Martin Stauning Spøgelsessangen

Educate·SEducate·S PiecesPieces for for piano piano

Jonathan Siahaan, piano Soloist Name · Ensemble Name Soloist Name · Ensemble Name Educate·S Pieces for Piano (2016) An Anthology

Jonathan Siahaan, piano

Birgitte Alsted Ib Nørholm Elegiac Intermezzi 5:38 Piano Pieces 4:12 Walking in Water 3:37 Metre, My Friend, and Feet 0:57 Darkling 2:01 Count – and Control 0:59 The Way of the Ant 2:16 Simon Christensen Zing Spiral 4:47 Morten Olsen I 2:12 Three Small Piano Pieces 4:24 II 0:48 Waltz Undone 0:46 III 1:17 Moonlit Night 2:20 IV 0:30 Bear Tango 1:18

Fuzzy Kasper Rofelt From “A Visit to the Cinema” 2:42 Piano Piece: Song 3:07 Film Music II 1:27 Martin Stauning Film Music III 1:15 The Ghost Song 3:25 Eva Noer Kondrup Line Tjørnhøj A Walk on the Beach 2:35 Duck Dance 1:24 Fossil 0:52 Starfish 0:32 Nicolai Worsaae Gull Tracks 0:30 Piano Etudes for Children 2:40 Cliff 0:41 The Treadmill 0:34 Lullaby 0:57 The Music Box 1:09

Total 34:54

Dacapo is supported by the PREFACE

This recording was made to accompaniment the Educate·S educational sheet music series of newly written composition music for children and young people, published by the Danish music publisher Edition·S. In the Educate·S series, there are pieces for piano as well as pieces for violin, cello, guitar, accordion, and percussion respectively.

The series originated from a desire to build on the historical tradition in which contemporary composers wrote music that initiated music students into new musical experiences and realizations. In their time, Bach, Brahms and Bartók composed music in which pedagogic considerations and artistic ambitions combined to form a greater whole for the benefit of children and young people in their musical development. With the Educate·S series, leading Danish composers have been invited to write new pieces for children and young people, to introduce pupils with music that embraces the musical horizons and tonal worlds offered by contemporary composers.

The recording was made in collaboration with the Royal Danish Academy of Music, Copenhagen. Birgitte Alsted Elegiac Intermezzi (2016)

Walking in Water Darkling © Frank Borchorst

Elegiac Intermezzi means sad transitions. A busy everyday life often Birgitte Alsted was born in 1942 and says: “I had my best moments requires hyperactive outwardness – daily life can offer experiences of growing up alone at home with my mother’s grand piano at hand – then joy and sorrow. The more sorrowful events require pauses with inward- my imagination could be given free rein. It was rather less fun practic- looking reflection, during which we can meet and make a place for life’s ing the violin; nevertheless I was encouraged to apply for the Royal ‘darker’ emotions, which none of us escape. Danish Academy of Music in Copenhagen, where I began studying in 1962.” Birgitte Alsted took her diploma in violin at the Royal Academy in walking in water 1969, followed by the soloist class and her debut, and shortly afterwards In the water you cannot step out at a fast walking pace. You may feel ‘out she began working as a composer. In 2004-2006 she studied further of it’, but the slowness gives you time to feel the caresses of the water for a master’s degree in composition, specializing in electronic music flowing past your body. You cannot always see what you are stepping at the Royal Danish Academy of Music in Aarhus. Birgitte Alsted also in: mud, nipping crabs, stones or the pleasantly firm sand? You have to teaches violin. take calm steps, feeling your way so as not to stumble. The water is full of mysteries, you cannot control it, and you cannot stay in it. At some point you have to come back to land. darkling The sun goes down and is reflected in the darkness of the pond. The col- ours of the sky are intensified in radiant splendour just before they fade into the dusk light. Most people feel like lowering their activity level at this point and perhaps reviewing things in an inward-looking pause: What did I experience today, this week, this month, this year or in this life?

4 Simon Christensen

Zing Spiral (2016)

I II © Lars Svankjær III

The music requires a strong sense of rhythm, a steady basic pulse and Simon Christensen was born in 1977. He started by playing drums as the ability to execute the many tempo modulations in the piece. The a teenager, and that was when his interest in music began in earnest. cross-phrasing and rhythmic shifts are a good challenge for those in- He has studied composition at the Royal Danish Academy of Music and terested in rhythm. abroad, and in many of his works he also performs as a musician.

The piece also exists in a version for violin and piano.

