|The Danish newspaper Information reviews the Louisiana concert with Seattle Chamber Players.|
|An eldorado for new music Written by: Camilla Marie Dahlgreen, Information
It is simply a pleasure to be in company with such good musicians for an entire evening. Louisiana hosted a chamber music experience where you could hear four different works of our time played by the Danish avant-garde ensemble FIGURA and American ensemble Seattle Chamber Players. Helene Gjerris enriched the entire three-quarters of the program with expression and human voice.
Seattle Chamber Players consists of five musicians, who normally plays in the symphony in Seattle and also has a very established career with new chamber music. The ensemble has been in Denmark, like FIGURA have visited them in Seattle, and the cooperation was audibly.
The evening opened with a work by FIGURA's composer in residence, Steingrimur Rohloff, and was the first fruit of their two-year period of cooperation. A work in five movements that circled around some texts by Peter Laugesen. The atmosphere was artistic weaving with some aggressive questioning of the creation. Rohloff caressed the sound of nothing. Language is a noisy, conception is intense and quiet. It is a kind of surplus whining about creating a problem. Is it not more beautiful just to ignore them, because perhaps it is never enough. A beautiful and endearing surplus whining in return, which still betrayed the will and ambition. Casper Schreiber conducted safely and beautifully and with an omnipresent pulse.
Anders Brødsgaard's Galgenlieder had the mood to have a screw loose in the right place. We got five of a total of 10 songs with texts by German Christian Morgenstern. Absurd comedy and poetry in rousing association nonsense verse that relates so skewed from reality that the optic gives new meaning. Helene Gjerris read Brødsgaard own translations before each song, because they did not lay in any program. But she should do it again, program or not, for the excellent translations in itself was a pleasure read with this prominence.
Farewell to rock
Seattle Chamber Players had a piece by Russian composer Vladimir Nikolayev with them. The play vnik-ton experience is composed for them and inspired by the composer's visit to the rock museum in Seattle. It started very well with anything, minimalist sequences, ostinatos-brew people in tune, but gradually appeared all voices a kind of impotence. Air violin, flute breathless, stuttering cello. As a victory over this impotence was the violin still fought them to a Hendrix solo cadenza. "Smoke on the water" theme took over the stage, gradually became an adorable string duo, spelled backwards and forwards and melted into the other voices, untill there was only an idyllic little lake left, which was almost the drum's surface. The expressive percussionist Frans Hansen had put his drum down on two chairs with two blankets under and schratced its skin, while something disappeared. The Rock music arguably.
The raisins in the sausage's end
Peter Bruun Preludes to disaster, uses texts from Cervantes Don Quixote. It is mankind on a safe collision course with disaster, a little fun, but also a little sin, and nobody says anything. Like us, even today, says Peter Bruun. The path is safe, and we're not even going to comment on it. The music was influenced by medieval impermanent beauty in the shadow of doom and ended with a handsome rate of universal melancholy.
Fortunately, the concert was held without a break. The audience had a concentrated and exclusive half hour in the FIGURA's eldorado of exciting music and talented guests.
Seattle Chamber Players and FIGURA. Music by Steingrimur Rohloff, Anders Brødsgaard, Vladimir Nikolayev, Peter Bruun. Louisiana Concert Hall on Wednesday
(Translated by FIGURA)
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