OFF — ROAD ultiµ∑ oslo coπteµpo®∑®y September ∞–⁄° 2º⁄# µusic festiv∑l — 2 — — 1 —

Contents

3 Editorial 48 Open meeting: 4 Colophon Gender equality in the field of music 5 Alvin Lucier: Installation 49 Ultima Remake: Le Grand Macabre 6 Ensemble Modern plays Frank Zappa 50 Ultima Academy 8 Ensemble Recherche 52 Instrument Workshop 9 Ivo Dimchev: X-on 10 Norwegian Soloist’s Choir 54 Programme 11 Arne Nordheim: Installation 58 Educational projects 12 Christian Blom: Installation 58 Venues 13 Sven Lyder Kahrs 59 Tickets 14 Kristin Norderval: Installation 17 Tora Augestad 18 Oslo Sinfonietta and Song Circus 19 György Ligeti: Le Grand Macabre 20 Camille Norment, Ole-Henrik Moe and Kari Rønnekleiv 21 Eugeniusz Rudnik 21 Arne Nordheim: Exhibition 22 Alvin Lucier 23 The Recycled Instruments Orchestra of Cateura and Barratt Due’s Juniorensemble 24 Satyricon and the Norwegian National Opera Chorus 25 Lunchtime concert: Karstein Djupdal and Steve Reich 26 Kenneth Karlsson and Elisabeth Holmertz 27 Musical Election night vigil 28 Cikada Ensembe: Carola Bauckholt 29 Nadar Ensemble 30 KORK / Christian Wallumrød / Alvin Lucier 31 Transiteatret-Bergen and the BIT20 Ensemble: Judasevangeliet by Tore Vagn Lid 32 Alvin Lucier and Ensemble neoN 35 Odd Johan Fritzøe: Adventura Botanica 36 Harry Partch: Delusion of The Fury 37 Streifenjunko 38 Lunchtime concert: Christine Sun Kim 39 Cikada Trio 40 Kim Hiorthøy and Lisa Östberg: You 41 Oslo Philharmonic Orchestra: Charles Ives, Frank Zappa and Lene Grenager 42 Jefta van Dinther: GRIND 43 Nils Bech 44 Øyvind Brandtsegg / Robert Willey: Conlon Nancarrow 45 Kjell Samkopf: Etyder for slagverk 46 The Norwegian Chamber Orchestra with Martin Fröst 47 The Norwegian Radio Orchestra and Oslo Cathedral Choir Jesus' Blood Never Failed Me Yet — # — Edito®i∑l

OFF — ROAD

I spent Norway’s Constitution Day at the landfill in Asunción, capital of Paraguay, home to the young mem­ bers of The Recycled Instruments Orchestra of Cateura. Playing the violin is not the most obvious pastime for the inhabitants there; neverthe­ less, using instruments made from recycled waste, this orchestra has be­ come a cornerstone in the community, and for many it has become a vital part of their lives. For me, this says a lot about the necessity of music and of the power of thinking outside the box. The Ultima Festival is a forum for unconventional musical ideas, and the theme for this year’s festival highlights people who find alter­ native ways to create new forms of musical expression. In an individ­ outskirts of both American society ualised, digitised society in which and central European tradition. the outsider position is desirable During Ultima, a special pro­ to the point that collective individ­ gramme is devoted to the ideas be­ ualism and subculture are regarded hind the music. For those with a as brands, it’s interesting to study particular interest, Ultima Academy this role from a musical-historical focuses on the relationship between perspective. In many cases this theory and practice in art music. leads us to twentieth-century United We believe it’s important to ask our­ States, where composers such as selves “Why?” Why? Because that’s Harry Partch, Conlon Nancarrow, what moves music forward. and – later – Alvin Lucier created Lars Petter Hagen Artistic Director, their highly original works on the Ultima Oslo Contemporary Music Festival Photo: Erell Perrodo — ° — Alvin Lucie® — ∞ — Thu®sd∑y ∞/ª

Colophon Empty Vessels Inst∑ll∑tion: Alvin Lucie®

Ultim∑ Find us online! Acknowledgements: ALVIN LUCIER WILL BE MAKING CONTRIBUTIONS Official festival This magazine is www.ultima.no ·· ANX/Atelier Nord TO ULTIMA ON THE magazine published with support Facebook: www.facebook. ·· Bekkelaget Renseanlegg FOLLOWING DATES: Ultima Oslo from Fritt Ord, com/ultimaoslo ·· Dansens Hus Contemporary Music Association of the Twitter: @ultimaoslo ·· Det Norske 8/9 Festival Freedom of Expression Instagram: Komponistfond ALVIN LUCIER 5-14 September 2013 Foundation, Oslo. @ultimafestivalen ·· Drivhuset Henie Onstad ·· Fagerborg Kirke Kunstsenter Editor-in-chief: ·· Fond for lyd og bilde 2:30 pm Lars Petter Hagen His Royal Highness ·· Fond for utøvende ··Music for solo Crown Prince Haakon is P®og®∑m ∑dviso®y bo∑®d: Editor: kunstnere performer the patron of Ultima. Cathrine Nysæther Per Boye Hansen, Anne ·· Goethe-Institut Norge ··Wave Songs (Soprano: Hilde Neset and Thomas ·· Grønland kirke Silje Aker Johnsen) Contributors: Schäfer ·· Institusjonen Fritt Ord Page: 22 Henrik Beck, ·· Kulturdepartementet Thomas R. Berg, ·· Kulturhuset 9/9 Emil Bernhardt, Ultim∑’s membe®s: ·· Kulturkirken Jakob INTERVIEW WITH ALVIN Karstein Djupdal, ·· Kunstnernes Hus LUCIER/ULTIMA ACADEMY Lars Mørch Finborud, ·· BIT20 Ensemble ·· Morgenbladet Ny Musikk Tomas Bjerke Holen, ·· Black Box Teater ·· Music Norway Mira Langeland, ·· Den Norske Opera & 11/9 ·· Nasjonalbiblioteket Anne Hilde Neset, Ballett THE NORWEGIAN RADIO ·· Nasjonalmuseet for Stine Sørlie, ·· Det Norske ORCHESTRA kunst, arkitektur Alf van der Hagen, Kammerorkester Empty Vessels. Photo: Roman März & Singuhr Berlin 1999 Store Studio, NRK og design Ola Vikås, ·· Det Norske Solistkor 6 pm ·· Nationaltheatret Ando Woltmann, ·· Henie Onstad Exploration of Ultima is supported by ·· NISS (Nordisk Institutt Rob Young, Kunstsenter the House the Ministry of Culture for Scene og Studio) Eight glass containers, Maren Ørstavik ·· Institutt for Page: 32 and City of Oslo. ·· NODE vases, and other vessels of Thu®sd∑y ∞/ª Alvin Lucie® (b. ⁄ª#⁄) is musikkvitenskap Design: NODE Berlin ·· Nordheimsenteret different shapes and sizes ∑n Ame®ic∑n legend in 11/9 ·· Kunsthøgskolen i Oslo ALVIN LUCIER Oslo www.nodeoslo.com ·· Norsk kulturfond are arranged in a row, each ALVIN LUCIER AND ·· NICEM Empty Vessels (1997) composition ∑nd sound ·· Norsk kulturråd on its own pedestal. Micro­ MUSICIANS FROM Address: ·· Norges musikkhøgskole ×× Sound installation ∑®t. With his ∑coustic ·· Norsk Teknisk Museum ENSEMBLE NEON Øvre Slottsgate 3, 0157 ·· Norsk Komponistforening phones are placed in the Atelier Nord ANX expe®iments in the 60’s ·· Oslo Domkirke Fagerborg Kirke Oslo, Norway ·· NOTAM mouths of the vessels and 1 pm he ®evolutionized ou® ·· Oslo kommune 10 pm ·· NRK, Kringkastings- the sounds picked up from $$Free w∑y of thinking ∑bout Post address: ·· Oslo Konserthus ··Silver Streetcar for orkestret them are sent to speakers The exhibition is music. Now, he is coming c/o Sentralen, Pb 183 ·· Oslo kulturnatt the Orchestra for solo ·· Ny Musikk placed on pedestals that open daily from 1 – 6pm Sentrum, 0102 Oslo, ·· Scandic Hotels to Ultim∑. triangle (Triangle: ·· Oslo Domkor throughout the Ultima Norway ·· Sentrum Scene face the vessels. The sounds In cooperation with Ny Håkon Stene) ·· Oslo-Filharmonien Festival from 5 – 14. ·· Sparebankstiftelsen DNB from the speakers create Musikk, Henie Onstad ··Two Circles Phone: (+47) 22 40 18 90 ·· Oslo Sinfonietta and September ·· Steinway Piano Gallery acoustic feedback, thus Arts Centre and Atelier (Ensemble neoN) E-mail: [email protected] Cikada ·· Stiftelsen Akershus creating resonances inside Produced by Nord, Ultima has ··I am sitting in a room Web: www.ultima.no festning for Kunst each vessel. The shape of Atelier Nord. invited Lucier to Oslo. (Alvin Lucier) Print: TS Trykk og Kultur each vessel, as well as the Page: 32 ·· Trefoldighetskirken presence of people within ·· Utenriksdepartementet the space, cause corre­ sponding alterations in the sounds. (Maren Ørstavik) Thu®sd∑y ∞/ª — ^ — Ensemble Mode®n Opening Conce®t — ¶ — Thu®sd∑y ∞/ª

Absolutely f®ee, ∑bsolutely b®illi∑nt Ensemble Mode®n pl∑ys F®∑nk Z∑pp∑

arena filled to capacity with approached him about the considered impossible for Boulez-like (?) The Girl in 13,000 people. It was at this possibility of performing humans to play, not least the Magnesium Dress. Thu®sd∑y ∞/ª festival that Arne Nord­ his symphonic music here the beautiful and wildly Ten years after the re­ OPENING CONCERT heim and Zappa met for the in Oslo.” polyphonic The Girl in the lease of The Yellow Shark, Ensemble Modern plays first time. In 1983 Kent Nagano Magnesium Dress. But this the ensemble followed up Frank Zappa And more followed: conducted 107 musicians was before Ensemble Mod­ with Greggery Peccary and Sentrum Scene Orchestral Favourites in the London Symphony ern approached Zappa in Other Persuasions, which 7:30 pm contained symphonic Orchestra (LSO), first at a 1992 asking for permission mostly consists of orches­ $$NOK 350/250 music with the Abnuceals catastrophic concert in the to orchestrate and perform trated compositions written Frank Zappa: Emuukha Electric Sym­ Barbican, where – according this and other tracks written by Zappa for the Synclavier, The Yellow Shark phony Orchestra (!) re­ to Zappa – several of the for the Synclavier. most of them from the al­ ··Dog/Meat corded in 1975. The LP musicians got themselves The musicians trav­ bums Civilization Phaze III (Arr. Ali N. Askin) was first released by Warner drunk in the bar during the elled to LA to rehearse with and Jazz From Hell. Greg- ··Outrage at Valdez Brothers in 1979 without interval. The album was Zappa for several weeks. gery Peccary is a more strin­ ··The Girl in the Zappa’s consent. 1979 was subsequently recorded in a They must have hit the right gent, though slightly less Magnesium Dress Zappa’s most commercial derelict industrial building, notes, and clearly rehearsed unrestrained, production (Arr. Ali N. Askin) period; the single “Bobby and were – still according to intensely, because the en­ than the magical The Yellow ··Ruth is Sleeping Brown” topped the Norwe­ Zappa – the first ever multi­ suing concerts performed Shark. Personal favourites (Arr. Ali N. Askin) ··Get Whitey gian pop charts for weeks. track digital recording of a in Frankfurt’s Alte Oper here are Revised Music ··G-Spot Tornado symphony orchestra. Unfor­ The double album Sheik Ye- created a sensation. Every­ for Low Budget Orchestra (Arr. Ali N. Askin) rbouti was a smash hit, and tunately, this historical foot­ one knew that Zappa was (on which a wonderful vi­ Frank Zappa: Zappa was voted Artist of note did little to make it a seriously ill. He managed ola solo replaces Zappa’s Greggery Peccary & Arne Nordheim and Frank Zappa in Los Angeles 1976. Photo Brynjulv Aartun / Aftenposten the Year by VG newspaper. musically memorable album. to perform only two of the guitar solo), the danceable Other Persuasions It was around this time This first highlight in scheduled concerts; the Beltaway Bandits, the at­ ··What Will Rumi Do? that Zappa turned down Zappa’s classical music remaining were performed mospheric and reflective ··Night School It was Frank Zappa’s fi­ Modern; at last, competent were far from being his first an offer from the Oslo Phil­ career came in 1984 when without him. A Pig With Wings, and the (Transcript/Orch. nal concert performance. classical musicians were classical ensemble. He had harmonic Orchestra. The Pierre Boulez and Ensem­ The Yellow Shark polyrhythmic Put A Motor Ali N. Askin) Frankfurt, September 1992. taking the time to rehearse musicians from the London reason he gave for doing so ble InterContemporain comprises both new compo­ In Yourself. As Zappa’s ··Revised Music for Low The standing ovation is said Zappa’s demanding com­ Philharmonic Orchestra join in his autobiography The performed three of his com­ sitions written specially for widow, Gail Zappa, put it: Budget Orchestra ··The Beltway Bandits to have lasted for more than positions and perform them him on stage as far back as Real Frank Zappa Book positions on the album en­ Ensemble Modern and new “The precision with which (Transcript/Orch. 15 minutes. Zappa received with unflinching virtuosity. 1967, and in 1969, twenty was that he was offered only titled The Perfect Stranger, material from albums such this is played is shocking Ali N. Askin) it not as the guitarist or Ensemble Modern members of the Royal Phil­ two days’ rehearsals (in the which was nominated for as Uncle Meat and Jazz and delicious.” ··A Pig With Wings vocalist, but as the com­ showed up with an ex­ harmonic took part in a chapter entitled “Orchestral a Grammy Award for best from Hell. In a newspaper Ensemble Modern will (Synclavier Transcrip- poser and conductor of the panded orchestra of 26 mu­ concert in London. The re­ Stupidity”). The climate classical composition. The review published in No­ be performing two sets at tion by Todd Yvega / final number: the ecstati­ sicians: five woodwind play­ sult of this collaboration can that existed between Zappa production and the distinct vember 1993, Geir Johnson Ultima 2013, one from The Orch. Ali N. Askin) cally rhythmic and typically ers, seven brass players, six be heard on the soundtrack and the philharmonics is sound in these recordings described the music as “un­ Yellow Shark and one from ··Put A Motor In Yourself Zappa tongue-in-cheek, string players, two pianists, for the obscure film200 revealed in Olav Anton are remarkably good com­ like all other modern music, Greggery Peccary and Other (Transcript/Orch. vulgarly titled “G-Spot three string instruments Motes (1971). Thommessen’s own account pared to other classical simply because it is free and Persuasions. Finally, Frank Ali N. Askin) Tornado”. including a harp, and three At the Contempo published in Zappa (Høvik­ projects Zappa had experi­ upfront, and where the leg­ gets the final word in the ··Moggio (Orch. Ali N. Askin) The concert was pre­ percussionists. The album Festival in Los Angeles in odden, 1994): “Zappa’s mented with up until then. acy of Varese and Stravinsky form of quote that lacks only served for posterity on the was released in early No­ May 1970 (for which Pierre attitude towards serious, The final four tracks is as commonplace as is the one word: Humour. album The Yellow Shark, vember 1993, and was there­ Boulez was artistic direc­ classically trained musicians on The Perfect Stranger past thirty years of rock «Information is not one of the highlights of fore Zappa’s last; six weeks tor), Zappa and his band was somewhat insecure, were performed by Zappa history.” In addition to the knowledge. Knowledge is not Zappa’s career as well as later he died after a three- Mothers of Invention held and this goes far towards playing his new musical raging G-Spot Tornado, wisdom. Wisdom is not truth. his swansong. The perform­ year battle with cancer. a three-hour performance explaining much of his ar­ synthesizer, a Synclavier. my personal favourites on Truth is not beauty. Beauty ers were the outstanding Although Zappa re­ along with the LA Phil­ rogance when he demanded The compositions Zappa The Yellow Shark are the is not love. Love is not music. German contemporary ferred to Ensemble Modern harmonic and conductor six weeks’ rehearsals with made for and with this in­ Stravinsky-like (?) Dog Music is the best.» musicians in Ensemble as “my last band”, they Zubin Metha in a basketball the Philharmonic when we strument (a computer) were Breath Variations and the Alf van der Hagen F®id∑y ^/ª — • — Ensemble Reche®che Ivo Dimchev — ª — F®id∑y ^/ª

