Thursday 25th of May, 8:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

Falling Awake (WORLD PREMIERE)

Opera by Lasse Schwanenflügel Piasecki


Foto: Lasse Schwanenflügel Piasecki


What happens when she no longer says what she is supposed to say? When she no longer follows the story? “In an opera, the libretto is a form for authoritarian protocol, because they dictate the character’s lives and fate, and nothing can be done to escape what I have written” says the composer who has written the libretto. “They are not aware that they are roles written into a story. Their reality is a construction”. As in the TV-series Westworld, one of the actors wake up and senses that her reality might not be the reality. Perhaps there are more, perhaps her life is a dream, or the dream is the real life. The consequence is, that she no longer wants to sing along with the story. “She chooses to rebel against the libretto, against the words I have written for her. The words are becoming more and more difficult for her to sing, and in the end, she refuses to sing along in the opera.” But if the composer/librettist has decided, that the characters should rebel then…? Is it rebellion? Is it real? Is the refusal a confirmation of the state of things, or of the impossibility of the unreal?
Lasse Schwanenflügel Piasecki says, that this opera is also about being critical towards the narrative which one is being served with. To consider if the reality one reacts to is manipulated, if what we are being fed on social medias, in newspapers and so on, is the real reality. “can one relate an objective reality, or is it a manipulated one. It has to do with keeping oneself orientated”.
In the concertino Gemmer mig for Rosetta for the clarinet and ensemble (world premiere at KLANG 2014) the composer revolves on the impossibility of expressing oneself precisely, as he puts a bassoon player to play the solo on clarinet. The expression becomes intensively musical and strongly hesitantly: the musical mastery is present, but the technical (in)ability hinder the clear expression. What is left is the poetry of powerlessness. In Falling Awake it is not impotence which stands in the way of expression, but unwillingness. The unwillingness to participate on premises given by others. And this is when the opening to find one’s own expression, on one’s own terms suddenly appear.

Falling Awake contain violence, sex and racist labguage. The show is:

Forbidden for children under 16

 

Program

Lasse Schwanenflügel Piasecki:
Falling Awake (2017)
World Premiere

Scenography: Jannie Rask de Vitt
Choreography Marie Brolin-Tani

Ensemble: Lydenskab with guests
Conductor: Jakob Hultberg

Cast:
Morten Grove Frandsen – Countertenor
Ellen Kristiansen – soprano
Sara Fusager – actress
Astrid Kjær – puppeteer
Zhang Xin – Famous singer and teen idol

Thursday 25th of May, 9:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

SNYK Talks

KLANG meets the artist of the day

 

Meet the artists up close when KLANG meets the artist of the day. An informal conversation about life, music and everything inbetween.

Program

KLANG meets with Lasse Schwanenflügel Piasecki

 

SNYK Talks are supported by:

Friday 26th of May, 8:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

Falling Awake

Opera by Lasse Schwanenflügel Piasecki


Foto: Lasse Schwanenflügel Piasecki


What happens when she no longer says what she is supposed to say? When she no longer follows the story? “In an opera, the libretto is a form for authoritarian protocol, because they dictate the character’s lives and fate, and nothing can be done to escape what I have written” says the composer who has written the libretto. “They are not aware that they are roles written into a story. Their reality is a construction”. As in the TV-series Westworld, one of the actors wake up and senses that her reality might not be the reality. Perhaps there are more, perhaps her life is a dream, or the dream is the real life. The consequence is, that she no longer wants to sing along with the story. “She chooses to rebel against the libretto, against the words I have written for her. The words are becoming more and more difficult for her to sing, and in the end, she refuses to sing along in the opera.” But if the composer/librettist has decided, that the characters should rebel then…? Is it rebellion? Is it real? Is the refusal a confirmation of the state of things, or of the impossibility of the unreal?
Lasse Schwanenflügel Piasecki says, that this opera is also about being critical towards the narrative which one is being served with. To consider if the reality one reacts to is manipulated, if what we are being fed on social medias, in newspapers and so on, is the real reality. “can one relate an objective reality, or is it a manipulated one. It has to do with keeping oneself orientated”.
In the concertino Gemmer mig for Rosetta for the clarinet and ensemble (world premiere at KLANG 2014) the composer revolves on the impossibility of expressing oneself precisely, as he puts a bassoon player to play the solo on clarinet. The expression becomes intensively musical and strongly hesitantly: the musical mastery is present, but the technical (in)ability hinder the clear expression. What is left is the poetry of powerlessness. In Falling Awake it is not impotence which stands in the way of expression, but unwillingness. The unwillingness to participate on premises given by others. And this is when the opening to find one’s own expression, on one’s own terms suddenly appear.


Falling Awake contain violence, sex and racist labguage. The show is:

Forbidden for children under 16

Program

Lasse Schwanenflügel Piasecki:
Falling Awake (2017)

Scenography: Jannie Rask de Vitt
Choreography Marie Brolin-Tani

Ensemble: Lydenskab with guests
Conductor: Jakob Hultberg

Cast:
Morten Grove Frandsen – Countertenor
Ellen Kristiansen – soprano
Sara Fusager – actress
Astrid Kjær – puppeteer
Zhang Xin – Famous singer and teen idol

