malmö academy of music
the international LIVE Lund university | sweden edition
1 LUND UNIVERSITY MORE about the MALMÖ ACADEMY OF MUSIC Lund University unites long-standing traditions with a mo- The Academy of Music trains musicians, composers, church dern, dynamic and highly international profile. With eight musicians and music teachers. It offers post-graduate educa- A Passion for Music faculties and a number of research centres and specialised tion in music education, as well as an artistic post-graduate institutes, Lund University is the biggest provider of research programme in music. and higher education in Sweden. It was founded in 1666 The Academy of Music has professorial chairs in piano, – welcome to our world! and is one of the oldest universities in northern Europe. At guitar, cello, trumpet, flute, organ, composition, music edu- present, 47 000 students are enrolled at Lund University and cation, eurhythmics and musical studies/interpretation. Thus it includes three campuses in Lund, Malmö and Helsingborg. artistic development, the artistic equivalent of research, takes Lund University is consistently ranked as one of the world’s centre stage. The Academy has 500 undergraduate students, top 100 universities, Scandinavia’s top-ranked, full-scale uni- ten post-graduate students and 200 instructors. If you are an international music student, the Malmö Academy of Music is the place versity and top 10 choice in Europe for student exchanges. The Academy of Music is known for its subject range, where you can realise your visions, turn your dreams into reality and create your Lund and Malmö are located in southern Sweden, right as well as for its intercultural and international atmosphere. professional identity. Studies at the Malmö Academy of Music are characterized by next door to Denmark. The Danish-Swedish Øresund Region There are both international and national guest teachers and is one of Europe’s most dynamic areas. a wide selection of conductors for the Academy’s symphony breadth and a variety of specialisations in music. Students are prepared for profes- orchestra. The Academy also has a well-established exchange sional life through continual education, practical training periods, master classes program for both teachers and students, mainly within Nord- and concerts. With over 500 students at the Academy, there is always someone to plus and Socrates/Erasmus, but also through bilateral agre- ements. Other study opportunities for international students make music with. You will find yourself in new, inspiring musical contexts and include master programmes and free-standing courses. you will work harder than you ever have before. In the end it is you who decides what you make of your time in Sweden and the Malmö Academy of Music. The 1st of May celebrations at Lund University. possibilities are endless! (Photo Leif Johansson).
malmö academy of music malmö academy of music 12
LIVELund university | sweden the ”The Malmö Academy of Music international edition 3 | The Prologue proudly presents: LIVE, the
4 | Visiting Venice International Edition!”
12 | Celebrating Twenty the prologue | ove torstensson, editor Years of Rock
15 | Five Decades of Eurhythmics 41 | An Ear for Music – Music Teachers become THIS MAGAZINE CONTAINS A SELECTION of articles from due to his enormous musical influence on the pop group The 16 | The Symphony Entrepreneurs Musikhögskolan LIVE, that have been translated into English Beatles. In the spring of 2010 he became Lund University’s Orchestra Strikes Again in order to make them available to an international audience. first honorary doctor for the Faculty of Fine and Performing 44 | Inter Arts Center The articles can be said to reflect the mosaic of the Academy, Arts and the Malmö Academy of Music. During Martin’s visit 19 | The Road to Learning – Crossdisciplinary and In- which is constantly bubbling with music and creativity, as well to Sweden, when he was conferred his doctor’s degree at a 16 Music ternational Research Center as the social environment that provides endless opportunities ceremony in Lund Cathedral, a Skåne music prize was also for Art, Music and Theatre to meet new and exciting people. established in his name. This prestigious prize has since been 20 | Big Band in Movement awarded twice by George Martin himself. The first occasion 46 | Breaking New Ground IN THE FIRST SECTION, you as the reader are thrown right was to music producer and musician