1. Lintukoto (Home of the Birds) – dedicated to Teppo Hauta-aho
In Finnish folk legend Lintukoto is a mythical place where migratory birds were believed to live in winter time and the word is used as a metaphor for a happy place in Finnish. It is said to be far to the south, towards the world’s edge or located near the edge of the sky dome. A recurring rising four note theme, followed by an answering phrase which ebbs and flows, dominate the music and a feeling of open spaces, and a timeless quality, aim to describe the ‘home of the birds’. The music is simple and descriptive, employing a range of colours to portray the flight of the birds, but anchored to the earth with a number of open string drones, played arco initially and then pizzicato towards the end. The music gradually fades away as the birds fly towards Lintukoto.

“Very nice piece I played it few minutes ago and tried to call you Thanks!”
[Teppo Hauta-aho]

“Lintukoto has a simple yet restless beauty to it (so hard to achieve, in my view). It ‘feels’ very Scandinavian; at least, an inkling of Nielsen’s music – nothing specific – came to mind when I was going through it. It is a complete and impressive miniature and I can see why it is your favourite.” [John Alexander]

“…delightfully atmospheric, almost whimsical Lintukoto. I love the way the music rises from the depths and seems to take flight…” [Christopher Field]

“I played it yesterday…Whoever hears this piece loves it.” [Pınar Baltacıgil]

2. Luonnotar (Nature-Spirit) – dedicated to Alexander Heather
Luonnotar is a character from Finnish mythololgy and is the Spirit of Nature and Mother of the Seas. This short piece describes the mythical birth of the earth and sky with short episodes of calm and reflection contrasting a more dramatic and explosive outburst before the calm returns and the piece gently fades away into the mists of time.

“I found Luonnotar expressively atmospheric and, again, there’s something Scandinavian about it: an open freedom, coolly fresh, texturally interesting. I look forward to hearing the range of fascinating effects sprinkled through this piece…” [John Alexander]

3. Tapio (God of the Forest) – dedicated to Peter McLoughlin
Tapio is a Finnish forest spirit or god, who figures prominently in the Kalevala. Hunters prayed to him before a hunt and his wife Mielikki, is the goddess of the forest. Tapio aims to create the sounds and moods of a Finnish forest, expressing the calm serenity alongside the grandeur and power of nature. The gentle rustling of the trees is depicted by the rippling semiquavers and the contrasts of mood and texture create an evocative and imaginative mythological scene.

“I like the variations in the germ of the idea(s) in Tapio and the pulling about of the tempi, allowing the piece to seemingly both flow and haltingly question in an almost contradictory manner that tellingly holds the attention ” [John Alexander]

4. Jumala (God of the Sky) – dedicated to Thea Sayer
The name Jumala [pronounced: Yoo-mah-lah] is thought to have been the name of a sky god of the ancient Finnic-speaking peoples and also means ‘thunder home’ or ‘Supreme God of the Heavens’. Simple and lyrical harmonics in the higher range of the double bass contrast with music of a more dramatic nature. A three-note rhythmic figure acts as a unifying motif throughout and the music aims to express the moods and character of this important God in Finnish and Norse mythology.

Harmonics, whether played in the high register or as false harmonics in the lower, link passages of a more sonorous and cantabile nature, before the music slowly falls away ending with a perfect cadence on a simple octave D, although its rhapsodic nature has a feeling of freedom and movement, Jumala remains within its fairly regular tempo from beginning to end.

“Jumala is a strong little piece and I very much enjoyed the repetition of small phrases along with their variations. ” [John Alexander]

5. Nyyrikki (God of the Hunt) – dedicated to ınar Baltacıgil
Built around a three note motif (A-E-G) and in three sections – before, during and after the hunt – the short introduction employs a simple arco phrase with a left-hand pizzicato A acting as a drone. In the lower register, the introduction has an air of expectancy before this is shattered with the hunt. depicted by a fast and furious semiquaver (sixteenth note) figure across the solo register of the double bass. The music builds to a climax with loud and energetic double stops, the music eventually falling to a sudden and unexpected end with the ringing of an open A string fading into the distance. The final section recalls the introduction and a simple theme with a pizzicato drone, ending on the ‘tonic’ played as a harmonic and the pizzicato drone dying away into the distance.

