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Townsville

26/07 - 04/08/2019

Artistic Director Kathryn Stott

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2019 Festival Artists

Cello

Timo-Veikko Valve


AUSTRALIA/FINLAND

Timo-Veikko Valve is supported by Antony Strong and Rosalind Strong AM

“This is just your normal, some might say dull, description of what I have been up to in my professional life thus far. Not much else fits into the whirlwind schedule of a musician, so I am fortunate to have my friends and southern hemisphere family, old and new, all here at the ACO.” Tipi

Timo-Veikko “Tipi” Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music on both institutions.

He has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO’s 2015 season included the world premiere of an arrangement of Olli Mustonen’s Sonata for cello and chamber orchestra, commissioned by Valve and the ACO.

In 2006, Valve was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. He also curates the ACO’s chamber music series in Sydney. Tipi is a founding member of Jousia Ensemble and Jousia Quartet.

Valve plays a Hieronymus and Antonio Amati cello kindly on loan from the ACO Instrument Fund.

www.timo-veikkovalve.fi

"His tone was so stunningly beautiful that a single note emitting from his instrument
communicated more than others can express in a lifetime." Chicago Classical Music

"His technical command of a magnificent Guarneri instrument allowed a wider range of
dynamics, enabling him to unlock more imaginative possibilities from the notes on the
page...his awareness of sonority within the ambient space allowing vividly shaped phrases
to hang in the air...This was deeply expressive playing." Limelight Magazine
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