5 Fuzzy

From “A Visit to the Cinema” (2016)

Film Music II Film Music III © Lars Svankjær

Film music is often only composed when the film images have been Fuzzy was born in 1939 and plays clarinet and piano. He is well known, shot, and it usually has the function of supporting the action of the amongst other things, for his music for theatre, film, opera and ballet, film. In the pieces Film Music II and III from the collection “A Visit to the as well as his electronic works. Many people know his music from tele- Cinema” we only have the music. What the pieces are about or describe vision, where children have visited him over the years in programmes is up to the individual musician to decide. like “Fuzzy’s Workshop”, “The Owl in the Cave”, “Snip, Snap, Snude” and the like. He trained as a music theorist and composer and until 1982 was a lecturer at the Royal Danish Academy of Music in Aarhus, where he taught music theory and music history. Since then he has mainly worked with – and lived from – composing.

6 Eva Noer Kondrup A Walk on the Beach (2016)

Fossil Starfish © Emil Brøbech Gull Tracks

Cliff

A Walk on the Beach Eva Noer Kondrup was born in 1964. As a child she began to take an in- What can you find on the beach? A fossil, a glorious landscape with a terest in what was behind the notes and got a place on the Basic Music cliff, the tracks of gulls. It is a beautiful experience of being outside, feel- Course in Holstebro. In 1991 she started at the Royal Danish Academy of ing the wind against your cheeks, and it is fascinating to watch the birds, Music, where she made her debut as a composer in 1999. always busy, perhaps diving for a fish, or sitting on the beach preen- ing themselves. There are discoveries to be made – perhaps you don’t quite find amber, but then there’s an oyster shell, a fine stone or even a sea horse.

7 Ib Nørholm Piano Pieces (2016)

Metre, My Friend, and Feet Count – and Control © Per Morten Abrahamsen The Way of the Ant

METRE, MY FRIEND AND FEET Ib Nørholm was born in 1931 and began playing the piano at the age of In Greek metrics (verse theory) the five most common metrical feet are 9; at 15 he began taking organ lessons. In 1956 he graduated as a com- dactyls, iambs, trochees, spondees and anapaests. In music we speak of poser and organist from the Royal Danish Academy of Music in Copen stressed and unstressed, but the ancient Greeks spoke of long syllables hagen. Besides composing music he has taught at the Carl Nielsen as opposed to short syllables. You can also have fun with some nice big Academy of Music in Odense, has been a professor at the Royal Danish bangs in the low register of the keyboard. Academy of Music in Copenhagen, and has had an active career as an organist. COUNT – AND CONTROL Try feeling the five-eight time as a lightly gliding and bouncing time rather than a skewed time. Try thinking that you have to move constantly forward.

THE WAY OF THE ANT Can you keep up the melodic tension all the way through the piece (even though everything is done with the right hand)? This gives you a really good sense of phrasing.

8 Morten Olsen

Three Small Piano Pieces (2016)

Waltz Undone Moonlit Night © Morten Rasmussen Bear Tango

WALTZ UNDONE BEAR TANGO As the title suggests, this is a little waltz that has fallen apart. It cannot Tango as we normally think about it is a very elegant and sensual dance make up its mind about which key it is in, and in some places it is even (that is, if the dancers are good at it); but here it is two bears that have in doubt about how many beats a waltz has in the bar. It has come un- just woken from three months of winter sleep that are on the dance done in a fun, perhaps slightly surprising way, but absolutely not in any floor. So it’s clumsy and stiff, and a bit heavy. But it’s fun all the same. In resigned “Sorry I’ve fallen apart” way. So it’s important not to play it too a slightly cute way... seriously – it has to be light and playful. Morten Olsen was born in 1961 and originally graduated as a double- MOONLIT NIGHT bassist from the Royal Danish Academy of Music in Copenhagen. Since It’s dark, but everything is still illuminated by the bluish moonlight. It’s as the 1990s he has lived by composing and has composed works for many if everything is in slow motion. When you want to bring this out through groupings, from solo instruments to symphony orchestras. His music has the music, you have to give yourself plenty of time and not play too been performed by ensembles and orchestras in and outside Denmark. forcefully. Note how the starting chord changes and make sure the audience can also hear the changes. To bring out the weightlessness properly, it is important that you constantly play with an inner – stable – pulse. If you just wait with the next chord until you feel like it, it won’t work. The audience must feel the differences in the lengths of the chords, and also that there are two beats ‘too many’ in bar 10. The top notes in bars 11–15 are in fact a little melody, even though it only consists of two notes. That has to be heard.

