Harri Mäki


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Posted on June 21, 2014


A won­der­ful feel­ing of peace filled the Tapi­o­la Hall. It was large­ly com­ing from the clar­inet of Har­ri Mäki, who enchant­ed us with the warm beau­ty of his phras­ing. Har­ri Mäki made Mozart’s melodies sing and breathe with a plas­tic­i­ty that one could only wish for. His clarinet’s round, smooth­ly cheer­ful sound bent itself sen­si­tive­ly to nuances. Here he used the tone of the dif­fer­ent reg­is­ters of clar­inet to his supreme advantage.
Mozart’s emo­tion­al impuls­es arose spon­ta­neous­ly and when appro­pri­ate with vir­tu­oso ges­tures. Noble gen­tle­ness turned into hilar­i­ous joy­ful­ness and humour, and hap­pi­ly pul­sat­ing rhyth­mic mis­chief turned to nat­u­ral­ly serene introspection.”
Han­nu Ilari Lampila
Helsin­gin Sanomat

..He is an unique link in the chain that allows Fin­land to be called the land of clarinetists…”
Juk­ka Isopuro,
Helsin­gin Sanomat

…Har­ri Mäki’s ver­sion of Crusell’s mas­ter­piece, the Con­cer­to in f minor, was not played in the usu­al way, but rather with a chat­ty hedo­nism and hilar­i­ous vir­tu­os­i­ty, in a man­ner com­plete­ly irre­sistible. Mäki is a musi­cian of god’s grace…The man is a musi­cian sel­dom seen, with a tech­ni­cal and inter­pre­ta­tion­al capac­i­ty that is not one bit behind the world’s elite. His Crusell play­ing not only tick­les the ear, but also reflects the entire expres­sive spec­trum. Every vir­tu­oso trick you could dream of is there with all the emo­tion on this round earth, spiked with the nec­es­sary edge of unpre­dictable madness.
As in the first movement’s solo caden­za: com­plete­ly crazy, but with a lib­er­at­ing impro­vi­sa­tion­al qual­i­ty that jus­ti­fied even more insane solutions….”
Mats Liljeroos
Hufvud­stads­bladet (HBL)

…Har­ri Mäki makes music in such an intense man­ner, that as the Solo Clar­inetist of Tapi­o­la Sin­foni­et­ta he can steal the atten­tion from the actu­al soloist…Harri Mäki cre­ates a good feel­ing with his abil­i­ty to com­mu­ni­cate music with focus and presence…”
Juk­ka Isopuro
Helsin­gin Sanomat
“ Bub­bling fast runs, beau­ti­ful­ly built clar­inet episodes, spir­i­tu­al and serene pac­ing, sov­er­eign man­age­ment in the strength and colour of the sound- there you have the mate­r­i­al for an almost per­fect interpretation. “
Vak­ka-Suomen Sanomat

Tapi­o­la Sinfonietta’s solo clar­inetist Har­ri Mäki cap­ti­vat­ed the audi­ence already accord­ing the applause meter. As the soloist in the Mozart con­cer­to he seems to like music more than him­self. Not a bad cue for oth­er pro­fes­sion­al soloists… Har­ri Mäki also found the most frag­ile and extreme­ly qui­et val­ues. And then we heard that Mozart­ian moonglow.”
Lau­ri Otonkoski
Helsin­gin Sanomat
“ Har­ri Mäki’s tech­ni­cal vir­tu­os­i­ty, a broad spec­trum of tonal colours and clear deliv­ery of the musi­cal form, did not only inspire me but evi­dent­ly also the oth­er players.”
Juk­ka Lind
“ This time the role of the soloist was tak­en by the orchestra’s clar­inetist Har­ri Mäki. It was a role that this mem­ber of the artis­tic direc­tor-trio took on pow­er­ful­ly in his usu­al man­ner. In the caden­za of Crusell’s f‑minor con­cer­to there was so much pow­er that the audi­ence sit­ting in the realms of a calm clas­si­cal atmos­phere were almost falling from their seats. Just when you had fig­ured out that Mäki’s sound was not wood­en but par­tic­u­lar­ly loud and audi­ble, he intro­duced his oth­er extreme: in the sec­ond move­ment of the con­cer­to he cer­tain­ly won the Finnish nation­al record of pianis­si­mo play­ing in the clar­inet catagory.
The ron­do move­ment was a cel­e­bra­tion of vir­tu­os­i­ty, but the best part was that the vir­tu­os­i­ty was not on the fore­front, and Mäki made the wildest pas­sages clear­ly defined music. “
Mari Koppinen
Helsin­gin Sanomat

Tapi­o­la Sinfonietta’s clar­inetist Har­ri Mäki … is a won­der­ful musi­cian, who nev­er leaves a half-heart­ed effort behind. His real­i­sa­tion of the solo part was musi­cal, spon­ta­neous, and sen­ti­men­tal: in every way com­mu­nica­tive and in every way enjoyable.”
Mats Liljeroos

