In brief

08.02.2023

Paradisisk bedjævlet kontrabas

Bára Gísladóttir: »Silva«

Sune Anderberg. © Alexander Banck-Petersen

Gennem en ond, mørk skov slæber man sig i første del af Bára Gísladóttirs farligt suggererende og luksuriøst klingende meditation for bedjævlet kontrabas, det timelange rodværk Silva (2022). Lukker man øjnene, begynder verden at bølge om en.

Dybe glidninger på strengene lyder som et uhyre i smerte, omgivet af en let dis af overtoner. Et mulmende rum, som to støjkorn løsriver sig fra, og mens dybet under dem bliver til et valsende stempel af tunge tryk, cirkler kornene synthsvirrende rundt og kaster fra den underjordiske slyngverden en line ud efter lys.

Og jo, minsandten: Mørket flænges af lysglimt. En skinnende tone sniger sig ind, mangedobles til et skurrende hyl og følges op af hæse dursignaler. Det dybe stempel sætter sig fast i en hård rille, mens Gísladóttir begynder at file rundt i et lyst register med ren instrumentklang.

Værket spjætter, søger at trænge igennem en hinde til et lysere sted. Til sidst, efter alt omkring den ensomt søgende er fortæret af en rasende ild, lander Silva i et limbo af fjerne overtoner, klange, der får lov at rinde ud.

Vi har nået overfladen, nu lyder en klar, lys drone og den fineste dæmpede støj som et svagt, men insisterende ekko af, at livet buldrer videre i underskoven. Bedre mindes jeg ikke at have hørt Bára Gísladóttir: så fokuseret og alligevel hengiven, fri; tilmed i en overrumplende optagelse, der indfanger dybets tonerigdom.

Så kan man godt finde årslisterne frem.

In brieflive

26.08.2024

Hooray! The Big Questions Are Still Alive in Opera

Copenhagen Opera Festival: Rolf Hind, Dante Micheaux and Jalal al-Din Rumi, Frederic Wake-Walker, Elaine Mitchener, James Hall, Yannis François, Loré Lixenberg a.o.: »Sky in a Small Cage«

Det Kongelige Danske Musikkonservatorium, 25.08

Jakob Gustav Winckler

If one had come to believe that new opera could only be starkly realistic portrayals of the world’s decay, Sky in a Small Cage at the Copenhagen Opera Festival would quickly prompt a rethink. The festival’s final work pointed in a completely different direction: mysticism, hope, love. All clichés, perhaps – but absolutely not in the hands of composer Rolf Hind and librettist Dante Micheaux. Together they have spun a truly astonishing opera about the Sufi poet Jalal al-Din Rumi.

It was as much the enchantment of Rumi’s poetry as the myth of the poet himself that drove the work. In fact, it was exhilaratingly difficult to distinguish between poetry and reality: the character Rumi became the object of his own grand poetic art. »It might as well be called a death: the gate you must go through to enter yourself or beloved,« sang a narrator-like figure at the outset. Love, one understood, is a self-annihilating transgression – a threshold phenomenon that at times demands its sacrifices.

This dreamlike doubleness served as a guiding principle throughout the performance. It was a pleasure to hear mysticism unfold in the music, which was phenomenally orchestrated with dripping gamelan bells and singing bowls, double harps, celebratory piano, and more pounding toms than Lars Ulrich would dare to dream of.

And what about the bird, the cage, and the idea of freedom? In Sky in a Small Cage, freedom was not a matter of opening the cage and setting the bird free. It was located in the very act of calling – in song, music, and poetry – as a reaching out toward the other in a kind of intoxication of love. Oh yes, the big questions are still alive in opera. Thank God.

English translation: Andreo Michaelo Mielczarek

Playlist

16.08.2024

My name is Carolyn Goodwin – would you like to see my playlist?

»Music has always provided me with a clear pathway on which to navigate a meaningful life. It is imbued with a set of noble intentions that have taught me important lessons: the art of giving and receiving, how to grapple with the ever-shifting forces of tension and peace, what it is to trust the people who surround you, and the ability to let go.«

The Irish-born, Denmark-based composer-musician Carolyn Goodwin is a clarinetist and saxophonist, and the founder of Copenhagen Clarinet Choir. Her compositional work is driven by a desire to explore new frontiers in ensemble playing, bringing body and movement to the forefront, and combining the freedom of improvised music with her foundation in classical music. Goodwin's 2022 release with the Copenhagen Clarinet Choir, Organism, on the År & Dag label, has been described as »cranio-sacral therapy for the ear« and »a perfect cross between intelligent and sensory music.« It is these sound and performance parameters that have inspired composers like Marcela Lucatelli, Greta Eacott, and Anders Lauge Meldgaard to compose music for Goodwin’s ensemble.