The P®emie®e Speci∑lists Pe®ve®se, bu®lesque, exp®essive Ensemble Reche®che Ivo Dimchev: X-on

Ensemble Recherche from in the solo piece The center collaborator with Ensemble ensemble, and the things by The Bulgarian choreo­ three other performers Amsterdam, and now runs Germany will give two first cannot hold. The work is Recherche, is entitled Erika which they have been sur­ grapher and performer Ivo imitate her movements. his own performance space F®id∑y ^/ª performances at this year’s one simple line that spans married the Eiffel Tower. rounded, both as individuals Dimchev’s performance With his musular physique Volksroom in Brussels. IVO DIMCHEV: Ultima. One of them, writ­ 20 minutes, or rather a The title was inspired by a and as a group, and during X-on offers raw physicality, and distinct falsetto voice, Dimchev also founded X-on ten by the Norwegian com­ meditation of musical in­ condition whereby people good and poor health. expressive gestures, trash Dimchev demonstrates the Humarts Foundation Black Box Teater poser Martin Rane Bauck, cidents that pass by and develop romantic and sex­ The ensemble will also aesthetics, perversion, that rare quality of stage in Bulgaria. 7 pm is “passe – revient”, written return in new variations ual relationships with ob­ perform two classic works: excess, pop culture, and presence. A clear source Mira Langeland $$NOK 265 / 180 / 100 for ensemble and solo ac­ before again slipping away jects. The piece came about Durations I and IV by opera. Based on the Aus­ of inspiration is the Japa­ Friday 6/9 and cordion. This work is a con­ and disappearing. after she had worked with, Morton Feldman are lighter trian artist Franz West’s nese dance theatre butoh, Saturday 7/9. tinuation of the ensemble’s The second work, interviewed, and filmed the than air, almost weightless (1974 – 2012) so-called where dancers wearing By: Ivo Dimchev in collaborative partnership written by the Bergen- ensemble, and deals with works for which no tempo adaptives (Pass-stücke) white body make-up per­ collaboration with with Grzegorz Miszczyszyn, based composer Alwynne the body, of the groups of or rhythm signature is – portable sculptures form highly controlled Franz West which previously resulted Pritchard, a long-time bodies that make up an given, leaving these up to made from cheap lefto­ movements and where Original music: Philipp Quehenberger the musicians to determine. ver materials – Dimchev expressions range from the and Ivo Dimchev This makes each perfor­ explores the relationship meditatively sensitive to Lighting design: mance unique. The second between objects and the the excessively grotesque. Giacomo Gorini classic is Second String Trio performing body. Through the interaction Sculptures and artistic by Cornelius Cardew, the In this instance the between Lili Handel, guidance: Franz West highly radical and political body belongs to Dim­ the imitators and West’s Performers: composer who was shot chev’s alter ego: ageing sculptures, the themes of Yen Yi-Tzu, Veronika dead in 1981 at the age of 45. diva and drag queen Lili ritual, identity, original Zott, Christian Bakalov Thomas Berg Handel. Wearing only a and copy are played out. and Ivo Dimchev wig, pomps, and a pearl Ivo Dimchev completed his Production: thong, she poses and education in performing Humarts Foundation bursts into song while arts at Dasarts Academy, Co-production: F®id∑y ^/ª Kaaitheater, Theater Fraskati, Impulstanz ENSEMBLE RECHERCHE and Volksroom Norges musikkhøgskole, Lindemansalen Produced by Black 6 pm Box Teater. $$NOK 200 / 150 ·· Martin Rane Bauck passe-revient (WP) ·· Cornelius Cardew 2nd string trio ·· Morton Feldman Durations I ·· Morton Feldman Durations IV ·· Alwynne Pritchard Erika married the Eiffel Tower (WP) Accordion soloist: Grzegorz Miszczyszyn Supported by Arts Council Norway and Komponistenes Vederlagsfond. Alwynne Pritchard. Photo: Presse From Ivo Dimchevs X-on. Photo: Ivodimchev.com F®id∑y ^/ª — ⁄º — No®wegi∑n Soloists’ choi® A®ne No®dheim — ⁄⁄ — S∑tu®d∑y ¶/ª

The Agony of Ete®nity The City’s met∑physics The No®wegi∑n Soloists’ Choi® A®ne No®dheim: D®∑˚pen

The later works of Italian Tragedia dell’ascolto” from the world, a fundamental composer Luigi Nono 1985 and “Io, frammento way for man to orient him­ F®id∑y ^/ª (1924 –1990) from the early dal Prometeo” from 1981, self, to understand himself THE NORWEGIAN 1980s make up a separate the latter of which will be and his possibilities. More SOLOISTS’ CHOIR universe. A central figure is performed at this concert. specifically, it has to do with Conductor: Grete the mythological figure Pro­ The work is for three so­ a material that lies at the Pedersen metheus, a Titan who is por­ pranos, choir, bass flute, outer limits of the audible Trefoldighetskirken trayed in different settings, contrabass clarinet, and and of the musical range of 9 pm credited with creating man, live electronics, and con­ the instruments. Thus Nono $$NOK 200 / 150 protecting fire from the tains fragments of texts by attempts to renew the act of Luigi Nono: Io, fram- gods, or liaising between the Aiskylos, Hölderlin, Sapfo listening. Nono’s technician mento dal Prometeo. gods and man. Representing and others that were com­ Alvise Vidolin will also con­ Rolf Borch, Bjørnar a utopian force for human­ piled by Nono’s philosopher tribute to the concert. The Habbestad, Alvise Vidolin ity, and, for Nono, a politi­ friend Massimo Cacciari. Promoteo works constitute cally motivated vision of a A common feature in the highpoint in the career Produced by better future, the character Nono’s later period is an of one of post-war modern­ The Norwegian of Prometheus provides the intense study of the condi­ ism’s most distinctive musi­ Soloists’ Choir. background for two central tions for listening: To Nono, cal thinkers. works from this period: the listening constitutes an al­ Emil Bernhardt monumental “Prometeo, most cognitive approach to

Dråpen. Photo: Bekkelaget vannrenseanlegg

“Deep inside that rock, we arranged in 500 million processes that transform ought to craft a meeting variations, this installation sewage into clean water. In S∑tu®d∑y ¶/ª between technology and makes use of a chemical other words, it is the daily ARNE NORDHEIM: humanism,” said Arne system for controlling the discharges of the inhabit­ Dråpen Nordheim before the sound sounds digitally. The system ants of Oslo that determine ×× Installation installation was opened in is affected by the amount the sounds. Bekkelaget renseanlegg 2001. The occasion was the of sewage that runs into the With Dråpen, Nord­ 12 pm unveiling of his permanent plant and selects the sonic heim wanted to tell us about $$Free sound installation Dråpen material and sound density the enormous volumes that Saturday and Sunday [The Drop]. Inside the accordingly. Consequently, live a secret life deep inside Free bus transport mountainside of Ekeberg­ the sounds change from the rock of Ekebergfjellet from Kulturhuset at fjellet lies a highly unusual minute to minute, from day and to give us an idea of dis­ Youngstorget Saturday work of art which, after a to day, and from year to tance. This work has thus and Sunday at 11:30 am. few years’ absence from the year, never to be repeated. given us access to an inac­ festival programme, will The sounds follow a cessible space in the city once again be open to visi­ pre-programmed pattern and filled it with new and tors during Ultima. through the 32 loudspeakers meaningful content. With 32 loudspeakers, but are mixed along the Ando Woltmann 2,500 metres of cable and way with the sounds of the Luigi Nono. Photo: Graziano Arici 12 sound programmes plant machinery and the S∑tu®d∑y ¶/ª — ⁄2 — Ch®isti∑n Blom Sven Lyde® K∑h®s — ⁄# — S∑tu®d∑y ¶/ª

Cool A®t In the steps of the cu®lew Ch®isti∑n Blom Sven Lyde® K∑h®s

The versatile composer With his new work Roses “As time passes, the rose “I’m not sure where the Christian Blom is known he gives the concept of ‘cool’ pattern begins to resemble idea came from, but it’s S∑tu®d∑y ¶/ª for his use of unusual ma­ new meaning. a musical composition. The most likely from something SVEN LYDER KAHRS terial in his works. For his “A mirror is cooled temperature must vary I’ve seen during the winter. Kunstnernes Hus work with kinetic sculptures from below so that the ice so that the tempo can be I’ve been working in the 1 pm and mechanical gadgets he crystals can grow on the speeded up and we can landscape between music $$Free has earned praise for both mirror’s surface,” explains see and experience their and visual art for ten years ··O ihr stimmen des his mechanical skills from Blom, currently a research growth.” now, and often take musical Geschicks, ihr Wege New Scientist and for his fellow at the Norwegian The first draft of the forms as my starting point,” des Wanderers (WP) musicality from The Wire. Academy of Music. work is five years old. he says. ··Curlew (WP) Blom will also be pre­ Performers: senting his Trio for dansende Kristine Tjøgersen: tråd, lyspære og klokke med Bass clarinet Rolf Borch: demper [Trio for dancing Contrabass clarinet strings, light bulbs, and clock Magnus Søderberg : with damper] at this year’s Double bass Ultima. This work, which he Ole-Henrik Moe: Viola describes as “a fragile in­ Kari Rønnekleiv: Violin strument” comprises simple Kaja Aadne Thoresen: movements, a light source Cello and a sound source. Using these basic effects, the aim is to create a unified, transme­ dia composition, a situation of interdependence between light, movement, and sound in a common structure. The trio is a study in focused form, a transmedia study. Thomas Berg

Sven Lyder Kahrs. Photo: Guri Dahl

S∑tu®d∑y ¶/ª This portrait concert dedi­ Hölderlin, plays with the curlew. “Perhaps we per­ to acknowledge. Sven Lyder cated to Sven Lyder Kahrs idea that a wanderer must ceive them as so significant Kahrs studied under Brian CHRISTIAN BLOM: offers first performances be open to whatever he en­ because they intuitively Ferneyhough and Emma­ ×× Installations Kunstnernes Hus of two very different trios. counters along the way, and remind us of types of con­ nuel Nunes. In 2001 he was 1 pm (Opening) On deep clarinets and that that is what wandering nections that surround us; awarded the Edvard Award $$Free double bass, Rolf Borch, is all about, because what­ forms and gestures that for the string quartet Ein ··Roses (WP) Kristine Tjøgersen and ever he meets is following its repeat themselves and that Hauch um Nichts with the Trio for dancing Magnus Søder­berg examine own direction, its own path. form one whole, but in such Arditti Quartet, and in 2005 strings, light wandering and process, In the string trio Cur- an irregular and fragmented he received the Arne Nord­ bulbs, and clock and study the relationship lew, Ole-Henrik Moe, Kari way that we don’t easily see heim Composer Award. The with damper (WP) between the open and the Rønnekleiv and Kaja Aadne them,” says Kahrs, add­ concert is being held in con­ Open from 7/9-11/9. given. The title, O ihr stim- Thoresen explore rigid but ing that the work is not a junction with the opening of men des Geschicks, ihr Wege fragmented and complex description of curlews, but Christian Blom’s exhibition In collaboration with Kunstnernes Hus. des Wanderers, which is patterns, like those left rather of similar structures of installations (see page 12). Installations. Photo Christianblom.com borrowed from the lyricist behind in the sand by the they inspire the composer Stine Sørlie S∑tu®d∑y ¶/ª — ⁄° — K®istin No®de®v∑l — 15 —

