Eivind Buene
10
Schuberts norske lounge
Eivind Buerne: »Schubert Lounge«
© PR
Det er altid en stor risiko at genfortolke klassiske ikoner og trække dem ind på den moderne scene, især hvis man er en prisvindende komponist og musiker af international berømmelse som fx nordmanden Eivind Buene. Klassisk musik har, som alle genrer, sin lille kreds af purister og aficionados, der er prompte til at afvise ethvert forsøg på at flytte de statuer, de elsker, ud af deres mausolæer. Og det er præcis, hvad Buene gør med sit album Schubert Lounge.
Selve titlen annoncerer en uortodoks tilgang til det berømte tyske romantiske musikgeni: en lounge er ikke ligefrem den type rum eller arkitektonisk installation, man umiddelbart ville forbinde med Franz Schubert. Men hvad Buene peger på, er, at Schuberts musik, og specifikt hans sange, de berømte lieder sunget af Kathleen Ferrier og Dietrich Fischer-Dieskau, handler om intimitet, og at de kan høres i dag i den halvt oplyste komfort i en lounge, som de blev det i en salon med levende lys.
Der er ti sange på albummet, alle med deres titler på engelsk og uden det tilsvarende tyske navn. For eksempel »The Sea« og »Beautiful Moon«, som er (meget) kendte som »Am Meer« og »An Den Mond«. Selve sangene er oversat (eller tilpasset) til engelsk, hvilket gør hele projektet til et enestående musikalsk objekt, som totalt dekonstruerer musikhistoriens traditionelle fængselsmure.
Eivind Buenes stemme kan ikke sammenlignes med Ferriers eller Fischer-Dieskaus, og det forsøger den ikke engang. Ved at omarrangere harmonier i moderne dissonanser og erstatte nuancerne med en overraskende flad tone, og nogle gange skifte til sarte højere toner, fortæller Buene os, at klassisk musik ikke er, hvad vi antager, den er: et ubevægeligt monument, der bliver ved med at gentage sig selv. At gøre Schubert til en transnational komponist er et radikalt valg og et ret farligt valg, idet risikoen er at blive til grin, undgået eller, endnu værre, ignoreret. En norsk kunstner, der beslutter sig for at synge tyske lieder fra 1800-tallet oversat til engelsk i 2022 er ikke bare en handling, det er et radikalt manifest. Som Buene har skrevet i en artikel offentliggjort på nettet, »Musik er altid nu i det klingende øjeblik. Musik er på en måde en historie om ufærdigt arbejde.«
Og dette album beviser det absolut.
© Meseguer
»To us, music is the definitive companion. As listeners, it fosters a sense of communion, bridging the gap between souls through the shared experience of sound. As creators, however, music confronts us with our own inner void, that profound solitude that nourishes the creative spirit. At the same time, it dares us to leap into the unknown to decipher the ineffable. Music anchors us to the present moment, to the 'now' shared with a live audience; yet, it also touches the eternal.«
L'arannà is an electronic folk duo. With their last project, Turmarí, the duo dives deep into the folk music traditions of the Pityusic Islands, offering – through their blend of sound exploration– a perspective on Ibiza and Formentera. Synthesizers and keyboards share the stage with traditional instruments and aesthetics inspired by the ancestral ball pagès dance. Reviving cant redoblat (a unique form of singing from these islands preserved by fewer than twenty people) the group weaves a narrative that traces the roots and lived reality of two islands that are far more than just a dreamt-of paradise. The band will be touring around Denmark and Sweden, from 27th to 31th of May, playing at venues like Turkis, Dexter, Inkonst or ALICE.
© Ana Alexandrino
»Music to me is movement, trance, transformation. The rest I won't tell you.«
Marcela Lucatelli is a vocalist and composer. Born in Brazil and based in Denmark, she has gained international recognition for her boundary-pushing performances — sensuous, politically charged, and uncompromisingly original. Described by The Wire as a composer of »scores for the limits of bodies and voice,« Lucatelli challenges conventions with her fearless vocal experimentation and bold compositions. Her works have been performed by Danish National Symphony Orchestra, Danish National Vocal Ensemble, and Neue Vocalsolisten Stuttgart. She has appeared at major festivals and venues, including Theatro Municipal de São Paulo, DR Koncerthuset, Donaueschinger Musiktage, Darmstadt Ferienkurse, IRCAM, Copenhagen Opera Festival, Ultima Festival, Borealis Festival, Copenhagen Jazz Festival, Jazzfestival Saalfelden, Cafe Oto, A L’ARME!, DMA Jazz – Danish Music Awards, WOMEX, and many more. Lucatelli's work has earned her several prestigious awards, including the Carl Nielsen and Anne Marie Carl-Nielsen Talent Prize (2019), Pelle Prize (2021), and the Danish Music Awards' 2023 Vocal Jazz Release of the Year, which shows that vocal jazz has many faces – and does not necessarily belong only to the soft end of the spectrum.
© PR
»What is music to me? Here’s a quote from Nietzsche: ‘The people dancing all seemed crazy to the people who couldn’t hear the music.’«
Salim Washington is a saxophonist, multi-instrumentalist, composer, academic, and activist from Detroit who has been highly active on the American jazz scene since the 1970s, and also in South Africa, where he became a central figure. The spirit of John Coltrane hovers over his music, which carries both spiritual and social dimensions.
© Aske Jørgensen
»Music for us is the perfect language that we love to speak. A language where it is the individual's feelings and imagination that determine what is right and wrong. Everyone can speak the language. You don't have to be able to write or understand, but just listen. Some music requires that you listen carefully and maybe hear it several times. A bit like when you talk to someone from Norway or Sweden, you also have to listen a little extra.«
DØGNKIOSK is a Danish punk rock band with roots in Silkeborg. The band consists of bassist and singer Anders Ejner, who has been active on the Danish underground scene for several decades. Musically, DØGNKIOSK moves in a field between classic Danish punk and alternative rock. In the spring of 2026, the band will release their second album, Tæt på kanten.
© Bastian Zimmermann
It is difficult to comprehend that Andreas Engström is no longer with us. Just a couple of months ago, he wrote – as he had done so many times before – with an ambitious proposal: he wanted to review a box set of twenty releases by Dror Feiler. In the same message, he mentioned plans to come to Aarhus for the recently concluded Spor Festival.