confluence/divergence (2013-2015)


For guit solo, fl, perc, hp, vlc

Duration 27´

Concerto for guitar and small ensemble.

Written with the support of Svenska Kulturfonden, Nygréns stiftelse and Arts Promotion Centre Finland.


The composing process of confluence/divergence took two years and is so far the longest time I have taken to complete a single work. This is largely due to the intricate theoretical principals I developed while composing the piece. I worked with complex combinations of sound entities and instrumental techniques that demanded further studying and exploring of refined ways of notation.

The title of the piece refers to the changing relationship between the soloist and the chamber ensemble. This dual relationship that is also fundamental to the classical concerto form, is the focal point of the piece. Dramaturgical tension, instrumentation, textural surfaces, gestures and sound colours are based primarily on the developments (divergence and confluence) of this duality.

The piece is in three movements, the first being a miniature of the overall form of the piece. Each movement has its own character, the first being hectic and virtuosic, the second tranquil and mysterious, and the third playful, rhythmic and jerky.



22.08.2018, HBL, Wilhelm Kvist

Translation: ”Too years of work resulted in highly ambitiously developed sound colors in confluence/divergence for flute, percussion, harp, guitar and cello. I was especially fascinated by Hilli’s way of extracting new fascinating sounds with rubber clubs, credit cards and a whistling human voice inside the flute (Malla Vivolin).”


22.08.2018, Rondo Classic, Auli Särkiö-Pitkänen

Translation: ”Representing earlier production was confluence/divergence (2013-2015), which was an unmistakable guitar concert: at the heart was the interaction between the soloist and the small ensemble, and it’s three-part form featured a rich first movement with cadences, a mystical slow  movement, and a playful ending. Petri Kumela played the guitar solo part accurately and elasticly. The most remarkable archievement in the piece was the inventive use of extended playing techniques. The instruments imitated each other in a chameleon-like manner so that it was at times difficult to distinguish between which instrument produced the sound. Dragging the super balls released voices  from the surfaces of the guitar, harp (Päivi Severeide) and timpani (Naoki Yasuda) imitating the murmur of the cello (Pinja Laine) and the speech of the flute (Malla Vivolin). Especially the harp was treated delightfully colorfully. It was not a matter of effects, but skillfull assembling of colors.”


Sheet music