Saturday 27th of May, 5:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

Falling Awake

Opera by Lasse Schwanenflügel Piasecki


Foto: Lasse Schwanenflügel Piasecki


What happens when she no longer says what she is supposed to say? When she no longer follows the story? “In an opera, the libretto is a form for authoritarian protocol, because they dictate the character’s lives and fate, and nothing can be done to escape what I have written” says the composer who has written the libretto. “They are not aware that they are roles written into a story. Their reality is a construction”. As in the TV-series Westworld, one of the actors wake up and senses that her reality might not be the reality. Perhaps there are more, perhaps her life is a dream, or the dream is the real life. The consequence is, that she no longer wants to sing along with the story. “She chooses to rebel against the libretto, against the words I have written for her. The words are becoming more and more difficult for her to sing, and in the end, she refuses to sing along in the opera.” But if the composer/librettist has decided, that the characters should rebel then…? Is it rebellion? Is it real? Is the refusal a confirmation of the state of things, or of the impossibility of the unreal?
Lasse Schwanenflügel Piasecki says, that this opera is also about being critical towards the narrative which one is being served with. To consider if the reality one reacts to is manipulated, if what we are being fed on social medias, in newspapers and so on, is the real reality. “can one relate an objective reality, or is it a manipulated one. It has to do with keeping oneself orientated”.
In the concertino Gemmer mig for Rosetta for the clarinet and ensemble (world premiere at KLANG 2014) the composer revolves on the impossibility of expressing oneself precisely, as he puts a bassoon player to play the solo on clarinet. The expression becomes intensively musical and strongly hesitantly: the musical mastery is present, but the technical (in)ability hinder the clear expression. What is left is the poetry of powerlessness. In Falling Awake it is not impotence which stands in the way of expression, but unwillingness. The unwillingness to participate on premises given by others. And this is when the opening to find one’s own expression, on one’s own terms suddenly appear.


Falling Awake contain violence, sex and racist labguage. The show is:

Forbidden for children under 16

Program

Lasse Schwanenflügel Piasecki:
Falling Awake (2017)

Scenography: Jannie Rask de Vitt
Choreography Marie Brolin-Tani

Ensemble: Lydenskab with guests
Conductor: Jakob Hultberg

Cast:
Morten Grove Frandsen – Countertenor
Ellen Kristiansen – soprano
Sara Fusager – actress
Astrid Kjær – puppeteer
Zhang Xin – Famous singer and teen idol

Saturday 27th of May, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Debut | Allan Gravgaard Madsen

Jack String Quartet (US) and Mathias Kjøller


Foto: Kari Overgaard Winther


A debut is when an artist performs publicly for the first time. A debut concert is the final concert from a music education institution. One of the definitions in the Danish dictionary is: The first time someone does a certain thing. Though this is not the first time that Allan Gravgaard-Madsen’s music is being played publicly, but it is his debut concert, and it is the first time he has worked with music the way he is doing at this concert.


The concert consists of an hour-long piece, played by the Jack Quartet and the clarinettist Mathias Kjøller. To write such a long piece is new for the composer, and on top of this he will – quite unusually – be playing a part in the performance of the concert himself. In addition, he will be disclosing the creation process itself. “Generally, my composition process is private, because it is a really vulnerable situation which arises when an idea is assembled into a finished product - a work. First I need to determine with myself if my idea is at all good enough. And here I’m not just talking about the purely low-practical craft appropriate aspect of a task I have been given (by myself or others). But also, if I, as an artist, can live with the idea”.


Vulnerability, openness, new-ness. Allan Gravgaard-Madsen takes the word Debut serious. Debut is also the title for his work, and the work is the entire concert.

 

Program

Allan Gravgaard Madsen:
Debut (2017)

 

DEBUT is supported by from Danish Composers' Society/KODAs Cultural Funds, Toyota Fonden, Det Jyske Musikkonservatorium, KLANG Festival, SNYK og Aarhus Kommunes Musikudvalg.

Saturday 27th of May, 9:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SNYK Talks

KLANG meets the artist of the day

 

Meet the artists up close when KLANG meets the artist of the day. An informal conversation about life, music and everything inbetween.

Program

Torben Sangild meets with the composer Allan Gravgaard Madsen


SNYK Talks are sponsered by:

Saturday 27th of May, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Jack String Quartet (US)

American music from the 1950's and the present


Foto: Shervin Lainez


A concert with American Music from the 1950’s and from now. A vehement energy and quiet rush of a series of the US’s foremost composers from different generations.

The Remedy of Fortune is composed for Jack Quartet by John Zorn. The music is inspired by medieval music and in particularly by music by Guilaume de Machaut. The music is not typical John Zorn:  High energy and varied, but not with the same cartoon swirling fractures as some of his early works. Mouthpiece XXII by Erin Gee were composed for the Arditti Quartet’s 40’s anniversary. The music is a long row of independent thoughts, which follow each other like monolithic blocs. Though, the borders between the blocs are liquid, says the composer. Characteristic blocs of sound that follows linearly after one another is admittedly the immediate experience when one listens to Morton Feldmans Structures. The short quartet must constantly be played as weak as possible, but despite the weak sound level the music is teeming full of figures and events which stands clear and strong. Cenk Ergün’s Sonare finishes the program with a work, which turns up the energy level completely. Sonare is written for Jack Quartet and they unfold like the sound of a bunch of fumigating insects in the beginning of the work. Mid way something happens with the energy. It does not disappear, but becomes minimised to a pure whisper and the music unfolds in the two energetic extremes.