Goodwin is a member of the trio Coriolis, alongside fellow saxophonists Maria Dybbroe and Nana-Pi Aabo Kim, as well as Jason Dungan’s Blue Lake project. She is also part of the musician collective Barefoot Records.

Playlist

12.08.2024

My name is Jay Campbell – would you like to see my playlist?

»Music is limitless, and its potential for meaning is infinite. This is neither good nor bad, but simply an acknowledgement that music is one kind of expression of any given culture (with many other inputs, of which I am mostly ignorant). From that perspective, I suppose then that music is just another medium through which I try to understand another human and/or the culture that they exist(ed) in, and more deeply feel the interconnectedness of the world that we live in, that we have inherited, and that we will pass on.«

Currently the only musician ever to receive two Avery Fisher Career Grants – in 2016 as a soloist and in 2019 as a member of the JACK Quartet – cellist Jay Campbell has brought his eclectic artistic interests both as a performer and curator to the New York Philharmonic, Deutsche-Symphonie Orchester, Los Angeles Philharmonic, Seattle Symphony, Ojai Festival, Lucerne Festival and many others. Deeply committed to collaborative music, Jay is a member of the JACK Quartet, as well as the Junction Triowith violinist Stefan Jackiw and composer/pianist Conrad Tao, multidisciplinary artist collective AMOC, and frequently works with composers and performers like Helmut Lachenmann, Patricia Kopatchinskaja, Barbara Hannigan, John Zorn, Tyshawn Sorey, and many more from his own generation.

In brieflive

05.07.2024

A World of Contrasts – and a Touch of Smurf Vocals

Roskilde Festival: Slauson Malone 1

Roskilde Festival, Platform, 03.07

Sune Anderberg

The cello is everywhere at this year’s Roskilde Festival. Some use it as just about anything else – hey, now it’s an electric bass, or how about a keyboard drowned in effects – but in American Jasper Marsalis’ Marcela Lucatelli-worthy bomb project Slauson Malone 1, the cello was actually used as, well, a cello.

Marsalis himself handled vocals and electric guitar on the open Platform stage, while Nicholas Wetherell opened the concert with a motor-race assault on his amplified cello, then pivoted into plucked meditations, to which Marsalis contributed overtone playing on guitar. Sensitive jazz guys? Nope – suddenly: synchronized noise sprints, intimacy splintered, and before long Marsalis threw himself into the seated audience with a somersault – and a scream.

Meanwhile, Wetherell played tender vibratos. Because contrasts thrive at Roskilde – and, after all, seem to be driving the world forward these days. And so it was the world itself that came into focus in the music: through violent shifts between 8-bit Smurf vocals, ambient gnawing solo cello, intimate indie layered over a one-second sample of Cher – culminating in a wistful lullaby veiled in digital theremin.

In many ways, it was peak hipster era. But it was also intensely moving – something like following Mahler out on the edge of the abyss as he tried to sketch the whole world into his scores. The only difference: the easel looks a bit different today.

Playlist

12.06.2024

My name is Jussi Parikka – would you like to see my playlist?

»Music involves a mix of noise, of existing or fabricated instruments, of alternative worlds that the sounds and voices assemble. Some are gentle, some less so. We shift gears with music, it shifts intensity, we shift with it. I listen when I can.«

Jussi Parikka is a Finnish cultural historian and writer who works at Aarhus University as professor of Digital Aesthetics and Culture. After some 15 years in the UK, he continues in Denmark his work on how ecology, digital culture, art and design, and philosophy intersect. He has written on visual culture and history and archaeology of media, including the recent books Operational Images (2023) and Living Surfaces: Images, Plants, and Environments of Media (2024) which is co-authored with the Madrid-based artist Abelardo Gil-Fournier. Besides his writing and work as educator, he has been active as a curator including the recent show Climate Engines at Laboral, in Gijon (Spain) that was co-curated with Daphne Dragona as well as his involvement in the curatorial team of Helsinki Biennial 2023.