Kristina Kuusisto

Kristina Kuusisto: Opening (2018) (first performance)
Minna Leinonen: Comme il faut (2018) (first performance)
Abril Padilla: Ne me domestique pas (2012)
Riikka Talvitie: Self Portrait (2018) (first performance), video work
Riikka Talvitie: Kahlittu keho (2018) (first performance)
Abril Padilla: Diente de bandoneon (2018) (first performance)
Lotta Wennäkoski: Amorti (2018) (first performance)

Kristina Kuusisto - bandoneon

Roles in music are usually very clear: the composer writes the score and the performer makes it audible. What is remarkable is how limited the notation on the page is, how much tacit information remains between the dots. The purpose of this concert is to break boundaries in terms of instrument technique, performance practices and the distinction between composer and performer.

The programme opens with a starter, Avaus (Opening) by Kristina Kuusisto. Comme il faut examines performances and rehearsals from various perspectives: the maestro (Argentinean tango), the composer (contemporary classical music) and the bandoneonist (the musician’s aesthetic ideals).

The first movement of the piece is based on the tango El choclo by Ángel Villoldo. The voice on the recording is Simon Riestra Aedo. Ne me domestique pas is a story of taming set in noisy Buenos Aires.

Kahlittu keho (Chained body) was inspired by a phenomenon in late Medieval Europe described today as ‘holy anorexia’, respected holy women starving themselves to death in the name of God and as a rebellion against the ideals of beauty imposed upon women. The music explores what happens when the body takes over.

The video work Omakuva – Self portrait aims to deconstruct the hierarchy between composer and performer. The composer alludes to the history of video art by using herself as the material for the work while also shooting and editing the video.

Diente de bandonéon explores the private nature of the instrument, the musician’s body and silence.

Amorti focuses on the moods indicated by the title, ‘subdued’ or ‘softened’. The limitations that these imply concern the musical figures that strive to take flight and the physical space of the performer.

The performance includes a display of works by French visual artist Sophie Degano.