 

Program

John Zorn (US):
The Remedy of Fortune (2014)

Erin Gee (US):
Mouthpiece XXII (2014)

Morton Feldman (US):
Structures (1951)

Cenk Ergün (US):
Sonare (2016)

Sunday 28th of May, 2:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

Falling Awake

Opera by Lasse Schwanenflügel Piasecki


Foto: Lasse Schwanenflügel Piasecki


What happens when she no longer says what she is supposed to say? When she no longer follows the story? “In an opera, the libretto is a form for authoritarian protocol, because they dictate the character’s lives and fate, and nothing can be done to escape what I have written” says the composer who has written the libretto. “They are not aware that they are roles written into a story. Their reality is a construction”. As in the TV-series Westworld, one of the actors wake up and senses that her reality might not be the reality. Perhaps there are more, perhaps her life is a dream, or the dream is the real life. The consequence is, that she no longer wants to sing along with the story. “She chooses to rebel against the libretto, against the words I have written for her. The words are becoming more and more difficult for her to sing, and in the end, she refuses to sing along in the opera.” But if the composer/librettist has decided, that the characters should rebel then…? Is it rebellion? Is it real? Is the refusal a confirmation of the state of things, or of the impossibility of the unreal?
Lasse Schwanenflügel Piasecki says, that this opera is also about being critical towards the narrative which one is being served with. To consider if the reality one reacts to is manipulated, if what we are being fed on social medias, in newspapers and so on, is the real reality. “can one relate an objective reality, or is it a manipulated one. It has to do with keeping oneself orientated”.
In the concertino Gemmer mig for Rosetta for the clarinet and ensemble (world premiere at KLANG 2014) the composer revolves on the impossibility of expressing oneself precisely, as he puts a bassoon player to play the solo on clarinet. The expression becomes intensively musical and strongly hesitantly: the musical mastery is present, but the technical (in)ability hinder the clear expression. What is left is the poetry of powerlessness. In Falling Awake it is not impotence which stands in the way of expression, but unwillingness. The unwillingness to participate on premises given by others. And this is when the opening to find one’s own expression, on one’s own terms suddenly appear.


Certain scenes can be considered offensive and is therefore not recommended to children under 16 years.

Program

Lasse Schwanenflügel Piasecki:
Falling Awake (2017)

Scenography: Jannie Rask de Vitt
Choreography Marie Brolin-Tani

Ensemble: Lydenskab with guests
Conductor: Jakob Hultberg

Cast:
Morten Grove Frandsen – Countertenor
Ellen Kristiansen – soprano
Sara Fusager – actress
Astrid Kjær – puppeteer
Zhang Xin – Famous singer and teen idol

Sunday 28th of May, 5:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Esbjerg Ensemble

The classic workshop moves to Copenhagen



Conductor: Rei Munakata (JP/SE)

What do you do when your father shows up in a brand new shiny dark blue Suzuki Baleno that you know there is no way he could have afforded and you're eight?
The text above is Bara Gisladottir’s own note to the program for Suzuki Baleno II, one of the six works which this year is a part of Esbjerg Ensemble’s Composer-Workshop. Every year young composers gets the opportunity to collaborate with the endowed musicians in the ensemble and thereby gets to sharpen their compositional tools. “Writing for living musicians and their instruments is a craft as much as it is an art form – and on the other hand, those ensembles who won’t be given new material every now and then will die”. The workshop is therefore a welcome annual confrontation, says the Esbjerg Ensemble’s leader Katrine Ganer Skaug.

  “THREE idylls are work related to the Arcadian Renaissance painting. The two outer carefree movements (respectively shepherd music and falconry) contrasts strongly with a tomb rate, inspired by Rilke’s poem of the same name,” Matias Vestergård Hansen says off his workshop-piece.
Great composers took their first baby steps at Esbjerg Ensemble yearly workshop, and this year it will be the composition teachers from the music conservatoires in Copenhagen, and Aarhus, which have suggested the composers. Aside from the fact that the composers have a close relation to the educational institutions, there are not many similarities between the chosen composers and their music.

"The title is an encryption I work with in the various parameters of the work which is in three movements. I do not believe in an immediate perception of these, but it means something to me for various personal reasons," says Daniel Fladmose about the work II.V.I

Line Tjørnhøj came from a background on the sea and as a nurse before the music took over, Eric Sutherland is American, who amongst other things has composed music for film, Marta Sniady is born and educated in Poland, and often works with Electronics and electro-acoustic, and finally Finnue Krlsson is on the program with the work Dendrochronology (definition of time by the aid of annual rings). Karlsson is from Island – like Gisladottir – and lives in Copenhagen. A workshop with composers from four countries, all with a connection to Denmark.

Program

Marta Sniady (PL):
admix+

Finnur Karlsson (IS):
Dendrochronology

Daniel Fladmose:
II.V.I

Matias Vestergård Hansen:
THREE IDYLLS - I. Pifa II. Hetärengräber
 III. Caccia

Line Tjørnhøj:
Flabbiness

Eric Sutherland (US):
Elemental

Bara Gisladottir (IS):
Suzuki Baleno II

Sanger: Kate Curran

Sunday 28th of May, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Copenhagen Piano Quartet

Young, emerging piano quartet


Foto: Thomas Rockall Muus


A classic chamber music concert with works by 3 young Danish composers. Rune Glerup’s music is – also in the works in this program – full of contrast and edge. But the musical material hangs together in a way, which means that even in the great dynamic jumps, there is a relation between the contrasting parts. This gives a characteristic cohesion and energy in the final expression.
Schattenkinder is based on music that Martin Stauning has written before: “But not like a copy-composition or arrangement; but more like self-quoting and imitating movements which never took part in a “whole” piece before.” The earlier works regain new life, and gets to enter the spotlight. “There are shadows (more or less defined and clear) of ideas, motives and terms which I have worked with for a long time.” Skyggebørn – Schattenkinder. An epilogue is a postscript, an ending, but as the composer Nicolai Worsaae points to: perhaps with the seeds of a new beginning. In Epilogus I (Organum) he awakens the ears of the listener with music from the old days. Way back from the beginning of the multifaceted musichistory of Western Culture.

