works
All works in chronological order; or download list in pdf
-2022-
dasta electronic music| Instrumentation: | electronic music |
| Premiere: | 18 September 2022 – Tokyo, Japan |
| Duration: | approximately 10 minutes |
| Program note: |
| This purely electronic piece acts as a beginning of an upcoming chamber-pantomim-ballet based on the poetry collection ”The Tale of Fatumeh” by the Swedish poet Gunnar Ekelöf (1907-1968). It is the tale of Fatumeh, a girl sold into prostitution by her mother, then for a while kept as a concubine by a prince, abondened but surviving by force of spirit. Although the story is conventionally tragic, the vitality of Fatumeh brings a completely new dimension to the story.The collection of poems are devided into two parts; the first naming the poems Naẓm 1-29, the second Tesbīḥ 1-29.Naẓm, literally meaning “stringing (pearls, beads, etc.)” early acquired the meaning of “versifying” and became almost synonymous with “poetry”. The comparison of a poem to a necklace, or verses to pearls, is apt in view of the relative independence of the individual verses, held together on the string of the uniform metre and rhyme.The string of beads is usually made of 3 x 33 beads. Between these groups of 33 a distinguishing bead is inserted, often in the shape of a snake’s head. This special bead goes by many names, one of which is ”dasta”.As mentioned above, Ekelöf doesn’t use the number 33 but instead the prime-number 29, which he thought would get a better ”sum” in the finished work. And just as with the pearl rope, he inserts special poems in-between.The material of the electronics are made in two different ways: by electronic synthesis and by modified recordings of various objects such as bells, piano, violin, etc. In the end of the piece the first ”Snakehead” poem, in a fragmented version, can be heard (in the voice of Kazuko Ihara). In autumn or in spring – What does it matter In youth or in age – So what? Still You disappear In the picture of it All You have disappeared, You disappeared now, just now or a thousand years ago But Your disappearance itself remains. |
2021
Atmen Sie mit mir...ensemble in 3 groups & baroque organ
| Instrumentation: | baroque organ (with subsemitones) 3 players of clappers (orchestral whip/2 pieces of wood or similar) Group 1: flute/piccolo/bass flute (1 player) clarinet in Bb/bass clarinet /1 player) horn cello contrabass GROUP 2: oboe/english horn (1 player) trumpet in C/piccolo trumpet in Bb (1 player) trombone (with F-valve) tuba percussion GROUP 3 bassoon/contrabassoon (1 player) percussion 2 violins viola |
| Duration: | approximately 23 minutes |
| Commissioned by: | Swedish Radio for Gageego! |
| Premiere: | 24 october 2021 – Gothenburg with Gageego!, Ligita Sneibe-organ & Rei Munakata-conducting |
| Score: | Buy score at BabelScores! |
| Program note: | Atmen – Breath. From the onset my musical thinking has always aimed at composing out the abundance of mediations between a number of extremes, or pairs of opposites (like a single breath can be seen as the opposites of inhaling / exhaling): between sound and noise, extreme depth and highest height, durations of such length that they can hardly still be perceived, and the most fleeting moments, between greatest complexity and simplest static. Between the absolute periodicity and complete aperiodicity of rhythms, between scrupulously notated groups of notes or parts of a work and their free combination for performances, between the most detailed through-composed sections of works and passages left to the intuition of the interpreter. But breathing is also rhythm: oscillation or vibration. On the one hand, this is a term from physical acoustics. On the other hand, “vibration” also has a metaphysical connotation. (In the context of a “theology of dance”, as the theologian Hugo Rahner has deciphered it from Greek and early Christian texts in his book Man At Play, it is “the free-soaring motion [ Beschwingung ] which God as creative principle has imparted to the cosmos.) If music is the interplay of proportionate vibrations which move in time and which can reoccur cyclically but always generate new forms, then it is possible to say that rhythm is the essence of music, since rhythm is the reoccurrence of a movement as time passes, is repetition of something similar, not the same. The temporal arrow intervenes in the cycle of time and stakes its claim on the new, unrepeatable. In rhythm (and breath) the periodic reoccurrence of something identical, as indicated by the beat, is modulated into aperiodicity. |
2019-21
collidequartet
| Instrumentation: | clarinet (Bb/bass clarinet), violin, percussion, piano) |
| Duration: | approximately 21 minutes |
| Written for: | Kwartludium with support from Swedish Arts Grant |
| Premiere: | 13 november 2021 in Växjö with Kwartludium |
| Score: | Buy score at BabelScores! |
| the form of collide
collide is a composite composition form from four separate parts (with different combinations of instrumentation).
