Den danske musiker/komponist Mads Emil Nielsen og hans pladeselskab arbitrary præsenterer den tredje af en række arrangementer i KoncertKirken, hvor elektroniske koncerter kombineres med kollektive lyttesessions.

Elektronisk musik egner sig ikke altid til koncertformatets præmis om en live-situation, hvor man ser nogen spille, mens man ser på og lytter. Elektroniske koncerter er ganske enkelt ikke altid så spændende at se på. Hvor mange koncerter kan man ikke komme i tanke om, hvor den visuelle del af seancen nærmest trækker fra den samlede oplevelse, fordi der ganske enkelt ikke er noget nævneværdigt at se på – måske blot en stillesiddende skikkelse med en maskine foran sig. Man får fantastisk musik at høre, og man får den sågar i en koncertsal med flot forstærkning og de helt rigtige akustiske forhold, men man er egentlig ikke så interesseret i det faktum, at afsenderen af musikken er til stede i rummet. Det er lytteoplevelsen, der er det interessante og givende.

Lige netop det forhold imødekommer arrangementsrækken Live + Listening Room, der parrer en kollektiv lytning af et stykke elektronisk musik med en visuelt spændende elektronisk koncert, således at de to situationer understreger dét, de hver især kan, supplerer hinanden og imødekommer førnævnte præmis; den lydligt rige elektroniske musik præsenteres under de bedste lytteforhold uden koncertsituationens konventioner og forventninger tilstede til potentielt at undergrave den.

Til det tredje arrangement i rækken kan man opleve tyske Andrew Pekler, der arbejder med digital sampling og analog syntese, når han hiver fundne lyde og arkivmateriale ind i nye sammenhænge. Indholdet af den kollektive lyttesession er stadig en hemmelighed.

Hvad? arbitrary Live + Listening Room #3 w/ Andrew Pekler (DE)
Hvor? KoncertKirken, Blågårds Plads 6A, København N
Hvornår? Torsdag den 14. december kl. 19:30

Læs i øvrigt Seismografs interview med Mads Emil Nielsen fra 2016.

© 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.

© PR

»Music is the best way to discover myself and understand the world around me.«

Luca Quintavalle is a harpsichordist, fortepianist and conductor. He has performed with ensembles including Concerto Köln, Harmonie Universelle, the Mozarteum Orchestra Salzburg and the Kölner Kammerorchester at venues and festivals such as the Kölner Philharmonie, Salzburg Festival and Enescu Festival. He was harpsichordist of Les Musiciens du Prince, led by Cecilia Bartoli, for over five years, and has conducted ensembles including the Orchestra and Chorus of Teatro dell’Opera di Roma, Concerto Köln and Deutsche Kammerakademie Neuss. His recordings include Mirrors, released by Berlin Classics and awarded an OPUS KLASSIK.

in brieflive
21.09

The Trombone Finds Its Quiet Side

Francisco Coll: »Tapias«
© PR
© PR

At 19, the Spanish composer (and trombonist) Francisco Coll wrote a wild-child of a trombone concerto that pushed the instrument out of its comfort zone. 22 years later he has created a new piece from some of that material. Its priorities are the opposite.

Tapias embraces the lyrical, ethereal qualities of the trombone. It is not a concerto, insists Coll. Perhaps it could be described as a set of frescoes for trombone and orchestra. Whatever the category, it’s a beguiling piece that was gorgeously birthed on Thursday by Ian Bousfield, conductor Nuno Coelho and a sumptuous-sounding Stavanger Symphony Orchestra.

Composers from Sibelius to Turnage have reacted against caricatures of the trombone as brusque and clowning by exploring its dark-hued lyricism. Coll does something more, setting his soloist’s introspective, intervallic melodies in evocative and provocative orchestral contexts. The soloist’s lines can resemble spray-canned tracings on walls already heavy with the patina of history, decoration and graffiti.

Initially the trombone appears to seek repose. The second movement draws it into more agility but the dancing is suppressed: a layered burying of all manner of rhythms from flamenco to Hiphop. Great wodges of rich harmony weigh the boogying down for good. 

The trombone does find peace in the final movement – its long, soulful melodies more yielding. But not before Coll has conjured up moments of huge harmonic strain and conscious orchestral magnificence. They sat well next to Coelho’s fierce performance of Shostakovich’s Symphony No 5 after the interval. But Bousfield’s heartfelt journey through Tapias, sounding entirely at one with the orchestra, will linger longest in the mind. 

© Clara Linn & Amalie Lee Bjørn

»For us, music is a passion, a livelihood, and a focal point for us and our best friends in the band.«

Barselona consists of Rud Aslak and Rasmus Theodor. The band was formed in 2016 after a year at Ollerup Musikefterskole and has since released five albums and two EPs, most recently the album *Tag Min Hånd, Så Slipper Vi*, which is set for release in September 2026.