Program

Rune Glerup:
Quartettsatz (piano quartet version)

Nicolai Worsaae:
Epilogus 1 (”Organum”) (2013)

Rune Glerup:
Sonata in Seven Movements

Martin Stauning:
Schattenkinder (2017)
WORLD PREMIERE

Rune Glerup:
Piano Quartet (2013)

Sunday 28th of May, 10:00pm, LiteraturHaus, Møllegade 7, 2200 København N

SPEED (S)

Sonic stream and concentration

 

A finger lands on a drumhead, and jumps back into the air even before the sound can be heard.

When the Anglo-French supersonic turbojet airplane Concorde, that was in operation until 2003, flew faster than the speed of sound, the air waves pressed together with great force and hit back with enormous amounts of sound energy creating an explosion, called a sonic boom.

People who experience a life-threatening event, such as a car accident, often report that they felt that the time was slower. Suddenly, every detail in every moment is crystal clear and stretched as if you saw a movie in slow motion.

The focused moment, the exact now, where the first cell of the finger nail touches the rough surface of the guitar string, provides a true sensation of aural concentration.

The earth's gravitational field sometimes attracts many things that fall from the sky, such as carp, covering a 800 square meter area, 800 sardines, zombie-like eels, apples, covering an entire garden, 4.5 kg. or soybeans - just to name a few.

Project SPEED is a semi-theatrical work consisting of a series of instrumental chamber music works and object interludes created by the composer Rei Munakata, based on different types of velocity and time perception

Project SPEED is supported by Swedish Konstnärsnamnden Projektbidrag.

Program

Rei Munakata (JP/SE):
Speed
WORLD PREMIERE

 

Musicians:
Anna Melander, flute
Frederik Munk Larsen, guitar
Rei Munakata, composition and objects

UmeDuo:
Karolina Öhman, cello
Erika Öhman, percussion

Monday 29th of May, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Plus-Minus Ensemble (UK)

London based collective


Foto: Camille Blake


This concert is full of experiments, investigations and tests, and nothing is as it sounds, or sounds as it is. Or perhaps it is the opposite: all sounds – electronic, man-made, vocal sounds and instruments – are exactly what they seem like, and tries to be nothing more than this.  Simon Steen-Andersen’s Mono has the subtitle Autotune Study and thereby becomes self-explanatory: a study of or by an etude, which explores the widely used tool Auto Tune in pop music. In Morten Ladehoff’s Structon Icon, the music is also affected by electronics and the subtitle for Structon Icon is For Amplified (de)constructed instruments. Perhaps the word (de)constructed is not entirely bad to use when describing this concert where the music, as always, is constructed, but the sounds and the tones are either opposed or is opposing.  (De)constructed fits quite nicely for Joanna Bailie’s Artificial Environment 1-5, where we, the listeners, both get to hear ABOUT sounds, as well as actually hearing sounds from our daily lives – though in an unusual way. Laurence Crane’s music is practically static in its expression, but with an astonishing texture and richness in the minimalistic structure. Crane’s music might be more to the bone than actually (de)constructed. Casandra Miller also works in a detailed minimalistic expression but with rocking headway and latent contrast.

Program

Simon Steen-Andersen:
Mono (2014)

Morten Ladehoff:
Introduktion und Motoren (2017)
for flute, violin, violincello, piano and motorized and mechanical percussion-objects
WORLD PREMIERE

Joanna Bailie:
Artificial Environment 1-5 (2011)

--

Laurence Crane:
Octet (2008)

Cassandra Miller:
Nyt værk

Monday 29th of May, 8:00pm, Hippodromen, Folketeatret, Nørregade 39, 1165 København K

Falling Awake

Opera by Lasse Schwanenflügel Piasecki


Foto: Lasse Schwanenflügel Piasecki


What happens when she no longer says what she is supposed to say? When she no longer follows the story? “In an opera, the libretto is a form for authoritarian protocol, because they dictate the character’s lives and fate, and nothing can be done to escape what I have written” says the composer who has written the libretto. “They are not aware that they are roles written into a story. Their reality is a construction”. As in the TV-series Westworld, one of the actors wake up and senses that her reality might not be the reality. Perhaps there are more, perhaps her life is a dream, or the dream is the real life. The consequence is, that she no longer wants to sing along with the story. “She chooses to rebel against the libretto, against the words I have written for her. The words are becoming more and more difficult for her to sing, and in the end, she refuses to sing along in the opera.” But if the composer/librettist has decided, that the characters should rebel then…? Is it rebellion? Is it real? Is the refusal a confirmation of the state of things, or of the impossibility of the unreal?
Lasse Schwanenflügel Piasecki says, that this opera is also about being critical towards the narrative which one is being served with. To consider if the reality one reacts to is manipulated, if what we are being fed on social medias, in newspapers and so on, is the real reality. “can one relate an objective reality, or is it a manipulated one. It has to do with keeping oneself orientated”.
In the concertino Gemmer mig for Rosetta for the clarinet and ensemble (world premiere at KLANG 2014) the composer revolves on the impossibility of expressing oneself precisely, as he puts a bassoon player to play the solo on clarinet. The expression becomes intensively musical and strongly hesitantly: the musical mastery is present, but the technical (in)ability hinder the clear expression. What is left is the poetry of powerlessness. In Falling Awake it is not impotence which stands in the way of expression, but unwillingness. The unwillingness to participate on premises given by others. And this is when the opening to find one’s own expression, on one’s own terms suddenly appear.


