THE BIG EXPERIMENT in collaboration with Damkapellet
Unified in a work commissioned by the Swedish composer Lo Kristenson, the two ensembles Damkapellet and Kvinnoorkestern (SE) meet in an investigative meeting. The realisation of this involves, among other things, an investigative and in-depth work on these issues. How do we value the diversity of the group? How do we create a safe and creative environment? We call the work on these questions the Big Experiment of Damkapellet. The Big Experiment will be performed twice during 2020, in May together with Kvinnoorkestern, and in autumn we invite students from the Royal Danish Academy of Music to play with us.may 31 The Big Experiment @ KLANG – Copenhagen Avantgarde Festival sept 28-30 The Big Experiment Together with RDAM students
SENTER FOR KOLLEKTIVT SKAPANDE a collective composing project together with Tove Bagge, Vilde Sandve Alnæs and Inga Margrete Aas.
Our ambition with the project is to make a new piece together, and at the same time to look closely at the way we do that: can we find working methods that builds on a non hierarchical relationship between musicians and composer? can we let all involved influence all parts of the creative process? what does the traditional roles in music making do to the way we relate to music, and how does the language we use preserve those roles? what role could the score play in a collective non hierarchical method like this?
apr 24 Senter for kollektivt skapande @ Only Connect Festival of Sound, Oslo
may 31 Senter for Kollektivt Skapande @ KLANG – Copenhagen Avantgarde Festival
Photo: Inga Margrete Aas
INSEKT, INSIKT Artipelag June 29 – September 1, 2019
In the exhibition Insect, Insight sculptures by Annika Liljedahl are combined with a sound composition by Lo Kristenson. It grew from a close dialogue between the artists. Both are fascinated by the insect as a metaphor for transformation and survival. The works reflect a strong interest for oppositions and the body’s contradictory relationship to society. www.artipelag.se
PULS 2.0 In collaboration with Damkapellet
Damkapellet´s celebration of the 8th of March and International Womens Day 2019 took place in Koncertkirken in Copenhagen in the form of a minifestival. The evening started with Damkapellet´s children performance ”Glemte Stemmer” (Hidden voices), followed by a selection of smaller chamber music groups existing within Damkapellet. The evening finished with a piece for string ensemble, Puls 2.0, written by the Swedish composer Lo Kristenson, after a few days in close collaboration with Damkapellet.
“When I collaborate with musicians, I would really like it to be ours, even though it is my material we started out with. Then it becomes something bigger than when it is only me being the composer. The format I’m working with when I write notated music is to leave space for the musicians to affect the music. I never feel ‘now I’m done, this production is finished and I can move on’. It’s a strong feeling of that the piece keep transforming. Also since I like to focus on interplay and relations in the notation.”
Damkapellet is a collective of female musicians that highlights and performs music by female composers from all times.
”We value the diversity of our members and intend to establish an open and safe environment where everyone contributes to the creative process. From our background as classical musicians we have experienced a power structured and gender stereotypical environment. We wish to explore alternative methods by seeking new ways of experiencing and performing music.” www.damkapellet.se
COMPOSITION-DUO with Julija MorganJulija Morgan and Lo Kristenson have collaborated in various constellations since 2015 when Lo composed the piece Vridna, Vågsång in close collaboration with, among others, Julija. In 2018 they began to explore different ways of combining graphic scores with other notations, for music with a more free form. Nattljus – drawings for bowed piano quintet was created in the summer of 2018 in a collaboration between Julija Morgan and Lo Kristenson. Together they have entered a new room based on ink landscapes and friction in sound. The composition is based on one of Julija’s drawings that also appears in the graphic score.