However, they are not played in sequence but are fragmented into sections and distributed through the 21-minute duration of collide in this way: (  = leading role in the part): The musical material and its internal development/non-development in the 4 different parts range from a dialectic (in a Hegelian sense) re‐reading of J.S. Bach’s double from Partita No.1 for violin, over detailed notated music with rapid and often extreme quick variations in expression to freely improvised music based on short instructions. The title collide, naturally, is descriptive of the collision between the 4 vastly different materials of the components. It’s a variegated weave but with shimmering threads and for me there is something poetical, something deeper, with these types of collisions, and maybe even “failures”. The names of the separate parts are all derived from the fragmentary novel Flights (Bieguni) by the Polish author Olga Tokarczuk, a novel that was a constant companion composing the piece. This short citation, which is also printed in the score, maybe sums it up: Moj zespoł objawow polega na tym, że pociąga mnie wszystko, co popsute, niedoskonałe, ułomne, pęknięte. Interesują mnie formy byle jakie, pomyłki w dziele tworzenia, ślepe zaułki. To, co miało się rozwinąć, ale z jakichś względow pozostało niedorozwinięte; albo wręcz przeciwnie — przerosło plan. Wszystko, co odstaje od ormy, co jest za małe albo za duże, wybujałe łub niepełne, monstrualne i odrażające. Formy, ktore nie pilnują symetrii, ktore się multiplikują, przyrastają po bokach, ączkują, lub przeciwnie, redukują wielość do jedności. Nie interesują mnie wydarzenia powtarzalne, te, nad ktorymi z uwagą pochyla się statystyka, te, ktore wszyscy celebrują z zadowolonym, familiarnym uśmiechem na twarzach. Moja wrażliwość jest teratologiczna, monstrofilalna. (My set of symptoms revolves around my being drawn to all things spoiled, flawed, defective, broken. I’m interested in whatever shape this may take, mistakes in the making of the thing, dead ends. What was supposed to develop but for some reason didn’t; or vice versa, what outstretched the design. Anything that deviates from the norm, that is too small or too big, overgrown or incomplete, monstrous and disgusting. Shapes that don’t heed symmetry, that grow exponentially, brim over, bud, or on the contrary, that scale back to the single unit. I’m not interested in the patterns so scrutinized by statistics that everyone celebrates with a familiar, satisfied smile on their faces. My weakness is for teratology and for freaks.) Translated into English by Jennifer Croft |
2020
Fernangekommen/Hinweggegangen/Fernglänzend
percussion with live-electronics
| Instrumentation: | vibraphone, 16 objects (3 wood, 2 glass, 5 metal, 2 stone, 2 ceramic and 2 skin, 4 glass marbles (2x5cm and 2x10cm in diameter) & 2 loose metal snares, live-electronics (max-patch), at least 2 speakers. All instruments should be amplified (vibraphone in stereo and connected to computer running the max-patch, objects with 16 contact michrophones.) |
| Duration: | approximately 22 minutes |
| Written for: | Tom de Cock |
-2020-
let the atrocious images haunt us – part I of Cycle II from synthetic fragments
electronic music
| Instrumentation: | electronic music |
| Premiere: | 18 June 2021 – Malmö, Sweden |
| Duration: | approximately 5 minutes |
| Program note: |
| Does shock have term limits? How disconnected are we? Or: Are we disconnected at all? – our supersaturated time may be hauling us inside death. With our senses and spirits fatigued, our incited souls nevertheless continue to reel from what we see. The cosmopolis of images thrives in our hiving minds. We are far from the realities of tanks, refugees, smart-bombs, bleeding. Yet we are engulfed by images that leave people (us, undone) bruised, ignited, hardly voyeurs, more like bewildered participants in a sensory conflict whose domain is also the psyche. We welcome clarity in speech yet still can’t sort out our confusions. War, rarely in our interest, yet sometimes necessary: but what is the necessity now? Yet even after reverberations of disaster, the images repeating, we appear to know no other way except to start another war. National consensus means that tragic images “haunt,” but some priority compels us to override those impressions. Our lives are touched, and yet killing doesn’t stop. |
2019
BES
for percussion with electronics
| Instrumentation: | percussion |
| Duration: | approximately 29 minutes |
| Commissioned by: | Tom de Cock with support from Konstnärsnämnden and Helge Ax:son Johnsons stiftelse |
-2017-19-
fold III – part 9 of Cycle III from synthetic fragments
for oboe and ensemble or oboe solo
| Instrumentation: | oboe and ensemble (or oboe solo) |
| Duration: | approx. 3 minutes |
-2017-19-
seals IV – part 11 of Cycle III from synthetic fragments
for contrabass and ensemble or contrabass solo
| Instrumentation: | contrabass and ensemble (or contrabass solo) |
| Premiere: | October 31, 2020 – Johannes Nästesjö in Malmö, Sweden |
| Duration: | approx. 5 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
| The title of this work, seals, comes from the Italian philosopher, mathematician, poet, Dominican friar and astrologer Giordano Bruno (1548 – 1600). Although not widely recognized he is celebrated for his cosmological theories, which went even further than the then-novel Copernican model. Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Because of his, at the time, radical thinking (including supporting Galileo Galilei) Bruno was forced to leave Italy in 1576, first to France and later to England and Germany. In 1591, in a time when the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. In 1592 he was arrested by the Venetian Inquisition, sent to Rome and charged of blasphemy and heresy. After 7 years of trial the Inquisition found him guilty, and in 1600 Bruno was burned at stake in Rome’s Campo de’ Fiori. Bruno’s case is still considered a landmark in the history of free thought and the future of the emerging sciences.
In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles and it is these writings that the title of my piece refer to. Early in 1583, soon after his arrival in England, Bruno published the massive volume on memory which is referred to as Seals, though it really consists of four items, as follows:
The seals are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries. In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organisation of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognised in Seal after Seal, though now presented as occult mysteries. There is something, to my mind, profound in the Seals, as though in its inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential, Giordano Bruno, the memory artist, were introducing us to the core of the creative act, the inner act which precedes the outer expression. The work seals IV is one of eleven works for solo instruments which form cycle III of “synthetic fragments”. |
2018
Ein deutscher Traum – part II of Cycle I from synthetic fragments
for ensemble
| Instrumentation: | flute, clarinet (Bb and Bass), percussion, piano, violin, viola, cello |
| Premiere: | Mars 27, 2019 – Norrbotten Neo in Luleå, Sweden |
| Duration: | approximately 10 minutes |
| Commissioned by: | Norrbottensmusiken |
| Score: | Buy score at BabelScores! |
| Program note: |
|
Ein deutscher Traum (A German dream) takes its title from the second part of Hans-Jürgen Sybergergs mega-film “Hitler – ein Film aus Deutschland” (1977).The film has no clear plot or chronology, instead, each part explores one particular topic with the second part focusing on the pre-Nazi German cultural, spiritual and national heritage that the Nazi propaganda related to.