9 Kasper Rofelt

Piano Piece (2016)

Song

The piece is to be played quite simply. Small variations of a melodic or Kasper Rofelt was born in 1982 and graduated as a composer and mu- rhythmic kind can be incorporated in the course of the four repetitions. sic theorist from the Royal Danish Academy of Music, where he made One of the repetitions can also be played an octave above the written his debut in the soloist class in 2014. Kasper Rofelt teaches among other one, for example. subjects composition, music theory and musicology in various contexts.

10 Martin Stauning

The Ghost Song (2016)

The ghost song is not eerie. But perhaps it is a song that once existed Martin Stauning was born in 1982 and started at the age of 7 at the and now cannot really be heard any more. Ballet School of the Royal Danish Theatre, where he trained and worked as a professional ballet dancer until 2006. Afterwards he studied composition at the Royal Danish Academy of Music and graduated in 2016.

11 Line Tjørnhøj

Duck Dance (2016)

It is said that the Dowager Empress Cixi (1835-1908), who ruled China Line Tjørnhøj was born in 1960 and has a quite unique musical back- at the end of the Qing dynasty (1644-1912) was very fond of eating ground. She began her adult life as a nurse and sailor. At 35 she wrote roasted duck’s feet. The duck was put on an iron plate placed over a her first music and was admitted to the Royal Danish Academy of fire. When the heat became too unbearable the duck would begin to Music in Aarhus, from which she graduated in 2012. She now lives jump up and down. The duck would get thirsty along the way and serv- by composing. ants would give it soya bean oil to drink, so the feet would get a taste before they were cut off. Cixi usually ate her duck’s feet with hot food.

12 Nicolai Worsaae

Piano Etudes for Children (2016)

The Treadmill Lullaby © Niels Magnússon The Music Box

THE TREADMILL Nicolai Worsaae was born in 1980. He sang in a choir as a boy and went In this piece we are on a treadmill of the type you usually see in gyms. to the Sankt Annæ Primary and Secondary School. Since he began at Imagine you are trying to run a bit differently on this treadmill. Perhaps the Academy he has been a member of two composers’ collectives in you take slightly bigger or longer steps now and then, which means you which the composers each write their own pieces, but arrange them have to catch up on them so as not to fall off the treadmill. Make sure together, make small intermezzi and videos together and create ideas you maintain a fixed pulse, so you can feel that the machine is control- and concepts for concerts collectively. Nicolai Worsaae made his debut ling the tempo. as a composer at the Royal Danish Academy of Music in 2009.

LULLABY Play it as if you are humming a song for someone who has to fall asleep. It is a quiet waltz in which it is important to stress the first beat in the bar more than the second and third beat.

THE MUSIC BOX As a child I had a tin music box that sounded really terrible. It could no longer produce the melody it was supposed to, but made a lot of jan- gling noises. I thought it was great fun to start quietly and produce a ‘crescendo’ by turning the handle faster and faster.

13 Educate·S Stykker for klaver (2016) En antologi

Jonathan Siahaan, klaver

Birgitte Alsted Ib Nørholm Elegiske Intermezzi 5:38 Klaverstykker 4:12 Vandgang 3:37 Metrik, kære ven, og fødder 0:57 Mørkning 2:01 Tæl – og (be)hersk 0:59 Myrens gang på jorden 2:16 Simon Christensen Zing Spiral 4:47 Morten Olsen I 2:12 Tre små klaverstykker 4:24 II 0:48 Vals i udu 0:46 III 1:17 Nat i måneskin 2:20 IV 0:30 Bjørnetango 1:18

Fuzzy Kasper Rofelt Fra “En tur i biografen” 2:42 Klaverstykke: Sang 3:07 Filmmusik II 1:27 Martin Stauning Filmmusik III 1:15 Spøgelsessangen 3:25 Eva Noer Kondrup Line Tjørnhøj En tur på stranden 2:35 Duck Dance 1:24 Fossil 0:52 Søstjerne 0:32 Nicolai Worsaae Mågespor 0:30 Klaveretuder for børn 2:40 Klint 0:41 Løbebåndet 0:34 Vuggevise 0:57 Spilledåsen 1:09

Total 34:54

Dacapo is supported by the FORORD

Denne indspilning er lavet på baggrund af nodeserien Educate·S. Det er en serie med nyskrevet kompositions musik til børn og unge, udgivet af det danske musikforlag Edition·S. I Educate·S serien er der udover stykker for klaver, også stykker for henholdsvis violin, cello, guitar, accordion og slagtøj.