Falling Awake contain violence, sex and racist labguage. The show is:

Forbidden for children under 16

Program

Lasse Schwanenflügel Piasecki:
Falling Awake (2017)

Scenography: Jannie Rask de Vitt
Choreography Marie Brolin-Tani

Ensemble: Lydenskab with guests
Conductor: Jakob Hultberg

Cast:
Morten Grove Frandsen – Countertenor
Ellen Kristiansen – soprano
Sara Fusager – actress
Astrid Kjær – puppeteer
Zhang Xin – Famous singer and teen idol

Monday 29th of May, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SNYK Talks

KLANG meets the artist of the day

 

Meet the artists up close when KLANG meets the artist of the day. An informal conversation about life, music and everything inbetween.

Program

Torben Sangild meets Simon Steen-Andersen

 

SNYK Talks are supported by:

Monday 29th of May, 10:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Andreas Borregaard - Solo-Act 1

First concert of the concert series Solo-Act


Photo: Thor Brødreskift


Accordion: Andreas Borregaard

“Groping. A bit unsecure” Such are the playing instructions in the beginning of Nicolai Worsaae’s Upon Your Body I’m Crawling. It makes you want to say both sentences right after the other, first the title, then the playing instruction: ”Upon Your Body I’m Crawling. Groping. A bit unsecure”, and when you have said it out loud, a need to listen to the music arises, which is made for two instruments, since a harmonica is a part of the work as well. This world premiere by Simon Steen-Andersen’s Asthma is also on the program. The work is for amplified accordion and video.

Program

Nicolai Worsaae:
Upon Your Body I ́m Crawling (2012)

Simon Steen-Andersen:
Asthma (2017)
WORLD PREMIERE

 

Solo-Act is initiated by Andreas Borregaard and made possible with the support from Statens Kunstfond, The Arts Council of Ireland, Augustinus Fonden, Dansk Komponistforenings Produktionspulje og Kodas Kulturelle Midler and Dansk Musiker Forbund.

Tuesday 30th of May, 7:30pm, Tivolis Koncertsal, Vesterbrogade 3, 1630 København V

Athelas Sinfonietta and Aavaat (GL) in Tivoli

Voyage into the Golden Screen and other Masterpieces


Athelas Sinfonietta Copenhagen
Aavaat koret (GL)
Dirigent: Pierre-André Valade


Per Nørgård’s Rejsen ind I den Gyldne Skærm from 1968 is in the years after its conception most famous for the fact that, in this piece, Nørgård unfolds the Eternity-Row in an obvious aural form. But it is first in the second movement that this happens. The first movement is a floating unstable clang-lake of interference, in which he explores two harmonic spectrums; one constructed on the note G, and the other constructed on the quarter tone over a lowered As. The effect is bringing forth thoughts of being seasick, while there being a calm golden gleam about the music simultaneously. It feels like a release, when the second movement’s melody based music slowly breaks forth.
The other classic on Athelas’ program is György Ligeti’s Ramifications. The work is from the same year as Rejsen ind I den Gyldne Skærm and just like Nørgård’s first movement Ramifications is based on an exploration of quarter-tone relationships. With Ligeti the string ensemble is divided into two, one team is tuned a quarter note above the other. And like with Nørgård the effect is also swaying and strangely mind bending, but the clang with Ligeti has more facets and a darker colour. Aside from the two classics from 1968 two new works will be performed. Niels Rønsholdt puts the spotlight (quite literally) on a very special chapter of Danish past and present: the colonial relationship with Greenland. Greenlandic singers are involved and the music is Greenlandic shaman- and folk songs gathered by Michael Hauser. The songs has gone through a Western European music filter. The composer says: “By being a kind of concrete colonisation of the traditional material, the works and its compositions method becomes analogous to the colonisation that Denmark for centuries has implemented in Greenland. A kind of re-construction in micro scale.” The second world premiere of at this concert is a work by James Black, who will be the soloist himself, and who says that the ideas behind the music stems such varied things as his own memories, video game music, language and communication, music, children and TV-shows, traumatised people and how they live with their wounds.

 

Program

György Ligeti:
Ramifications

Per Nørgård:
Rejsen ind i den Gyldne Skærm

Intermission

James Black:
Raus
WORLD PREMIERE

Niels Rønsholdt:
Civilizations
WORLD PREMIERE


Koncerten præsenteres i samarbejde med:

Wednesday 31st of May, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

BARCODE 03 | Holland House

Across time and genre barriers


Photo: Holland House


Cast: Jakob Bloch Jespersen og Rikke Lylloff
Direction/scenography: Jakob Schokking
Electro-acoustic staging: Gert Sørensen


From Schubert to yet unheard sounds the music reach in the performance BARCODE 03. The concept BARCODE have had two previous versions in 2015, and has this time added new musical material for the two performers Jakob Bloch Jespersen and Rikke Lylloff, which are being accompanied by video material made specifically for this performance. In a tightly staged auditory process the music unfolds and becomes the mirror in a visual dimension that brings other, new, contrasting, opposing and underscoring sides forward of the known, as well as the new notes. The syrian actress Amal Omran improvise over John Cage, and American, British, German and Danish music are allowed to gather in BARCODE 03.