Rather than devise a spectacle in the past tense, by attempting to simulate unrepeatable reality or showing a photographic document, this is a sort of spectacle in the present tense – “adventures in the head”. Reality can only be grasped indirectly – seen reflected in a mirror, staged in the theater of the mind. A fiction without being a narrative and a document without claiming objectivity for it: a hybrid form without respectable parentage? But in contrast to the lavish DeMille-like décors that Wagner projected for his tetralogy, Syberberg’s film is a cheap fantasy. Ein deutscher Traum is the second part in cycle I (from the large work “synthetic fragments”) consisting of 4 parts named after Syberbergs film; I – Der Gral, II – Ein deutscher Traum, III – Das Ende eines Wintermärchens, IV – Wir Kinder der Hölle; A grail, a dream, a tale. |
2017-18
OPUS INCERTUM
for trombone and percussion
| Instrumentation: | trombone, percussion (xylophone, crotales, 3 skin instruments, prepared tenordrum, pedal bass drum, 7 metal objects, seed pod chimes, sleigh bells (or similar e.g. Kagura suzu 神楽鈴), 3 temple blocks, prepared log drum, sandblock and 3 pair of resonant instruments e.g. glass bowls, gongs, cow bells, etc.) |
| Premiere: | 15 September 2019, Gothenburg; Ivo Nilsson-trombone, Jonny Axelsson-percussion |
| Duration: | approx. 25 minutes |
| Review (DN, in Swedish): | Click to read review on DN |
| Score: | Buy score at BabelScores! |
| Program note: |
|
OPUS INCERTUM
The Latin title has a dual meaning: uncertain (art)work and a term for a Roman masonry where the wall consists of irregularly placed stones of different sizes and materials. The piece can be divided into 9 “blocks” of material placed next to each other. Parts of these blocks are clearly linear and through the progress of the piece gradually reveal an underlying acceleration. Others are more sublime, fragmentary, atomized, grumbling, private and uncertain: intensely focusing on details. The different blocks may also be heard as different types of time: “now-time” which is divided ad infinitum into something that has just happened and something that will happen, constantly flying in both directions simultaneously; “cyclic time”, filled with states and movements of objects; “material-bound time”, the temporality of the concrete figure. Sudden changes in structure, perspective and direction. The work as a transition between solely imperfections. |
2017
Zwischen der kürzeste Schatten
for solo violin or violin and spatialised electroacoustic sound
| Instrumentation: | violin and optional electronics |
| Duration: | approx. 13 minutes |
| Score: | Buy score at BabelScores! |
2015-17
fluchtlinien-E
for flute, spatialised electroacoustic sound and live electronics
| Instrumentation: | flute (with B foot), electronics |
| Premiere: | 8 July 2018, Tokyo; Kazuko Ihara-flute, Denerin-electronics |
| Duration: | approx. 8 minutes |
| Score: | Buy score at BabelScores! |
| Recording: | Recording available at BabelScores. Use link above! |
| Program note: |
|
fluchtlinien – With this concept Deleuze and Guattari points at possible alternatives to the dominating approach. One example is how the music sends out lines of flight (fluchtlinien) when it multiplies and spreads like a diverse weed of sound. Fluchtlininen thus indicates the potential for something different to take shape, for example, the opportunity of re-thinking. Every form of life – a body, a social group, an organism or even a concept – consists of links and connections. Genes come together to form cells; cells are collected to form tribes. The term ‘human being’ is an example of such an interconnection of reason, a certain type of body (white, male), speech, and so on. But every connection also allows a fluchtlinie; there is always the potential for genetic mutation. The definition of man as rational also enables a dispute about what constitutes humanity: e.g., is it rational to put up a stock of nuclear weapons? Thus, every definition wears, every territorialisationtorium or body, the opportunities that opens up for a fluchtlinie that could turn it into something else. In fluchtlinien-E the piece gets another dimension by setting the extremely thoroughly notated flute material with a semi-improvisation part for electronics that just has to obey some simple rules. The electronic part is in many ways also an extension of the percussion part from fluchtlinien-D. |
2016-17
denkbilder
for ensemble
| Instrumentation: | alto flute/piccolo, Bb/bass clarinet, oboe/eng. horn, piano, percussion, violin, viola, cello |
| Premiere: | 30 april 2017, Brussels; Odysseia Ensemble |
| Duration: | approx. 12 minutes |
| Commissioned by: | Odysseia Ensemble |
| Score: | Contact the composer |
| Program note: |
|
The thought-image (Denkbild)—a word used by Walter Benjamin as a kind of generic term for his own shorter text-pieces—can be seen as lying at the heart of his work on thinking-in-images (Bilddenken). His thought-images are dialectical images in written form, literally constellationsbecome-writing (Schrift-gewordene Konstellationen).The concept of images has nothing to do with the history of material images, nor with a ‘mental image’ but as a constellation of resemblances which is figured in a third, beyond a form-content relation.