Tilblivelsen af serien udspringer af et ønske om at bygge videre på den historiske tradition, hvor samtidens komponister skrev musik, der indviede musikelever i nye musikalske oplevelser og erkendelser. I deres samtid kompone- rede Bach, Brahms og Bartók musik i en kondenseret form, hvor pædagogiske hensyn og kunstneriske ambitioner gik op i en højere enhed til glæde for børn og unge i deres musikalske vorden. Denne vigtige tradition ønsker vi at videreføre og har derfor opfordret toneangivende, danske komponister til at skrive nye stykker til samlingen. Educate·S’ nodeserie præsenterer elever for musik med de musikalske horisonter og klangverdener, som samtidens komponister bidrager med.

Indspilningen er blevet til i samarbejde med Det Kongelige Danske Musikkonservatorium, København. Birgitte Alsted Elegiske Intermezzi (2016)

Vandgang Mørkning © Frank Borchorst

Elegiske Intermezzi betyder vemodige overgange. En travl hverdag Birgitte Alsted er født i 1942 og fortæller: “Mine bedste stunder gen- kræver ofte superaktiv udadvendthed – og hverdagen kan give oplevel- nem min opvækst havde jeg alene hjemme med min mors flygel til ser af glæde og sorg. De mere sørgmodige hændelser kræver pauser rådighed – så fantaserede jeg løs. Det var straks mindre morsomt at med indadvendt eftertanke, hvor vi kan møde og give plads til livets øve violin, men jeg blev dog opmuntret til at søge ind på Det Kongelige “mørkere” følelser, som ingen af os undgår. Danske Musikkonservatorium, hvor jeg startede i 1962.” Birgitte Alsted tog diplomeksamen i violin på Det Kgl. Danske Musikkonservatorium i Vandgang 1969, efterfulgt af solistklasse og debut, og kort efter startede hun sit I vandet kan man ikke skridte ud i hastig kapgang. Her kan man føle sig virke som komponist. I 2004-2006 videreuddannede hun sig til master i “sat af”, men langsommeligheden giver tid til at mærke vandets kær- komposition med elektronisk musik på Det Jyske Musikkonservatorium tegn strømme forbi kroppen. Det er ikke altid til at se, hvad man træder i Aarhus. Birgitte Alsted underviser også i violin. i; mudder, bidekrabber, sten eller det behagelige faste sand? Rolige og følende skridt må man tage for ikke at snuble. Vandet er fyldt med gåder, du kan ikke kontrollere det, og du kan ikke blive i det. På et tidspunkt må du op på land igen.

Mørkning Solen går ned og spejler sig i dammens mørke. Farverne fra himlen for- stærkes i strålende pragt, lige inden de matter ud i skumringen. De fleste har lyst til at sænke aktiviteten på dette tidspunkt. Og måske gennemgå i indadvendt pause: Hvad oplevede jeg denne dag, uge, måned, i dette år eller i dette liv?

16 Simon Christensen

Zing Spiral (2016)

I II © Lars Svankjær III

Musikken kræver en stærk rytmesans, en sikker grundpuls og evnen Simon Christensen er født i 1977. Han begyndte med at spille trommer til at udføre de adskillige tempomodulationer, der findes i stykkerne. De som teenager, og der startede hans interesse for musik for alvor. Han tværgående fraser og rytmiske forskydninger er en god udfordring for har studeret komposition ved Det Kgl. Danske Musikkonservatorium og de rytmisk interesserede. i udlandet, og i mange af hans værker medvirker han også selv som musiker. Stykket findes også i en version for violin og klaver.

17 Fuzzy

Fra “En tur i biografen” (2016)

Film Music II / Filmmusik II Film Music III / Filmmusik III © Lars Svankjær

Filmmusik bliver ofte først komponeret, når billedsiden er færdig, og Fuzzy er født i 1939 og spiller klarinet og klaver. Han er bl.a. kendt for at den har oftest til opgave at understøtte handlingen i filmen. I stykkerne skrive musik til teater, film, opera og ballet og for sine elektroniske vær- Filmmusik II og III fra samlingen “En tur i biografen” har vi kun musikken. ker. Mange kender hans musik fra fjernsynet, hvor børn gennem tiden Hvad stykkerne handler om eller beskriver, er op til den enkelte musiker har besøgt ham i “Fuzzys Værksted”, “Uglen i hulen” og “Snip, Snap, at afgøre. Snude” med videre. Han er uddannet som musikteoretiker og komponist og var indtil 1982 docent på Det Jyske Musikkonservatorium, hvor han underviste i musikteori og musik-historie. Siden da har han hoved- sageligt beskæftiget sig med – og levet af – at komponere.