Pi∑no, pi∑no, pi∑nissimo... K®istin No®de®v∑l

Kristin Norderval. Photo: Kaia Means

North-American composer the pianos to summon is now a national memo­ Kristin Norderval’s sound recollections of the individ­ rial. While ‘piano’ im­plies S∑tu®d∑y ¶/ª installation is based on a uals’ past. ‘silence’ in music notation, KRISTIN NORDERVAL: historically loaded Argen­ Recordings of piano the pianos in this instal­ piano, piano, tinian expression: “El strings being scraped and lation serve, ironically, pianissimo… silencio es salud” – silence set in motion by small as physical mouthpieces ××Installation is health. This work ex­ motors are mixed with the for the unspoken. Alex Kunstnernes Hus plores the theme of silence, voices of abducted Argen­ Ross, the respected music 1 pm (opening) applied particularly to the tinians from recorded in­ critic in the New Yorker, $$Free state-sponsored terrorism terviews; victims of torture put Norderval’s CD Aural The installation will be practiced during the who survived. Among these Histories (2012) on his list open from 7–11/9. Open Argen­tinian dictatorship is the well-known human of the most notable record­ from 12 pm to 18 pm. (1976 – 83), but also more rights activist Patricia ings of 2012. Norderval Produced by NOTAM generally to relevant events Isasa, who was abducted at will give unannounced live In collaboration with today. Using partly dis­ the age of 16. We will also performances on the instal­ Kunstnernes Hus sected and deconstructed experience Norderval’s own lation during Ultima. In Supported by the The pianos, Norderval­ creates improvisations performed collaboration with NOTAM. Norwegian Society of Composers, The images of bodies, coffins, in ESMA in Buenos Aires, Anne Hilde Neset and prison cells and allows the former prison camp that Argentinian Embassy and APDH Oslo. — 16 — To®∑ Augest∑d — ⁄¶ — S∑tu®d∑y ¶/ª

F∑t∑l m∑dness To®∑ Augest∑d

S∑tu®d∑y ¶/ª TORA AUGESTAD Nasjonalgalleriet/ Auditoriet 2 pm $$NOK 150 / 100 Tora Augestad: Soprano Trygve Brøske: Piano ·· Alban Berg: Vier Lieder Opus 2 Dem Schwerz sein recht (text by Friedrich Hebbel), Schlafend trägt man mich in mein Heimatland (2-4, text by Alfred Mombert), Nun ich der Riesen Stärksten überwand, Warm die Lüfte ·· Victor Ullmann: Claire Venus from Six sonnets de Louize Labane ·· Beat Furrer: Canti della tenebra (WP) Tora Augestad. Foto: Thomas Olsen Robert Schumann: Abendlied, Opus 85, no. 12 In different ways, madness known as the founder and theatre, she has partici­ ·· Five Lieder for and death permeate the conductor of Klangforum pated in projects with the Mezzosopran and piano, songs to be performed at Wien. Furrer has collabo­ jazz cabaret group Music text by Dino Campana: this concert. rated closely with Augestad for a While, among others, Sul torrento notturno, The range is wide, on several productions. The and has also collaborated Viaggio a Monteviedo, almost dramatically so, five songs gathered under with several figures in the Il canto della tenebra, as the Norwegian mezzo-­ the title Canti della tenebra field, among them the cel­ Corsa infrenabile, La Chimera soprano Tora Augestad, were written for Augestad ebrated director Christoph ·· Robert Schumann: along with pianist Trygve and will be performed for Marthaler. Abendlied, Opus 85, Brøske, moves from Robert the first time at this concert. Emil Bernhardt no. 12 Schumann’s Abendlied, The lyrics were written by ·· Viktor Ullmann: via Alban Berg’s Vier Lieder the Italian poet Dino Cam­ Die arme Seele and songs by the Jewish pana, who suffered from In collaboration with composer Viktor Ullmann, mental illness for most of The National Museum to a new work by the Swiss his life. of Art, Arcitecture composer Beat Furrer The Norwegian mezzo-­ and Design. (f. 1954). Apart from be­ soprano Tora Augestad has ing one of Europe’s most made her mark at many significant contemporary key venues in Europe. From composers, Furrer, who now her base in Berlin, and Photo: Erell Perrodo resides in Austria, is also with a keen eye for musical S∑tu®d∑y ¶/ª — ⁄• — Ruben Sve®®e Gje®tsen Gyö®gy Ligeti — ⁄ª — S∑tu®d∑y ¶/ª

Vi®tuosic disto®tion, mic®oscopic sp∑ce De∑th ∑t Oslo Cent®∑l St∑tion Oslo Sinfoniett∑, Song Ci®cus ∑nd elect®onics Gyö®gy Ligeti: Le G®∑nd M∑c∑b®e

Following a performance Used as a magical device to operatic conventions, mock­ and brilliant production, of Mauricio Kagel’s anti-­ disarm, laughter is the only ingly and insistently though new light is cast on the work operatic work Staatstheater, thing that can avoid man’s without actually wanting while at the same time rec­ György Ligeti came to mortal fear. In a city of sky­ to break with them. The reating the lyrics and music the conclusion that it was scrapers inundated by vaga­ focus is on the dialogue with with respect. no longer possible to write bonds and rubbish, he meets tradition, though presented “Grotesque”, “bizarre”, anti-operas. an alcoholic and an astrol­ in a new way. Echoes and and “extravagant” are some Le Grand Macabre ogist. Together, the trio em­ quotations from composers of the words used by the (written between 1974 and barks on a journey to Prince such as Tippett, Stravinsky, critics to describe La Fura 1977) was Ligeti’s only op­ Go-Go’s castle, a visit that Beethoven, and Birtwistle dels Baus’ production of era, his “anti-anti-opera”, invites many questions: Is are mixed with parodies of Le Grand Macabre, and the dealing with both operatic this the end of the world or jazz, cabaret, and renais­ performance has earned and anti-operatic traditions. simply a farce? And what sance music. The orchestra overwhelming critical This work has become a does the piece really say includes harpsichord, bells, acclaim since it premiered central part of this influen­ about our own time? and flutes as well as a frying in Brussels in 2009. At last, tial composer’s career, and The spectacular scenog­ pan and a plastic duck. it is Oslo’s turn for a most is regarded as one of the raphy mainly consists of a The production staged peculiar dance with death. most important operas of gigantic deformed female during Ultima is by the Ando Woltmann the twentieth century. body around which Ligeti’s Spanish direction team La The main theme of the characters swarm and cling Fura dels Baus, known for piece is death in the form of on to. The audience is also its imaginative productions, the character Nektrotzar’s constantly reminded that it original scenography, and journey through a society on is witnessing a theatrical extensive use of video. the brink of an apocalypse. piece. Ligeti challenges Through a highly original

Ruben Sverre Gjertsen. Foto: bek.no

In this new work for ensem­ micro level through, among interests with Carole Bauck­ ble, Norwegian composer other things, his use of mi­ holt (Germany), whose S∑tu®d∑y ¶/ª S∑tu®d∑y ¶/ª Ruben Sverre Gjertsen crotonality and unconven­ work will be presented in OSLO SINFONIETTA GYÖRGY LIGETI: (b. 1977) uses space, elec­ tional playing techniques. a concert given by Cikada AND SONG CIRCUS Le Grand Macabre tronics, and different moods As listeners, we are not only Ensemble. Oslo Sinfonietta, Dansens Hus Den Norske Opera based on overtone intervals introduced to new, unknown Norway’s oldest running 4 pm & Ballett and Javanese pentatonics. sonic landscapes; the works contemporary ensemble, was $$NOK 200 / 150 6 pm Gjertsen has already made also distort our expectations established in 1986. The Ruben Sverre Gjertsen: $$From NOK 100 – 695 his mark internationally as to how instruments and ensemble is under the leader­ Landscape with figures Will be performed in in a number of prestigious ensembles can sound. What ship of Christian Eggen. The II (WP) September and October. performances, including is more, Gjertsen expands ensemble comprises leading Produced by Oslo LE GRAND AFTER PARTY Circles, which was com­ the acoustic intrumentarium freelance musicians and Sinfonietta and Premiere party missioned by Pierre Boulez through his refined use of members from some of Nor­ Song Circus. In Den Norske Opera & and the Lucerne Festival space, field recordings, live way’s most prominent or­ collaboration with Ballett, after the Academy in 2006. He has electronics, and surround chestras. They will perform NOTAM and Dansens Hus. performance. also collaborated with en­ sounds. Gjertsen is currently together with the Norwegian sembles such as Ensemble an arts fellow at the Grieg vocal chamber ensemble Intercontemporain and Academy in Bergen, study­ Song Circus who specialises Neue Vocalsolisten Stuttgart. ing the transition between in the interpretation of con­ Gjertsen’s work is charac­ instrumental and everyday temporary music. terised by virtuosity on the sounds. He has overlapping Emil Bernhardt György Ligeti. Photo: H. J. Kropp Sund∑y •/ª — 2º — No®ment/Rønnekleiv/Moe Eugeniusz Rudnik /A®ne No®dheim — 2⁄ — Sund∑y •/ª

A®ne No®dheim Within The Toll Blipp! Bling! A®ne No®dheim in the C∑mille No®ment, Ole-Hen®ik Moe, Memini tui – In memo®y wo®ld of ∑®t: K∑®i Rønnekleiv of A®ne No®dheim No “-isms” fo® me, ple∑se!

In the Henie Onstad Kunst­ the section of the garden of pure tone with the abra­ senter’s sculpture park in containing sculptures repre­ sive ambience of texture. Sund∑y •/ª the expansion of Camille senting love, life, and death. This enveloping musical CAMILLE NORMENT, Norment’s Within the This span of the human experience pays tribute to KARI RØNNEKLEIV Toll sound installation, comedy is encapsulated the work of Nordheim, one AND OLE-HENRIK MOE Ole-Henrik Moe and Kari within the sound and mean­ of Norway’s greatest com­ Arne Nordheim: Rønnekleiv will perform ing of the tolling bell and posers, and to his themes of Within The Toll a live violin duo composed has likewise inspired themes human experience. Henie Onstad uniquely for the Centre of love, landscape, and Lars Mørch Finborud Kunstsenter and Ultima in honour of death within Nordheim’s 1 pm Arne Nordheim. Real-time own music. Following Nord­ $$Free audio spatialisation is per­ heim’s belief that “music In collaboration formed by Camille Norment lives in the span between with Henie Onstad with the use of an iPad and poetry and catastrophe”, Kunstsenter, Camille Eugeniusz Rudnik and music technician Mats Claesson. Arne Nordheim. spatialising software cre­ Moe, Rønnekleiv, and Nor­ Norment Studio and Photo: Harald Herresthal Photo: Henie Onstad kunstsenter ated especially for this event. ment surround the listener NOTAM. The Within the Toll in a dynamic soundscape Arne Nordheim, Warsaw, music for more traditional This retrospective exhi­ sound installation embraces that interweaves the beauty the late 1960s. With him in instruments, Rudnik has ARNE NORDHEIM IN THE bition shows how Arne Studio Eksperymentalne consistently focused on WORLD OF ART: Nordheim’s 50-year long is the Polish composer and electronic music. He adopts No “-isms” for me, multidisciplinary and sound technician Eugeniusz the technician’s approach, please! ground-breaking career es­ Rudnik. Together they com­ focusing on sounds and ×× Exhibition tablished him as a key figure pose works such as Colorazi- tones, and most of his works Henie Onstad of Norwegian, post-war art. Kunstsenter one, Solitaire, and Poly-Poly. are closely related to the This is the first opportunity $$NOK 80/ 60 They also gave three con­ sound universe for which From August 2013 to to see his pioneering works certs in Poland and France. Nordheim is famous. This January 2014 in the fields of television art, Rudnik, now 80 years begs the question: Who was sound sculpture, ballet, the­ old, is coming to Ultima and influenced by whom? atre, multimedia and sound the Henie Onstad Arts Cen­ Thomas Berg installations. The exhibition tre not only to talk about also shows how Nordheim’s his collaboration with Nord­ music has inspired and been heim, but also to play some Sund∑y •/ª inspired by visual art. In of the music they recorded conjunction with the exhi­ EUGENIUSZ RUDNIK: on magnetic tape almost 50 bition, the composer and Memini tui — In memory years ago. We will also have of Arne Nordheim musician Helge Sten has the opportunity of hearing a Henie Onstad Kunstsenter reconstructed three of brand new, 15-minute-long 1:30 pm Nordheim’s major sound piece he has called Hom- $$NOK 250/150 installations. Throughout mage à Nordheim. (day ticket at the Henie the autumn, the exhibition Before meeting Nord­ Onstad Arts Centre) will be accompanied by heim, Rudnik had already Music by Eugeniusz an extensive programme worked with figures such as Rudnik and Arne Nordheim of concerts, featuring Krzysztof Penderecki and In collaboration with performances of Nord­ Andrzej Dobrowolski and the Henie Onstad Arts heim’s music. had begun to write his own Centre and the Arne music. He made his debut Nordheim Centre at the with Kolaz˙ in 1965. Unlike Norwegian Academy of Music Camille Norment. Photo: Elisabeth Høiberg Nordheim, who also wrote Sund∑y •/ª — 22 — Alvin Lucie® The Recycled Inst®uments — 2# — Sund∑y •/ª O®chest®∑ of C∑teu®∑ The poet of elect®onic music Music – in spite of eve®ything Alvin Lucie® The Recycled Inst®uments O®chest®∑ of C∑teu®∑

