White as a Wound

In The White Book, author Han Kang circles around grief by describing white things – such as one’s breath on a winter morning or the cloth in which a newborn is wrapped. Drawing on this poetics, Laura Bowler has created a work of the same name, which received its Danish premiere at the Royal Danish Academy of Music’s Concert Hall in Copenhagen.

Bowler evoked the same oppressive sense of untouched stillness in her exploration of the white. The soloist was Barbara Hannigan, whose voice moved through a wide range of registers, techniques, and expressions, yet each phrase remained immediate and sincere. Copenhagen Phil played with captivating attention to detail, constantly pulling the listener into the music’s »white« sonic surfaces. In particular, Bowler’s disciplined use of extended techniques (unconventional playing methods), slow glissandi, and noise-generating percussion created this sense of elevation.

Even the most brutal sounds possessed a refined and disarming fragility. One particular »creaking« sound from the percussion section moved me so deeply that I struggled to put into words the feeling it stirred in me.

My only reservation concerned the literary layer. The melodies moved too slowly through the words for a truly poetic experience to emerge. For that reason, I listened with particular interest to Bowler’s reflections in the talk that followed. There, she described how the work grew out of the overwhelming affect she experienced upon encountering The White Book. At the same time, she explained that the noise sound I had noticed was intended as an expression of longing. That was it, I thought – the word I had been searching for.