Lauri Sallinen

Microtonal classical music comes across as a nerdy pastime operating in the margins between "real notes," and with good reason. An experimental microtonal instrument is typically encircled by a close-knit community of musicians and composers who are unable to evangelise their discoveries because of difficulties in playing technique or other challenges. However, in recent years so many microtonal instruments have been developed and adopted in Finland that the colourful world between the notes is finally opening up to wider audiences.

Here’s a bold idea, and a bold choice of repertoire, and it largely works – although I found it more rewarding to concentrate on one work at a time rather than listen through in a single session, even with the multitracked rhythmic jollity of Steve Reich’s New York Counterpoint to bring variety to the sound of solo clarinet. The trouble is that almost all the pieces follow the same basic premise.

Outi Tarkiainen has long since learned the lessons of her chosen poets: to be true to oneself. That results in outstanding music of meticulous clarity and frequent emotional strain. It needs heartfelt and considered performances, and gets them here.

“The best collaborations empower or even improve their participants. Whenever guitarist Marzi Nyman stepped up during Silence Festival he seemed to lift the creative discourse to another level with his gregarious, joyous musicianship.”