Alvin Lucier (b. 1931) is an qualities of sound at micro Another influential Lucier American legend in compo­ level have made him a key composition is I Am Sitting ALVIN LUCIER WILL BE Sund∑y •/ª sition and sound art. With figure in the development of In a Room from 1970. As in MAKING CONTRIBUTIONS THE RECYCLED his experiments in the 60’s electronic music. Music for Solo Performer, TO ULTIMA ON THE INSTRUMENTS ORCHESTRA FOLLOWING DATES: he revolutionized the way we Music for Solo Performer this is a composition for one OF CATEURA AND BARRAT think about sound. Now, he was Lucier’s debut compo­ performer, who reads aloud 5/9 DUE’S JUNIOR ENSEMBLE is coming to Ultima. sition as a newly qualified a text that is recorded. Empty Vessels Oslo Concert Hall The experimentalist and composer in 1965, and is an The text is a description of Installation 5 pm minimalist Lucier explores extraordinary demonstration the piece, and begins with Atelier Nord ANX $$200 / 150 / 100 acoustic phenomena and in the use of new technology the words “I am sitting in a 1 pm ·· Jon Balke: auditive perception. Lucier’s and musical inventiveness. room ...” The recorded text is Page: 5 Alquimia (WP) ·· Østen Mikal Ore: work is characterised by The piece consists of a per­ than played and re-recorded 9/9 Melting (WP) stripped-down, concentrated former (often Lucier himself) in the same room, so that INTERVIEW WITH ALVIN idiom, yet always in open, having EEG electrodes what initially was a simple LUCIER/ULTIMA ACADEMY Supported by Music playful, and unpredictable attached to his head and recording of a narrated text Ny Musikk Norway and Arts Council ways. Not without reason connected via wiring to per­ is gradually transformed by 1:30 pm Norway. composer Pauline Oliveros cussion instruments spread the acoustic, tonal, and sonic 11/9 once described him as “the around the concert venue. qualities of the room. THE NORWEGIAN RADIO poet of electronic music”. When the performer closes Exploration of the ORCHESTRA Store Studio, NRK While a professor at his eyes and achieves a med­ House is a more recent com­ The Recycled Instruments Orchestra of Cateura. Wesleyan University, Lucier itative state, a specific type position though in the same 6 pm Photo: Landfill Orchestra / Hidden Village Films was a member of the influen­ of brain activity is generated vein as I Am Sitting In a Exploration of the tial avant-garde group Sonic that activates or plays the Room. Segments of Beethov­ House (Alvin Lucier) Arts Union. Much of his instruments. It was the first en’s overture Die Weihe des 11/9 Every day, 1.5 tons of rubbish and teaching children and because of the strong will widespread attention. An work is influenced by sci­ piece to use brainwaves in a Hauses (1822) (Consecration ALVIN LUCIER AND is gone through by the five young people to play music and creative forces associ­ American film crew is fol­ ence, and explores the physi­ musical contact, not primar­ of the House) arranged for MUSICIANS FROM hundred or so recyclers, so- on instruments that had ated with a deeply human­ lowing their progress, from cal qualities of sound, such as ily to demonstrate conscious orchestra are recorded and ENSEMBLE NEON called gancheros, in the town formerly been tin cans and istic view of human life making the instruments acoustic resonance and the control of instruments using played back in the same Fagerborg Kirke of Cateura, a suburb of Para­ oven parts. behind the whole process and raising funds to making 10 pm transfer of sound through the power of thought, but room over and over again. guay’s capital city Asunción. Jazz musician and com­ of building this orchestra, their journey to Ultima and ··Silver Streetcar for physical media. Lucier’s more to provide a crude Tomas Bjerke Holen the Orchestra for solo Life in this small town is poser Jon Balke has visited and an almost miraculous Oslo. The resulting film, experiments with the acous­ demonstration of the latent triangle (Triangle: centred on the landfill on Cateura and has specially linking of a brilliant idea, Landfill Harmonic, which is tic and psychoacoustic power of brainwaves. Håkon Stene) which it has – quite literally – composed a work for the skilled instrument makers, due to be ready for release in ··Two Circles been built. To the local com­ orchestra. and a fantastic group of autumn 2013, sets the spot­ (Ensemble neoN) munity, the ubiquitous waste “Visiting Paraguay and young people. A challenge light on topics such as pov­ ··I am sitting in a room is not only an inconvenience; meeting the young people because as a composer one erty, pollution, the affluence Sund∑y •/ª (Alvin Lucier) for many of them it is also a and their families in the could easily mess things up of modern society – and the Page: 34 means of existence. slums around the landfill for them. New music will necessity for music under ALVIN LUCIER To make the best out of reminded me of how an prove a challenge for the all conditions. The trailer Henie Onstad In cooperation with Ny Kunstsenter Musikk, Henie Onstad the situation and use availa­ economic system lies like a orchestra, and it’s important has already proven a hit 2:30 pm Arts Centre and Atelier ble resources in the best pos­ heavy weight joining these that they succeed, that the on YouTube, with over one $$NOK 250/150 Nord, Ultima has sible way was the brainchild people’s lives together, and music is something they can million viewers. (day ticket at the Henie invited Lucier to Oslo. of the music-loving ecologist also of how a single idea use, something that moves In the Oslo Concert Onstad Arts Centre) German composer Favio Chávez, who found can change everything and them forward and spreads Hall they will meet Barratt ··Music for solo and curator Hauke ways of converting the rub­ penetrate the harsh reality the joy of playing, and that Due’s Junior Ensemble, performer Harder has since 1995 bish into fully serviceable they’ve grown up in,” says releases some of this dyna­ which will perform a new ··Wave Songs (Soprano: assisted Alvin Lucier instruments. He went about Balke. He describes the pro­ mic orchestra’s energy.” work by Østen Mikal Ore. Silje Aker Johnsen) on installations and retraining local craftsmen to ject as both an honour and The story of this unu­ Ola Vikås performances. Alvin Lucier. Photo: Michael Schroeater become instrument makers a challenge: “An honour sual orchestra has attracted Sund∑y •/ª — 2° — S∑ty®icon ∑nd The No®wegi∑n K∑®stein Djupd∑l / Steve Reich — 2∞ — Mond∑y ª/ª N∑tion∑l Ope®∑ Cho®us S∑ty®icon ∑nd the No®wegi∑n About pl∑ying music softly N∑tion∑l Ope®∑ Cho®us K∑®stein Djupd∑l ∑nd Steve Reich

Reverberations and reflec- been written into a purely in on the musical process tions is Karstein Djupdal’s acoustic situation. makes possible that shift Mond∑y ª/ª newly composed work for The musicians will also of attention away from he LUNCHTIME CONCERT six pianos. The work were perform Steve Reich’s and she and you and me Steinway Piano Gallery performed by musicians/ classic Six Pianos (1973). outwards towards it.” 12 pm students at the Norwegian “Even when all the cards (Reich on the work in $$Free Academy of Music, where are on the table and every­ Music as a Gradual Process) ·· Karstein Djupdal: Djupdal studies compo­ one hears what is gradually Karstein Djupdal Reverberations and sition. He describes the happening in a musical reflections (WP) work as “a kaleidoscope process, there are still ·· Steve Reich: of sounds produced by six enough mysteries to satisfy Six Pianos (1973) pianos in which the acous­ all. These mysteries are the Performers: tics and the spatial aspects impersonal, unattended, Sanae Yoshida, Anders Torberntsson, Dorina of sound are explored”. The psycho-acoustic by-prod­ Komani, Alexander work will give the audience ucts of the intended pro­ Hofstad Berby, Tuuli an acoustic six-channel cess. While performing Lempa, and Eirik surround experience. and listening to gradual Fosstveitt. Techniques taken from musical processes one can electronic music, such as participate in a particular Produced in collabora- tion with The Norwegian delay, reverb, and spa­ liberating and impersonal Academy of Music and tialisation of sound, have kind of ritual. Focusing Steinway Piano Gallery.

Satyricon. Photo: presse

Ever since Deep Purple elaborate stage designs of with Satyricon’s first album teamed up with the Royal Iron Maiden and others release in five years, includes Sund∑y •/ª Philharmonic Orchestra in wouldn’t have looked out special guest Sivert Høyem SATYRICON AND THE 1969, heavy metal has worn of place at Bayreuth. of Madrugada, lending his NORWEGIAN NATIONAL its classical pretensions on So Satyricon’s specially ogre-sized vocal cords to the OPERA CHORUS its sleeve. The more colossal composed oratorio for black morass. Norwegian black Den Norske Opera extremes of rock music have metal group and Oslo’s metal has certainly had its & Ballett, Main always pushed towards a fas­ 55-strong the Norwegian share of symphonic mo­ Auditorium cination with the dynamics National Opera Chorus has a ments, but perhaps the nat­ 8 pm of orchestral music – witness lineage behind it. In a genre ural destination for the huge $$NOK 340 / 420 / 520 Emerson, Lake & Palmer’s not known for its flexibility, concepts and epic sense of Produced by The 1970s progressive versions group members Satyr and human tragedy is the opera Norwegian National of Mussorgsky’s Pictures At Frost have always searched house. Satyricon’s dark­ Opera & Ballet. An Exhibition and Copland’s for new and surprising forms hearted millennial visions, Fanfare for the Common to present their music, and plus the massed choral tor­ Man. Metallica’s S&M flirta­ this ambitious project marks rents, promise a tumultuous tion with the San Francisco a significant moment of ma­ rebel extravaganza. Symphony in 1999 produced turity for black metal. The Rob Young colossal results, while the large scale work, coinciding Six Pianos. Photo: Stanley Fefferman Mond∑y ª/ª — 2^ — Kenneth K∑®lsson ∑nd Elis∑beth Holme®tz Music∑l Election night vigil — 2¶ — Mond∑y ª/ª

Expe®iment∑l listening Music∑l Election night vigil Kenneth K∑®lsson ∑nd Elis∑beth Holme®tz

Kenneth Karlsson, artistic consists of early and con­ 2010 Proms, and the BIT20 Award in 2008, has been director of the Cikada En­ temporary music. Ensemble. Karlsson and likened to John Cage due to semble, and the versatile The music of British Holmertz will give a first her deep listening approach Swedish soprano Elisabeth composer Tansy Davies performance of Davies’ to all kinds of sounds. In re­ Holmertz have joined forces lies somewhere between work entitled Song of pure cent years her compositions to form a contemporary avant-garde and experi­ nothingness as well as have centred around glass duo. Holmertz is a seasoned mental rock. She has com­ new music from the Dutch instruments, such as her performer of everything posed pieces for the likes composer Robert Zuidam Requiem for choir and glass, from medieval music to ex­ of the London Symphony and Ragnhild Berstad. which debuted at the Oslo perimental musical theatre, Orchestra, the BBC Sym­ Berstad, who received the International Church Music though her main repertoire phony Orchestra for the Arne Nordheim Composer Festival in 2012. Maren Ørstavik

Mond∑y ª/ª KENNETH KARLSSON AND ELISABETH HOLMERTZ Steinway Piano Gallery 6 pm $$NOK 200 / 150 ·· Tansy Davies: Song of pure nothingness (WP) Jon Løvøen. Photo: Bent René Synnevåg ·· Ragnhild Berstad: go wo taite (WP) ·· Georg Friedrich Haas: Music and politics have Ultima, and will be marked Do they have music com­ music, accompanied by …wie stille brannte long gone hand in hand. by a musical election night mittees? What do the lyrics Stian Carsten­sen’s cover das licht (WP) Take Verdi’s opera Nabucco vigil. In Kulturhuset, which really mean? Cover versions versions. The programme ·· Robert Zuidam: New work (WP) from 1841, for example: is situated close by the of political music, political will be followed by a non-­ whether intended or not, it Labour Party headquarters DJs, and election night vigil partisan election vigil with Produced in collabo- was perceived as an incite­ in Youngstorget, music of coverage on a big screen. big screens, political DJs, ration with Steinway ment to Italians to throw every political shade will be Welcome to our non-parti­ beef stew, and bar. Piano Gallery of the yoke of Austrian and performed, from De e itjnå san round-table discussion Thomas Berg Supported by Arts French domination. Rights som kjem tå sæ sjøl with Council Norway and the where there is room for Norwegian Composers of a Woman from 1795 is an Vømmøl Spellemannslag, everyone, regardless of po­ Fund. early feminist song, while Gryr i Norden and Sam- litical affiliation. Ultima’s Mond∑y ª/ª The Underground Railcar holdssangen, to the Progress lively talk show will put MUSICAL ELECTION from 1854 deals with a slave Party’s song Fremtiden i dag the spotlight on some of the NIGHT VIGIL who flees to Canada. When with Christian Ingebrigtsen most memorable moments Norge i rødt, hvitt og blått and Unge Høyre med in Norwegian music history. Kulturhuset [Norway in Red, White and Oral B. Clear your throats The highly competent panel 7.30 pm Blue] could at last be per­ and sing along! members, Atle Antonsen, $$Admission: 100,– After 9 pm, free formed at Chat Noir in May Jon Løvøen will host the Aslag Guttormsgaard, Kari 1945, a man in the audience vigial in a lively talk show Slaatsveen and Rolf-Erik was so elated that he ate his with topical guests and Nystrøm, will discuss, in­ programme out of sheer joy. relatively in-depth analyses. terpret, and analyze the The Norwegian general How do political parties political parties’ musical Elisabeth Holmertz. Photo: Per Buhre election will be held during choose their musical profile? profiles and choice of Tuesd∑y ⁄º/ª — 2• — C∑®ol∑ B∑uckholt ∑nd Cik∑d∑ Ensemble N∑d∑® Ensemble — 2ª — Tuesd∑y ⁄º/ª

The music of things Gene®∑tion Kill C∑®ol∑ B∑uckholt ∑nd Cik∑d∑ Ensemble N∑d∑® Ensemble

Showing deep sensitivity produced? In addition to and theatre, between instru­ for the transition between two brilliant chamber works, mental sounds and every­ Tuesd∑y ⁄º/ª Tuesd∑y ⁄º/ª the incidental and the or­ Lichtung for string quartet day noises. She is regarded ganised, Carola Bauckholt and Treibstoff for ensemble, as a pioneer and a source of CIKADA ENSEMBLE NADAR ENSEMBLE Olav V Hall, Akershus Kulturkirken Jakob (b. 1959) combines music both from 1995, the concert inspiration by many, among Festning 9 pm with the fleeting sounds of also comprises three first them the Norwegian com­ 6 pm $$NOK 200 / 150 everyday things. Drawing performances. poser Ruben Sverre Gjert­ $$NOK 200 / 150 ·· Ignas Krunglevicius: on her precise, unmistakable The fact that Cikada sen. Together with her hus­ Carola Bauckholt: TWO REGIMES for ensem- musicality, she treats seem­ has chosen to dedicate an band, the composer Caspar ··Song for ensemble (WP) ble and video (WP) ingly unmusical sounds, entire evening to Carola Johannes Walter, she was ··Laufwerk for ensemble ·· Alexander Schubert: lifting them up and drawing Bauckholt is something also active in founding the and tape (WP) Point Ones for sensor- them into an artistic musi­ of an occasion; she is re­ Cologne-based Thürmchen ··Ohne Worte zwei for augmented conductor cal universal, resulting in garded by many as one of Ensemble. cello, contrabass and ensemble clarinet and tape (WP) ·· Jorge Sánchez-Chiong: works that fall between two Germany’s most interesting Emil Bernhardt spheres: do they belong to contemporary composers. ··Lichtung for string Used Redux (from Auto­ quartet Cine) for amplified en- the sphere of specifically In a long series of works, ··Treibstoff for ensemble semble, tape, and video musical sound production Bauckholt, who studied ·· Matthias Kranebitter: Free food and refres- or to the surroundings, the under Mauricio Kagel in Top 10 – Songs for cello, hments will be served room and the atmosphere Cologne, has explored the keyboard and video during the concert. in which the sounds are boundaries between music ·· Stefan Prins: Produced by Cikada. Generation Kill for ensemble, game control- lers, video projectors, and live electronic ·· Generation Kill: Marieke Berendsen. (Also the ensemble’s violist) Video by: Thomas Wagensommerer