Missing from the thought-image are the formal features of narrativization. One searches in vain for a central subject or a clearly defined plot development but rather it’s a constant flight from place to place to place. |
2016-17
totenkopf
for duo
| Instrumentation: | piccolo & oboe or piccolo & Eb clarinet |
| Premiere: | (clarinet version)30 april 2017, Brussels; Katrien Gaelens, flute – Dries Tack, clarinet |
| Duration: | approx. 9 minutes |
| Commissioned by: | (clarinet version) Odysseia Ensemble |
| Score: | Buy score at BabelScores! |
| Program note: |
|
‘Whereas in the symbol destruction is idealized and the transfigured face of nature is fleetingly revealed in the light of redemption, in allegory the observer is confronted with the facies hippocratica (totenkopf) of history as a petrified primordial landscape. Everything about history that from the very beginning has been untimely, sorrowful, unsuccessful, is expressed in a face – or rather in a death’s head.’ (W. Benjamin)
This piece started off as what could perhaps be labelled a ‘transit piece’ in the context of the cycle einbahnstraße. This is even (somewhat naively) represented in the work by the transitions in register in the 2 instruments: the piccolo beginning with its very lowest note and always aiming upwards; and the other instrument’s opposite route. But this allegorical transit is constantly unsuccessful; other material breaking through and piling themselves up and what could be simple becomes complex and fragmented. totenkopf exists in 2 versions: for piccolo and oboe or for piccolo and Eb clarinet. |
2015-16
Simulacrum
for chamber orchestra
| Instrumentation: | chamber orchestra (2222 1210 2 strings |
| Premiere: | 19 february 2017, Basel; Kammerorchester Basel/Franck Ollu |
| Duration: | approx. 17 minutes |
| Score: | Buy score at BabelScores! |
Recording excerpt:
| Program note: |
|
A simulacrum (from Latin: which means likeness, similarity) is a representation or imitation of a person or thing; copies that depict things that either had no original to begin with, or that no longer have an original. This piece largely deals with constant repetitions of ‘damaged’ materials and their potential expressiveness. The simulacrum is the content which affect or ‘modifies’ these repetitions; the system in which different relates to different by means of difference itself. ‘It is not the same which returns, it is not the similar which returns; rather, the same is the returning of that which returns, – in other words, of the Different.’ [G. Deleuze]
While it is a truism that music is an art of time, most of my pieces are concerned in some way with time and its perception which, in this piece, determines the formal principle of fragmentation in each case. Between each fragment is a simulacrum and the return of material affirms difference, dissemblance and disparateness, chance, multiplicity and becoming. 1. Texture (recognisable consistent quality field) and border-states (time transformations): glissando, static texture, slowly changing texture, ‘coloured silence’, complete silence. A ‘concerto for ensemble’ Simulacrum is written for players often momentarily deployed in small chamber groups or, more rarely, as soloists. Although, because the wind section is populated with different register instruments (i.e. piccolo, flute / Bb clarinet, Bass clarinet / bassoon, contrabassoon) and the range of percussion is sizeable, my intention is that the piece’s colour-spectrum is richer still than the 23-strong ensemble suggests. |
2015-16
matheme
for double trio
| Instrumentation: | bass flute, bass clarinet, contrabass, violin, alto trombone, piano |
| Premiere: | 24 october 2016, New York |
| Duration: | approx. 14 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
|
The matheme indicates a relationship, where the relationship is problematic, unstable and continuously open to re-negotiation. Two separated trios playing separate music. The ambiguity of where this music can meet seems to endorse the notion of a ‘transitive’ space – a matheme, creating an invisible third space perhaps. |
Recording:
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2015-16
mirrors
for trio
| Instrumentation: | violin, alto trombone, piano |
| Duration: | approx. 13,5 minutes |
| Score: | Contact the composer |
2015-16
Meaning of No Meaning
for trio
| Instrumentation: | bass flute, bass clarinet, contrabass |
| Premiere: | 9 october 2013, Brussels – Katrien Gaelens, Dries Tack, Jens Similox-Tohon |
| Duration: | approx. 13,5 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
|
On a pure musical level this music is about contrasts. Two ‘themes’; one melodic, looping restatements, obstacles and ornamented planes, tentative lattices of simultaneity, networks forming and diffusing with a fine tread running between the instruments; the other like a broken machine, jolting and splattering. But also ‘themes’ against ‘no-theme’, or development against ‘staticness’ and so on… (Meaning against No Meaning). Maybe what I am after with this music is what’s between these contrasts, leaving the music for itself, “being by itself”. |
-2016-
arteria
electronic music
| Instrumentation: | electronic music |
| Premiere: | 23 september 2016, Mexico City |
| Duration: | 7 minutes 10 seconds |
| Program note: |
|
Arteria (from Greek ἀρτηρία (artēria), meaning “windpipe, artery”) are blood vessels that carry blood away from the heart. In this electro-acoustic piece, which forms part IX of a larger piece for cello solo, electronics and visual performance, I have imagined this vessels, pulsating blood through the body. Formally the piece contains 2 “parts” building a sort of arch, or increase/decrease of blood pressure of you will. The first part is static in its character, with one sound with different microtonal changes in the 6 channels respectively. The second part, by contrast, is very varied with different information being sent through the ”arterias”, so to speak. All sounds are electronically produced and the whole sounds-scape is clearly electronic. |
Recording: (stereomix)
-2016-
O ew'ge Nacht
for piano, cello and electronics
| Instrumentation: | piano, cello and electronics |
| Premiere: | 28 June 2016, Santiago de Compostela; Vertixe Sonora (David Durán, Thomas Piel) |
| Duration: | approx. 19 minutes |
| Commissioned by: | Vertixe Sonora |
| Score: | Buy score at BabelScores! |
| Program note: |
|
When approach to participate in the project “Sound Correspondences” I was told that the concert was to be related to a collective exhibition of the CGAC. For me the artist involved is María Ruido who presented her work “La memoria interior” for me. While there may be certain connections between our works (construction of memory would be one), what immediately struck me was the very beginning where, in complete darkness, Nur Stille, Stille (from Mozart’s Die Zauberflöte) is heard. The title of my piece, O ew’ge nacht, is also taken from Die Zauberflöte where it is a short recitative; the topic being that of questions about the afterlife, eternal life, and love. If the recitative is a Message from Beyond, this music struggles, through the performers (as some kind of deformed Papageno and Pamina figures), trying to ask a question. The effect of struggle is twofold, for while the music itself articulates a search through potential material, the player is faced with notation of great complexity from which a performance must be extrapolated. In this sense, the struggle is not only that of the extreme performance situation, but also one of creating a piece of music of any real significance. |
