• Abstract and Figures
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DANS FOR VOKSNE AUTUMN 2010 THIS FALL’S PROGRAMME takes place in Oslo, Berlin and Singapore. Most of it in churches. The gigs abroad will be in Norwegian Seamen’s churches. You may ask why. We do to, and will look a bit at that question throughout this fall and also in spring, when we go to Rotterdam. All those who play in the seamen’s churches will play in Oslo too. That will be next year, but now you’re warned! In the seamen’s church project, we let the musicians work together for a weeks time before the gig. Meanwhile the Dans for voksne crew will run around with recorders, pens and cameras and collect sounds, words and images and the tales or textures of locations and people. Afterwards we’ll make something out of it. We don’t know exactly what yet, but to make it easier to understand, we included some Norwegian phonetics here, for a start. Due to this, our activities in Oslo will be lower than usual this semester – only three gigs – but they’re all important to do. The programme has a great line up, music that ranges from Feldman-compositions via raga-inspired drones, noise, minimalism; a free improv collective and a swimming hall. www.dansforvoksne.no In collaboration with: The Norwegian Seamen’s Church in Berlin – sjomannskirken.no/berlin The Norwegian Seamen’s Church in Singapore – sjomannskirken.no/singapore Ny Musikk – nymusikk.no NOTAM – notam02.no Jazz in Oslo – jazzinoslo.no Supported by: Arts Council Norway, Norsk Jazzforum, Østnorsk Jazzsenter, Oslo Kommune. Dans for voksne is a node in the PNEK-network (www.pnek.no) DANS FOR VOKSNE is first of all a concert series. It’s best described by what it’s not: Formal, dogmatic, straight, foreseeable, etc. DANS FOR VOKSNE has been putting on gigs that nobody else wants since 2003, which means lots of experimental stuff, noise, improv and also people who are too young or from somewhere too far away or just hopelessly unable to sell themselves. DANS FOR VOKSNE is not meant for the biggest audiences, but to supply the most inter- ested one with a wider range of music. It’s there to create a functioning experimental music scene in Oslo and – in all senses – a link between that scene and the rest of the world. DANS FOR VOKSNE also puts up workshops for those who want to build their own sound sources. DANS FOR VOKSNE’s super ultra North of everything project on Svalbard* in March -09 sent a bunch of musicians on an expedition through one of the most hostile yet beautiful landscapes on earth to the abandoned Russian mining town The Pyramid, on 79∘ north, to see what it could do to their output, but also to have a closer look at stepping across borders. To make this kind of projects stays on the agenda, together with the exploration of more unknown musics. For 2010-11 we plan to put on more workshops, a musical think tank, and of course more gigs. Some of them in Norwegian seamen’s churches around the globe. DANS FOR VOKSNE translates to something like Dancing for grown-ups. * Svalbard is also called Spitzbergen by many non-Norwegians. Looks a lot like this: Alan Courtis took this somewhere near The Pyramid. # 166 RADU MALFATTI/LUCIO CAPECE (AT/I) + GURO MOE/HÅVARD SKASET (N) OSLO, SAT 11. SEPT AT 20.00: ILADALEN KIRKE ADR: SØREN JAABæKS GATE 5, 0460 OSLO RADU MALFATTI: TROMBONE LUCIO CAPECE: PREPARED SAx/BASS CLARINET GURO S MOE: DOUBLE BASS HåVARD SKASET: ACOUSTIC GUITAR CC: 100 NOK "Lachenmann, for instance, was deeply ment in Argentina. When I started play- interested in the renewal of material, ing it I was a kid, and knew very little but with all his love (as he told me once) about other instruments. I enjoyed play- for his own work, he neglected, or forgot, ing it and is something that still hap- the aspect of form and structure. For me, pens to me when I play it, occasionally. his pieces still are hopelessly old-fash- At some point I realized that I was need- ioned, the structures and the forms tum- ing to play long sounds, but without the ble around in 19th century-idiomatics: help of any external device beyond the with all his beautiful sounds, I still instrument or myself. Initially I took hear rondos, climaxes, anti-climaxes, the soprano saxophone and later the bass and so on." - Radu Malfatti clarinet. I m not so interested in other instruments in their families as much Lucio Capece plays prepared saxophone, as I’m with them. I’m very happy playing bass clarinet or sruti box. He has visited them. The possibility of adding prepara- our series many times, and always brought tions