Stefan Prins. Photo: Stefan Prins

“The result was mind-­ experience par excellence, challenges the boundary and conducts the improvi­ bending, and not in a spearheaded by young between virtuality and real­ sation of both the musicians druggy, blissed-out way. musicians and composers. ity. The same phenomenon and the electronics. Jorge As the composer intended, ‘Nadar’ was the pseudonym is apparent in this evening’s Sánchez-Chiong, born in it was disturbingly difficult of the French multi­talented first performance of a work Venezuela, also attempts to tell what was real and artist and adventurer by Ignas Krunglevicius, a to capture the spontaneous what was virtual.” Gaspard-Félix Tournachon, Lithuanian composer based vitality of improvisation, Alex Ross on Stefan Prins’ and the ensemble’s musi­ in Oslo. TWO REGIMES while Matthias Kranebitter Generation Kill. cians embrace the spirit for ensemble and video (Austria) examines aspects of his multifaceted artistic explores subcultures on of tradition and the com­ Crossing musical bound­ expression. the internet. poser’s role in his music. aries and genres is a key In Stefan Prins’s In Point Ones, by the Stine Sørlie element when the Nadar Generation Kill, video German composer Alexan­ Ensemble from Belgium games and music are in­ der Schubert, the conductor Carola Bauckholt. Photo: Regine Körner offers a multimedia concert tertwined in a way that is equipped with sensors Wednesd∑y ⁄⁄/ª — #º — KORK: Ch®isti∑n W∑llum®ød / Alvin Lucie® To®e V∑gn Lid — #⁄ — Wednesd∑y ⁄⁄/ª

When celeb®ities d®e∑m — ∑g∑in A diffe®ent Jud∑s KORK: Ch®isti∑n W∑llum®ød ∑nd Alvin Lucie® T®∑nsite∑t®et-Be®gen ∑nd BIT20 Ensemble: Jud∑sev∑ngeliet [The Gospel of Jud∑s] by To®e V∑gn Lid

The respected jazz pianist, celebrities dream of casual With the Christian Wallumrød has divided the Some years ago, composer composer, and ensemble sleep (second try), his first Wallumrød Ensemble, Norwegian Radio Orchestra Tore Vagn Lid read about Wednesd∑y ⁄⁄/ª leader Christian Wallum­ work for orchestra and Wallumrød has explored into separate groups, each the Gospel of Judas, which TRANSITEATRET - BERGEN rød from Kongsberg is a joint commission for the jazz genre’s melodi­ working at its own tempo. had been found in the AND BIT20 ENSEMBLE: one of Norway’s foremost Ultima and the AngelicA ous extremes, inspired The soundscape of the piece Egyptian desert in the 1970s Judasevangeliet musicians. Festival in Bologna, by folk music, European is based on the orchestra’s and translated in the early [The Gospel of At this year’s Ul­ where it premiered in May contemporary music, and magnificent pianissimo 2000s. It didn’t take him Judas] – Game of sorrow tima he presents When this year. minimalism. palette, which puts its dis­ long to realise that it could by Tore Vagn Lid tinct stamp on the work, form the basis for a musical Den Norske Opera & and the sizeable ensemble is drama. “The gospel chal­ Ballett, Auditorium 2 treated more like a chamber lenges the very basis of our 7.30 pm orchestra than a symphony Christian cultural heritage. $$NOK 350 / 250 A performance will orchestra. The Passion of Christ is also be given 12/9 “The piece calls to turned upside down when and 13/9 mind slow-moving machin­ the most evil character, the Direction, lyrics ery which, rather than be­ executioner, is transformed and concept: ing occupied with sweeping, into the hero. Judas is por­ Tore Vagn Lid dramatic gestures, is more trayed as the only one who Performers: intent on upending groups really understood what Transiteatret-Bergen of sounds” says Wallumrød. Jesus meant. They make an and BIT20 Ensemble The orchestra will also per­ agreement whereby Judas Music: Glenn Erik form Alvin Lucier’s Explo- turns Jesus over to his ene­ Haugland and Tore ration of the House. mies in order to bring about Vagn Lid Scenography: Ola Vikås salvation,” says Lid. “It’s a Kyrre Bjørkås beautiful manuscript that offers ample opportunities Produced by: Tore Vagn Lid. Photo: Transiteatret – Bergen for dramatic adaptation.” Transiteatret-Bergen Wednesd∑y ⁄⁄/ª Judasevangeliet [The in collaboration with the Norwegian National Gospel of Judas] is the final THE NORWEGIAN RADIO Opera and Ballet, ORCHESTRA part of a trilogy which Lid BIT20 Ensemble and Conductor: Jonathan calls “sørgespill” [Games of Ultima. Stockhammer Sorrow]. The other parts are Store Studio, NRK entitled “Straff” Corporation, Marienlyst [Punishment] and Kill them 6 pm all! “It’s an attempt to find $$NOK 200 / 150 a form of dramatic perfor­ ·· Christian Wallumrød: mance that is neither opera When Celebrities nor theatre.The first two had Dream of Casual Sleep some musicians but mostly (second try) ·· Alvin Lucier: actors, whereas The Gospel Exploration of of Judas mostly involves the House. vocalists,” says Lid. Ando Woltmann Produced by The Norwegian Radio Orchestra.

Christian Wallumrød. Photo: Urban Willi/ECM Records Wednesd∑y ⁄⁄/ª — #2 — Alvin Lucie® / Ensemble neoN — 33 —

I Am Sitting In ∑ Room Alvin Lucie®

Wednesd∑y ⁄⁄/ª

ALVIN LUCIER AND MUSICIANS FROM ENSEMBLE NEON Fagerborg Kirke 10 pm $$NOK 200 / 150 Performers: Alvin Lucier, musicians from Ensemble neoN and Håkon Stene ··Silver Streetcar for the Orchestra, for solo triangle (Soloist: Håkon Stene) ··Two Circles (Ensemble neoN) ··I Am Sitting In a Room (Alvin Lucier) In collaboration with Alvin Lucier : I Am Sitting In a Room Ny Musikk. Photo: Festival Internazionale di Musica Contemporanea 2012

One of the most influential Luis Buñuel), the quite Music in Oslo, Norway. The and well known of Alvin minimalist piece where a establishment of the ensem­ Lucier’s compositions is I triangle is quickly tapped ble was a result of a interest Am Sitting In a Room from during a score of 19 min­ in contemporary music from 1970. As in Music for Solo utes, whereas the musician all parties after many years Performer, this is a com­ plays with all the acoustic of experience in the field. position for one performer, properties of the instrument, Ensemble neoN comprises who reads aloud a text that with progressive accelera­ nine musicians, two compos­ is recorded. The text is a tions and decelerations. ers and a conductor. description of the piece, The rhythm is thus per­ Tomas Bjerke Holen and begins with the words ceptively diminishing to “I am sitting in a room ...” the benefit of the flow of The recorded text is then resonance. Soloist: Håkon played and re-recorded Stene. The final piece in the same room, so that performed this evening is what initially was a simple Two Circles (2012) for flute, recording of a narrated text clarinet, violin, cello, and is gradually transformed piano. This piece will be per­ by the acoustic, tonal, and formed by musicians from sonic qualities of the room Ensemble neoN, a Nor­ it is performed in. wegian ensemble formed There will also be a in 2008 with a group of version of Silver Streetcar musicians educated at The for the Orchestra (title after Norwegian Academy of — 34 — Adventu®∑ Bot∑nic∑ — #∞ — Thu®sd∑y ⁄2/ª

A bot∑nic∑l ∑dventu®e Odd Joh∑n F®itzøe: Adventu®∑ Bot∑nic∑

Dansens Hus and Ultima whose name was given in Hilde Sofie Tafjord, Lene present Odd Johan Fritzøe’s honour of Darwin’s predic­ Grenager, and Kristin Thu®sd∑y ⁄2/ª first full-evening concert tion of its existence. In the Andersen, creates music ODD JOHAN FRITZØE: since receiving the Norwe­ same way as Darwin studied from acoustic instruments, Adventura Botanica gian Critics’ Award for Sne coevolution between plants electronics, and spatial Dansens Hus [Snow] in 2009. In a change and insects, Fritzøe’s en­ installations. The perfor­ 7 pm of scene from the icy-cold semble has been inspired by mance previewed at Sodd­ $$NOK 280 / 190 to the tropical, this is a the stories in Darwin’s the­ jazz in North Trøndelag in Additional performance study of the invisible laws ories. The quartet SPUNK April 2013. on 13/9, 14/9 and 15/9. of nature. provides the music, and Maren Ørstavik Dance and choreography: Almost 150 years ago, together this artistic team Odd Johan Fritzøe Charles Darwin surmised has developed movement, Scenography: the existence of an in­ potent noise poetry, light Karl Hansen Music: SPUNK sect with a proboscis long sculptures, and dynamic (Maja Ratkje, Hild enough to pollinate the visuals. Tafjord, Lene Grenager amazing Madagascar star Odd Johan Fritzøe and Kristin Andersen) orchid – even though no- received his training at the Construction/ one had even seen such a National Academy of Ballet technology: creature. Thirty years after in 1987, and is both dancer Armin Bårdseth & Thom Darwin’s such an insect and choreographer in Ad- Johansen / NOTAM was finally discovered: the ventura Botanica. The free Photo/film: hawk moth, or Xanthopam impro quartet SPUNK, Odd Geir Sæter morganii praedicta, part of comprising Maja Ratkje, Costumes: Svein Ove Kirkhorn Assistant choreographers: Pernille Bønkan and Torunn Robstad Production: Odd Johan Fritzøe Co-production: Dansens Hus, Dans i Nord- Trøndelag & NOTAM Supported by: Arts Council Norway and the Fund for Performing Artists. Photo: Erell Perrodo Adventura Botanica. Photo: Dansens Hus Thu®sd∑y ⁄2/ª — #^ — H∑®®y P∑®tch St®eifenjunko — #¶ — Thu®sd∑y ⁄2/ª

Use you® Delusions V∑g∑bonds H∑®®y P∑®tch: Delusion of the Fu®y St®eifenjunko

Composer, music theorist, instrument maker, and lib­ Thu®sd∑y ⁄2/ª ertine: Harry Partch’s orig­ HARRY PARTCH: inality and creative energy Delusion of The Fury have made him a source Nationaltheatret of inspiration and a legend 7.30 pm beyond the boundaries of $$NOK 350 / 250 contemporary music. Ensemble musikFabrik Partch was one of a kind, Directed by Heiner and one of the most emo­ Goebbels tionally powerful composers Produced by Ruhr­ of the twentieth century, triennale –International as readily inspired by Greek Festival Of The Arts. mythology and ancient In coproduction philosophy as by his own with the Ensemble experiences as a hobo. Mu­ musikFabrik and the sical drama, dance/theatre, Holland Festival spectacular multimedia per­ Supported by Kultur­ formances, vocal and cham­ stiftung des Bundes and ber music, all performed for the Kunststiftung NRW. the most part on self-made In collaboration with instruments, constitute the the National Theatre. legacy of Partch’s long and winding career. Already in the 1930s, he rejected the Western musical tradition and in­ Harry Partch. Photo: William Gedney Collection, Streifenjunko. Photo: Henrik Beck troduced his own musical Duke University, David M. Rubenstein Rare Book and Manuscript Library theories rooted in African theatre, Chinese opera, work, and contains all his terms, of the reconciliation in Cologne, has long since Trumpet player Eivind Chicago Reader: “Trumpeter with names such as Chris­ and Japanese dance the­ microtonal and harmon­ by the living with both life gained world renown for its Lønning and saxophonist Eivind Lønning and reedist tian Wallumrød, Sidsel Thu®sd∑y ⁄2/ª atre. With a vocal range ically challenging trade­ and death. dedication to artistic inno­ Espen Reinertsen make up Espen Reinertsen, two young Endresen, Toshi Nakamura, STREIFENJUNKO comprising as many as 43 marks – all performed on Delusion of The Fury vation, so Delusion of The Streifenjunko, a duo where Norwegians performing as Jim Denley, and video artist Akershus Slottskirke pitches, his microtonality one set of instruments. hovers somewhere between Fury by Harry Partch should improvisation at the acoustic Streifenjunko, knocked me Kjell Bjørgeengen. 10 pm became his trademark and This work, which is divided dream and madness, and prove a perfect match. micro level and expanded out with their unassuming In this concert specially $$NOK 200 / 150 formed a platform for the into two acts like a dance a wide range of theatrical Ando Woltmann playing techniques are key debut album, delivering one commissioned by Ultima, Performers: Eivind custom-made instruments theatre piece, has been devices are used on the elements. In recent years the of the most potent and orig- Streifenjunko experiments Lønning (trumpet) he built, numbering more acclaimed by many as instruments, which them­ duo has travelled all over the inal spins on free improvisa- with the limits of simultane­ Espen Reinertsen than 25 in all. He once de­ Partch’s most consummate selves play a key role in the world, played more than 100 tion I’ve heard in years.” The ousness within improvised (saxophone), Christian scribed himself as “a philo­ work. Act I is based on an production. It is the German concerts, and released two duo’s follow-up album, Sval music by applying new Wallumrød (piano), Sofia sophic music-man seduced eleventh-century Japanese ensemble musik­­Fabrik, highly acclaimed albums. Torv, released last year, also methods, and the duo is Jernberg (vocals) into carpentry,” and his folk tale, while Act II is under the direction of Ibsen Their debut album, No earned rapturous reviews. extended with vocalist Sofia Supported by The carpentry skills have left an adaptation of a farcical Award winner Heiner Longer Burning, released in Their use of silence and Jernberg and pianist Chris­ Norwegian Composers indelible marks both inside folk tale from Africa. The Goebbels, which has taken 2009 on the excellent Nor­ of different sounds makes tian Wallumrød for the oc­ Fund. and outside modern pop work moves from tragedy on the task of recreating the wegian label Sofa, evoked it easy to be taken by cation, two very exiting and club music. to comedy, and is a ritual work at Ultima, complete the following enthusiastic Streifenjunko’s subdued musicians that fits Streifen­ Delusion of The Fury expression, in vocal, in­ with reconstructed instru­ response from music jour­ minimalism. Streifenjunko junko like a glove. from 1969 was his final strumental and corporeal ments. musikFabrik, based nalist Peter Margasak in the has previously collaborated Ando Woltmann F®id∑y ⁄#/ª — #• — Ch®istine Sun Kim Cik∑d∑ T®io — #ª — F®id∑y ⁄#/ª

