In brief

03.02.2023

Yippee ki-yay, Odense!

Steingrímur Rohloff: »Doppelgängerkonzert«

Sune Anderberg. © Alexander Banck-Petersen

»Kling, klang, klung,« lyder det omtrent, da aftenens to solister stormer ind ad en bagdør, tilsyneladende midt i et skænderi for bratscher. Ad hver sin trappe nærmer Rafaell Altino og Lawrence Power sig scenen, hvor Odense Symfoniorkester venter. Undervejs standser de op, kigger hen mod den anden, klimprer videre og stønner højt: »Åh!«

Så er vi ligesom igang med uropførelsen af Steingrímur Rohloffs koncert for to bratscher, og hurtigt får de kværulerende solister indrulleret det veloplagte orkester i skænderiet, som søger hidsigt opad i konstant transponerende cirkler. Tubaen byder ind med dybe udråbstegn, og første sats ender i et voldsomt klimaks af iltre fællesstrøg og paukehvirvler.

Langsommere går det – surprise! – i anden sats, som dog ikke kun søger i sentimental retning med besøg af klokkespil, men også gentager et Rohloff-trademark: spisepinde i stedet for buer. Strygerhavets stille kaos af strengeklik lyder, som om nogen er ved at klare opvasken.

Hvor når vi hen i sidste sats? Måske ikke til et decideret X på skattekortet, men i hvert fald forbi flere løjer: hektiske morsesignaler i messing og strygere, vuggende irsk folkemusik, en rapfodet flugtsekvens med indlagt fløjtemissil og et trefoldigt angreb fra stampende pauker.

Rohloffs odenseanske cowboyduel begejstrer publikum, og al denne sprælske tjubang er i sandhed fornøjelig. Kan man savne et akut mellemværende med samtiden? Det kan man godt, men mon ikke det kommer til maj, når samme orkester uropfører Rohloffs War Requiem.

Playlist

05.12

My name is Gintė Preisaitė – would you like to see my playlist?

Gintė Preisaitė

»Music for me is the purest transformation of any energy hiding inside. Through the sound it can become anything we need. It is a form of a bond and connection, it's subtle and it is direct at the same time. For me it was always the biggest exploration machine I could learn about myself, people and environments.«

Gintė Preisaitė is a Lithuanian artist based in Copenhagen who works across piano, electronics, composition and improvisation. Classically trained, she has moved steadily toward electronics, noise, free improvisation and jazz, performing in numerous constellations in recent years.

Working with prepared acoustic instruments, electronics and tape, she bridges her classical background with contemporary sonic experimentation. Through shifting timbres, textures, collaged melodies and percussive figures, she seeks to push acoustic and electronic sound into a space that feels both personal and deeply connected.

Last year she released the EP Spring Mass under the name Baraboro, followed this September by Kaiko, her trio release with Amalie Dahl and Jan Philipp Treen. She is currently developing a new project under her own name for release next year. Gintė performs widely as both a solo artist and a member of various ensembles in Copenhagen and abroad.

In brieflive

05.12

Anna von Hausswolff: The Path to the Organ’s Modern Resurrection

Klara Lewis, Anna von Hausswolff

Vega, 04.12

Martin Funder

The organ, one of Christianity’s most powerful liturgical markers, runs like a red thread through Swedish artist Anna von Hausswolff’s work. But on her latest album Iconoclasts, the long, piercing drones are toned down in favour of a sharper, driving energy. It was an energy that came through strongly at Hausswolff’s concert in Vega last night, where she was, as usual, joined by a large band. The evening opened with Swedish noise musician Klara Lewis, whose mumbling cassette-loop textures set a brutally atmospheric tone from the start.

Hausswolff’s band was this time expanded with saxophone and percussion, both central on Iconoclasts and both contributing to the slight eurodance tinge that colours several tracks. Unfortunately, the saxophone was at times swallowed by the dense soundscape. Fortunately, Hausswolff’s radiant voice cut through clearly. So did the small organetto – a kind of bellows-driven organ with long pipes. It stood like a totem at the centre of the stage and was almost embraced by Hausswolff whenever she played it. A piece like »The Whole Woman« (a waltzing duet with Iggy Pop on the album) became, in concert, a touching love ode, carried by the organ’s gentle breath as its pulse.

In recent years, a number of musicians have used the organ’s distinctive resonances to wrest it free from the weight of Christian liturgy, giving the instrument an almost iconoclastic status. Despite a slightly muddy sound mix, Hausswolff’s concert was a clear example of this contrast – still deeply rooted in ecclesiastical connotations, yet now an accomplice in large-scale modern productions and a central instrument on major stages.

English translation: Andreo Michaelo Mielczarek

Playlist

04.12

My name is Jørgen Teller – would you like to see my playlist?

»Music, to me, is … the silence that gropes – like yourself – across a black canvas.
In moments, a hissing emerges.
Nuts are cracked.«

Jørgen Teller has a long career as an electric guitarist, vocalist, electronic musician, and performer. He has released records solo as Static Teller and with Jørgen Teller & The Empty Stairs, Kaptajn Ørentvist … He frequently collaborates with local and international musicians.

Playlist

25.11

My name is Kristoffer Raasted – would you like to see my playlist?

»For me, music is a non-figurative process that cannot be definitively categorised.«

Kristoffer Raasted graduated as a visual artist from the Media School at the Royal Danish Academy of Fine Arts in 2018 and is currently completing a PhD in practice-based and artistic research. Raasted has been an artist in residence at the Danish Institute in Rome and a visiting researcher at UdK Sound Studies in Berlin as part of his PhD.

Playlist

24.11

My name is Iain Forbes – would you like to see my playlist?

»When I search for new music, I search for sound that evokes images in my mind. It is fuel, a gateway to emotion, and my most important writing companion. When inspiration lapses, music is the tool that always jumpstarts it.«

Iain Forbes is a Scottish/Norwegian film director based in Oslo. He has studied film directing at Nordland College of Art and Film and the Norwegian Film School. His graduation film Revisited won a Student Academy Award in 2023. He has previously directed short films such as Snowman (2015) and Semper Fi (2017). His latest short After Dark won Best International Short Film at the Oscar-qualifying Foyle Film Festival in 2024