sonic awareness. The material is based on acoustic phenomena on instruments, such as flageolets, beatings, multiphonics and registral characteristics of intervals, all adhering to a similar directional, elaborative, ascending tendency. The empirical, sound-based composition process, I hope, is not merely replicating the ancient human occupancy of brick-making ('filling form x with material y') as the above language might suggest. (For me it's a false dichotomy, anyway.) Yet, the piece is also decisively non-conceptual, containing no 'extra-musical' stimuli. It also does its best (if at all possible) to avoid the position of an academic outside artist-commentator who elevates themselves above their appropriated or down-right stolen source material. This conceptual simplicity should render all prerequisites to listening (outside of silence and alertness), even this text, basically obsolete.
(c) 2017 Jarkko Hartikainen

Elevations (2017) for ensemble

2 Dec 2017 premiere at WHS Teatteri Union, Helsinki
defunensemble

Hanna Kinnunen, bass flute
Mikko Raasakka, bass clarinet
Lily-Marlene Puusepp, harp
Emil Holmström, piano and sampler
Markus Hohti, cello
Timo Kurkikangas, electronics
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(seepings) is a piece about integration, about belonging, about and within the lived materiality of recorded music.

dedicated to (and commissioned by) defunensemble.

© 2017 Jarkko Hartikainen


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(seepings) (2017) for ensemble and sampler
commissioned and premiered by, and dedicated to, defunensemble (Helsinki, Finland, EU)

Since I identify as a huge music nerd who seems to have an actively hypersensitive creative brain regarding sonic phenomena, associations to existing music often disrupt my creative work flow that strives for freshness and new contexts in a concentrated acoustic listening environment. In (seepings) (2017), which began as an inquiry into finding a personal relationship with ‘the electroacoustic’, I let such echoes of certain unescapable past influences seep through rather concretely – using ‘their’ instrument, the loudspeaker.

From a half-second of recorded music, the human brain is typically capable of recognizing only the genre and the decade (if even that), according to scientific studies in mental chronometry. This is naturally relative to the listener’s personal experiences with music(s), yet there exists a certain biological hard limit where we are able to listen to specific sounds with utmost concentration yet can’t recognize them as individual artistic expressions but rather as representations of larger musico-cultural contexts.

We may even repeatedly misrecognize the agency behind a short enough audio snippet with someone else using the same instruments, technology, etc. Then again, a shared pitch or chord (or a compositional logic that makes several very short impulses form one melody or scale) may make otherwise unrelated samples appear as an original work of a third party. I have studied the complexity and the edges of this psychological phenomenon with deliberate artistic research into the materiality of short samples of certain personally influential musical sounds: how they react to each other in different durations, proximities, and compositions in general.

© 2018 Jarkko Hartikainen

(seepings) (2017) for ensemble and sampler [bootleg]

Nosferatu Suite, SWR Orchestra, Teodor Currentzis

Nosferatu Suite

Sini Virtanen, violin
McCormick Percussion Group
Robert McCormick, conductor

live recording from the world premiere
April 8, 2018 10am (rescheduled from April 7, 2018 7:30pm due to a sudden campus-wide power outage and subsequent evacuation)
2018 USF New-Music Festival
University of South Florida
Tampa, Florida
USA






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ICE CONCERTO (2018) for violin solo and percussion ensemble

Dedicated to the musicianship of the violin artista Sini Virtanen (Helsinki, FI) — commissioner of the work, funded by Madetoja Foundation — as well as Robert McCormick and his McCormick Percussion Group (USF Tampa, FL). They all gave an absolutely spectacular world premiere at the enticingly tour-de-force USF New-Music Festival 2018 in Tampa, followed by a concentrated and highly musical world premiere recording of my musical little daydream, later on the very same day (!), at the city's prestigious Spring Theatre studio.

© 2018 Jarkko Hartikainen

ICE CONCERTO (2018) for violin solo and percussion ensemble

The piece was written especially for trio Catch - clarinet, cello, piano, for the festival Tslil Meudcan - Tel Aviv, 2018

Blue by self titled painting by Kandinsky

Les Objets Impossibles I-V
for large ensemble
2010/2013

Objet 1 - 00:00
Objet 2 - 13:25
Objet 3 - 27:05
Objet 4 - 40:32
Objet 5 - 54:00

performed by MCME + eNsemble + NoName ensemble
conducted by Fyodor Lednev
recorded live from NCCA Arsenal (Nizhni Novgorod), 2013

Les Objets Impossibles 1 - 5

Stockholm New Chamber Orchestra, Susanna Malkki, cond.

Maps of non-existent cities. Stockholm

for two voices, flute, harp, piano, violin and live electronics (2013)
patch programming - Alexei Nadjarov
performed by Nadar Ensemble

The little match girls (unsung Candlejack's songs)

www.jarkkohartikainen.net
sheet music: core.musicfinland.fi/composers/jarkko-hartikainen

Jarkko Hartikainen is a composer striving to create works that explore what music is and could still be, researching the possibilities in sound through rigorous performer-collaboration as well as studying findings in a plethora of disciplines. Stimulating acoustic phenomena, exciting sonorities and concrete, bodily impulses through rhythm, resonance and empathy fuel his often extremely instrument-specific, concentrated writing. Currently Hartikainen is working as a commission-based freelance composer, as well as pursuing his D.Mus degree at the Sibelius Academy of the University of the Arts Helsinki. Eriikka Maalismaa, defunensemble, Tapiola Sinfonietta, Ensemble Adapter and other such distinguished performers have recently promoted his work.