Lunchtime conce®t Simple, complic∑ted Ch®istine Sun Kim Cik∑d∑ T®io

This concert presents the his scores still place heavy The end result is a form of works of two prominent demands on musicians. minimalism, which is also F®id∑y ⁄#/ª composers in chamber for­ Melchiorre says that Figu- manifested in Drop, written CIKADA TRIO mat. Although the work razione dell’invisibile, which in autumn 2012. Akershus Slottskirke of Alessandro Melchiorre was commissioned by and Cikada Trio comprises 6 pm (b. 1951) from Italy is rarely written for Cikada Trio, flutist Anne Karine Hauge, $$Free; Oslo Culture performed in Norway, he is is about how Leonardo da clarinetist Rolf Borch, and Night event a central figure in the Vinci regarded music as pianist Kenneth Karlsson, ·· Alessandro southern European contem­ a contrast to painting. all seasoned performers of Melchiorre: porary music scene. He In recent years, Jon new music. Figurazione studied under Brian Øivind Ness (b. 1968) has Emil Bernhardt dell’invisibile (WP) Ferneyhough­ in Freiburg concentrated on simplifi­ ·· Francesco Filidei in the 1980s, and developed cation in terms of musical Texture ·· Jon Øyvind Ness: a highly refined, complex expression technical per­ Drop (WP) style of composition in formance. At the same the late-modern tradition. time, he often uses tonal, Free food and refres- More recently, however, polytonal, and microtonal hments will be served he has acquired a more elements, arranged in during the concert. transparent style, though tightly knit structures. Produced by Cikada.

Christine Sun Kim. Photo: Nowness.com

New York artist Christine Kim holds an MFA from Sun Kim was born deaf. Bard College and works and F®id∑y ⁄#/ª Her work explores hearing exhibits internationally. At LUNCHTIME CONCERT: and non-hearing culture this free lunchtime perfor­ CHRISTINE SUN KIM through physical aspects mance at nyMusikk she will Ny Musikk of sound. Through her present some of her latest 1 pm installations, images and work. In collaboration with $$Free performances she investi­ Dans for voksne and Ny gates ways to reclaim sound Musikk. and spoken language. Sun Anne Hilde Neset

Cikada Trio. Photo: Blunderbuss F®id∑y ⁄#/ª — °º — Hio®thøy & Östbe®g Oslo Philh∑®monic O®chest®∑ — °⁄ — F®id∑y ⁄#/ª

You do it – we don’t h∑ve the time! Th®ee ∑®tists; one spi®it Hio®thøy & Östbe®g Ch∑®les Ives/F®∑nk Z∑pp∑/Lene G®en∑ge®

Charles Ives, Frank Zappa for the most part ignored popular Frank Zappa, skilled weaver can influence F®id∑y ⁄#/ª and Lene Grenager; three by contemporary audiences himself an admirer of Ives. the course of history and artists separated in time, in the United States of the The mix of different styles the fate of man. Grenager’s HIORTHØY & ÖSTBERG: place, and musical expres­ early 1900s. It was only after and expressions – from distinctive voice as a solo You Black Box Teater sion, yet who have at least his death in 1954 that he political musical via R&B cellist, member of the impro 7 pm one personality trait in com­ gained a reputation as one to classical orchestral mu­ quartet SPUNK, and com­ $$NOK 265 / 180 / 100 mon: independence of spirit. of America’s most influen­ sic – is his trademark, and poser, is intuitive, immedi­ Friday 13/9 and Charles Ives was ahead tial early modernists. This this evening’s programme ate, intense, and different, Saturday 14/9. of his time with his exper­ evening’s programme pre­ features Sad Jane, from the and she carries on the tra­ Choreography and imental, unconventional sents a selection of his songs, legendary album London dition of powerful music’s dance: Kim Hiorthøy sound collages. Ives’ use of arranged by John Adams Symphony Orchestra Vol. independence of spirit. & Lisa Östberg polytonality and microto­ and Georg Friedrich Haas. 1 (1983). Maren Ørstavik Music: Kim Hiorthøy nality interwoven with clus­ At the boundary line Lene Grenager’s spe­ and Antonio Vivaldi tering techniques, complex between art music and cially commissioned work Lighting: SUTODA Scenography: Clara rhythms, and marching and pop music lies the eclectic, VEV [WEAVE] is inspired F®id∑y ⁄#/ª pop music quotations were innovative, and eternally by the Norse idea of how a Isaksson & Sandra OSLO PHILHARMONIC Parment ORCHESTRA: Graphic design: Charles Ives, Jonas Williamsson Frank Zappa and Production: Lene Grenager Emilia Mellberg Kim Hiorthøy and Lisa Östberg. Photo: Black Box Teater Co-production: Oslo Konserthus MDT, Dansstationen 7.30 pm & Atalante $$Free; Oslo Culture Night event The world’s longest ghost Hiorthøy recently gradu­ and on the music project Produced by Black Conductor: ride, a documentary about ated as a choreographer Drivan. Their new work, Box Teater. Baldur Brönnimann David Attenborough, a from the University of Black Warrior, is due Baritone soloist: neoclassical ballet, and a Dance and Circus, Stock­ to have its premiere in Leigh Melrose gigantic mistake: together holm. His examination spring 2014. ··Lene Grenager: VEV (WP) with Swedish Lisa Östberg, project, Pocket, was staged Mira Langeland ·· Charles Ives: Kim Hiorthøy has created at MDT, Stockholm (2011) 5 Songs, arr. John a dance performance in and at Théâtre de la Cité Adams: On the Coun- ter, The Sideshow, which ideas play the lead Internationale, Paris in Serenity, Memories, role; ideas for fantastic 2012. Hiorthøy has at­ The Circus Band projects that ought to be tracted attention for the ··5 songs, arr. Georg realised, that ought to exist diversity of his work and Friedrich Haas: in this world – it’s just that for his prolific production. From Lincoln, The Great they personally are too busy Lisa Östberg is a Commoner, From the learning how to play the dancer, choreographer, Swimmers, The White drums. You will therefore director, and scriptwriter. Flowers, Mists be presented with the se­ She received her training Frank Zappa: Sad Jane lected projects and detailed at the Royal Swedish Ballet Produced by: Oslo instructions on how they School, the Trisha Brown Philharmonic Orchestra should be brought to life. Dance, and the Merce Supported by The As well as working as Cunningham Studios in Norwegian Composers a designer, illustrator, mu­ New York. Hiorthøy and Fund. sician, short story writer, Östberg have previously and cinematographer, Kim collaborated as dancers Grenager. Private photo F®id∑y ⁄#/ª — °2 — GRIND Nils Bech — °# — F®id∑y ⁄#/ª

Minim∑list m∑xim∑lism On love Jeft∑ v∑n Dinthe®: GRIND Nils Bech

GRIND is a performance Kneeding in Oslo, in collab­ in light, sound, and move­ oration with Dansens Hus Definitions of GRIND F®id∑y ⁄#/ª F®id∑y ⁄#/ª ment. David Kier’s dark, and Rethinking Dance, and VERB JEFTA VAN DINTHER: NILS BECH / OLE-HENRIK minimalist techno becomes he is currently working on a 1. to reduce to powder GRIND MOE / JULIAN SKAR meditative through its rep­ production for the respected or small fragments by Dansens Hus Kulturkirken Jakob etition, Jefta van Dinther’s Cullberg Ballet. friction 9 pm 10 pm pulsating, almost primitive, Along with the other $$NOK 280 / 190 $$NOK 200 / 150 2. to wear down, movements hypnotise, and artists behind the perfor­ A performance will also Nils Bech / Ole-Henrik polish, or sharpen by be given on 14/9. Moe / Julian Skar: Minna Tiikkainen’s flicker­ mance, Jefta van Dinther friction ing light beams make dark­ has received much critical By: Jefta van Dinther, New work (WP) ness seem as visual as light. acclaim for GRIND in NOUN in collaboration with Performers: Nils Bech, Through duration and rep­ both German and Swedish 1. dreary, monotonous, Minna Tiikkainen and Ole Henrik Moe, Kari or difficult labour, etition, that which at first media, as well as several David Kiers Rønnekleiv, Julian Skar study, Concept: Jefta van sems simple and familiar is awards, including Wild Art installation by or routine Dinther and Minna Eirik Sæther. transformed into an over­ Card of the Year at the 2012 Tiikkainen 2. the result of whelming, alien machine: Dortmund Theatre Festival. Choreography and dance: Supported by Arts grinding GRIND minimises in order WARNING: This per- Jefta van Dinther Council Norway. to maximise. formance contains strobe 3. the act of rotating Lighting design: Jefta van Dinther lighting and is therefore the hips in an erotic Minna Tiikkainen (Sweden/Netherlands) is a unsuitable for those with manner Sound design: dancer, choreographer, and photosensitive epilepsy. David Kiers senior lecturer at the Uni­ The performance also con- Music: David Kiers Nils Bech. Photo: Benjamin A. Huseby versity of Dance and Circus tains some brief sequences and Emptyset in Stockholm. In Febru­ in total darkness. Production: Jefta van Dinther/Sure Basic and ary 2013 he performed Maren Ørstavik Not many artists would be and it sounds like pop relationship between the Nils Bech is a singer and per- Minna Tiikkainen just as willing to play at music with elements of visual and the musical? formance artist who explores Supported by: Swedish Ultima as at Øya Festival, contemporary music. – It has partly to do the tensions between art, pop Arts Council, Swedish but Nils Bech is one of – What would you like with my need to distance music, and contemporary Arts Grants Committee, them. This concert marks audiences to bring with myself from the stereotype music. He has performed at Amsterdam Fund for the first time he presents them from your concerts? of a singer, like “Now you venues including Venezia- the Arts, and Nordic Culture Point. new music since last year’s – That they can identify have to go out there and biennalen, ICA in London, Produced by Dansens Hus. critically acclaimed album with what I sing about and entertain the audience.” and MoMA PS1 in New Look Inside. It’s a love story. can be touched by it. They I don’t believe you share York, and has released two – What have you cre­ don’t necessarily have to something simply by stand­ albums: Look Back (2010) ated for Ultima? have had exactly the same ing there and looking into and Look Inside (2012). His – It’s a kind of follow-­ experiences as me, but more people’s eyes. I prefer to concert at Ultima premieres ­up to my previous album. that they can identify with create a kind of peep cabi­ his latest project. Look Inside was about a the universal emotions I sing net full of sculptures, paint­ Maren Ørstavik relationship that wasn’t about. In this way a song ings, and objects made by working, the break-up, is a fantastic instrument other artists to recreate the and starting over. The new because it has two layers: emotions I sing about. Be­ album picks up the thread melody and lyrics. I want tween them, the music and a year later and is about to write lyrics that balance the objects create a universe starting a new relation­ on the deeply personal plan which goes back to the emo­ ship, love, insecurity, and without sounding trite. tions conveyed by the song jealousy. I collaborate with – You often give so- and which the audience musicians Ole Henrik-Moe called performance concerts. can share. GRIND. Photo: Viktor Gårdsäter and Kari Rønne­kleiv, How do you view the S∑tu®d∑y ⁄°/ª — °° — Øyvind B®∑ndtsegg / Robe®t Willey Kjell S∑mkopf — °∞ — S∑tu®d∑y ⁄°/ª

Hypnotic mech∑nic∑l sounds “Listening t∑kes time!” Conlon N∑nc∑®®ow Kjell S∑mkopf Øyvind B®∑ndtsegg/Robe®t Willey