Program

Steve Reich:
Pendulum Music (1968)

John Cage:
Living Room Music - Story 1 (1940)

John Cage:
Solo for Voice 35 (1970)

Amal Omran:
Government (2015)
WORLD PREMIERE

Rasmus Zwicki:
Plantation (2017)
WORLD PREMIERE

John Cage:
The Wonderful Widow if 18 Springs (1942)

John Cage:
Experiences I (1945)

Brian Eno:
By This River (1977)

Meredith Monk:
Urban March (Shadow) (2002)

Rasmus Zwicki:
Nyt værk (endnu uden titel) (2017)
WORLD PREMIERE

Franz Schubert:
Leiermann fra Winterreise (1827)

Gert Sørensen:
Le Roi des Montagnes (2015)

Gert Sørensen:
As We Know (2015)

Rasmus Zwicki:
BARCODE (2017)
WORLD PREMIERE

And more.

Thursday 1st of June, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Sonar Quartett (D) + Andreas Borregaard

Works by Danish and German composers


Photo: Piotr Bialoglowicz


Accordion: Andreas Borregaard


Like an animal that slopes through its daily tasks and doings, the music from Enno Poppe’s Tier – Dyr for string quartet also glides rather aimlessly. However, you quickly realise that despite small sliding detours along the way there is an overall direction. The small slide and quarter-tones heeds towards blues and Arabic music, but not for long.
In Dissolved Voices the once clear, pure and melodic lines are being broken up into smaller pieces, until they vanish completely: either drowned in the noise from other sounds, or dissolved into nothingness”. Such is the way Li-Ying Wu describes her new work which – just like the two following – is composed especially for Sonar Quartet and Andreas Borregaard. Gordon Williamson is Canadian, but has a close connection to Denmark where he is educated – and Germany, where he resides and work. Nicolai Worsaae’s music is also full of contrast and often, like other composers of his generation, works with the performative, with video and electronics; approaches which often highlights the wealth of contrast between the delicate and the rough in the music.

 

Program

Enno Poppe:
Tier (2002)

Li-Ying Wu:
Dissolved Voices (2017)
WORLD PREMIERE

Nicolai Worsaae:
Partita
WORLD PREMIERE

Gordon Williamson (CAN):
Nyt værk
WORLD PREMIERE

The concert is supported by:

Thursday 1st of June, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Andreas Borregaard - Solo-Act 2

Second concert of the concert series Solo-Act


Photo: Thor Brødreskift


Accordion: Andreas Borregaard


Andreas has really pushed himself for this piece, learning yoga, coming to an understanding of crypto-currencies, listening to the sound of space toilets on the International Space Station, absorbing the power of Tony Robbins in a non-ironic way, studying OCD in animals, and spending time with some amazing cassettes which guarantee to subliminally improve charisma and unleash potential ...”.
It sounds mysterious, and it sounds like everything will be left to the imagination before the music commences.

 

Program

Jennifer Walshe (UK):
Self-Care (2017)

 

Solo-Act is initiated by Andreas Borregaard and made possible with the support from Statens Kunstfond, The Arts Council of Ireland, Augustinus Fonden, Dansk Komponistforenings Produktionspulje og Kodas Kulturelle Midler and Dansk Musiker Forbund.

Thursday 1st of June, 11:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SNYK Talks and CD-release

KLANG meets the artist of the day

 

Meet the artists up close when KLANG meets the artist of the day. An informal conversation about life, music and everything inbetween.

Program

Torben Sangild meets Andreas Borregaard

 

SNYK Talks are supported by:

Friday 2nd of June, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

PERCURAMA

New classical masterpiece for percussion


 

Conductor: Gert Mortensen


 

Program

Iannis Xenakis:
Pleiades (1978-79)


PERCURAMA Percussion Ensemble

Lorenzo Colombo
Oliver Kragelund
Klaes Breiner Nielsen
Hsiao-Tung Yuan
Marta Soggetti
Tomasz Szczpani

1. Metaux (metal)

2. Claviers (keyboards)

3. Peaux (skind)

4. Melanges (blandinger)

 

Koncerten præsenteres i samarbejde med DR

Friday 2nd of June, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Ricardo Descalzo (ES)

Spanish-Danish Connection


Piano: Ricardo Descalzo
Electronics: Frédéric Le Bel


A generous program of new music for piano mixed with older works. Bent Lorentzen’s Fem lette stykker each has a title, but three of them are identical: 1, 3 and 5 are called Waves, 2 is called Contrasts and 4 is called Bells.
One of Debussy’s most famous piano works is called Den Sunkne Katedral - Le cathédrale engloutie. This work plays a significant role in Valenzuela’s Det Sunkne Klaver for prepared piano and electronics. The game us Danes slightly prosaic calls the “chair game”, (where a chair goes missing form each round of the game ) is in other languages named “Jerusalem Burns”. In Moritz Eggert’s work Jerusalem however, it will not be seats which will be lacking, but instead the place to play in and on the piano.
A slight modification translation of the title on Frédéric Le Bels brand new work for piano and electronics could indeed be named, Når nu verden alligevel er brudt sammen. The music is composed in relation to a research project at IRCAM in Paris.
Rueda composed the 24 Interludes in the years 1995 – 2003 and describes them as “small ideas which is like a painter’s sketch book, before the work on the canvas begin.
 