came later, as a material need but something new along. This time he comes also a conceptual one. Now what I enjoy together with legendary trombone player in them as well is that having the pos- and investigator of the outer limits of sibility of playing long sounds I can pay ultra minimalism Radu Malfatti: more attention to the length and quality of silences. DFV: How would you like your own music to be described? DFV : Is there anything specific from the classical training that is still impor- RM: Well, it is a very quiet, relaxed kind tant to you today? of music, with lot of spaces and silences inbetween sounds. I would not like to LC: Yes. Mainly the technical work around call it "meditational", this is a descrip- the sound production. I do not know bet- tion, which leaves too much room for as- ter sounds produced in human music than sociations towards "new-age-kitsch" and the ones created by musicians that work the like. It is a joyful state of being, deeply the quality of their acoustic highly intense and honest, full concen- sound. I have a long way to do. Is very tration. deep and fascinating. DFV: Lucio: You left a career as a clas- DFV: What is to you the most important sical guitarist to play prepared saxo- factors in the making of your music now? phone. How did that happen? LC: To play enjoyable music. To offer in LC: Guitar is the most popular instru- music the possibility to enjoy our every- day life, developing perception. in Oslo, where they’re based. They’re some of the hardest working and widest DFV: What could you say about how you ranging young musicians here at the mo- structure your music? How has the struc- ment with several bands in the spectrum turing developed, and does it have impli- from noise to pop. For this time they play cations outside the musical sphere? acoustic guitar and double bass. LC : I try to structure the music I play in DFV: You play quite different kinds of a way that the discourse is not trying to music. Some of it is rather straight and tell a story. But is still strong in a musi- some rather not. How do you relate to cal way, not in a conceptual way. I do not that spectrum, and what do the different have anything against telling stories, styles you relate to give each other? but I wish to make music that is not based in that idea. I may sound a bit preten- HS: We feel that what we are doing is tious , but is not at all. Is the most sim- built on the same lines, but that it ma- ple way of doing music I find, and the most terializes in different ways. Even if the enjoyable one for my taste. It has also a music evokes associations with contempo- lot to offer to a society where pleasure rary music, jazz, rock, or noise, the idea seems to be far and in spectacular adven- of independence and experimentation is tures. This has to do with the intentions always the core. mentioned in the previous answer about how we perceive now and here. DFV: I think the extremes in your musi- cal spectrum tend to relate to different DFV: What do you think about the collab- cultures with different sets of values oration? How did it start, and and ideas about what the world should how have you been working? look like. What are your thoughts about that? How do these worlds go together for RM: What shall I say? It is a great work, a you? nice friendship and a mutual respect for each others work, I hope. HS: The different cultures are in essence very different. But in the extremes in LC: We worked together in a collective each of them, the similarities appear. If project in Belgium in 2006, and then came you do not follow the stream, it appears naturally the possibility to play as a duo for us as there are outcast and experi- in two occasions. I have admired Radu’s ments in every culture that communi- music since many years. It has been and it cates on the same level. So it is within or is fundamental for me. between the different worlds/cultures we find our path. DFV : What do you think the concert will be like? DFV: I asked you to play an acoustic set, but from there, what directs you towards RM: Always difficult to say in advance, the music you think you are going to but I think it will be great and hope- play? fully interesting to most of the audience (probably never to everybody, be-cause HS: The all acoustic duo setting is quite this kind of music gives you the opportu- new to us, and it will probably leave more nity to think and be alone within your- space and allow us more freedom to ex- self and some people don't like this too periment.

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