American-born Conlon was forced to live a life piano studies, instrumented allowed us to explore its As composer, percussionist Nancarrow (1912 –1997) is in exile from 1955. From for computer-controlled areas of applications, says and teacher, Kjell Samkopf S∑tu®d∑y ⁄°/ª best known for the works his new home in Mexico, church organ. Brandtsegg, who promises has played a vital role in KJELL SAMKOPF: he wrote for player piano. he worked as a composer, It’s not quite how the artistic, authentic music in Norwegian contemporary Etyder for slagverk Because his technically though he was largely ig­ composer himself preferred a new form. music. He has written [A Book of Etudes] intricate compositions often nored by his contemporar­ it; he wanted everything Ola Vikås chamber music, orchestral Nasjonalbiblioteket exceeded human ability, ies until the 1980s. to be as hard and precise pieces, electroacoustic 2 pm he coded the music on Øyvind Brandtsegg has as possible, and did things pieces, music for dance, film $$Free mechanical rolls, thereby gained a reputation as a such as remove the felt and TV productions, music Performed by former creating his chaotic, jazz-­ melodic percussionist with lining from the piano ham­ S∑tu®d∑y ⁄°/ª for use in teaching, as well students and colleagues influenced, almost hypnotic a nose for music technology mers to achieve it. as several compositions ØYVIND BRANDTSEGG/ Produced in colla- compositions. innovation. Together with Willey’s MIDI versions of for percussion. And at the ROBERT WILLEY: boration with Kjell Due to his communist the American Nancarrow Nancarrow’s music from Conlon Nancarrow very heart of all this lies his Samkopf. convictions and participa­ expert Robert Willey and the 80s were produced with Grønland Krike lifetime project: To trans­ tion in the Spanish Civil producer Jan Tro, he has sharpness rather than tim­ 12 pm form listening into an active War on the side of the developed new arrange­ bre in mind, but being able $$NOK 150 / 100 process. As the jury of the republicans, Nancarrow ments of the composer’s to control the organ also Conlon Nancarrow: Edvard Music Award put it Studies for Player when presenting him with Piano the award in the open cat­ 1. Study No 21 egory: “Deeper experience 2. Study No 41 a awaits those who actively 3. Study No 2b listen”; “Listening takes 4. Study No 41 b 5. Study No 8 time”, was award-winner 6. Study No 37 Kjell Samkopf’s brief reply. 7. Study No 6 On the release of 8. Study No 25 Etydesamling for slagverk [A Book of Etudes], a col­ Kjell Samkopf. Private photo lection of 45 studies, 18 of which are for solo marimba, 18 for solo vibraphone, and the musician and his or her records humans’ active genre; the composer must 9 of which can be played mental capacity and intel­ interaction with nature’s have in-depth knowledge on either vibraphone or lectual insight. The étude own incidental, unavoidable of the instrument, and marimba, Kjell Samkopf shows the instrument’s po­ impulses, and the result is craftsmanship is ascribed talked about the significance tential, and usually has an refined in respect of this considerable importance. of the studies: “The étude innovative structure.” interaction. Many compos­ The étude is music for as a work fascinates me. Samkopf’s most recent ers throughout history have the insider. The étude is the music of works mainly comprise paid particular attention The afternoon concert musicians. The étude is not outdoor recordings, and to the étude, among them in the National Library lasts primarily written for audi­ are accompanied by album Clementi, Debussy, Chopin, for three hours and prom­ ences, but for musicians. covers of carefully selected Bartók, Kreisler, Paganini, ises to be an unforgettable It’s mostly a work that fo­ illustrations and brief in­ Liszt and Ligeti. Proba­ experience – for those who cuses on a particular theme structions reminiscent of bly the best known are dare listen. or that has a particular music scores. Last year saw Bach’s inventions, which Ando Woltmann intention, usually linked to the release of Burragoran­ were intended to serve an instrumentally technical gian Stones, 79 minutes of just as much as a textbook or compositional challenge. Australian landscape re­ in composition as one in The étude was written with corded at Lake Burrgorang playing the harpsichord. Øyvind Brandtsegg. Photo: Anja Elmine Basma the intention of developing outside Sydney. The work The étude is a challenging S∑tu®d∑y ⁄°/ª — °^ — No®wegi∑n Ch∑mbe® O®chest®∑ with M∑®tin F®öst KORK ∑nd Oslo C∑thed®∑l Choi® — °¶ — S∑tu®d∑y ⁄°/ª

The Dollhouse A p®∑ye® fo® g®∑ce The No®wegi∑n Ch∑mbe® O®chest®∑ G∑vin B®y∑®s: Jesus’ Blood Neve® F∑iled Me Yet with M∑®tin F®öst

The starting point for what evolving, orchestral accom­ classical compositions, to a would later become a cult paniment that respected much wider audience. S∑tu®d∑y ⁄°.ª. classic – and which will close the tramp’s nobility and The original 25-minute THE NORWEGIAN RADIO this year’s Ultima – came faith, Bryars transformed long version was recorded ORCHESTRA AND OSLO about when composer Gavin the song into a powerful yet on Brian Eno’s Obscure CATHEDRAL CHOIR Bryars was working on a subdued work. label in 1975. Ultima 2013 Conductor: Jonathan documentary film about The work’s status as a will be rounded off with a Stockhammer people living rough around cult classic was endorsed late-night concert perfor­ Oslo Domkirke London’s Elephant and when Jesus’ Blood Never mance of the 75- minute 10 pm Castle and Waterloo Station Failed Me Yet was recorded long version of this work $$NOK 350 / 250 in 1971. At that time these in 1993 with Bryars’ close given by the Norwegian Gavin Bryars: areas were popular haunts friend Tom Waits, whose Radio Orchestra and Oslo Jesus’ Blood Never for the homeless and alco­ gravelly voice was added Cathe­dral Choir in the Failed Me Yet holics. Bryars says that the on top of the original vocal. beautiful surroundings of In collaboration with work came about by chance: The work introduced Oslo Domkirke. The Norwegian Radio “In the course of being Bryars, who until then was Maren Ørstavik Orchestra and Oslo filmed, some people broke best known for his jazz and Cathedral Choir. into song. When I listened to the recordings, I discovered this one person – in this case not an alcoholic – singing a religious song, Jesus’ Blood Never Failed Me Yet. It was not used in the final film, but I was given access to the unused material, including that song.” Bryars could not put Martin Fröst. Photo: Mats Bäcker the song out of his mind, and realised that the 13 bars formed a loop that was The Norwegian Chamber clarinet and orchestra, on repeated in a slightly unpre­ Orchestra’s first concert the steps in Sørensen’s Doll S∑tu®d∑y ⁄°/ª dictable way. He copied the of the season is one of the Steps In Venice, or under a song directly as it was, with THE NORWEGIAN CHAMBER ·· Anders Hillborg: final events during Ultima. magic spell in Dukas’ The a view to adding an orches­ ORCHESTRA WITH Peacock Tales This concert presents the Sorcerer’s Apprentice. MARTIN FRÖST: tral accompaniment later Produced by The chamber orchestra’s guest Produced by the Norwegian The Dollhouse on. At the time, Bryars was Norwegian Chamber artistic director, the Swed­ Chamber Orchestra. Oslo Konserthus working on an art project Orchestra. ish clarinetist Martin Mira Langeland 6 pm and left the recording play­ Fröst, and modern Nordic $$NOK 80 – 365 ing while he was out of his music by Bent Sørensen, ·· Göran Fröst: office. When he returned, Anders Hillborg and Göran D-tangeled for clarinet he found his colleagues Fröst, as well as works by and orchestra completely overwhelmed ·· Bent Sørensen: Stravinskij and Dukas. by the old man’s singing. It Doll steps in Venice The central theme for the ·· Paul Dukas: was apparently then that he concert is humans as dolls, Trollmannens læregutt became aware of the emo­ caught up in the strings ·· Igor Stravinskij: tional power of the song. By of Fröst’s D-tangled for Pulcinella Suite adding a simple, gradually Gavin Bryars. Photo: Point Music / Philips Classics F®id∑y ⁄#/ª — °• — Gende® equ∑lity in the field of music Ultim∑ Rem∑ke — 49°ª — S∑tu®d∑y ⁄°/ª

Open meeting: Apoc∑lyptic ®emix Gende® equ∑lity in the field of music Ultim∑ Rem∑ke

Ultima Oslo Contempo- Among the topics to be The programme will in- The event is a collab- rary Music Festival, discussed are: clude talks by Kristin orative project be- S∑tu®d∑y ⁄°/ª the Oslo Philhar- ·· Women musicians: Danielsen, Anne Hilde tween Ultima, the Oslo monic Orchestra, and How are they portrayed Neset and composer Lene Philharmonic Orchestra, Ultima Remake: the Norwegian Academy in the media? Grenager. You will and the Norwegian Le Grand Macabre of Music invite high- ·· Career planning also get a chance to Academy of Music. Free Den Norske Opera school students and ·· Can one talk about visit the sound and entrance. & Ballett, Foyer teachers as well as the masculine and feminine image exhibition made 4.30 pm music-­interested audi- expressions in music? by students from Oslo With the support of the $$Admission: Free ence to an open meeting By Steiner School and Norwegian Arts Council Performers: at 17.30 on Friday 13 Manglerud Upper Sec- and the National Museum Pupils from Bjørnholt September in the Oslo ondary School under of Art. Upper Secondary School Concert Hall — Glass­ the guidance of Ida La Fura dels Baus huset. The event is Habbestad, Gyrid Kald- held in conjunction estad and Bodil Furu. In collaboration with with the Oslo Philhar- The Norwegian National monic’s concert at Oslo Pizza and refreshments Opera & Ballet Culture Night. will be served. Supported by Arts Council Norway.

Kjetil Hugaas i Le Grand Macabre. Foto: Erik Berg

Remake, Ultima’s annual the history of opera: contrasts. Through educational project, it was written during workshops with re- takes modern classics the Cold War, and deals spected artists, the from twentieth-­century with the collective teenagers will learn art music as its start- fear of the end of the about the background ing point and lets world, presented in an for the work and re- young people explore experimental form in ceive in-depth tech- them from a contempo- which elements of par- nical and artistic rary perspective. This ody and irony invite us information that will year, pupils from the to reflect on the human provide them with a music and the media condition. platform for their own and communication pro- The pupils will rec- recreation of the work. grammes at Bjørnholt reate the work’s apoc- Assistance will be on Upper Secondary School alyptic theme in an hand in the form of the will delve deep into audiovisual installa- Spanish ground-breaking Ligeti’s anti-anti-op- tion and transfer the direction team La Fura era Le Grand Macabre, writ- theme to our own time. dels Baus, which is ten in 1977 and sched- What do today’s youth also directing the op- uled to receive its love and fear? How do era production. premiere performance at they combat angst? In Stine Sørlie the Norwegian National parallel with Ligeti’s Opera & Ballet during work, the installation Ultima. This work marks will contain visual a key turning point in collages and auditory Septembe® ª –⁄° — ∞º50 — ultim∑ ∑c∑demy ultim∑ ∑c∑demy —— 51∞⁄ —— Septembe® ª –⁄° ultiµ∑ ultiµ∑ ∑c∑deµy ∑c∑deµy

Mond∑y ª/ª Tuesd∑y ⁄º/ª Wednesd∑y ⁄⁄/ª Thu®sd∑y ⁄2/ª F®id∑y ⁄#/ª Ac∑demy Wo®kshops P®∑ctic∑l Info®m∑tion

Ultima Academy is an SOUND AS A MEDIUM KAGEL, BEUYS & POSSIBLE STRATEGIES FOR ANALYSIS DAY: LE GRAND POLITICAL POSSIBILITIES #⁄/•–⁄/ª All activities are free inter­national sympo- OF ART BEETHOVEN THE INTERPRETATION OF MACABRE X STAATSTHEATER WITHIN MUSIC THEATRE HARDWARE HACKING and open to the public sium that takes place – With Peter Weibel – With Peter Weibel CONTEMPORARY MUSIC – With Ole-Henrik Moe – With Hans-Thies – Workshop with with the exception of each year during Ultima – With Björn Gottstein and Trond Reinholdtsen Lehmann & Tore Vagn Lid Nicolas Collins the workshops. Oslo Contemporary Music PLAYING CONCEPTS ABLETON LIVE – THE ART The program is subject Festival. A program of – With Alvin Lucier OF ENGINEERING ART – THE STAGE AS ⁄–⁄2/ª to change. lectures, workshops and and Anne Hilde Neset With Robert Henke INSTRUMENT AND “STATEN” – Workshop on debates offers music COMPOSING LITERAL composed theatre with For updated times and enthusiasts, profes- BOREALIS NOTATIONS 2013 MULTIMEDIA PERFORMANCE: READINGS Trond Reinholdtsen, venues, questions and sionals and students – Exhibition and ENSEMBLE NADAR – With Simon Amund Sveen and application check insight into the con- performance – With Stefan Prins Steen-Andersen Christine Lindgren www.ultimaacademy.no nection between con- or contact temporary music theory THE CREATIVE KINECTIC SCULPTURES — MUSIC IN THE FOREGROUND: [email protected]. and practice. In 2013, ENVIRONMENT: SYNÆSTHETIC ILLUSIONS CHRISTOPH MARTHALER’S we present new ways DEBATE – With Peter – With Christian Blom MUSIC THEATRE – With of staging music and Weibel, Robert Henke, Tora Augestad and give a retro-/prospec- Stefan Prins, Christian THE ANALOGUE REVOLUTION Hild Borchgrevink tive look into instru- Blom, Alvise Vidolin OF DIGITAL MUSIC ment design. and Jøran Rudi. TECHNOLOGY HARRY PARTCH: – With Tellef Kvifte A MAVERICK AND HIS In partnership with THE PRE-STOCKHAUSEN INSTRUMENTS The Norwegian Society ERA: WDR AND THE INSTRUMENT DESIGN – NEW – With Björn Gottstein, of Composers, The Oslo BEGINNINGS OF TECHNOLOGIES Beate Schüler, National Academy of the ELECTRONIC MUSIC – With Alexander Ensemble musikFabrik, Arts, The Norwegian – With Arnulf Mattes Jensenius Heiner Goebbels Academy of Music and and Markus Aust The Nordheim-Senteret, HIGHLIGHTING LIGETI I: the Norwegian Opera ARNE NORDHEIM & THE LE GRAND MACABRE & Ballet, NOTAM, Ny POLISH EXPERIMENTAL – With Peter Edwards, Musikk, Atelier Nord STUDIO/VEVNAD Erling Gulbrandsen, and the The Department – With Eugeniusz the Norwegian Opera of Musicology at the Rudnik, Marek & Ballet and La Fura University of Oslo. Zwyrzikowski and Del Baus Mats Claesson

www.ultim∑∑c∑demy.no ⁄º–⁄°/ª — ∞252 — Inst®ument wo®kshop

Inst®ument wo®kshop

p®og®∑m ∞/ª–⁄°/ª

Ultima invites children And of course, once Hild Sofie Tafjord – to have a go at making everyone has finished blowpipes and plastic Norsk Teknisk Museum instruments and produc- making their instru- Isak Anderssen – wooden Day-care centre groups: ing music at the Norwe- ments, they will give planks (xylophone) and Tues 10/9 – Fri 13/9 gian Museum of Science, a concert! The music rattles can be ordered via Technology and Medi- is composed by the par- [email protected] cine. The children's ticipants themselves: Jon Halvor Bjørnseth Family workshops: instrument workshop a new work for each – strings and mbira Saturday 14/9 at 12pm gives children the op- group. All this will instruments and 2pm portunity to make their take place in the ex- Registration: own instruments and to citing surroundings of At the museum's experiment with sound the Norwegian Museum of reception desk. and composition. Three Science, Technology and musicians from Driv­ Medicine, where you can More details at huset invite children also see and learn more www.tekniskmuseum.no to try out different about music machines ways of making sounds and materials in plas- and music, including tic, wood, and metal. plastic tubing, bal- Suitable for day-care loons, strings, wooden centres and for open planks, and sticks. family workshops. P®og®∑m — ∞° — — ∞∞ — P®og®∑m

