i’m concluding my coverage of this year’s Ultima festival with something that – over a week since it took place – i’m still grappling with in terms of what i experienced as well as, quite simply, what to call it. On 17 September a marathon was being run through the…
Tag:
Norway
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It’s reasonable to expect extreme variety and diversity at Ultima, though many of the more conventional concert events i experienced at this year’s festival were a surprisingly mixed bag, qualitatively speaking. The most taxing was unfortunately a concert celebrating the award of this year’s Arne Nordheim prize to Jan Martin…
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Within the context of new music festivals, it can be rather too easy to assume that installations are a kind of secondary activity, even an optional extra, something to check out if you’ve got some spare time between the really important stuff, i.e. the actual concerts. This misconception is perhaps…
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The smallest-scale events at this year’s Estonian Music Days were a pair of chamber concerts at each end of the festival. Irina Zahharenkova’s keyboard recital at the Arvo Pärt Centre encompassed extremes of musical invention. The most egregious were two works dating from the early 1990s by a Russian guitarist…
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i wrote in Part 1 about the warm, inviting and relaxing atmosphere that pervaded each of the concerts at Borealis 2022. Establishing this kind of environment for audiences is vital, for two important reasons. First, because any festival that claims itself to be, as Borealis explicitly does, “for experimental music”…
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Even at the first concert of the first day of Borealis 2022, i was realising how much the festival felt different from the norm. i go to a lot of festivals (notwithstanding the upheavals of the last two years), and for the most part, aside from cultural distinctions, they’re all…
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As i mentioned previously, the majority of the music i heard at this year’s Dark Music Days fell somewhere between emotional allusion and full-on abstraction. In many ways it was the most abstract music that made some of the strongest and most long-lasting impressions, primarily because of the composers’ focus…
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i’m delighted to present the latest instalment in my occasional long-form conversation series The Dialogues. My guest this time is UK-born, Norway-based composer Natasha Barrett, whose music i’ve deeply admired for at least 20 years. Barrett is both a veteran and a pioneer of electronic music, utilising a convoluted mixture…
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In addition to the soundwalks, installations, music theatre, performance art and electroacoustic shenanigans, Ultima 2021 also had its fair share of more conventional ensemble concerts, which took place in two Oslo churches. The beautiful Tøyen Kirke played host to two of Norway’s most prominent new music ensembles, asamisimasa and Cikada.
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Not everything i heard at Ultima 2021 was bound up in convolutions of meaning. Ryoji Ikeda‘s forays into the world of percussion (which i previously explored in 2018) are a sidestep away from his more central work in multi-layered representations and interpretations of data, instead concerned much more directly with…
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The saying goes that you don’t know what you’ve got until it’s gone, but in the case of the Ultima festival in Oslo, the latter half of which i experienced last week, i don’t think i truly realised how much i’d missed contemporary music festivals until i was back in…
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In addition to the various multimedia / audiovisual events at Borealis 2021, the festival included a number of more conventional concerts. Violinist Ricardo Odriozola’s recital featured a mix of Norwegian, British and US works, two of which, Dániel Péter Biró‘s blink-and-you’ll-miss-it Moshe Went Up and Tim Hodgkinson‘s The Landscape Theory…
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It’s a work i’d very much like to write about in more depth at a later date, as there’s so much to say about it… i wrote those words following a concert that took place almost exactly a year ago, before the time when lockdowns were a thing and i…
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It’s three months since i began the Outside-In project, responding to the lockdown by compiling submitted field recordings that could act as vivid reminders of, and virtual windows onto, the outside world during a time when we weren’t able to experience it first-hand. Thankfully, much has changed and improved from…
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i don’t know if it’s a weird kind of defocused, more-easily-distracted side-effect of the lockdown, but lately i’ve been finding it easiest to engage with mid-length albums where i can immerse myself for half an hour or so. Happily, quite a few of these have found their way to me…
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It no doubt goes without saying that Iceland’s Dark Music Days festival is primarily named for the fact that it takes place in January, when the amount of daylight the country receives is minimal. In a less literal sense, though, musically speaking there’s a lot to be said for listening…
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Being the host nation, music from Norway was especially well-represented at this year’s Nordic Music Days in Bodø. Harnessing the large and impressive organ of Bodø Cathedral, Trond Kverno‘s Triptychon 2 was one of the fieriest things i heard at the festival. We tend to think of toccatas as fast-flowing,…
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A golden rule in cinema is “show, don’t tell”, reminding the director it’s invariably more subtle and effective to avoid directly stating the things you want the audience to consider and instead to incorporate them into the medium itself, in the process allowing for a more subtle, rich and wide-ranging…
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When you listen to music what do you see? What does music look like, and what do images sound like? What’s the relationship between musical and visual stimuli? These questions became something of a recurring consideration during the three days of concerts i attended recently during the opening weekend of…
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As i previously remarked, one of the most (and one of the only) disappointing things about my first experience of the Faroe Islands’ Summartónar festival was the almost complete lack of music by Faroese composers. The inclusion of Kristian Blak – artistic director of the festival – mitigated that to…