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Gala Festival Concert – Journeys In Time And Space
Göteborg
Örgryte nya kyrkafredag, 11 oktober 2024 kl:19:30
Gala festival concert
Journeys in Time and Space
Charles-Marie Widor (1844–1937)
Allegro from Symphony No. 6, Opus 42, No. 2
Hans Davidsson, Willis organ
Davidsson Organ and Dance Collaborative
Gusten Aldenklint (b. 1988)
The Casimir Force on Journeys of Ghosts
Pentatonic, electroacoustic, microtonal orchestration for the Ljudhavet acousmonium
Genelec Sounds system from EMS (Musikverket)
Low frequency delivered by Neotera Audio
Hymn Improvisation Journey
Sietze de Vries, Baroque organ
Isagel Suite from Aniara
Text: Harry Martinson, 1956
Music: Carl Unander-Scharin (1, 3, 5, 6, 8) 2019/2024
Music: Carl and A?sa Unander-Scharin: (4, 7) 2019
Music: A?sa Unander-Scharin (2) 2019
A?sa Unander-Scharin, choreography, music, dance, observer
Carl Unander-Scharin, music, tenor, throat
Amanda Flodin, alto
Karl-Peter Eriksson, baritone
Hans Davidsson, baroque organ
Gusten Aldenklint, Ljudhavet
Magnus Lorentzson, light design
Ulrika Davidsson, stage director
The Observer system and The Throat system are developed by A?sa Unander-Scharin,
Carl Unander-Scharin and Ludvig Elblaus. In the systems, recordings by A?sa Unander-
Scharin (viola da gamba), Carl Unander-Scharin (harpsichord), Dorota Siuda (violin)
and Hans Davidsson (organ), are heard.
• I. Ma?nniskan, askans konung, tenor and organ
• II. Doris landi, dancer, observer
• III. Sja?lv har jag inget namn, Passacaglia, tenor and organ
• IV. Den livligt sprattlande ingivelsen, tenor, throat, dancer, observer
• V. Jag ska bera?tta vad jag ho?rt om glas, tenor and organ
• VI. Spjutet, Toccata, dancer and organ
• VII. Osynlig fo?r va?rt o?ga gled hon undan, tenor, throat, organ, dancer, observer
• VIII. Det finns skydd fo?r na?stan allt, alto, tenor, baryton, organ
Matthias Weckman (?1616–1674)
Weine nicht, es hat u?berwunden der Lo?we von Stamm Juda
Sacred concerto from the year 1663 when the plague descended on Hamburg
Amanda Flodin, alto
Carl Unander-Scharin, tenor
Karl-Peter Eriksson, bass
Hans Davidsson, organ
Arina Trostyanetskaya, dance
Davidsson Organ and Dance Collaborative
PROGRAMME NOTES FOR THE ISAGEL SUITE
During the spring of 2019, we began to create a new work based on Harry Martinson’s
long suite of poems, “Aniara”. In 1956, Swedish poet Harry Martinson (1904–1978) wrote
and published his epic poetry suite depicting a spaceship that has lost its course after
leaving an earth devastated by war and environmental disaster. His audience was
surprised to read this new kind of poetry by their beloved and quite rurally oriented
poet. The poems formed the basis for the opera Aniara (1959), with a libretto by Erik
Lindegren and music by Karl-Birger Blomdahl. The opera was a huge success and
toured internationally.
In our adaptation of Aniara, we chose the poems that depict the female pilot Isagel.
We wanted to find a way of picturing her relation to the work’s narrator Mimaroben: a
relation that is full of mutual respect and fascination for deep scientific thought, as well
as shared abhorrence for the cold, dark and lonely space outside of the ship. They also
share concerns for the remaining few humans and their hopeless future in the vessel.
The music is composed for tenor and organ, as well as the combination of Observer-
system and dance that we have developed for our artistic work. In our version of
Aniara, the church organ is a metaphor for the Mima (the artificially intelligent ship’s
computer), whereas the Observer system is a metaphor for the “Gopta-table” where
Isagel carries out her work with the “Jender curves”. Today we would probably equate
those things with touchscreens and machine code. We also make use of another of our
own systems, “The Throat”, in order to dynamically change and extend the voice of the
singer.
Furthermore, the music material is based on an “astronomic tone series”: a series
of tones that are derived from the astronomic numbers that can be discerned in
Martinson’s poem. Martinson tells us that Aniara is headed for the Lyrae, far away. In
2015 – many years after Martinson ?s death – it was confirmed by Nasa that the planet
Kepler 438 b in the Lyrae has an ESI (Earth similarity index) that is -0.88. This means
that this planet, in fact, is the one with the closest similarity to Earth of all known
planets yet. The Lyrae is 25.05 light years away from the Earth – and this number,
together with other astronomic numbers, forms the basis for the tonal series used in the
work.