18 Eva Noer Kondrup En tur på stranden (2016)

Fossil Starfish / Søstjerne © Emil Brøbech Gull Tracks / Mågespor

Cliff / Klint

En tur på stranden Eva Noer Kondrup er født i 1964. Hun begyndte som barn at interessere Hvad finder man på stranden? Et fossil, et flot landskab med en klint, sig for, hvad der var bag noderne og fik plads på Musikalsk Grundkursus spor efter mågerne. Det er en dejlig oplevelse at være ude og mærke i Holstebro. I 1991 startede hun på Det Kgl. Danske Musikkonservato- vinden mod sin kind, og det er spændende at se på fuglene, de har altid rium, hvorfra hun debuterede som komponist i 1999. gang i noget, måske dykker de ned efter en fisk, eller de sidder på stranden og pudser sig. Der er fund at gøre, måske fandt man ikke lige rav, men så var der en østersskal, en flot sten eller ligefrem en søhest.

19 Ib Nørholm Klaverstykker (2016)

Metrik, kære ven, og fødder Ib Nørholm er født i 1931 og begyndte at spille klaver som 9-årig og I den græske metrik (verslære) er de fem almindeligste metre daktyl, som 15-årig startede han på orgelundervisning. I 1956 blev han uddan- jambe, trokæ, spondæ og anapæst. I musikken taler man om at betone net komponist og organist fra Det Kgl. Danske Musikkonservatorium. eller ubetone, mens de gamle grækere taler om en lang stavelse overfor Udover at komponere musik har han undervist på Det Fynske Musik- en kort stavelse. Mor dig desuden med nogle gode brag i klaviaturets konservatorium, været professor på Det Kgl. Danske Musikkonservato- dybe register. rium samt haft et aktivt virke som organist.

Tæl – og (be)hersk Prøv at opfatte femottendedels takten som en let svævende og fjed- rende taktart, frem for en skæv takt. Prøv at tænke på, at du hele tiden skal fremad.

Myrens gang på jorden Kan du holde den melodiske spænding oppe igennem hele stykket (selv om alt foregår i højre hånd)? Det giver dig en rigtig god fornemmelse for frasering.

20 Morten Olsen

Tre små klaverstykker (2016)

Vals i Udu Bjørnetango Som titlen antyder, er det en lille vals, der er gået i stykker. Den kan ikke Tango som man normalt tænker på det, er jo en meget elegant og sen- blive enig med sig selv om, hvilken toneart den går i, og sine steder er suel dans (hvis dem der danser ellers er gode til det), men her er det to den oven i købet kommet i tvivl om, hvor mange slag der er i takten i en bjørne, der lige er vågnet efter tre måneders vintersøvn, der er på dan- vals. Den er gået i stykker på en sjov og måske lidt overraskende måde, segulvet. Så det er klodset og stift og en smule tungt. Men det er sjovt absolut ikke på den opgivende “jeg er ked af, at jeg er gået i stykker“- alligevel. På den lidt søde måde… agtige måde. Så det er vigtigt, at den ikke spilles for tungt – det skal være let og spøgefuldt. Morten Olsen er født i 1961 og oprindeligt uddannet kontrabassist fra Det Kgl. Danske Musikkonservatorium i København. Siden 1990’erne Nat i Måneskin har han levet af at være komponist og har komponeret værker for man- Det er mørkt, men alting er alligevel oplyst af det blålige månelys. Det ge typer af besætninger fra soloinstrument til symfoniorkester. Musik- er som om alting går i slowmotion. Når man skal have det frem gennem ken er blevet opført af ensembler og orkestre i og uden for Danmark. musikken, gælder det om at give sig god tid og ikke spille for kraftigt. Læg mærke til hvordan startakkorden ændrer sig, og sørg for at publikum også kan høre ændringerne. For at få vægtløsheden rigtigt frem, er det vigtigt, at man hele tiden spiller med en indre – og stabil – puls. Hvis man bare venter med den næste akkord til man synes, kommer det ikke til at virke. Publikum skal opleve forskellene på længderne af akkorderne og også opleve, at der pludselig er to slag “for meget” i takt 10. Toptonerne i takt 11-15 er faktisk en lille melodi, selvom den kun består af to toner. Det skal man kunne høre.