Christoffer Lundquist in Vocal Training into our programmes of study. You can accompany two of and the year after it was awarded to jazz trombonist Nisse 22 | Violin Professor with the Performance Programme’s orchestras who have been on Landgren. both Tone and Finnish Sisu 48 | Time for Musicians to tour to the Venice Biennial in Italy. You can also read about In the sixth and final section of the magazine we focus on Learn to Find Their Own two of our Music Teacher Programme specialisation areas, two of our favourite musical instruments, namely the guitar 25 | No Time to Play It Eurhythmics and Rock/Soul/Pop. and bass. Meet some of the Academy’s prominent musicians Voices Piano In the second section of the magazine you get the chance and let them inspire you with their work and also with the to meet some members of our teaching staff, who are por- unconditional love they have for their respective instruments. 50 | Young Brass Players 63 26 | Cello Professor with a trayed in varying contexts. Cello Professor Mats Rondin, for Feel for Timing Set the Tone at the Brass example, tells us about his Kamikaze task of conducting the REGARDLESS IF YOU ARE A STUDENT who aims to study music Festvial hugely successful gala event at Stockholm’s Concert House at higher education level or if you are involved in other areas 30 | How to Conduct a for Crown Princess Viktoria and Prince Daniel, which took of the community but are passionate about music, I hope that 22 Singing Staircase 52 | Sir George Martin is place the same summer as the royal wedding in 2010. you will find this magazine interesting and that it will inspire First Honorary Doctor in In the third section you get to meet some of our fantastic you to continue leading a musical life. Happy reading! 32 | Student Life Music students who tell you about their experiences of student life at the Malmö Academy of Music. In addition, you can also If you are interested in gaining more information on our pro- 36 | Four Guitars and a 54 | Analogue Sound Waves read about the adventures of four guitar students on their grammes of study, please visit our website www.mhm.lu.se. Russian Music Festival & Magical Moments concert trip to Russia which turned out to be full of surprises. This story, with its generous pinch of humour, gives us valu- 38 | Academic Scholarships 57 | Musical Philanthropist able insight into what can actually happen out there in the give Students that Little with a Red Trombone world of music when you have to adapt to a different culture Extra and social system. 60 | The Guitar BUT THE ACADEMY IS NOT JUST ABOUT our degree pro- 39 | Music Academics turn – A Love Story stockholm Pop Song Parody into grammes at Bachelor, Master’s and Diploma level. This Serious Competition 63 | I’m the Bass! is also a place where artistic development work, research programmes and research takes place, all three of which are important parts of the Academy’s activities. In the fourth sec- copenhagen tion of the magazine, you can read about MusicalEar among malmö executive publisher print contact other things. MusicalEar is the Academy’s first artistic devel- Staffan Storm Service Point Holmbergs Malmö Academy of Music Malmö, October 2012 Box 8203, 200 41, Malmö opment project that has resulted in a commercial product, london editor Sweden and that now has the entire world as its market. berlin Ove Torstensson edition Visiting address: The fifth section of the magazine is devoted to one of 1500 cc Ystadvägen 25 brussels graphic design +46–40–32 54 50 modern time’s biggest names in the music industry – legend- Lovisa Jones ISSSN [email protected] ary music producer, musician, conductor and composer, Sir paris 2000-5555 www.mhm.lu.se prague photo George Martin. Martin has been called ”The Fifth Beatle”, Leif Johansson