Program

Manuel Rodríguez Valenzuela (ES):
Le Piano Englouti (2015) for prepared piano, electronics and whammy pedal

Bent Lorentzen:
Five Easy Piano Pieces (1971)

Moritz Eggert:
Jerusalem (1995)

Jesús Rueda (ES):
24 Interludes (2003)
No. 1. Movimiento
No. 3. Retrato
No. 8. Campo de Estrellas (Compostela)
No. 9. El Segundo Adiós
No. 11. Seikilos
No. 15. Fuego en tu Mirada
No. 16. Registros Separados
No. 21. Deslizamientos 
No. 14. Corale  
No. 17. Vision   

Frédéric Le Bel (CA):
Alors que le monde est décomposé (2016) for piano and live electronics
Frédérci Le Bel (electronics)

Koncerten er støttet af:

Saturday 3rd of June, 5:00pm, Den Sorte Diamant, Søren Kierkegaards Plads 1, 1219 København K

ZKM Zirkonium

Electronic works (Loudspeaker setup)


Free entrance to concert in Den Sorte Diamant


The German centre for art and media technology in Karlsruhe, ZKM, has developed the computer program Zirkomium. The program is being used to direct sound into ZKM’s clang-dome that has 43 fixed speakers. A string of works has been composed to ZKM’s clang-dome and some of these have been adapted to the 12-channel speaker system at Den Sorte Diamant. The music for the concert has been composed by two composers, who both have worked at ZKM and with Zirkomium. One of them is the German electronic composer Ludger Brümmer who for a number of years has been the director of the institute of Music and Acoustic in Karlsruhe, under ZKM, and who also incorporate visuals and dance in his works. The other composer is Canadian born Robert Normandeau, who besides making electronic music also produce music to theatre, dance and more. The consensus of the two composers is the notion of Concrete Music; music constructed on real-sounds and further worked with electronically.
 

Program

Ludger Brümmer (D):
Glasharfe (2007)

Robert Normandeau (CN):
La part des anges (2012)

 

Free admission

Saturday 3rd of June, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SCENATET

Conceptuel works


Photo: Axel Schütt


All the works at the concert are theatrical, performative and conceptual one way or another. Things will happen to the audience which would not happen at an “old-fashion” concert, where we could relax and maybe form a clasped opinion afterwards. The special trade mark of Scenatet is to challenge our ‘concert-sense’ and to give the audience something more or something different than what we bargained for.  To be able to offer this, an intimate collaboration with the composers and their ideas are needed from the very beginning.
Shame is a work focused on the innocence and the loss of it. The child’s, the idiot’s, or the music’s purity is contrasted with the adult’s and the artist’s haughtiness. No News Good News involves different forms of cheating and hidden actions. The two world-premieres of this concert is composed respectively by Simon Løffler, who are not afraid to include the audience in the music or allow us to experience the music with all our senses, and Kristin Bolstad who involves space, improvisation and features of the theatre.

Program

Niels Rønsholdt:
Shame (vocal, sax, perc, pno)

Kristin Bolstad (NO):
Talk Talk Talk (vocal, sax, perc, pno)
WORLD PREMIERE

Kaj Duncan David:
No News Good News (4 performere)

Simon Løffler:
e (perc, pno og simon)
WORLD PREMIERE

Saturday 3rd of June, 9:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SNYK Talks and CD-release

Meet the artist of the day and cd-release

 

The record company DACAPO and KLANG invites you to a reception and cd-release of Songs of Doubt. - An album with music of Niels Rønsholdt

Program

KLANG meets with Niels Rønsholdt

 

SNYK Talks are supported by:

Saturday 3rd of June, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Andreas Borregaard - Solo-Act 3

Third and last concert of the concert series Solo-Act


Photo: Thor Brødreskift
 

Accordion: Andreas Borregaard


When a Musician like Andreas Borregaard takes to the stage there is a good chance that we, the audience, will get to experience something entirely different than what we could find on our computer at home. The likelihood is that we will experience something more than a well-prepared musician who performs his music piece-by-piece. There is no doubt though that Borregaard is indeed well prepared, however, it might not be entirely about his virtuosity on the instrument, which is the sole focus. Something else in the situation could be worth preparing for – or improvise towards. At the performance in the spring of Rønsholdt’s Opera Blik for Blik the audience participated by citing sentences, and now with the under title to Until Nothing Left is For accordion solo, performing accordionist, objects and audience, and one could easily imagine that the audience will not be left entirely to their own devices at this performance. We will experience, be challenged and sense in a way which is far from the ordinary.

 

Program

Niels Rønsholdt:
Until Nothing Left (2017)

 

Solo-Act is initiated by Andreas Borregaard and made possible with the support from Statens Kunstfond, The Arts Council of Ireland, Augustinus Fonden, Dansk Komponistforenings Produktionspulje og Kodas Kulturelle Midler and Dansk Musiker Forbund.

Sunday 4th of June, 12:00pm, KU.BE (Cafeen), Dirch Passers Allé 4, 2000 Frederiksberg

Duo Accordiomania | New and old

Concert with accordion students from Køge MGK

Program

Pieces by Lundqvist, Aguirre, Bartok, Buchvostov, Frescobaldi og Telemann.


Duo Accordiomania:
Freja Sibbern og Liam Grell Siebenecher

Sunday 4th of June, 1:00pm, Biblioteket, KU.BE, Dirch Passers Allé 4, 2000 Frederiksberg

Athelas for kids

"Little Ligeti"

Program

Free Admission

Sunday 4th of June, 3:00pm, Biblioteket, KU.BE, Dirch Passers Allé 4, 2000 Frederiksberg

Athelas for kids

"Little Ligeti"

Sunday 4th of June, 4:00pm, KU.BE, (Performance-salen), Dirch Passers Allé 4, 2000 Frederiksberg

Bersærk | Birgit Løkke

Sunday 4th of June, 5:00pm, KU.BE, (ZEN), Dirch Passers Allé 4, 2000 Frederiksberg

Århus Sinfonietta | Mette Nielsen

Program

Mette Nielsen

"Sange fra din barndom" - korværk, opføres af Usmifka
PREMIER

Når aftenklokken ringer I, Århus Sinfonietta
PREMIER

"Kvartet til minde om en sang" - strygekvartet, Århus Sinfonietta

Når aftenklokken ringer II+III -  Århus Sinfonietta
PREMIER

"Play" for klaver og slagtøj -  Århus Sinfonietta
PREMIER

"Minde om en sang" - , fire musikskoleelever fra Rudersdal Musikskole (fløjte, accordeon, violin, cello)
PREMIER

"Når aftenklokken ringer IV" - Århus Sinfonietta
PREMIER

"En sang" -  kassebånd
PREMIER

 

With the kind support of:

Frederiksberg Kommunes Musikudvalg and Danish Composers´ Society/KODAs Cultural Funds.