-2016-
Beyond the Quintessential Quincunx
| Instrumentation: | bass clarinet, violin, acoustic guitar, sound objects |
| Premiere: | 31 Mars 2016, Århus; Curious Chamber Players (Dries Tack, Karin Hellqvist, Frederik Munk Larsen, Rei Munakata) |
| Duration: | approximately 6 minutes |
| Score: | Buy score at BabelScores! |
Recording:
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2015-16
drifting – part 2 of Cycle IV from “synthetic fragments
| Instrumentation: | percussion, alto-flute, optional live electronics |
| Premiere: | 26 February 2016, Barcelona; Duo Arà (A. Rombolá, N. Andorrà)+ Henrik Denerin |
| Duration: | variable (12-15 minutes suggested) |
| Score: | Buy score at BabelScores! |
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-2015-
monade (diskontinuierliche Endlichkeit)
for trio
| Instrumentation: | clarinet in A, cello, piano |
| Premiere: | 10 january 2016, Paris; Ensemble Aleph (Dominique Clément, Christophe Roy, Sylvie Drouin) |
| Duration: | approx. 10 minutes |
| Commissioned by: | Ensemble Aleph |
| Score: | Contact the composer |
| Program note: |
|
Monad (from Greek μονάς monas, “unit” in turn from μόνος monos, “alone”)
The monad, the word and the idea, belongs to the western philosophical tradition and has been used by various authors, most famously by Leibniz that designates the monad as metaphysical point (without extension) in which the entire universe is reflected. Monads are manifest, they are everywhere, and there is no extension without monads. They are, then, the plenum, that is to say, the condition of an infinitely dense universe, but nevertheless they are unextended. However, this doesn’t mean that they lack of any function (as far as they project and reflect force), matter (since they come with it) or that they are extended (considering that they don’t interact with anything in the world). The ‘intensive infinity’ within the monad is in excess of any concept. Monadic fullness is dizzying, ‘confused.’ The infinity within the monad is infinitely analyzable, which means that it cannot be captured by a finite consciousness, but is lost for intentionality. Nonetheless, this loss is not an abstract negation of knowledge, since the monad has all the complex determinacy of an intensive gathering of relations. The ‘pregnant’ fullness of the monad intends no mythic re-enchantment of nature. On the contrary, it definitively secularizes temporality, and shows how the modern notion of progress reintroduces the Christian via recta into the representation of time. monade (diskontinuierliche Endlichkeit) – Oscillation measures the failure of a limit to exist. |
Recording:
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-2015-
seals II – part 4 of Cycle III from synthetic fragments
for cello & soprano or cello solo
| Instrumentation: | cello & soprano (or cello solo) |
| Premiere: | 2 mars 2017 (both versions), Brussels |
| Duration: | approx. 1 minute |
| Score: | Buy score at BabelScores! |
| Program note: |
|
The title of this work, seals, comes from the Italian philosopher, mathematician, poet, Dominican friar and astrologer Giordano Bruno (1548 – 1600). Although not widely recognized he is celebrated for his cosmological theories, which went even further than the then-novel Copernican model. Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Because of his, at the time, radical thinking (including supporting Galileo Galilei) Bruno was forced to leave Italy in 1576, first to France and later to England and Germany. In 1591, in a time when the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. In 1592 he was arrested by the Venetian Inquisition, sent to Rome and charged of blasphemy and heresy. After 7 years of trial the Inquisition found him guilty, and in 1600 Bruno was burned at stake in Rome’s Campo de’ Fiori. Bruno’s case is still considered a landmark in the history of free thought and the future of the emerging sciences.
In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles and it is these writings that the title of my piece refer to. Early in 1583, soon after his arrival in England, Bruno published the massive volume on memory which is referred to as Seals, though it really consists of four items, as follows:
The seals are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries. In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organisation of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognised in Seal after Seal, though now presented as occult mysteries. There is something, to my mind, profound in the Seals, as though in its inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential, Giordano Bruno, the memory artist, were introducing us to the core of the creative act, the inner act which precedes the outer expression. The work seals II is one of eleven works for solo instruments which form cycle III of “synthetic fragments”. |
-2015-
astrocyte
electronic music
| Instrumentation: | electronic music |
| Premiere: | 26 Mars 2016, Tuscaloosa, USA |
| Duration: | 3 minutes |
| Program note: |
|
astrocyte (Astro from Greek astron = star and cyte from Greek “kyttaron” = cell) are characteristic star-shaped glial cells in the brain and spinal cord. Recent research (2015) has shown that these cells have a important role to help the brain to remember. They have also been showed to occilate.
In this electro-acoustic piece, which forms part III of the piece “Ontology of Becoming” for cello solo, electronics and visual performance, I have imagined this “cell – world”; how these cells sends information and how that may sound like. Formally the piece contains 10 “phrases” of different lengths. (These different phrases; their lengths, construction etc. are connected to the piece in its whole and could be regarded as a way at looking into the brain and see, through the astrocytes, how it treats the memory (and pre-memory) of the piece… a kind of information flow of every part… but condensed). astrocyte forms the 3rd part of a large scale work for cello, electronics and visual performance. |
Recording:
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Demo of visual performance (by T. Marcusson:
-2015-
fluchtlinien-D
for flute and percussion
| Instrumentation: | flute (with B foot), percussion |
| Premiere: | 26 February 2016, Barcelona; Duo Arà (A. Rombolá, N. Andorrà) |
| Duration: | approx. 8 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
|
fluchtlinien-D is fluchtlinien with a structured improvised percussion part.