4 Translation malmö academy of music 5 52 Gabby Mackay Thomsson programme Luca who had invited the Swedish stu- and his tuba arrived at the hotel, after events dents to this year’s Biennale. They were they had toured the whole of Venice to perform two concerts, one with the together with the Latvian Radio Choir. Academy’s percussion ensemble and – I saw the entire city, said Niklas Visiting one with the wind orchestra. Dahlstrand, and laughed. The percussionists started drum- – When the taxi driver saw my tuba ming on their knees and anything else case he started waving his arms around unlucky enough to be within reach al- and screaming in Italian “impossible, ready on arrival at the airport in Venice. impossible” and then all the taxi drivers The atmosphere was good and there turned against me. No one would drive me and my tuba into the city! But it all ”Håkan manages to got sorted out in the end. get us to produce The next day there were early rehear- sals for the percussionists who had their Venice a special sound. concert that evening. The ensemble In the autumn of 2010, the Malmö Academy of Music was invited to the He says things that consisted of a group of guys who had Venice Biennale – the world’s biggest festival for contemporary music. played together for a long time and other conductors knew each other well. Live was with them and found a group of musicians with more energy wouldn’t say...” – We are almost like a little family, than an electrical power station. smiled Andreas Vettefors. Their teacher, Lennart Gruvstedt, were high expectations in the air. As was along for the trip to help and direct soon as everyone had their baggage, when needed. During the rehearsal he they were off to Venice in a taxi – wa- spoke to his students in a percussion By Ellen Skärstrand Venice – known as the most romantic for its film festival which attracts the big ter taxi of course, as boats are the only jargon which was impossible for out- Photo Gustaf Johansson city in the world. Millions of tourists Hollywood stars to the city, but among vehicles which can get around the city. siders to understand, but the guys had travel here every year to experience the classical musicians, the Biennale is more no trouble. city’s famous architecture, blue-green often associated with Igor Stravinskij Tour leader Johan Jeppsson watched – The students are incredibly hard- canals and poetic atmosphere. But the than Brad Pitt. over the students as a shepherd might working, our days are often long. They city is at least as well-known for its watch over his sheep. He had been are very eager, all of them, remarked culture and the international art event So what was a group of Swedish mu- planning for the trip for over a year. Lennart. He was the one in charge of which goes by the name of Venice Bien- sic students doing in this “notorious” – I was there the previous year on that night’s repertoire. nale. city? Well, it was all thanks to a man a reconnaissance trip to make sure that – The festival knew what they wan- On the little island which is the named Luca Francesconi, the Italian everything was in order for when we all ted us to perform. Among other things, labyrinth of Venice, different forms of composer and professor who has been got there, he commented. they wanted us to include modern pie- Vthe arts, such as theatre, dance, archi- in charge of the conformation of the What pleased him most was that all ces written by Swedish composers. So tecture and music, gather every year to music festival since 2008. He has also the instruments were allowed on board we played Sven-David Sandström and entertain the world’s cultural tourists. been a professor at the Malmö Aca- the flight as hand luggage. The bigger a new piece by Tobias Broström, who Maybe the Biennale is most well-known demy of Music since 2003 and it was percussion instruments were driven all was a student at the Malmö Academy the way from Sweden by Per Lundin, of Music a few years earlier. But we the Academy caretaker. chose these pieces because we liked – There were a lot of details that them, of course. needed to fall into place. Everything Lennart has been a teacher at the seemed to be going according to plan. Academy for about 30 years. He sees But it was still going to be a relief when it as one of his job responsibilities to we were sitting on the plane on our create a creative and stimulating envi- way back home again, said Johan with ronment for the students. a laugh. – My job was already done, it was Once at the hotel, while waiting to up to the students to do well that night. check in, someone suddenly said “But But it was a bit boring not to be perfor- where is Niklas?”. Everyone looked ming with them, of course. around wildly for the missing tubist, but he was nowhere to be seen. It turned It was soon 6pm and the audience out that the taxi driver had refused to was starting to take their seats in the take his tuba on board – he was con- dark concert hall. The hall was almost vinced it would sink his water taxi. It full when the percussionists made their was not until two hours later that Niklas
