Laura Hynninen (b. 1976)
Ratsut
Full tracklisting follows review
Laura Hynninen (harp, voice, electronics)
rec. 2022/23, Magnusborg Studios, Porvoo, Finland
Alba ABCD 530 [39]
A couple of years back I was fortunate to happen by chance upon Otilia (Alba ABCD 505), Finnish harpist Laura Hynninen’s simultaneously robust yet meltingly beautiful debut on Alba. This absorbing 40 minute sequence of compositions for harp, electronics and Hynninen’s ethereal vocals quickly became a favourite. I am in no way demeaning its charms by praising its huge ‘crossover’ appeal. Hynninen (the daughter of the great baritone Jorma) is clearly blessed with an astonishing technique. She’s now a freelancer but in the past she has been the principal harp with both the Finnish Radio Symphony Orchestra and the orchestra of the Finnish National Opera, whilst as a composer she instinctively and successfully blends the approachable and the experimental. Otilia’s appeal relied upon its coherent structure – in essence it’s a suite of eleven varied numbers of pop song length, most of which feature a dazzling array of extended playing techniques, tasteful multi-tracking and Hynninen’s exquisite vocals (I suspect she’s probably tired of the comparison, but uninitiated readers could do worse than to imagine a softer, velvety timbred Björk). In any case Otilia deservedly became a massive critical success in Finland, garlanded as it was with awards aplenty.
Ratsut is its sequel, and we are informed in the booklet that it can be perceived as a direct continuation from where its predecessor left off. In the gorgeous title track (which translates as ‘The Steeds’) Hynninen’s opening gambit – an uncanny synthetic evocation of the approach of cantering horses – eventually yields to a folksy harp workout enhanced by tasteful washes of electronica. It certainly holds one’s attention. The next six tracks seem to constitute a suite whose title ‘Scenes from the life of a woman and her dog’ suggest a sort of sonic journal. These numbers seem somewhat darker than the tunes Otilia although the blended ostinati, extended playing techniques, intermittent amplification and (presumably Finnish) spoken word which emerge are unfailingly interesting and often spectacular. Yet Hynninen’s material here presents something of a challenge to the listener and seems rather jagged compared to the smoothly alluring tracks which epitomised Hynninen’s debut. One suspects Hynninen’s inspiration is more personal throughout Ratsut; Puutarhassa (In the garden) strikes an ambiguous note and although Unen läpi (Through the dream) develops from an upbeat, decidedly Reichian motif it yields in time to a pensive vocalise and an unsettling conclusion.
The remaining four tracks showcase Hynninen’s penchant for colour and effect. Saparo (Tail) builds from resonant low figures. Rakkaani on (My love is…) encompasses a pop rhythm and a catchy hook but Hynninen’s taste for experiment is resilient even here. Kaislikossa (In a bed of reeds) is quite delightful though; seemingly making unlikely links between Reich’s Desert Music and Máire Brennan’s harp contributions to Clannad’s 1984 Robin of Sherwood soundtrack album Legend. The final track is entirely harp free; Rikkakasvit 2022 nais- ja eläinkuorolle (Weeds 2022) is a multi-tracked acapella folk-tinged fragment allegedly performed by a choir of ‘female and animal voices’!!
Having really enjoyed Otilia I really hoped to be just as enthusiastic about this sequel. Whilst it certainly has its moments it ultimately seems by comparison to be somewhat awkward and diffuse to my ears and doesn’t really add up to the sum of its parts. On one level Ratsut can be experienced as a primer for the harp’s sonic potential but I’m quite sure Laura Hynninen was looking beyond that. Maybe there’s something quintessentially Finnish that I’m completely missing. Perhaps it’s a disc which will appeal more to harp specialists than to general listeners. It’s certainly a very different album to its predecessor.
Alba’s sonics are first rate and the documentation is fine – the composer/performer contributes a brief introduction, but the undoubted highlight of the booklet is the inclusion therein of five examples of Laura Hynninen’s breathtakingly vibrant visual art. These paintings share their titles with the last five pieces of the ‘Scenes from the life of a woman and her dog’. Although the connections are not that obvious….
Richard Hanlon
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Track listing
1. Ratsut (The Steeds)
Kohtauksia naisen ja koiran elämästä (Scenes from the life of a woman and her dog):
– 2. Verhon takana (Behind the curtain)
– 3. Sukeltajat (Divers)
– 4. Tuulinen päivä (A windy day)
– 5. Lala ja mama (Lala and mama)
– 6. Puutarhassa (In the garden)
– 7. Veneretki (Boat trip)
– 8. Unen läpi (Through the dream)
9. Saparo (Tail)
10. Rakkaani on (My love is…)
11. Kaislikossa (In a bed of reeds)
12. Rikkakasvit 2022 nais- ja eläinkuorolle (Weeds 2022 – for female and animal choirs)