fluchtlinien – With this concept Deleuze and Guattari points at possible alternatives to the dominating approach. One example is how the music sends out lines of flight (fluchtlinien) when it multiplies and spreads like a diverse weed of sound. Fluchtlininen thus indicates the potential for something different to take shape, for example, the opportunity of re-thinking. |
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-2015-
fluchtlinien
for flute
| Instrumentation: | flute (with B foot) |
| Premiere: | 23 August 2015, Tokyo Opera City, Tokyo (Japan); Kazuko Ihara |
| Duration: | approx. 8 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
|
With this concept Deleuze and Guattari points at possible alternatives to the dominating approach. One example is how the music sends out lines of flight (fluchtlinien) when it multiplies and spreads like a diverse weed of sound. Fluchtlininen thus indicates the potential for something different to take shape, for example, the opportunity of re-thinking. Every form of life – a body, a social group, an organism or even a concept – consists of links and connections. Genes come together to form cells; cells are collected to form tribes. The term ‘human being’ is an example of such an interconnection of reason, a certain type of body (white, male), speech, and so on. But every connection also allows a fluchtlinie; there is always the potential for genetic mutation. The definition of man as rational also enables a dispute about what constitutes humanity: e.g., is it rational to put up a stock of nuclear weapons? Thus, every definition wears, every territorialisationtorium or body, the opportunities that opens up for a fluchtlinie that could turn it into something else. |
-2015-
verzeitlichung
for ensemble
| Instrumentation: | clarinet (Bb/bass), piano, violin, viola, cello |
| Premiere: | 23 April 2015, Fabra i Coats, Barcelona (Spain); Ensemble Recherche |
| Duration: | approx. 11 minutes |
| Commissioned by: | Mixtur Festival for Ensemble Recherche |
| Score: | Buy score at BabelScores! |
| Program note: |
| Perhaps it is first in the interpretation process that an artwork unfolds to what it is interpreted as. Interpretandum is thus not something instantly given but grows from esthetic experience and critical reflection – it is both the result of and the object of the study. Also in a temporal respect, mediation between production and interpretation is crucial: the artwork is produced not in its contemporary history (the past), but its time (the present) in the artwork. This temporalization (verzeitlichung) of the artwork during the process of composition transforms its interior into a “micro eon”. The interpretation crystallizes the work to a structure. |
Recording:
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-2015-
seals I – part 1 of Cycle III from synthetic fragments
for violin solo & ensemble
| Instrumentation: | violin solo, english horn, Eb clarinet, piano, soprano, cello |
| Duration: | approx. 2 minutes |
| Premiere: | 21 June 2015, Koninklijk Conservatorium Brussel; Veerle Houbraken – soloviolin & Odysseia Ensemble conducted by Bart Bouckaert |
| Score: | Buy score at BabelScores! |
| Program note: |
|
The title of this work, seals, comes from the Italian philosopher, mathematician, poet, Dominican friar and astrologer Giordano Bruno (1548 – 1600). Although not widely recognized he is celebrated for his cosmological theories, which went even further than the then-novel Copernican model. Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Because of his, at the time, radical thinking (including supporting Galileo Galilei) Bruno was forced to leave Italy in 1576, first to France and later to England and Germany. In 1591, in a time when the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. In 1592 he was arrested by the Venetian Inquisition, sent to Rome and charged of blasphemy and heresy. After 7 years of trial the Inquisition found him guilty, and in 1600 Bruno was burned at stake in Rome’s Campo de’ Fiori. Bruno’s case is still considered a landmark in the history of free thought and the future of the emerging sciences.
In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles and it is these writings that the title of my piece refer to. Early in 1583, soon after his arrival in England, Bruno published the massive volume on memory which is referred to as Seals, though it really consists of four items, as follows:
The seals are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries. In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organisation of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognised in Seal after Seal, though now presented as occult mysteries. There is something, to my mind, profound in the Seals, as though in its inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential, Giordano Bruno, the memory artist, were introducing us to the core of the creative act, the inner act which precedes the outer expression. The work seals I is one of eleven works for solo instruments which form cycle III of “synthetic fragments”. |
Recording:
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2014
Rhizom
for ensemble
| Instrumentation: | flute (C/alto/piccolo), soprano saxophone, percussion, piano, cello |
| Premiere: | 30 November 2014, La Caja, Vigo (Spain); Vertixe Sonora Ensemble |
| Duration: | approx. 15 minutes |
| Commissioned by: | Vertixe Sonora Ensemble |
| Score: | Buy score at BabelScores! |
| Program note: |
|
“A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The tree is filiation, but the rhizome is alliance, uniquely alliance. The tree imposes the verb “to be,” but the fabric of the rhizome is the conjunction, “and. . . and.. . and. . .” So far Deleuze. Subterranean passages of thought: that is what Deleuze and Guttari call a RHIZOME. It tests the intelligent capacity for finding beginnings. A labyrinth without beginning or end: “A non-hierarchic structure of concepts that propagates in all directions and invites to multiplicity.“ When I a few years ago read their book “A Thousand Plateaus” (“Mille plateaux”) I did it enthusiastically even though I may not have completely understood all of the ideas (some are even still quite difficult to understand). But at least some thought images have had a lasting impression. When I started this work I came to think about how their philosophical concept “Rhizome” has gradually become a way for me to think about structures in musical composition (form) and how these structures can communicate itself to listeners. Rhizom is based on a “predefined book” of rhythmical structures, harmonic progressions and instrumental combinations. In order to try to adhere to the conception of Rhizome it is composed in a non-linear fashion. |
Recording of the premiere with Vertixe Sonora Ensemble
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2014
breathing
for cello solo
| Instrumentation: | cello |
| Premiere: | 14 August 2014, Darmstadt; Alice Purton |
| Duration: | approx. 6 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
| breathing for prepared cello is the last section (section 10), but the first to be composed, from a much larger work for cello, electronic music and visual performance. Performed as a solo piece, breathing does not utilize any electronics or video. The music isn’t intended to illustrate any kind of breathing but to be in itself the “breathing”, in the large scale work as a re-wakening and as a solo piece, the enjoyment of life (breathing gives life!). Structurally the work as a whole and down to its very details is influenced by prime numbers. The reasons for this are manifold. They grow like weeds among the natural numbers, seeming to obey no other law than that of chance, and nobody can predict where the next one will sprout. The second fact is even more astonishing, for it states just the opposite: that the prime numbers exhibit stunning regularity, that there are laws governing their behavior, and that they obey these laws with almost military precision. The stability of the structure, its symmetry and beauty, is the way in which the understanding takes its perceptible form and communicates itself to the listener… to understand something about the material and how, conceptually, music communicates itself to the listener. “the dichotomy between the very predictable world of mathematics and the almost whimsical nature of prime numbers” |
2014
seals I – part 1 of Cycle III from synthetic fragments
version for violin solo
| Instrumentation: | violin solo |
| Duration: | approx. 2 minutes |
| Score: | Buy score at BabelScores! |
| Program note: |
|
The title of this work, seals, comes from the Italian philosopher, mathematician, poet, Dominican friar and astrologer Giordano Bruno (1548 – 1600). Although not widely recognized he is celebrated for his cosmological theories, which went even further than the then-novel Copernican model. Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Because of his, at the time, radical thinking (including supporting Galileo Galilei) Bruno was forced to leave Italy in 1576, first to France and later to England and Germany. In 1591, in a time when the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. In 1592 he was arrested by the Venetian Inquisition, sent to Rome and charged of blasphemy and heresy. After 7 years of trial the Inquisition found him guilty, and in 1600 Bruno was burned at stake in Rome’s Campo de’ Fiori. Bruno’s case is still considered a landmark in the history of free thought and the future of the emerging sciences.
