ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Koskelin, Olli 

Olli Koskelin
 
 

 

Biography

Olli Koskelin (born 16 April 1955) was tutored in composition by Jukka Tiensuu and Eero
Hämeenniemi as well as the French composer Tristan Murail. Koskelin also studied the
clarinet at the Helsinki conservatory and musicology at the University of Helsinki. He has
taught music at the Dance Department of the Theatre Academy in Helsinki since 1987.
Koskelin's compositional output reflects a wide range of interests as does his choice of
teachers. The wide area covered by his style encompasses the neo-impressionism of the piano
work Courbures (1989) to the post-expressionist echoes of his Music for String Quartet (1981)
as well as the breakneck virtuosity of his clarinet piece Exalté (1985/1991) and the rich
romantic textures of his orchestral piece ... like a planet silently breathing... (1993).
These three dimensions continued to maintain a presence in Koskelin's output. He often uses
the overtone series like the French spectral composers and avoids dramatic culmination. Soft
harmonics, tranquil arching melodies, a leisurely rhythmical pulse and a coherence of mood
are in evidence in his later works as in Uurre (1997) for chamber ensemble, Miniatures (1997)
for string quartet and Circles within for 19 solo strings.
In a special league of their own are the dance works by Koskelin – an example
is Coldstar (1992), lasting over an hour in performance, the material of which is derived from …
like a planet silently breathing. One of the most delicate of Koskelin’s vocal works is Breaking
the Silence (1991) for soprano and five instruments, the clear, bright soundscape of which was
inspired by eight haikus by Matsuo Basho tied together in a close-knit, subtly meditative
entity. Japanese haiku poetry also inspired Koskelin at a purely instrumental level in Seven
Haikus for flute and guitar. In his works of the third millennium (e.g. Tintinnio for solo
flute, 2003, and String Quartet No. 1, 2004) Koskelin has continued his search for delicate
timbres, but he also displays features harking back to the expressionism of his early career.

 

Contacts

  • Gender: 
    M

 

Works in ISCM catalogue

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