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E M P R M X 3 3 3 a tribute to ElsEMariEPadE (1924-2016) 1 Etude – Else Marie Pade's original version (1961) �� 5:33 2 Etude marstal:lidell remix �� 5:33 3 Etude Katrine Ring remix �� 5:33 4 Etude /Du og jeg og stjernerne Band Ane remix �� 5:33 5 Etude SØS Gunver Ryberg remix �� 5:33 6 Etude Cristian Vogel remix �� 5:33 7 Etude Bjørn Svin remix �� 5:33 8 Etude We Like We remix �� 5:33 9 Etude Jonas Olesen remix �� 5:33 10 Etude Sandra Boss remix �� 5:33 11 Etude Jacob Kirkegaard remix �� 5:33 12 Etude Heidi Mortenson remix �� 5:33 Total: 66:36 Dacapo is supported by the Danish Arts Foundation 3 Homage to else marie by Henrik Marstal Electronic Composers Electronic Works 1958-1995 by the Danish recording label Ljud Records in 2008, but this evening I heard it on the album , curated by Jacob Kirkegaard and released in 2014 by the American label Important Records. One late afternoon in January 2016, when I came home, I knew some thing just wasn’t In this work – as in many other works by Else Marie – I experienced an emotional jumble right. I sat down on the sofa and waited. A few minutes later I found out: A journalist that I couldn’t properly describe except as the sound of several things at one and the same from a newspaper rang to ask whether I had a comment on the death of Else Marie Pade. time: the struggle for recognition, the right to be oneself, and the attempt not only to come I didn’t – at first I had to collect myself for a while before I could say anything at all. to terms with the period of the Nazi German Occupation of Denmark (1940-1945) which Else Marie dead. Despite her age and the course of her illness over the past few years had left such deep marks on her, but also to distance herself from it. it was so completely unexpected for me. I sat for a long time and thought about her, and Because: The war was the old world – and themusic old world of the vanished nuclear age when the war was about her music. And I thought about how, just a month before, I had spent an afternoon in over at last. It had been absolutely necessary to put something new in its place: a music of a research library in Berlin, where I had come across a German book about Danish musical the future which was in reality a music of now, a . Pierre Schaeffer life, in which Else Marie’s works in particular were given such generous attention that the knew Etudethat in I France, Karlheinz Stockhausen knew it in West Germany, and Else Marie knew author of the book clearly counted her among the most significant Danish composers. I had it in this country, just like these two, for her, inspirational figures did. reminded myself that I had to tell her this when the occasion arose. But it never did. In I also heard something that I could recognize from other works by her: the It was a special evening listening to her music in the dark. My thoughts went backDansk to consciousness of being destined to go her own way, against the current and thus also to go our first meeting almost 15 year earlier, when I had turned up along with Ingeborg Okkels at Musik Tidsskrift étudeoff the beaten track – even if she thus risked partial artistic isolation. And I couldn’t help but her address in Ordrup, north of Copenhagen, to write a portrait article about her for see the title of the work as expressing a characteristic Else Marie-like modesty, although . I also thought about the meetings that came later, and which led to coach has been a well-known work designation among composers for centuries – and was rides in the Deer Park, north of Copenhagen, coffee at the nearby Bakken amusement park, used in the post-war years by among others Schaeffer and Stockhausen. Yet in the light of lunches at Café Paludan in Fiolstræde in the old city centre of Copenhagen, receptions, birth- Else Marie’s death the title still seemed rather unreal: for more than anyone she knew that days and other things, usually in the company of other electronic music buffs in my circle of life and art are far from being an exercise. But this very unreality gave the work a special acquaintances. I also thought about how our contact, for various reasons,Etude had peteredEtude out 1 a aura that it could not have had until now. little, and how my last greeting to her was a postcard I sent for her 90th birthday. As I sat there in the living room I felt a lacuna in my life that I soon realized I would at- In the courseVor tidsof that musik eveningMusic I listenedof our Time to the tape composition (actually ). tempt to fill by celebrating Else Marie with a tribute album on which a number of musicians The work, I found out later, had been created in 1961 and had been premiered on the radio would have the opportunity to work with her music. And when I saw the duration of the programme ( ) in AprilPioneers: 1962, being The Beginningmet by the of music Danish critics work on the display – 5 minutes and 33 seconds – I also knew how the album was to take of the newspapers with greater enthusiasm than electronic music normally was. The work form: I would invite a group of musicians to remix the work in their own ways, and each had been released for the first time on the anthology remix was to have exactly that duration. 4 5 etude – introduction to a work by Henriette Moos and Ingeborg Okkels For 5 minutes and 33 seconds – that is, a total of 333 seconds – is such a spectacular number that simply considering it makes us aware how each second counts; in the work as From pianist to pioneer well as in life. The number also gives us a hint of the enormous accuracy that was required to work with electronic sound sources, as was the case with this work too. And the figure Else Marie Pade graduated as a pianist from the Royal Danish Academy of Music in 1949 had a meaning too in Else Marie’sEMP own RMX life; 333 for she wasEMP just 46 days short of having lived 333 musique with subsequent private composition lessons with Jan Maegaard, Vagn Holm boe and days exactly a hundred times. RMX 333 concrète Hence the title of the album: , where is her initials – or the abbrevia- Leif Kayser. But it was only after hearing a radio programme in 1951 about the tion for electromagnetic pulse; is the three consonants in the word remix; and is movement – and paying a visit the next year to Pierre Schaeffer in his ‘radio the number of seconds per track on the album – or the numerological figure for the union laboratory’ in Paris – that her path as an electronic pioneer was laid out in earnest. Throughout the 1950s she created a succession of works under the auspices of the of mind,EMP RMX body 333 and spirit that says we are all one, and that everything (including all sounds) En dag på Dyrehavsbakken (A Day runs in parallel. atDanish the fair) Broadcasting CorporationSymphonie (from magnétophonique1959 called Danmarks Radio). They were based sounds like a secret code from a remote time. It is like the inscription on a on Schaeffer’s techniques and principles and included diode. And it could be the serial number on an electronic apparatus. But is also evokes asso- (1953-1955) and (1958-1959). From 1955 she ciations with the identity numbers that were tattooed on the concentration camp prisoners. was permanently employed by the broadcasting service and spent her everyday working Or could it instead be the pet name for a humanoid robot from the 22nd century? life among the country’s leading radio technicians, where it was the chief engineer Holger So, the album is now a reality with, first, the original work and then 11 very different Lauridsen who introduced Else Marie Pade to the latest electronic apparatuses and their remixes or new compositions inspired by the work. As We Like We men tion in a note on potential for generating and manipulating sounds. The collaboration suddenly broke their contribution, and which is also mentioned in the introduction to the work, Else Marie down at the end of 1957 by Lauridsen’s early death. But the technologies and the tech- Pade wrote a programme note when the work was released, saying among other things: niques lived on in a creative collaboration between Else Marie Pade and a group of able “The first sound is set in motion, is caught up by the next, which is caught up by the next, technicians including Svend DrehnEtude Knudsen, Etudewho for 1 the next five or six years helped her etc., in a powerful crescendo.” That is the spirit in which the album is created: the original to realize the ideas and works that filled Vorher tidsmost musik productive period up to and including work was the first sound that is caught up by the next sound in the form of the next remix, 1962. This was the case with (actually ), composed in 1961 and premiered which is in turn caught up by the next remix, and so on.

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