In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles and it is these writings that the title of my piece refer to. Early in 1583, soon after his arrival in England, Bruno published the massive volume on memory which is referred to as Seals, though it really consists of four items, as follows:
The seals are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries. In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organisation of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognised in Seal after Seal, though now presented as occult mysteries. There is something, to my mind, profound in the Seals, as though in its inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential, Giordano Bruno, the memory artist, were introducing us to the core of the creative act, the inner act which precedes the outer expression. The work seals I is one of eleven works for solo instruments which form cycle III of “synthetic fragments”. |
2014
Das Ende eines Wintermärchens – part III of Cycle I from synthetic fragments
for ensemble
| Instrumentation: | Bb clarinet, percussion, piano, violin, viola, ‘cello, contrabass |
| Premiere: | April 13, 2014 – Ensemble Aleph in Fontevraud Abbey, France |
| Duration: | 6 minutes |
| Commissioned by: | Ensemble Aleph |
| Score: | Buy score at BabelScores! |
Recording by Ensemble Aleph
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| Program note: |
|
Das Ende eines Wintermärchens (The End of a Winter’s Tale) takes its title from the third part of Hans-Jürgen Sybergergs mega-film “ein Film aus Deutschland” (1977).The film that has no clear plot or chronology , instead, each part explores one particular topic with the third part exploring the holocaust and the ideology behind it. Rather than devise a spectacle in the past tense, by attempting to simulate unrepeatable reality or The music should however not be misinterpreted as crudely illustrative, some (more or less) musical Maybe this music could be viewed upon as “abstract storytelling”, having no real “plot” but Das Ende eines Wintermärchens is the third part in cycle I from the work “synthetic fragments” where cycle I consists of 4 parts, all named after the parts |
2014
empty space – part 1 of Cycle IV from “synthetic fragments
texts and material examples for structured improvisation
| Instrumentation: | percussion, contrabass, (optional live electronics) |
| Premiere: | May 5, 2014 – Núria Andorrà, Johannes Nästesjö |
| Duration: | variable |
Recording:
2013
Unhörbares hörbar machen – Part II - Hyōshiawazu (拍子不合)
for electronic music
| Instrumentation: | electronic music |
| Premiere: | Mars 16, 2013 – @ Saravah in Tokyo |
| Duration: | 6′ 13″ |
| Program note: |
| The whole underlying structure of this piece is drawn from various features found in Japanese Nō Theatre. There are three types of tempo in Nō (Hiranori, Chūnori and Ōnori) which is articulated by the tripartite structure of this piece, all having its own pace. These three parts are (approximately) divided in the proportions 4733 and 6647 which makes: A = 169 seconds, B = 119 seconds, C = 84,6 seconds.
On the more poetic side the piece is a sort of comment to an imagined Nō play drawing its form, intervals and rhythmic patterns from the Nō piece “Chū no mai” which, as it were, is acting like a sort of “cantus firmus” but only revealing itself the very last seconds. Tools used in composition process: Max/MSP 6 (granulation, synthesis, stochastic sound mass, sound freeze and more, all programmed by H. Denerin), IannisX (fractal walk), Ircam’s SPAT (spatialization), Cubase (mixing). Chart of formal outline with listing of sonic entities of the 21 layers in part 1:
|
| Comment: |
| WORK No.18 |
Recording:
2009/2010
zeit-raum
for piano solo
| Instrumentation: | piano solo (with bells and optional electronics) |
| passage-plateau-with variation Premiere: | 2013-10-16; Sibelius Academy Concert Hall, Helsinki, Finland, Mirka Viitala – piano |
| The time within Premiere: | 2009-04-01; Acadamy of Music in Malmö, Sweden, Fredrick Haglund – piano |
| Program note: |
| zeit-raum consists of two parts; the time within and passage-plateau-with variation. Preferably the parts are performed consecutively. It’s also possible to perform each movement individually. THE TIME WITHIN explores different relations between time (duration – horizontal) and sound complexes (vertical – group formations – chords). It is composed with the help of IRCAM’s open music. I made a set of rules for how the piece should be formed, variations of application of duration to n notes and a initial probability that certain phenomena should appear or not (e.g. how sound complexes should be formed… completely vertical or in group formations, ornaments etc.). I, so to speak, show the direction of the piece to the program whose function is to map out this direction. One thing that became interesting to me, except the result itself, was to observe how a computer went from being a recalcitrant tool (or maybe my reluctance against the computer) to “open up”. passage – plateau – with variation |
Recording of passage-plateau-with variation:
Recording of THE TIME WITHIN:
score excerpt page 1-3 of respectively The time within and passage-plateau-with variation
2010
passage-plateau-with variation
for piano solo
SEE zeit-raum
2009
The time within
for piano solo
SEE zeit-raum
2012
Decorated Zither
for male voices
| Instrumentation: | Male Choir or Six male solovoices |
| Premiere: | October 11, 2014 – Wrocławscy Kameraliści/Piotr Karpeta |
| Score: | Buy score at BabelScores! |
| Program note: |
| The poem ‘Decorated Zither’ by Li Shangyin (813-858) acts like a sort of Cantus Firmus in this piece. The poem itself is a, quite intriguing, love poem, clearly written in a mystical Taoism manner.
