Timo-Veikko Valve, affec’onately known by audiences far and wide as “Tipi”, grew up in Finland, surrounded by a family who are “musically orientated normal people”. Music lessons were a natural part of his upbringing, and at six years old, Tipi was encouraged to pick up the cello aAer a teacher at the local music school declared with considerable convic’on that “he looks just like a cellist!”. To this day, Tipi remains somewhat puzzled about what that statement actually meant. Whatever the
subtext, the teacher seems to have been correct.
Valve was appointed Principal Cello of the Australian Chamber Orchestra in 2006, and his leadership soon became an integral part of the ACO. Recognised for his natural, crea’ve, and generous musicianship, Tipi seeks to define the modern-day musician. Prior to his Australian adventure, Tipi studied at the Sibelius Academy in Helsinki before con’nuing to the Edsberg Music Ins’tute in Stockholm.
Tipi effortlessly transi’ons between modern and period instruments and describes the cello as a flexible and adap’ve partner, both in its role in an ensemble and as a soloist, across all forms of music. He reflects this versa’lity and enjoys a diverse career as a musician, curator and director, direc’ng from the cello and appearing as a soloist with many of the major orchestras across his two home countries, Finland, and Australia. Tipi is also a sought-aAer collaborator and frequently appears as a chamber musician. His ac’ve commitment to the music of our ‘mes through cura’ng and commissioning has seen him deliver world-premiere performances of mul’ple concertos and other significant works wriWen especially for him.
Currently, Tipi plays on a Brothers Ama’ cello from 1616, kindly on loan from the ACO Instrument Fund.
“His tone was so stunningly beau8ful that a single note emi;ng from his instrument communicated more than others can express in a life8me.”
Chicago Classical Music
“His technical command of the instrument allowed a wider range of dynamics, enabling him to unlock more imagina8ve possibili8es 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
BEETHOVEN Cello Sonatas
WEBERN Works for Cello and Piano
Timo-Veikko Valve – Aura Go
ABC Classic
https://snd.click/BeethovenCello
Q&A: Selby & Friends sits down for a chat with Tipi…
Where do you do most of your performing?
As the principal cello of the ACO I travel all over the world playing around 25 concerts overseas and around 100 in Australia every year. Then I take all the available time off that I can get and go back home to Finland to play even more concerts! Crazy, right?
What do you like about Selby & Friends?
I love the fact that there is chamber music everywhere in Australia, subscription series are available in most major cities around the place all year round. Back home chamber music is more concentrated to the summer festivals (a generous overload of it in a very short time period!!) Through these series Australia has developed a matured sense for the art of chamber music!
What do organisations like Selby & Friends mean for Australian musicians?
For me it means new contacts, new friends, new experiences.
How long have you known Kathy Selby? Have you played with her before?
I believe we first performed together in 2012, which means we have collaborated for a full decade already! There are a lot of unbelievable concerts and memories that fit into those ten years of playing together.
How old were you when you first started playing your instrument? Do you remember why you chose it?
Six years old, so in Finland that means a year before one starts school. Our mum had the whole family-piano-trio idea going; my sister played the violin and my brother the piano. Luckily for us all, to avoid the cliché, they both decided to pursue “real” professions.
What is your favorite aspect of being a performer in Australia?
The diversity of audiences I guess, and the diversity of the country of course as well. I love to travel and Australia is a great place to travel in.
Do you think there is enough opportunity for chamber musicians in Australia?
Let’s say that I would not complain about it.
Why chamber music? What draws you to it?
We all have our own passions, for me it is the need to be multifaceted, diverse and open to everything. Chamber music is a huge part of every musician’s life, it’s the intimacy I guess that draws us to it.
Are there any favorites, challenges or unknowns in the tour repertoire for your tour next year?
There are a few personal favorites mixed with some new acquaintances. I’m really hesitant to admit not having played the Ravel trio before… I guess there has to be a first time for everything.
Media Quotes
“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
“The movement featured tuned crystal glasses, each filled with water and bowed to ethereal effect while a cello wept in solitude, suspended from the stars in a sky blinded by battle smoke and wasted lives. It cried like an operatic scene change, revealing something in the night which can only be played but never sung, lest the voice lose itself in its own spell.” ECM Records
“Timo-Veikko Valve was the soloist in C.P.E. Bach’s A Minor Cello Concerto. Crisp articulation, especially in the fastest passages, made the whole work seem to dance on tiptoe. Valve played with energy and ingenious precision.” Canberra Times
“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
“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
“Cellist Timo-Veikko Valve gave an impressive performance of CPE Bach’s dramatic A minor Cello Concerto, particularly in the accuracy of his fast passages and the tone of his beautiful andante.” Sunday Herald Sun
