»Who ever said that music is ‘just’ music? To me, it is anything but that: an urge to understand and explain it all. A piece of jewelry I wear every single day. A joy that can, at times, run deep. An ever-changing imprint of millions of stitches in my heart. A longing to disappear.«
Henrik Marstal is a musician, author, and music researcher. He holds a PhD in musicology, is a senior lecturer at the Rhythmic Music Conservatory, and frequently appears in the media as an expert source on music. His areas of interest include contemporary music, such as electronic music. This winter, he will release both a new album with the pop group ibens and a book about Else Marie Pade, published by the British publishing house Bloomsbury.
Poetic Nocturnal Rummaging
Why is it that one can always recognize a lullaby? This musical archetype, circular and hushed, sung into us with mother’s milk. Composer Bent Sørensen’s solo piano cycle 12 Nocturnes is a tribute to the night’s musical cultural heritage. The nocturne – a nocturnal, lyrical composition – merges with, among other forms, lullabies and cantatas in a poetic narrative from sunset to sunrise about what is close at hand and yet unfathomable: that the sun rises, that children are born, that stars can be glimpsed through small windows on earth, that the piano can create worlds with twelve tones.
Bent Sørensen wrote the twelve short nocturnes between 2000 and 2014 for pianist (and wife) Katrine Gislinge. They have previously been released digitally. Now they appear as a studio recording paired with Piano Concerto No. 3, La sera estatica. The premiere of this “ecstatic evening” stands in contrast to the nocturnes’ simple, balanced forms. With a dramatic opening, multiple orchestral groups, and crackling storminess in the soundscapes, the dreamy nocturnal universe is ruptured by a surging ardor that unfolds in two parts, where purer melodic lines gradually take over the second – complete with a distinct (night?) bell.
Yet the piano concerto’s sovereign quality does not quite come into its own when presented as a postscript to the nocturnes’ rounded narrative. The two elements work best separately, so that the ecstatic evening for full orchestra does not puncture the magic of stars scattered blinking across the piano’s staccato attacks, or Sigrid’s nocturnal dances and lullabies. There is ample drama in the beautifully conveyed single night – for even the child Sigrid will one day no longer be sung to sleep.
»Music, to me, reflects human experience and allows us to find ourselves on an entirely existential level, beyond language. It feels like a shared realm to which we all have access. Music may be the art form that requires the least intellectual processing (although it can certainly involve that, too!). Because it consists of sound unfolding over time, we must recreate its colours and emotions within ourselves. This can happen rapidly, as if we were possessed by a force from outside. Music contains many layers of codes to which we relate in both similar and different ways. Some of these codes, such as pulse, resonate with unconscious levels within us that date back to prehistoric times. Other layers, such as familiar musical references, speak to the modern, cultivated human being. This interplay makes music uniquely stimulating! In cultural policy discourse, art is often reduced to an instrument for something else (which it certainly is and can be, too). In doing so, we forget art’s intrinsic value.«
Solveig Sørbø is a composer, music producer and artist who creates classical music and alternative pop. She composed the music for the documentary Hans pluss Liv (NRK), and a piece from the film was later performed by KORK (the Norwegian Radio Orchestra). On the occasion of the 2026 solar eclipse, she composed an orchestral work connecting Dante’s metaphysics with the physics of celestial bodies.
Solveig has previously worked in academia on innovative projects such as MusicLab (the edition featuring DSQ was named Event of the Year by DR), as well as as a radio journalist and presenter for NRK and radiOrakel. With a methodological approach to art, Solveig seeks to create music that moves people.
Her critically acclaimed opera Heroin chic, with a libretto by award-winning author Maria Kjos Fonn, premiered at the Classix Festival in Romania in 2025 and received its Norwegian premiere at Parkteatret in Oslo in February 2026. Following this, Ballade dubbed her »Music’s Klæbo«. Solveig is currently working on an opera based on Ibsen’s The Wild Duck, among other projects, and preparing a concert with the band Naturhistorisk.
»For me, music is a kind of secret path – a gateway to emotions, thoughts, and ideas that might otherwise be difficult to access. It serves as a shortcut to daydreaming and creativity – to those moments when I feel most connected to my own humanity and that of others. Through music, my own life intertwines with the artist’s, and together we create something entirely new.«
Kristoffer Møllegaard holds an MA in Russian Language and Culture from the University of Copenhagen (2017), with a specialization in future speculation within Russian art and philosophy. He writes regularly about Russian culture and, in his spare time, is active as a visual artist and amateur saxophonist. He has been a contributor to Seismograf since 2020.
»Music is like a black hole that sucks you in and shoots you out on the other side of the universe.«
Francesco Rista is a guitarist working across classical and electric guitar. His recordings have been reviewed by international music magazines and broadcast on BBC and RAI Radio 3. After studying at the Royal Danish Academy of Music and Lund University, he focused on studio recordings, exploring guitar repertoire from the Baroque and Romantic periods to contemporary music, as well as the instrument’s varied tonal possibilities. Rista is currently based in Iceland, where he teaches guitar, composes music, and collaborates with contemporary composers.