Har­ri Mäki, a mem­ber of the clar­inetist elite, can engage your atten­tion with short­est of pas­sages. In Sibelius’ First Sym­pho­ny he took the stage with his impro­visato­ry begin­ning solo.”
Juk­ka Isopuro
Helsin­gin Sanomat

Ser­e­nades in B flat, K361 (Gran par­ti­ta) & in D, K100
“….This new record­ing from the excel­lent wind con­tin­gent of the Tapi­o­la Sin­foni­et­ta (with a spe­cial­ly allur­ing, liq­uid-toned first clar­inet) also has a lot going for it, with vital, imag­i­na­tive phras­ing and a hap­py bal­ance between eupho­nious blend and tangy individuality.”
Richard Wigmore
BBC Music Magazine

…Mäki tells a sto­ry through his clar­inet. His beau­ti­ful sound blends into col­ors, melodies, rhyth­mic exchanges with the orches­tra, and silences….”
Bela Bianca

Clar­inetist Har­ri Mäki made an impres­sion with his great musi­cal­i­ty. He can get a warm soft sound from his instru­ment. It is limpid­ly round and sen­su­al. When his tech­ni­cal skills come for­ward, the end result is extreme­ly enjoy­able. His inter­pre­ta­tions of the pieces were dar­ing­ly colour­ful and some­times even wild.”
Jari Pitkänen
Hämeen Sanomat

Har­ri Mäki’s clar­inet was pul­sat­ing and weav­ing through at a dizzy­ing pace, final­ly arriv­ing excit­ed­ly at the cadenza’s sur­prise jumps, his clar­inet hav­ing a hide and seek with itself.”
Juk­ka Isopuro
Helsin­gin Sanomat

…Amil­care Ponchielli’s ”Il Con­veg­no” did not real­ly require any deep mus­ings from the audi­ence. Neidich’s and his equal part­ner Har­ri Mäki’s meet­ing with this joy­ous Ital­ian pot­pour­ri cre­at­ed such a hap­py atmos­phere that it snatched along not only the lis­ten­ers, but also Tapi­o­la Sin­foni­et­ta led by Han­nu Lintu….”
Olavi Kauko
Helsin­gin Sanomat (HS)

Mäki’s inter­pre­ta­tive scale is nuanced and wide and his play­ing has a Kri­ikku-like man­ner, always seem­ing­ly easy and fun. His tech­nique was work­ing per­fect­ly and became charm­ing to lis­ten to. The most astound­ing sen­sa­tions were giv­en in the charm­ing and very stream­lined Andante pastorale’s hum­ming pianissimos.”
Kirsti Vanninen

In the Fan­tasi­estücke op. 73 Clar­inetist Har­ri Mäki was on pre­cise­ly the same wave­length with Melnikov’s entranc­ing music-making.”
Juk­ka Isopuro
Helsin­gin Sanomat

Tapi­o­la Sinfonietta’s clar­inet vir­tu­oso Har­ri Mäki made the two move­ments of Mozart’s clar­inet quin­tet the high­light of the con­cert. His play­ing had joy­ous­ly bub­bling musi­cal­i­ty and noble beauty…”
Han­nu-Ilari Lampila
Helsin­gin Sanomat

…and as gild­ing on top of it all, we had Har­ri Mäki’s phe­nom­e­nal play­ing in Mozart’s clar­inet concerto…He lived the solo part with end­less­ly rich colour reg­is­ters with his whole body and its essence…Mäki is capa­ble of an unusu­al­ly warm and noble sound on his clarinet…”
Mats Liljeroos
Hufvud­stads­bladet (HBL)

…the very strong and imme­di­ate impact that the aston­ish­ing tim­bral beau­ty extract­ed by the Finnish vir­tu­oso Har­ri Mäki, that his box­wood instru­ment only reinforced…”

Alfre­do Brotons

Lev­ante (El Mer­can­til Valenciano)

…the def­i­nite­ly the best part of the evening was the per­for­mance of the Brahms Clar­inet Quin­tet. Har­ri Mäki as it’s soloist was in top form and could fill Brahm­s’s last com­po­si­tion with full spec­trum of unbe­liev­ably inter­nalised aesthetics.

Enchant­i­ng­ly beau­ti­ful clar­inet sound was com­pli­ment­ed by the string quar­tet’s first class musi­cian­ship, which was a great joy to fol­low through­out the piece”

Sep­po Kallio




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Posted on December 26, 2011

Class hav­ing some Böhm-cake after the last recital of 2011

I got myself a real web page! It is designed by Markus Kaar­to. The main pur­pose of it is to keep track of many activ­i­ties of the Sibelius Acad­e­my clar­inet department.