Thu®sd∑y ∞/ª ALVIN LUCIER: OPENING CONCERT Sund∑y •/ª ARNE NORDHEIM ALVIN LUCIER THE RECYCLED Empty Vessels Ensemble Modern plays (continued) in the world of art: Henie Onstad INSTRUMENTS ORCHESTRA ×× Installation Frank Zappa No “-isms” for me, Kunstsenter OF CATEURA Atelier Nord, ANX From The Adventures please! 2.30 pm Oslo Konserthus Opens 4/9 of Greggery Peccary ×× Exhibition ··Music for solo 5 pm Open every day from (1978) and The Yellow Henie Onstad Performer With Barratt Due's 1 pm – 6 pm Shark (1993) Kunstsenter ··Wave Songs Junior Ensemble Page: 5 Sentrum Scene 1.30 pm Soprano: Silje ♪♪Musc by Jon Balke, 7.30 pm From August 2013 Aker Johnsen Østen Mikal Ore Page: 6 to January 2014 Page: 22 Page: 23 Page: 21 F®id∑y ^/ª ENSEMBLE RECHERCHE IVO DIMCHEV: X-on THE NORWEGIAN Norges musikkhøgskole ×× Performance art SOLOISTS’ CHOIR SATYRICON AND THE 6 pm Black Box Teater Trefoldighetskirken NORWEGIAN NATIONAL ♪♪Music by Martin 7 pm 9 pm OPERA CHORUS Rane Bauck (WP), Page: 9 ♪♪Luigi Nono: Den Norske Opera Cornelius Cardew, Io, frammento & Ballett Morton Feldman and dal Prometeo 8 pm Alwynne Pritchard (WP) Page: 10 Page: 24 Page: 8 Mond∑y ª/ª LUNCH CONCERT KENNETH KARLSSON AND MUSICAL ELECTION S∑tu®d∑y ¶/ª ARNE NORDHEIM: CHRISTIAN BLOM SVEN LYDER KAHRS Steinway Piano Gallery ELISABETH HOLMERTZ NIGHT VIGIL Dråpen ×× Installation Kunstnernes Hus 12 pm Steinway Piano Gallery Kulturhuset ×× Installation Kunstnernes Hus 1 pm ♪♪Music by Karstein 6 pm 7.30 pm Bekkelaget renseanlegg 1 pm (Opening) ♪♪Music by Sven Lyder Djupdal (WP) and ♪♪Music by Tansy Davies Panel: Aslag 12 pm ··Roses (WP) Kahrs (WP) Steve Reich (WP), Ragnhild Guttormsgaard, Free bus transport ··Trio for dancing Page: 13 Page: 25 Berstad (WP), Robert Kari Slaatsveen, from Kulturhuset/ thread, lightbulb and Zuidam (WP) and Georg Atle Antonsen and Youngstorget at bell with damper (WP) Friedrich Haas Rolf-Erik Nystrøm 11.30 am Page: 12 Page: 26 Host: Jon Løvøen Page: 11 ♪♪Music by Stian Carstensen Page: 27 KRISTIN NORDERVAL TORA AUGESTAD: OSLO SINFONIETTA ×× Installation Fatal Madness AND SONG CIRCUS Tuesd∑y ⁄º/ª CIKADA ENSEMBLE GYÖRGY LIGETI: NADAR ENSEMBLE Kunstnernes hus Nasjonalgalleriet/ Dansens Hus Akershus Festning, Le Grand Macabre Kulturkirken Jakob 1 pm (Opening) Auditoriet 4 pm Olav V Hall Den Norske Opera 9pm piano, piano, 2 pm ♪♪Landscape with 6 pm & Ballett ♪♪Music by Ignas pianissimo… (WP) Page: 17 figures II (WP) ♪♪Music by Carola 7 pm Krunglevicius (WP), Page: 14 Page: 18 Bauckholt (WP) Page: 19 Alexander Schubert, Page: 28 Jorge Sánchez-Chiong, GYÖRGY LIGETI: LE GRAND AFTER PARTY: IVO DIMCHEV: X-on Matthias Kranebitter Le Grand Macabre After the performance ×× Performance art (WP) and Stefan Prins Den Norske Opera Den Norske Opera Black Box Teater Page: 29 & Ballett & Ballett 7 pm 6 pm Premiere party Page: 9 Wednesd∑y ⁄⁄/ª THE NORWEGIAN RADIO TRANSITEATRET - BERGEN ALVIN LUCIER AND Page: 19 Page: 19 ORCHESTRA AND BIT20 ENSEMBLE: ENSEMBLE NEON Store Studio, NRK Judasevangeliet [The Fagerborg Kirke 6 pm Gospel of Judas] (WP) 10 pm ARNE NORDHEIM: CAMILLE NORMENT/ EUGENIUSZ RUDNIK: Sund∑y •/ª ♪♪Music by Christian by Tore Vagn Lid ♪♪Music by Alvin Lucier Dråpen KARI RØNNEKLEIV/ Memini tui – In memory Wallumrød and Den Norske Opera Page: 32 ×× Installation OLE-HENRIK MOE: of Arne Nordheim Alvin Lucier & Ballett Bekkelaget renseanlegg Within The Toll ×× Exhibition Page: 30 7.30 pm 12 pm Henie Onstad Henie Onstad Page: 31 Free bus transport Kunstsenter Kunstsenter from Kulturhuset/ 1 pm Page: 21 Youngstorget at Page: 20 11.30 am Page: 11 P®og®∑m — ∞^ — — ∞¶ — P®og®∑m

Thu®sd∑y ⁄2/ª ODD JOHAN FRITZØE: ENSEMBLE MUSIKFABRIK TRANSITEATRET - BERGEN S∑tu®d∑y ⁄°/ª ØYVIND BRANDTSEGG/ KJELL SAMKOPF: ULTIMA REMAKE: Adventura Nationaltheatret AND BIT20 ENSEMBLE: ROBERT WILLEY Etyder for slagverk Le Grand Macabre Botanica (WP) 7.30 pm Judasevangeliet [The Grønland Kirke [Studies for Den Norske Opera ×× Dance performance ♪♪Harry Partch: Delusion Gospel of Judas] by 12 pm Percussion] & Ballett, Foyer Dansens Hus of The Fury. Directed Tore Vagn Lid ♪♪Music by Conlon Nasjonalbiblioteket From 4.30 pm 7 pm by Heiner Goebbels Den Norske Opera Nancarrow 2 pm Students from Bjørnholt Page: 35 Page: 36 & Ballett Page: 44 Page: 45 High School 7.30 pm Page: 48 Page: 31 NORWEGIAN CHAMBER GYÖRGY LIGETI: KIM HIORTHØY AND STREIFENJUNKO ORCHESTRA WITH MARTIN Le Grand Macabre LISA ÖSTBERG: You Akershus Slottskirke FRÖST: The Dollhouse Den Norske Opera ×× Dance performance 10 pm Oslo Konserthus & Ballett Black Box Teater Page: 37 6 pm 6 pm 7 pm ♪♪Music by Göran Fröst, Page: 19 Page: 40 Bent Sørensen, Paul LUNCH CONCERT CIKADA TRIO ODD JOHAN FRITZØE: F®id∑y ⁄#/ª Dukas, Igor Stravinskij Christine Sun Kim Akershus Slottskirke Adventura Botanica and Anders Hillborg Ny Musikk 6 pm Dance performance Page: 46 1 pm ♪♪Music by Alessandro Dansens Hus Page: 38 Melchiorre (WP), 7 pm Francesco Filidei, Page: 35 ODD JOHAN FRITZØE: JEFTA VAN DINTHER: THE NORWEGIAN RADIO Jon Øyvind Ness (WP) Adventura Botanica GRIND ORCHESTRA AND OSLO Page: 40 ×× Dance performance ×× Dance performance CATHEDRAL CHOIR Dansens Hus Dansens Hus Oslo Domkirke 7 pm 9 pm 10 pm KIM HIORTHØY AND TRANSITEATRET - BERGEN OSLO PHILHARMONIC Page: 35 Page: 42 ♪♪Gavin Bryars: LISA ÖSTBERG: You AND BIT20 ENSEMBLE: ORCHESTRA Jesus’ Blood Never ×× Dance performance Judasevangeliet Oslo Konserthus Failed Me Yet Black Box Teater [The Gospel of Judas] 7.30 pm Page: 47 7 pm by Tore Vagn Lid ♪♪Music by Charles Page: 40 Den Norske Opera Ives, Haas/Adams, & Ballett Lene Grenager (WP), ALVIN LUCIER: ARNE NORDHEIM: CHRISTIAN BLOM 7.30 pm Frank Zappa Inst∑ll∑tions/ Empty Vessels Dråpen ×× Installation Page: 31 Sad Jane exhibitions ×× Installation ×× Installation Kunstnernes Hus Page: 41 Atelier Nord, ANX Bekkelaget renseanlegg Opens 7/9 1 pm Opens 4/9 7/9 and 8/9 12 pm Page: 12 JEFTA VAN DINTHER: NILS BECH/OLE-HENRIK Open every day from Page: 11 ··Roses (WP) GRIND MOE/JULIAN SKAR/KARI 1 pm – 6 pm Free bus transport ··Trio for dancing thread, ×× Dance performance RØNNEKLEIV Page: 5 from Kulturhuset/ lightbulb and bell with Dansens Hus Kulturkirken Jakob Youngstorget at damper (WP) 9 pm 10 pm 11.30 am Page: 42 Installation: Eirik Sæther KRISTIN NORDERVAL: ARNE NORDHEIM Page: 43 piano, piano, in the world of art: pianissimo… (WP) No “-isms” for me, ×× Installation please! Kunstnernes hus ×× Exhibition Opens 7/9 1 pm Henie Onstad Page: 14 Kunstsenter 1.30 pm From August 2013 to January 2014 Page: 21 P®og®∑m — ∞• — — ∞ª — P®og®∑m

Educ∑tional OPEN MEETING: ULTIMA REMAKE: ULTIMA ACADEMY Venues NATIONALTHEATRET NORGES MUSIKKHØG- NORSK TEKNISK MUSEUM GENDER EQUALITY IN THE Le Grand Macabre Norges musikkhøgskole (continued) Johanne Dybwads SKOLE (NMH) Kjelsåsveien 143 p®ojects FIELD OF MUSIC Den Norske Opera From 9/9–13/9 plass 1 Slemdalsveien 11 T: 22 79 60 00 (see also pp. 49–52) Oslo Konserthus, & Ballett Ultima Academy – an T: 22 00 14 00 T: 23 36 70 00 www.tekniskmuseum.no Glasshuset 14/9 from 4.30 pm international symposium nationaltheatret.no www.nmh.no 13/9 at 5.30 pm Ultima’s annual that takes place during Open meeting for educational project Ultima. A program of NY MUSIKK OLAV Vs HALL OSLO DOMKIRKE students and teachers Page: 49 lectures, workshops and Platousgate 18 Akershus festning Karl Johansgate 11 and music-interested debates. Full programme T: 21 99 68 00 T: 23 09 35 53 T: 23 62 90 10 audience on on page 50. www.nymusikk.no www.forsvarsbygg.no www.oslodomkirke.no The event is held in Page: 50 conjunction with the Oslo Philharmonic’s OSLO KONSERTHUS SENTRUM SCENE STEINWAY PIANO GALLERY concert at Oslo Munkedamsveien 14 Arbeidersamfunnets Stortingsgaten 30 Culture Night. T: 23 11 31 00 plass 1 T: 902 54 244 Page: 48 www.oslokonserthus.no T: 22 20 32 32 www.steinway.no www.rockefeller.no

INSTRUMENT WORKSHOP Norsk Teknisk Museum STORE STUDIO, NRK TREFOLDIGHETSKIRKEN Day-care centre groups: Bjørnstjerne Bjørnsons Akersgata 60 Tues 10/9 – Fri 13/9 plass 1 T: 22 62 90 40 can be ordered via T (KORK): 23 04 70 00 www.trefoldighet.no [email protected] www.kork.no Family workshops: Saturday 14.9. at 12am Buy your tickets Please view informa- and 2pm Tickets to concerts at tion about each spe- Registration: www.billettservice.no cific performance. At the museum's T: (+47) 815 33 133 Full price and dis- reception desk. counts (students, Page: 52 Ordered tickets can elderly, unemployment be picked up at the etc.) is available. Venues AKERSHUS SLOTTSKIRKE ANX / ATELIER NORD BEKKELAGET RENSEANLEGG post office, ‘Post i Akershus Festning Olaf Ryes plass 2 Ormsundveien 5 butikk’, Narvesen, and NB! Sold out! Book T: 23 09 35 53 inng. fra Sofienberggt. T: 23 38 63 00 7Eleven. More info early, as we expect www.forsvarsbygg.no T: 23 06 08 80 www.bvas.no www.ultima.no. performances to be www.ateliernord.no sold out.

BLACK BOX TEATER DANSENS HUS DEN NORSKE OPERA Marstrandgata 8 Møllerveien 2 & BALLETT T: 23 40 77 70 T: 23 70 94 00 Kirsten Flagstads plass 1 www.blackbox.no www.dansenshus.com T: 22 47 45 00 www.operaen.no

FAGERBORG KIRKE GRØNLAND KIRKE HENIE ONSTAD KUNSTSENTER Pilestredet 72 Grønlandsleiret 34 (HOK) T: 23 62 90 09 T: 23 62 91 06 Sonja Henies vei 31 T: www.fagerborgkirke.no www.gamlebyen­ 67 80 48 80 oggrønland.no www.hok.no

KULTURHUSET KULTURKIRKEN JAKOB KUNSTHØGSKOLEN I OSLO Youngstorget 3 Hausmannsgate 14 Fossveien 24 www.facebook.com/ T: 22 99 34 54 T: 22 99 55 00 kulturhusetioslo www.jakob.no www.khio.no

KUNSTNERNES HUS NASJONALBIBLIOTEKET NASJONALGALLERIET Wergelandsveien 17 Henrik Ibsens gate 110 Universitetsgata 13 T: 22 85 34 10 T: 810 01 300 T: 21 98 20 00 www.kunstnerneshus.no www.nb.no www.nasjonalmuseet.no