Monday 5th of June, 8:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Ars Nova Copenhagen

Old and new, highlighting each other over the centuries.


Pelle Gudmundsen-Holmgreen


Conductor: Paul Hillier

Music from before the functional harmony took over, and from before it had moved on. Old and new that shines a light on each other through centuries.

The music in the first part of the concert is primarily sacral. King David mourning the death of his son Absolon in battle; Dufay's lament for the fall of Constantinople to the Turks in 1453; and Rachel's lament for her dead child, one of many killed by Herod's men in the slaughter of the innocents. These are set between two Marian motets by the Franco-Flemish composer Jean Mouton, which express the precious beauty and hope engendered by the birth of a child.

David Lang’s where you go creates a transition from the sacred to the more motley content in the newer works. The lyrics are from The Old Testament, from The Book of Ruth, where Ruth tells Naomi, that she will stay with her forever. A beautiful image of love, friendship and devotion from one person to another. From there onwards into the wild whirlwinds of new vocal music. Rhythmic chaos Andrew Hamilton. A calm spring sensation with Howard Skempton. The iconic Clapping Music of Steve Reich only for voices. The cosmic notes of Terry Riley.

And finally Pelle Gudmundsen-Holmgreen’s Three Stages, which he himself described as ”3 stages, places, situations, scenarios, characters, colours, images – a kind of Triptych: a city –image, a forest-image and a union of the two in shelter of Shakespeare’s sonnet no. 60  ”Like as the waves…”, whereof the three first lines are being performed like cantus firmus. In Three Stages Gudmundsen-Holmgreen quotes the composer Clement Janequin. The circle is joined between old and new.

Program

Jean Mouton (1459-1522):
Ave Maria Virgo Serena

Anon. 14. årh.:
Dole Super Te - Absolon Fili mi

Guillaume Dufay (1397-1474):
Lamentatio Sanctae Matris Ecclesia

Gregoriansk sang:
(i) Herodes Iratus; (ii) Vox in Rama

Jean Mouton:
Ave Sanctissima Maria


David Lang (b.1957):
where you go

Andrew Hamilton (b.1977):
Everything is Ridiculous

Howard Skempton (b.1947):
More Sweet than my Refrain

Steve Reich (b.1936):
Clapping Music (arr. Paul Hillier)

Terry Riley (b.1935):
Madrigal

Pelle Gudmundsen-Holmgreen (1932-2016):
Tre Stadier (Three Stages)
I. In the Streets
II. In the Woods
III. Streets, Woods, - Like as the Waves

 

This concert is being organised in collaboration with Copenhagen Renaissance Music festival and incorporates in the series Early Monday.

Early Monday is supported by the Danish Arts Foundation and the City of Copenhagen.

Monday 5th of June, 9:00pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

SNYK Talks - Nordlyd

Meet the artist of the day

 

Meet the artists up close when KLANG meets the artist of the day. An informal conversation about life, music and everything in between.

Program

Ivar Frounberg meets with the artist of the day

 

SNYK Talks are supported by:

Monday 5th of June, 9:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Nordlyd | Adapter Ensemble (D)

Nordlyd II: Af en asylants dagbog


Photo: Rut Sigurðardóttir


“A leg in each camp’, is what is being said in Danish when someone stretches extensively and actively to both sides of a fence, or has a belonging to both sides of a border, or is merely capable of more than one thing.  The three composers, who have written works to the second part of Klang Festival’s project North Sound, has a leg in each camp in many ways: they are composers, and they are active musicians, they are born in one country but resides in another (which happen to have great similarities to their native country). The title of this second part of Klang’s investigation into Nordic identity and Nordic music – the first took place in 2016 – is from an article by Ivar Frounberg, professor emeritus from the Music School in Olso (he’s originally from Denmark). Perhaps the title resonates the notion of a homeland versus wanderlust and of Steen St. Blicher's Af en landsbydegns dagbog? The three composers, who have been asked to create music about identity, the North, the notion of being-home-but-not-quite, is likely to have their very own musical approach to these complex issues, which might not be that problematic at all? Or is it? :
Mathias Monrad Møller, has written the following notation about his work in two parts Made in Germany, Danish Design “When I hear what we call music, it seems to me that someone is talking. [...] I don't need sound to talk to me.“ - John Cage
I do need that from time to time. So let's engage in a discussion on nationalism.”

Program

Bara Gísladottir (IS/DK):
Devotchka Watch Her Garbles
WORLD PREMIERE

Mathias Monrad Møller (DK/D):
Made in Germany, Danish Design – piece in two parts
WORLD PREMIERE

Sofia Jernberg (S/NO):
Involving the LV apex and (Liebestod) - Text: Cia Rinne
WORLD PREMIERE

 

The concert is supported by:

Monday 5th of June, 10:30pm, KoncertKirken, Blågårds Plads 6A, 2200 København N

Pelle-prisen

Prize award