Saturday, October 23, 2021, 20:00–21:00 ÖRGRYTE NEW CHURCH

Saturday, October 23, 2021, 20:00–21:00 ÖRGRYTE NEW CHURCH

80.00 - 100.00
CREATIVE COLLISIONS IV
Encounter with New Music in Different Genres



GGR Betong:



GYÖRGY LIGETI (1923–2006)
Volumina (1961–62)

It is possible to regard Ligeti’s classical work for organ as an early example of noise music. If so, it connects well with GGR Betong’s early concerts from the start in 2014, when the ensemble played nothing but transcriptions of old and new noise pieces which didn’t had any kind of scores but only existed as recordings. After building up a repertoire with music by Zbigniew
Karkowski, Lasse Marhaug, Pauline Oliveros and Tetsuo Furudate and others, the ensemble
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CREATIVE COLLISIONS IV
Encounter with New Music in Different Genres

 

GGR Betong:

 

GYÖRGY LIGETI (1923–2006)
Volumina (1961–62)

It is possible to regard Ligeti’s classical work for organ as an early example of noise music. If so, it connects well with GGR Betong’s early concerts from the start in 2014, when the ensemble played nothing but transcriptions of old and new noise pieces which didn’t had any kind of scores but only existed as recordings. After building up a repertoire with music by Zbigniew
Karkowski, Lasse Marhaug, Pauline Oliveros and Tetsuo Furudate and others, the ensemble started to commission from composers that wrote directly for the orchestra. With Ligeti’s ”Volumina”, GGR Betong returns to their early method, with the difference that this time the transcribing process has considered the many recorded versions and also of course the original written score. Tonight’s version, ”Volumina for instruments”, will be played by GGR Betong only at this occasion. That’s a fact. Once and never more.

 

CARL UNANDER-SCHARIN, voice
ÅSA UNANDER-SCHARIN, dance
HANS DAVIDSSON, organ
Vocal ensemble

 

ISAGEL-suite from ”Aniara”

 

During spring 2019, we decided to create a new work based on Harry Martinson’s long suite of poems, “Aniara”. This decision was informed by both the commission from the Göteborg International Organ Academy and on the fact that we have been interested in “Aniara” during a long time. In 1956, Swedish poet Harry Martinson (1904–1978) wrote and published this overwhelming epos that depicts a space ship that has lost is course, having left 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” from 1959, with a libretto by Erik Lindegren and music by Karl-Birger Blomdahl. The opera was a huge success and toured internationally.

 

In our adaption of “Aniara”, we chose the poems that depict the female pilot Isagel. We wanted to focus on her relation to Mimaroben, a friendship that is full of mutual respect as well as a fascination for deep scientific thought. They share the feeling of abhorrence for the cold, dark and lonely space outside of the ship. Also, they share concerns for the few remaining 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” (today we would call that the 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 call those things the touchscreen and the machine code. We also make use of another of our systems “The
Throat” in order to dynamically change and extend the voice of the singer.

 

Furthermore, the music material is based on “astronomic tone series”, series of tones that are derived from astronomical figures 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 a 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 yet known planets. The Lyrae is 25.05 light years away from the Earth – and this number, together with other astronomic numbers, form the basis of the tonal series used in the work.

 

HANS-OLA ERICSSON (b. 1958)
Organ improvisations on György Ligeti’s Volumina

 

The Creative Collisions part of the festival is funded by Musikverket