The soloist in contemporary piano concerti

How is the role of a soloist premiering contemporary piano concerti different from the role of the soloist playing canonical works? The lack of sounding references and the embodying of new techniques and aesthetics are great challenges for performers of new works. In traditional orchestral practice, the roles, work methods and rehearsal space are often similar for canonical works and new works, resulting in unsatisfying performances of the premieres. Consciousness of the existing environment, its restrictions and possibilities can give the soloist a clearer and larger space in which to work, and offers possibilities to influence the sounding result.

During the project, I have experienced different kinds of cooperation with the composers. I have worked regularly with some composers from the very start of the creation of the work to the premiere. With other composers, I have received the finished score without any contact with them during their creative process. In all the works, I have been the musician that was the first to get in contact with the work, the first to play and speak about the work with the composer. The way I execute the piano material, my understanding of the aesthetics and the words I chose in these dialogues with the composers are crucial, sometimes so much so that my interpretation becomes a part of the actual work. In the project I wanted to show the significance of this, and how it influenced the sounding result.