21 Kasper Rofelt

Piano Piece (2016)

Sang

Stykket spilles helt enkelt. Der kan indarbejdes små variationer i løbet Kasper Rofelt er født i 1982 og uddannet komponist og musikteoretiker af de fire gentagelser af melodisk eller rytmisk art. Man kan også spille fra Det Kgl. Danske Musikkonservatorium, hvor han debuterede færdig én af gentagelserne en oktav over det noterede f.eks. fra solistklassen i 2014. Kasper Rofelt er underviser i bl.a. komposition, musikteori og musikvidenskab i forskellige sammenhænge.

22 Martin Stauning

Spøgelsessangen (2016)

Spøgelsessangen er ikke uhyggelig. Men den er måske en sang, som Martin Stauning er født i 1982 og startede som 7-årig på Det Kgl. engang fandtes og nu ikke rigtig kan høres mere. Teaters Balletskole, hvor han blev uddannet og arbejdede som profes- sionel balletdanser indtil 2006. Herefter studerede han komposition på Det Kgl. Danske Musikkonservatorium og blev færdiguddannet i 2016.

23 Line Tjørnhøj

Duck Dance (2016)

Man siger, at enkekejserinden Cixi (1835–1908), der herskede i Kina Line Tjørnhøj er født i 1960 og har en helt unik musikalsk bagage. i slutningen af Qing-dynastiet (1644–1912) var meget glad for at spise Hun startede sit voksenliv som sygeplejerske og sømand. Som 35-årig ristede andefødder. Anden satte man på en jernplade, placeret over skrev hun sin første musik og blev optaget på Det Jyske Musikkonser- brændende ild. Når varmen blev for ulidelig, begyndte anden at hoppe. vatorium i Aarhus, hvor hun blev kandidat fra i 2012. Nu lever hun af at Anden ville blive tørstig undervejs og tjenere ville give den sojabønne være komponist. olie at drikke, så fødderne ville tage smag, inden de blev skåret af. Cixi spiste for det meste sine andefødder til varm mad.

24 Nicolai Worsaae

Klaveretuder for børn (2016)

Løbebåndet Nicolai Worsaae er født i 1980. Han har sunget i kor som dreng og gået I dette stykke befinder vi os på et løbebånd, som man oftest ser i moti- på Sankt Annæ Folkeskole og Gymnasium. Efter han startede på kon- onscentre. Forestil dig at du prøver at løbe lidt anderledes på dette bånd. servatoriet, har han været en del af to komponistkollektiver, hvor kom- Måske tager du lidt større eller længere skridt ind imellem, der gør, at du ponisterne skriver hver deres stykker, men sammen arrangerer dem, må indhente dem for ikke at falde af båndet. Sørg for at holde en fast laver små intermezzi og videoer sammen og skaber idéer og koncepter puls, så man oplever, at det er løbemaskinen, der kontrollerer tempoet. til koncerter i fællesskab. Nicolai Worsaae debuterede som komponist fra det Kgl. Danske Musikkonservatorium i 2009. Vuggevise Spil den som man ville nynne en sang for nogen, der skulle falde i søvn. Det er en stille vals, hvor det er vigtigt at betone etslaget i takten mere end to- og treslaget.

Spilledåsen Som barn havde jeg en blikspilledåse, som lød noget så forfærdeligt. Den kunne ikke længere frembringe den melodi, den egentlig skulle, men frembragte en masse skramlet støj. Jeg syntes, det var sjovt at starte svagt og frembringe et “crescendo” ved at dreje hurtigere og hurtigere på håndtaget.

25 Recorded at Studiescenen, the Royal Danish Academy of Music, Copenhagen, on 9-10 January and 19 December 2018

Recording Producers: Peter Barnow, Henrik Holst Hansen, and Torgrímur Torsteinsson Sound Engineers: Peter Barnow, Henrik Holst Hansen, and Torgrímur Torsteinsson Edit, mix and mastering: Peter Barnow, Henrik Holst Hansen, and Torgrímur Torsteinsson

Cover design: Denise Burt, www.elevator-design.dk

Publisher: publishes art music for the classical and experimental music scene. Edition·S publications are supported by the Danish Arts Foundation. www.edition-s.dk

The series is supported by the Danish Arts Foundation, the Danish Composers’ Society, Det Obelske Familiefond, and The Sonning Foundation.

This release has been recorded in cooperation with the Royal Danish Academy of Music, Copenhagen

With support from KODA Culture

8.226611

Dacapo is supported by the