‘I Walk I Bleed’
– 10 processes of humankind –
For 10 celli. Commissioned by and written for Click Festival 2020. Premiere May 23rd-24th at Værftet, Helsingør (DK).
Photo by Anna Bogaciovas
– Three Movements of the Body Electric –
Piece in three movements written for the Ambereum Stage at Roskilde Festival 2020 to be premiered in three days at the festival.
Movement I ‘The Body Instrument // The Divine Body’
‘To be surrounded by beautiful, curious, breathing, laughing flesh is enough’
for solo cello, electronics and ballet dancer
Movement II ‘The Sonic Body’
‘The universe is a procession with measured and perfect motion – All is a procession’
for solo cello and 8 percussionists
Movement III ‘The Collective Body // The Body Electric’
‘Do you think matter has cohered together from its diffuse float, and the soil is on the surface, and water runs and vegetation sprouts,
For you only, and not for him and her?’
for solo cello and techno duo
Photo by Anna Bogaciovas
‘Nōlī turbāre circulōs meōs’
Photo by Anna Bogaciovas
‘Nōlī turbāre circulōs meōs’means ‘Do not disturb my Circles’ and is what the Greek mathematician, astronomer, philosopher and engineer Archimedes said to a Roman soldiers when he asked him about the structures he was drawing in the dirt. The Roman Soldier subsequently killed him. (approx 210 BC)
Archimedes is today perceived as one of the most important founders of our perception of logic, philosophy, geometry and mathematics.
The story of his circles and his death is a typical image of how even slight differences in behaviour or thought point us out as misfits in our uniform society.
The sound world of ‘Nōlī turbāre circulōs meōs’ is based on imprints of electronically damaged sounds. It reflects the alien fierceness of an electrified world that society is built upon without questioning its strange and inhuman nature. Musical fragments are thrown around as acoustic delays, loops and feedbacks between the instruments of the ensemble as were the fragments statements repeating themselves like in a echo chamber – the truth gradually distorting.
The piece works around musical phenomenons that mirror aspects of human behaviour in society and dives into structures as the collective: the unison, the individual: freedom of pitch – freedom of speech, monologue, dialogue, conversation, symmetri and geometrical figures with an emphasis on rhythm as the spine of the music and the everlasting collective puls that reminds us that we are all the same blood, bone, spine, ribs – and therefore interleaved as species and inhabitants on the earth.
‘Nōlī turbāre circulōs meōs’ calls upon collective movements that embraces collectivity as well as the unique human being. Everyone has an individual thought and a voice just as important as the other.
It reminds us to be conscious human beings and citizens together in a constantly changing globalised, digitalised and electrified world.
‘Town will change town will remain’
For solo cello and electronics or string ensemble. Written for the opening of the Copenhagen Museum, February 7th. Performed by cellist Toke Møldrup with live electronics by Josefine Opsahl at the balustrade as a fanfare for the opening when HM The Queen of Denmark declared the museum open.
Photo by Anna Bogaciovas
The city of Copenhagen wanted a carillon for the brand new Copenhagen Town Hall when build 1892-1905. The city commissioned 5 bells: 4 melodic ones and a 5th deeper one for the clock strokes. That was what the city could afford at the time. Composer Thomas Laub was hired to write 4 musical phrases for the melodic bells in a style that mirrored the old nordic style of the building. The bells rang for the first time at new year’s eve 1899-1900 and lead the city into a new century. Since then the bells has praised the new year welcome and strikes everyday at 12am, 6pm and 12pm.
‘Town will change town will remain’ calls upon the same musical phrases. They reminds us that we are Copenhageners, that we within changing times and globalisation are rooted a nordic tradition. The Bells gives us a point of reference for time and direction to understand our life from – in our everyday life and life in general, in the city off Copenhagen and the whole country.
‘Gaaer ikke Soels og Maanes Vei ned under dybe Hav?’
For solo cello and electronics or string ensemble. Created for the National Gallery of Denmark and the Danish Golden Age Exhibition, ‘Art between two disasters’, fall 2019. The piece mirrors Elisabeth Jerichau Baumann’s painting, ‘Mermaid’ (1847) and explores the mermaid as a uniter of opposites. The piece was premiered by cellist Toke Møldrup in the exhibition, October 30 2019.
Using extended playing techniques acoustic instruments reflects alien fierceness of an electronic world that we build society upon without questioning its strange and inhuman nature.
Furthermore ‘Sonic Lithographies’ is a manifestation of how to establish rules and meaning as a basis for composing in a musical world where the imprint of electronic musical instruments has greatly surpassed any acoustic instrument by being able to sound like anything we can possibly imagine. This has confused the notion of geographical and historical affiliation in modern music which has furthermore superseded the division into musical genres. ‘Sonic Lithographies’ therefore seeks simplicity for musical exploration: wood, hair, bone, metal, catgut strings of acoustic instruments – simple raw materials that we ourself is build of.
Works in this series:
– 7 Concert Studies for solo cello
– 3 Movements for cello and guitar
– Concert for solo cello and 8 percussionists (work in progress)
Video of Concert Study No. 5 ‘Ribs’ from ‘Sonic Lithographies’ for solo cello, live at San Cataldo Monastery, Amalfi Coast, 2018.
For solo cello and electronics. ‘Liquid Entity’ is composed for the Utzon100 celebration 2018 and the opening of the ‘Horisont’ exhibition in Utzon Center, Denmark. The piece is inspired by the life of Jørn Utzon; his work, travels, inspirations and lifelong connection with his homeland and the ocean.
Within a baroque framework inspired Utzon’s own musical inspirator C.P.E. Bach, the music flows and breaks into exploring different shapes of water. Unfolding in the field between classical cello and electroacoustic waves the piece evolves around an intersection of tradition and intuition, culture and nature – the modern and the timeless in a streamning continuum.
Outfit by designer Stina Resting
‘Aeon’ means ‘eternity’ in Greek and is the term for the deity of time. It is a heavy eternity characterized by endless and almost meaningless repetition. A reflection of what rules the lives of a great number of people inhibiting the western civilised world today.
The protagonist in ‘Aeon’, the cellist, is a picture of the individual’s struggle to push the established framework, to express itself, to manifest itself and break the cycles but for the great systems of the universe, the effort is pointless. However, the effort and the art of the struggle is beautiful regardless – and perhaps the utmost beauty lies in daring to acknowledge the pointlessness and cultivate it.
– Duften af Humulus Lupulus –
Opera in three acts for solo cello, hobs, glasses, house, garden, viewers and electronics. Premiering at KOLONIEN III, Stikkelsbærstien 6, Rødovre. Created in collaboration with Kunstforeningen KOLONIEN, Marie Braad Larsen and Jette Hye Jin Mortensen.
Premiered at Nordic Chamber Music Festival 2017.
‘8 Circles’ explores a feminin approach to sound making, composing and notating. The 8 pieces relate to the planets of our solar system, to 8 as a sign for infinity, its mirroring symbol as two sides of one case. Finally the circles are inspired by artwork of the Swedish abstract painter Hilma af Klint (1862-1944).
4 of ‘Eight Circles’ featured in this video recorded by sound engineer Peter Larsen live at Nordic Chamber Music Festival 2017: ’88 Days’, ‘Devoted – Devoured’, ‘Piper’s Lung’ and ‘Pendulum’.
Pieces for Quartet
– As we Run we Fall –
– Encrypto –
– Stratosphere –
– Water Walk –
(for KOTTOS quartet)
– I –
– Dark Waters –
(for We like We)