6. Väinämöinen (God-Hero) – dedicated to Max van der Linden
Väinämöinen (Finnish pronunciation: ʋæinæˌmøinen) is a god-hero and a central character in Finnish folklore and the main character in the national epic Kalevala. His name comes from the Finnish word väinä, meaning stream or pool, and he was described as a wise, old man, possessing a potent and magical voice. He has also been described as the god of chants, songs and poetry, and this short piece portrays the lyrical and magical nature of this important figure in Finnish mythology.
Rhapsodic and free, a quintuplet rhythm acts to unify the sections, interspersed with brief sul ponticello or pizzicato figures, ending slowly and mysteriously as an unresolved ‘dominant’ chord hangs in the air.

7. Aarnivalkea (Eternal Flame) – dedicated to Richard Dunn
In Finnish mythology the Aarnivalkea are places where an eternal flame associated with will o’ the wisps burns. They are claimed to mark the spots where gold is buried and are protected by a force that would prevent anyone discovering them by chance. The spiritual and evocative significance of the eternal flame is expressed in a series of short fragments in the lower register, often with the interval of a minor 2nd prevalent. These are interspersed with faster music which evokes the will o’ the wisp, played arco, with fleeting lightness and movement to contrast the slower and solemn music which ends the piece. Sul ponticello is used three times, creating a new soundworld and effect, ending slowly and quietly as the eternal flame continues to hide its secrets.

8. Ahto (God of the Sea) – dedicated to Chris Clark
Ahti is the main god of the water and of the depths, and lives at the bottom of the sea at his palace Ahtola. He is known as God of Depths, God of the Waters, Giver of Fish, is a male god and owns the Sampo after Louhi pulled it into the sea during her struggle with the heroes. Ahti lasts a little over one minute and the music reflects both the calm and serenity of the ocean depths alongside the turbulence and violence of a major storm or squall. It should be played without measure, free and rhapsodic, contrasting lyrical episodes where the double bass can sing with music of greater power and energy.

“Your music [Finnish Sketches 1-8] was masterfully played by Elsen Price last night! Bravo to you David. You must be good friends with God to have written such inspiring and graphic descriptions of ‘the spirit ‘ in music. Please give him/her my best! With kudos and blessings to you and Sarah.” [Barry Green]

9. Aarni (Guardian of Hidden Treasures) – dedicated to Marco Antonio Quiñones Martinez
Hidden treasures are a recurring theme in the Kalevala and this piece, lasting around a minute, celebrates the lyrical and cantabile qualities of the solo double bass – a hidden treasure possibly. A recurring six note figure or motif acts as a unifying factor, often prefacing a more lyrical and prominent episode, and the emphasis is on lyricism, almost a song without words, gradually dying away to a three note pizzicato coda with a slow glissando which fades away into the mists of time.

10. Tuonela (Land of the Dead) – dedicated to Dritan Gani
Tuonela, played pizzicato throughout, is almost two minutes in duration. The music has a stillness and serenity, with its insistent open A string drone, above which the slow moving musical motifs and snatches of melody move the piece slowly forward to its simple and unaffected conclusion. Played slowly and with the same dynamic throughout, Tuonela evokes a dark and forbidding place with music of gentle momentum and clarity.

Tuonela is the realm of the dead or the Underworld in Finnish mythology. According to ancient beliefs the fate of good and bad people is the same and the dead wander the afterlife as shadow-like ghosts. Tuoni and his wife Tuonetar are the rulers of Tuonela. At times living people visited Tuonela to gather information and spells. The trip there required weeks of trekking in a desert, and finally the crossing of the river with the help of a ferryman (similar to Charon in Greek mythology). Shamans could visit Tuonela by falling into a trance and tricking the guards.

“I loved the two pieces you played tonight “Tuonela – Land of the Dead” totally took me away…” [James Rintoul]

11) Ilmarinen (Spirit of Air – Maker of Heaven) – dedicated to Jason Heath

Ilmarinen (pronounced – IL- MAH – REE – NEN) is dedicated to my friend Jason Heath in America – one of the most active and innovative bassists in the international bass world today. The work is atmospheric and evocative, based on letters from Jason’s name (A – E flat/D sharp – B – E), and employs a wide range of colours and effects. Primarily in the orchestral register of the instrument but with the occasional foray into the solo register, the very highest harmonics create an ethereal effect which contrasts music of a more direct and sonorous character. A repeated semiquaver (16th note) figure could depict the eternal hammering of this legendary character or simply the gentle moving of time and space.

“I would like to congratulate you for your piece, I had a lot of fun working on it!”
[José Trigo]

“Ilmarinen is so beautiful and powerful – when I played it at my recital, several people begged to play it! It’s just too beautiful!” [Susan Hagen/Boston Pops Orchestra, USA]