Luonnonoikku (2002)

(Caprice of Nature) 
Violin and live-electronics
Duration: 8'
FP: Nicolas Miribel, Ircam, Pariisi, October 17, 2002.
Availbale: musicfinland (ask composers fot Max/Msp-patch) 
Once a friend of mine asked me: does art pass over or under the nature. Why should these two compete with each other? I was confused. At that time I didn't know that the question was based on the discussion of art and esthetics in the 18th century. It was thought that the task of art was to imitate nature. But did art remain subordinate to the nature or did it add something to the perception which changed art to more sublime than nature itself.  

Nowadays we don't ask the question of mimesis in the same way. We talk about modeling of natural phenomenons, we try to simulate chaos of nature and get our hands on sound itself. But the question still exists, especially therefore that recording has become really precise and straightforward means of imitation. 

In my piece I approach the nature from two direction — from inside and outside. I have selected four concrete sounds each of which represents different matters: glass, metal, wood and water. I have analysed different characteristics of these matters: a spectrum, an envelope and rhythmic gestures. With this information I have tried to cross sounds with each other, for example the inharmonic spectrum of glass is simulated by arpeggio of a violin or a drop of water is played in the resonance of metal. The sounds have been separated from their origins to become abstract matter. 

But the nature will interfere in the course of events in much larger scale. In all its recognizability it suprises, interrupts, participates — and so it defines the form of the piece. However, in order to let the art win the competition at the end, I give the power to control nature to the violinist.