The male choir (or six male voices) is divided into 3 groups, surrounding the audience. Group III, standing in front of the audience sings the poem and its tone material is clearly linked to the text as spoken in Chinese. The Bass sings the Cantus Firmus as mentioned above while the Tenor is constantly ‘commenting’ with a expanding and contracting canon. The other 2 groups has 2 clear functions; one being the exploration and representation of the of language or a voyage of language as it were. The second being the gradual transformation from noise to sound in group I and the opposite in group II. Formally the piece can be divided into 8 different sections; all with different lengths, rhythmic speeds and dynamic envelopes, and so on, but still interlinked and derived from the text trying to draw an organic form. |
| TEXT:
(simplified Chinese) 锦瑟无瑟五十弦， (English translation by Qiu Xiaolong) A decorated zither, for no reason, is made of fifty strings – |
2009
Rotations-Shadows
electronic music
| Instrumentation: | electronic music (for 8 speakers)(mix for 5.1 and a stereomix exists) |
| Premiere: | 2009-03-23; Malmö Acadamy of Music, Sweden |
| Duration: | 21′ 41″ |
| Program note: |
| ROTATIONS – The piece consists of 48 different voices whish all has its own shape, range, dynamic envelope, sound composition, tempo and rhythm. Every one of these voices rotates at different speeds around the room; the slowest taking 21 minutes for one rotation, the fastest 0.5 seconds. An unbelievable room-polyphony is created. Obviously not all 48 voices are heard all the time, but in the most dense part, at 15 minutes, they all come together.
SHADOWS – “As the ideas are the principal forms of things, according to which all is formed … so we should form in us the shadows of ideas … so that they may be adaptable to all possible formations. We form them in us, as in the revolution of wheels. If you know any other way, try it.” (Giordano Bruno: Shadows (De umbris idearum)) |
| Comment: |
|
The different voices in ROTATIONS-SHADOWS where all created from one original melody with the use of IRCAM open music, mainly with different scale objects applied both vertically and horizontally. The sounds where created with Csound and the spatializing with IRCAM Spatialisateur.
Under Heaven is a cycle consisting of 7 parts, each for different kinds of ensembles. They are all composed of the same material and using similar ways of forming. This, however, does not mean that they don’t have a personality but only belong to different cultures – different ways of growing. |
Recording excerpt:
2009
mnēmoneuein
quartet
| Subtitle: | Six Tones version |
| Instrumentation: | trio (dan tranh, dan bau, dan ty ba)+ computer(live-electronics) |
| Premiere: | 28 Mars 2009; Nybrokajen 11, Stockholm/SwedenSix Tones – Thanh Thuy, Ngo Tra My, Stefan Östersjö, Henrik Frisk |
| Program note: |
|
mnēmoneuein (prin khronisthēnai) the act to remember (takes place when time has passed) This piece is about memory. Memory as recollection, as trace; memory that reviews – memory that repeats. Two extreme forms of memory, each regarded in their pure state, but also as a transitory form, as a compound phenomenon that emanates from their amalgamation. A transition from the virtual to the actual. But also about imagination and the border line between them. A concealed object that is brought forth by the act of remembering and by imagination. |
|
Video below is from Atalante in Gothenburg/Sweden 2009-04-01 |
Recording from Babel in Malmö/Sweden 2009:
2007
Scritto x1
for ensemble
| Instrumentation: | cl, pno, vln, vlc |
| Premiere: | 2007-05-14; Acadamy of Music in Malmö, SwedenJonas Losciale – clarinet, Fredrick Haglund – piano,Alexandra Hjortswang – violin, Gustav Ölmedal – cello |
| Duration: | ca 7′ |
| Program note: |
| This piece is mainly about perception, walking through three perceptive categories: the active – the medial – the passive. The path over which the approach is made could obviously be many and here I attempt to suggest a number of possibilities. In attempting to try to do something which could (platitudinously) be termed “clearly musical” one has to find a material that can both be a flickering interplay of surface gestures and sink below the surface. This web tries to be constantly mobile – always moving towards the center. |
2006
VINGT-CINQ
for viola
| Instrumentation: | viola with live electronics (4 channel) |
| Premiere: | 2006-10-10; Jeriko, Mamlö/SwedenMarkus Falkbring – Viola, Henrik Denerin – live electronics |
| Program note: |
| Tautology – The common tendency is obvious enough, but it is also a narrative in the sense that its language is directly related to states of consciousness of a first-person narrator. The text can be read as a metaphor for life: as a movement toward the unknown point of death. Another aspect reveals itself in the inescapable impression that the totality of the text is apprehended like fragments out of a context that cannot be reconstructed and for whose existence there is no evidence in what is literally said. Certain formulations arise that elicit unreachable memories, as it were, memories of contexts that cannot be reconstructed. So, content, a story after all? As little of this as of purely abstract composition. A little of both. |
| Comment: |
| VINGT-CINQ is dedicated to Gertrud Heinerud and was written for her 25th birthday. |
2006 – revised 2012
Alcheringa
for string orchestra
| Instrumentation: | String orchestra (9 vln, 3 vla, 2 vlc, 1 cb) |
| Premiere: | 2006-12-01; Concert Hall, Växjö/SwedenMusica Vitae/Michael Bartosch |
| Duration: | ca 9′ |
| Program note: |
| Alcheringa is the term for the creation of the world as perceived by the Aborigines. This concept can be explained as an extra dimension of life, a dimension that has part in time, room and humans personality. Alcheringa is all that we in other religions denotes as divine. The form is a sort of mirror with two gestures spreading out through the piece. The gestures is composed as a micro-polyphony, and thus becomes both still and mobile at the same time. Small “alien objects” are inserted acting as pre-echoes to the rest of the cycle. |
| Comment: |
| Under Heaven is a cycle consisting of 7 parts, each for different kinds of ensembles. They are all composed of the same material and using similar ways of forming. This, however, does not mean that they don’t have a personality but only belong to different cultures – different ways of growing. |