In collaboration with GAS (Gothenburg Art Sounds) and the Parish of O?rgryte
Journeys in Time and Space
Charles-Marie Widor (1844–1937)
Allegro from Symphony No. 6, Opus 42, No. 2
Hans Davidsson, Willis organ
Davidsson Organ and Dance Collaborative
Gusten Aldenklint (b. 1988)
The Casimir Force on Journeys of Ghosts
Pentatonic, electroacoustic, microtonal orchestration for the Ljudhavet acousmonium
Genelec Sounds system from EMS (Musikverket)
Low frequency delivered by Neotera Audio
Hymn Improvisation Journey
Sietze de Vries, Baroque organ
Isagel Suite from Aniara
Text: Harry Martinson, 1956
Music: Carl Unander-Scharin (1, 3, 5, 6, 8) 2019/2024
Music: Carl and A?sa Unander-Scharin: (4, 7) 2019
Music: A?sa Unander-Scharin (2) 2019
A?sa Unander-Scharin, choreography, music, dance, observer
Carl Unander-Scharin, music, tenor, throat
Amanda Flodin, alto
Karl-Peter Eriksson, baritone
Hans Davidsson, baroque organ
Gusten Aldenklint, Ljudhavet
Magnus Lorentzson, light design
Ulrika Davidsson, stage director
The Observer system and The Throat system are developed by A?sa Unander-Scharin,
Carl Unander-Scharin and Ludvig Elblaus. In the systems, recordings by A?sa Unander-
Scharin (viola da gamba), Carl Unander-Scharin (harpsichord), Dorota Siuda (violin)
and Hans Davidsson (organ), are heard.
• I. Ma?nniskan, askans konung, tenor and organ
• II. Doris landi, dancer, observer
• III. Sja?lv har jag inget namn, Passacaglia, tenor and organ
• IV. Den livligt sprattlande ingivelsen, tenor, throat, dancer, observer
• V. Jag ska bera?tta vad jag ho?rt om glas, tenor and organ
• VI. Spjutet, Toccata, dancer and organ
• VII. Osynlig fo?r va?rt o?ga gled hon undan, tenor, throat, organ, dancer, observer
• VIII. Det finns skydd fo?r na?stan allt, alto, tenor, baryton, organ
Matthias Weckman (?1616–1674)
Weine nicht, es hat u?berwunden der Lo?we von Stamm Juda
Sacred concerto from the year 1663 when the plague descended on Hamburg
Amanda Flodin, alto
Carl Unander-Scharin, tenor
Karl-Peter Eriksson, bass
Hans Davidsson, organ
Arina Trostyanetskaya, dance
Davidsson Organ and Dance Collaborative
PROGRAMME NOTES FOR THE ISAGEL SUITE
During the spring of 2019, we began to create a new work based on Harry Martinson’s
long suite of poems, “Aniara”. In 1956, Swedish poet Harry Martinson (1904–1978) wrote
and published his epic poetry suite depicting a spaceship that has lost its course after
leaving an earth devastated by war and environmental disaster. His audience was
surprised to read this new kind of poetry by their beloved and quite rurally oriented
poet. The poems formed the basis for the opera Aniara (1959), with a libretto by Erik
Lindegren and music by Karl-Birger Blomdahl. The opera was a huge success and
toured internationally.
In our adaptation of Aniara, we chose the poems that depict the female pilot Isagel.
We wanted to find a way of picturing her relation to the work’s narrator Mimaroben: a
relation that is full of mutual respect and fascination for deep scientific thought, as well
as shared abhorrence for the cold, dark and lonely space outside of the ship. They also
share concerns for the remaining few humans and their hopeless future in the vessel.
The music is composed for tenor and organ, as well as the combination of Observer-
system and dance that we have developed for our artistic work. In our version of
Aniara, the church organ is a metaphor for the Mima (the artificially intelligent ship’s
computer), whereas the Observer system is a metaphor for the “Gopta-table” where
Isagel carries out her work with the “Jender curves”. Today we would probably equate
those things with touchscreens and machine code. We also make use of another of our
own systems, “The Throat”, in order to dynamically change and extend the voice of the
singer.
Furthermore, the music material is based on an “astronomic tone series”: a series
of tones that are derived from the astronomic numbers that can be discerned in
Martinson’s poem. Martinson tells us that Aniara is headed for the Lyrae, far away. In
2015 – many years after Martinson ?s death – it was confirmed by Nasa that the planet
Kepler 438 b in the Lyrae has an ESI (Earth similarity index) that is -0.88. This means
that this planet, in fact, is the one with the closest similarity to Earth of all known
planets yet. The Lyrae is 25.05 light years away from the Earth – and this number,
together with other astronomic numbers, forms the basis for the tonal series used in the
work.
In collaboration with GAS (Gothenburg Art Sounds) and the Parish of O?rgryte
Datum / Tid
fredag, 11 oktober 2024 kl: 19:30Plats
Göteborg, Örgryte nya kyrkaKarta (Google)
Typ
MusikKostnad
100
