Presenting our musicians: Tatu Ahola
Musician interview 11.3.2024
The cellist Tatu Ahola was born in Haapavesi, a town with a more lively cultural scene than one would imagine and which was part of the reason for Ahola becoming a musician.
Name
Tatu Ahola
Instrument
Baroque cello and viola da gamba
Short presentation
I work as a freelancer with early music as well as newer music. In addition to the Baroque orchestras of the Helsinki region I have during recent years also been kept busy by among others the cello section of the Tampere Filharmonia, the Avanti! Chamber Orchestra trio, my work as the chair of the board of the festival BarokkiKuopio as well as my own solo projects.
Tell us about yourself.
I’m from Haapavesi in Northern Ostrobothnia, a town with a rich musical life which was one of the main influences on my musicianship. Only after moving to Helsinki have I begun to realise the extent and importance of the cultural offer in this small town. The festival Haapavesi Folk gathered (and still gathers) top names from folk and world music to the town every summer, and during winter the event Haapaveden Wanhan musiikin tapahtuma (in English something like Ye Olde Early Music Event in Haapavesi) have brought legends of early music like Hortus Musicus to the town to teach and perform in concerts. In my childhood home, we listened to music of different genres every day, from rock via folk music to classical music, from records, radio or played by a family member.
How did you decide on your instrument?
Originally, I applied to study piano at the local music school, Jokilaaksojen musiikkiopisto. In the application, I had also chosen the cello as my second choice, because my brother played that instrument. During that year, no new piano students were admitted, so I (fortunately!) started playing the cello.
I started studying Baroque cello somewhat by chance, when I during my last years of secondary education started considering music as a profession. On the recommendation of my sister I one day browsed the courses offered by her alma mater, the Helsinki Conservatory. To my surprise, I found out that it was possible to study Baroque cello as the main subject there. After my matriculation exam I applied and got accepted to this course, after which I continued to the Sibelius Academy for studies in the Bachelor and Master programmes.
What inspires you as a musician and also otherwise?
Things that happen in the moment and my colleagues’ skill of being present. This skill is needed both for following and for giving impulses in the moment (for example agogy and variations in dynamics), and in my opinion the certain magical aspect of live music resides precisely here. This aspect invites us again and again to inspire and get inspired.
What other art form is close to your heart?
Visual arts. During concert trips, I usually immediately head for a local art museum whenever possible!
What is your biggest musical dream?
To perform as much different music as possible with as many different musicians as possible.
What is your favourite travel destination, and why?
I’d like to think that it’s a place I haven’t yet visited. Even though I’ve travelled all over the world for work, there are still many interesting countries and cities I haven’t gotten to know.
Which kind of place do you find restful?
A restless soul like me does hardly find peace anywhere, even though my home, the sauna and nature are excellent places for calming down momentarily. For me, the most perfect manifestation of peace and rest is always a particular moment during every concert – the short and fleeting moment between the last tone of the concert and the applause of the audience, during which time seems to temporarily stand still.
How do see the impact of your work in the arts in society?
Arts and culture are a central part of the innermost essence and identity of a people. For instance, when I play Finnish folk music or European classical music, I feel that I’m keeping these important values alive in society through the tradition.
Why do you feel that it’s meaningful to play music from over 300 years ago?
Even from a young age, I was fascinated by the musical language of early music, and after I tried playing J. S. Bach’s solo cello suites on Baroque cello for the first time I was hooked. The timbre and rich overtones of the catgut strings in themselves create such a charming world that playing music by almost any composer on period instruments seems meaningful.
Choose a favourite from FiBO’s concerts in spring 2024 and tell us why.
Of the concerts this spring, I most look forward to the concerts in Hämeenlinna and Helsinki in May, with Sibelius’ violin concerto and fourth symphony on the programme. There are probably a lot of people who don’t know or don’t remember that when these works were written the orchestras used string instruments with catgut strings and somewhat different wind instruments than nowadays. I’ve played both works on modern cello in big symphony orchestras, and it will be interesting to hear what differences in interpretation we get with period instruments and a smaller orchestra.
Do you have a guilty pleasure?
I admit to being a fairly decadent gourmet. The food cultures of different countries are of great interest to me, and in addition to eating in restaurants I also enjoy cooking myself.
If you’d have to choose between running a Cooper test or baking for a party with 30 guests, which would you choose?
I already revealed my interest in cooking in my reply to the last question, so I would obviously choose baking!