in briefrelease
28.05

A Violinist with Fire in His Bow

Darragh Morgan, Ulster Orchestra & David Brophy: »Spin – New music for Violin & Orchestra from Northern Ireland«
© Brian Morrison
© Brian Morrison

There is nothing quite like true enthusiasts. They champion composers and works that might otherwise have remained dormant. Here we have the exuberant violinist Darragh Morgan, who since the age of fifteen (!) has promoted and performed contemporary music. He knows what works and has a keen instinct for new pieces and composers – especially on this album with the not exactly catchy title Spin – New Music for Violin & Orchestra from Northern Ireland. Four relatively recent violin concertos, all centred around Morgan as soloist. Two of them are dedicated to the musical firebrand himself.

There is fire in Brian Irvine’s violin concerto À mon seul désir from the very beginning, where sparkling motifs and riffs erupt everywhere. Almost too much energy and activity – but it works, and all the fierce gestures are carefully balanced. The movement is titled »With a big life embracing energy«. Concrete and descriptive – the Irish leave the grand spheres of abstraction to the contemporary music scene in Central Europe. I have replayed the dramatic climax of the second movement several times out of sheer enthusiasm, and the entire concerto (which lasts only fifteen minutes) ends with angelic beauty on Morgan’s highest, finest strings.

Ryan Molloy’s three-movement violin concerto, stretching beyond twenty minutes, by contrast tends to drift somewhat aimlessly, although the final movement reaches a strong level. Bill Campbell’s Swim is unmistakably Irish in tone throughout, conjuring images of rolling fields and the proud Irish landscape. Midway through the quarter-hour work, Darragh Morgan delivers a heartfelt and expansive solo cadenza. 

Fortunately, Frank Lyons’s Spin 3 is also a small gem, leaving the listener uplifted by this new Northern Irish music performed by the Ulster Orchestra and the fascinating Darragh Morgan, whose deep personal dedication gives so much to the music.

English translation: Andreo Michaelo Mielczarek

 

© PR

»For me, music is the art form that – if measured in hours and minutes – occupies by far the greatest part of my life. I cannot sing, nor can I play an instrument, but I can listen – as a happy amateur – while cycling, on the dance floor, and, above all, at the office. I almost always work – that is, write – to music.« 

Mikkel Krause Frantzen (b. 1983) is an associate professor at the Department of Arts and Cultural Studies, a literary critic for Politiken, and the author of several books in English and Danish, such as En fremtid uden Fremtid (2018), Klodens Fald (2021), and Slutspil (2024).

© Mads Nissen
»Music is what gets my gears turning. It sets both my body and mind in motion – and on a good day, even gets them up to speed. My listening habits are entirely shaped by my mood... and by the musical tastes of my two children, which shift every eight minutes... so the home stereo gets exposed to a bit of everything. In a way, that’s exactly how it should be. Room for everything and everyone.«
 
David Dyrholm (b. 1990) is a food and music critic for Politiken, focusing on jazz – ranging from the traditional to the modern—and avant-garde music. Alongside this, he has worked for the Modern Jazz Days festival, served on the jury for the DMA Jazz awards, and previously released a number of records with the hip-hop collective DoktorDoktor.
in briefrelease
25.09

An Organ in the Dark Forest of Doubt

Calum Builder: »Although Changed, I Arise the Same«
© PR
© PR

Last year, Builder released Poor_in_Spirit, an album in which he explored, on his own, the sonic possibilities of his self-built organ. It was an album shaped by this exploration, but ultimately also by the limitations of the organ itself. On Although Changed, I Arise the Same, the composer finds a way beyond them.

The organ is now joined by three additions: Builder’s own alto saxophone, along with the voices of Zola Mennenöh and Johanna Sulkunen. It makes all the difference, providing the diversity of instrumentation that Builder has repeatedly demonstrated his ability to compose for. At times, the organ’s bass sinks beneath the voices and saxophone like a light haze; at others, it envelops them in a heavy fog. It howls like wind in the trees and roars like a train in the night. Mennenöh and Sulkunen sing, chant and breathe simple, repetitive phrases about spiritual uncertainty and searching, as though lost in the dark forest of doubt.

It is a Spartan form of storytelling, giving the listener enough lyricism and atmosphere to set the mind in motion, but never so much that it becomes overwhelming. This is where Builder’s strength lies: his music clearly grows out of his life and experiences, yet he composes in such a way that the listener is invited to enter the story with their own imagination.

Builder determines the colours, but leaves part of the picture to the listener. It is an album that is far more restrained in its dramaturgy than previous releases. No less beautiful or inspiring for it.

English translation: Andreo Michaelo Mielczarek

© PR

»For us, music is a transcendent force with transformative potential – something we get to experience and shape when we create sound together. It is an opportunity to describe one’s innermost universes without words, and the best way for an introvert to express intense emotions at full volume.« 

With roots in Copenhagen’s experimental jazz and punk scene, Echo, Bravo challenges the notion of what a rock band can sound like. The quintet blends post-punk, free punk, and noise rock into a raw and unpredictable soundscape. They describe the music themselves as a kind of »empty-the-fridge soup,« where various leftovers come together. »Best enjoyed as a hot meal in a cold industry.«

 
 
© Ultima
© Ultima

Thorbjørn Tønder Hansen has died. With Thorbjørn’s passing, the art music community has lost one of the Nordic region’s most significant producers, curators and cultural leaders.