REVIEWS

"Both sides of the fire symbolism – passionate life force and complete destruction – are convincingly present in Blaze of the Earth. The composition also opens up in many directions: listener can approach it both as a picture of the times and as an intimate monologue.” 

 

(Nuppu Koivisto-Kaasik, Helsingin Sanomat, March 15, 2024)

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”Ilkka Hammo's orchestral treatment is as purposive as it is virtuosic. He moves among the various instrument groups like a fish in water. [- -] Dramatically formulated passages gain their strength from an indomitable energy [- -]. Finally, according to the client's wishes, Hammo has designed grateful soloistic parts. [- -] All meaningfully integrated and deliciously executed as a whole.”

 

(Mats Liljeroos, Hufvudstadsbladet, March 14, 2024)

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"I haven't encountered a new work as impressive as Ilkka Hammo’s Spring Flames in ages. [- -] The work flows like a clear thought, the use of orchestra is natural and the means of expression keep the interest up. [- -] The piece has quite extraordinary beauty for contemporary music, which however does not emerge with neo-romantic gestures, but through balance, simplicity and hopefulness. [- -] Concluding a work is its own art form. Spring Flames ends at the very moment when what needs to be said is said. Subtly and wisely.”

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(Harri Hautala, Aamulehti, January 20, 2024)

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”The Friday concert of Tampere Philharmonic Orchestra was opened by Ilkka Hammo’s touching and complex orchestral work Spring Flames. The lively beginning of Hammo’s work was full of energy, flitting strings, strong brass, transparent flutes and insightful use of percussion instruments. [- -] The use of the orchestra was versatile and perceptive in all parts of the composition, which contains large lines and fine details.” 

 

(Kikka Holmberg, Kulttuuritoimitus, January 20, 2024)

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“Ilkka Hammo's melodic, harmonious and rhythmic language has at the same time the stability of contemporary classical music as well as the sensitivity, rhythmic thinking and flow of jazz. As a composer, he is comfortable with smaller chamber music groups as well as large ensembles. Hammo has an outstanding command of instrumental colors, timbres and textures and creates an arc of drama. Last but not least, he creates an emotional link to the listener. This is music that not only touches my soul but also makes me curious.”

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(Ed Partyka, umohelsinki.fi , September 24, 2020)

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“On the Horizon proved to be a cornucopia of fascinating textures as well as energetic passages and mysterious turns. It progressed confidently towards the condensation of information into the motive of four notes and eventually into a merger like a line on the horizon. Magnus Lindberg influences could be spotted towards the end, but his own personality was also found. Hammo writes to instruments naturally - but not with cliché - and balances everything skillfully. It is good to continue from this. ”

 

(Vesa Sirén, Helsingin Sanomat, September 29, 2019)

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”Och vilken debut sedan! Hammo tycks född till att komponera för orkester och han instrumenterar som en rutinerad mästare. Enligt tonsättaren kan stycket liknas vid en resa, ett narrativ utan konkret program. Nå, vilket icke-programmatiskt verk kan väl den definitionen inte appliceras på, men visst uppvisar de musikaliska horisonterna uppenbart måleriska, stundtals snudd på filmatiska, kvaliterer som osökt sätter fantasin i rörelse. 

 

Hammos tonspråk är, föga överraskande, utpräglat eklektiskt. Influenser från diverse håll - själv kommer jar på mig med att dra paralleller till bland annat Sebastian Fagerlund - samsas mödolöst till en syntes, som är lättillgänglig utan bli banal på ett sätt som bra temporärt känns aningen onödigt trendmedvetet. 

 

Vissa idéer hade i och för sig hållit för ytterligare utveckling - inte minst det alldeles mot slutet framträdande trumpettemat, som kunde ha förlänats en mer utpräglad deus ex machina-roll - men knappa tolv minuter är trots allt en begränsad duration och Hammo lyckas ändå hålla ihop helheten på ett dramaturgiskt klart tillfredsställande sätt. Den relativa opersonlighet, som ännu ställvis skiner ige nom har man gärna överseende med när uttrycket förefaller angeläget och i det stora hela gediget formulerat.”

 

(Mats Liljeroos, Hufvudstadsbladet, September 29, 2019)

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“In Ilkka Hammo’s Melting Crystals, on the other hand, the glow of late Romanticism is combined with a current theme, climate change. The strength of Hammo's work lies in its glorious orchestration, in which the composer has effortlessly implanted various gestures related to melting.”

 

(Harri Hautala, Aamulehti, August 28, 2017)