7 Skill. Teacher Lennart Gruvstedt assists students during a rehearsal. Each stroke has to be perfect for the concert.
entrance. It was a concert filled with future and the dismal job market. prepares musicians to be soloists. “She energy and joy. In the last piece the – I don’t know of any other pro- is the star of the group”, one of the intensity increased to the point that it fession where you can study this long, other students said about Julia. She had almost felt like the roof would lift off. put so much time and energy into an important solo at the following day’s At the dinner after the concert the practicing, and then get so badly paid. concert. percussionists were greeted with app- Most start when they are around 6-7 – I listened a lot to the piece, and lause and backslaps from the rest of the years of age and practice every day, practiced purely technically for about a orchestra. They were very pleased with commented Filip Draglund. month. It is quite complicated, actually, how it went and were looking forward – But it is different in Italy. Musi- but I was sure it would go well. to a fun night out in Venice. The warm cians have a high status and there are Julia had already played together evening was a welcome contrast to the more opportunities. However, it is dif- with the Malmö Symphony Orchestra, Swedish autumn. ficult to become part of it as an outsi- something she would like to do again Almost everyone had a tale to tell der. I would have loved to have moved in the future. She was very happy to about getting lost in the city. It isn’t here, but then I would be standing at be able to work together with Håkan so strange really, getting lost in the Marcusplatsen playing Godfather, he Hardenberger. labyrinth which is Venice is almost una- continued. – He is incredibly inspiring, and has voidable, and maps are not much help. had a big influence on my career. – I found out that we were going on Many dream about a permanent His name is often mentioned by the trip from a rumour, I didn’t believe it position in an orchestra. But some students and always positively. The at first. When I understood that it was want to take a further step out into Biennale’s programme described him the Biennale, I was very excited, said the spotlight. Julia Sigova was 28 years as “perhaps the greatest soloist of our trombonist Martin Chorell. old when they went to Venice and has time”. – Yes, all the biggest names were played the piano since she was six. – Håkan manages to get us to pro- there, added Nils Carlsson. She had almost completed the Dip- duce a special sound. He says things As we sat around the dinner table loma Programme at the Malmö Aca- that other conductors wouldn’t say, or talking, the discussion turned to the demy of Music, a programme which think of, said Karin Brodin who played Sole mio. Venice is known for its classic gondolas. 8 But nowadaysmalmö they are academy only used toof transport music tourists. programme events 9 A one-hour tour of the canals costs about SEK 1000. Backdrop. The narrow streets of Venice are familiar from a number of films.
Venice Biennale
The Venice Biennale is an international exhibition for the arts. The first Biennale was held in 1895 and included only art, but in later years architecture, dance, theatre, film and music have also be ad- ded to the programme.
The first festival for modern music at the Biennale took place in 1930. The 54th music festival was held between September 23 and October 2, 2010, and went under the name “Don Giovanni and the Man of Stone”.
The music festival includes concerts, seminars, workshops and installations. The programme included an incredible 27 world premieres. Epilogue. Last night with the gang, at least in Venice. New rehearsals and concerts are waiting back home in Malmö. Since 2008, the festival has been mana- ged by Italian composer and professor Luca Francesconi.
the French horn in the orchestra. – I love the Academy, we have a Håkan with a laugh. – But sometimes it can be a little great time in flute class. There is usu- – They are incredibly beautiful difficult to have an international star as ally a lot of competition in the music pieces, there isn’t an unnecessary note a teacher, we get a bit nervous. I mean branch, but it feels like there is a ge- among them. And one thing that the Percussion repertoir we respect him as a musician so much! nuine friendship between us at the five composers have in common is that buried there. cheers and applause, and the dinner Conductor: Lennart Gruvstedt He even sells albums! said Nils Carlsson. Academy and we can relax and be our- they are not afraid to explore non- continued. The noise level increased selves. The music brings us together. conventional sounds. We had countless The orchestra tuned their instru- and the waiting staff ran around like John Cage Second Construction (1940) Early the following morning the We are all striving for the same goal. hard and long rehearsals before we left ments in the stuffy changing room. headless chickens. When all the food halls of the badly-insulated hotel were When Alica was told she would Sweden. Håkan sees it as part of his job It was soon time for the concert. The was gone and most of the wine, Filip Tobias Broström Ombra (2009) alive with the sound of scales and play a solo at the Venice Biennale she to prepare the students professionally. audience was given a modern musical Draglund stood up. Alejandro Vinao Estudios de Frontera (2004) harmonies. The wind orchestra was up was overjoyed, but at the same time – I am never entirely happy. I want experience, and even if the students – It isn’t easy to organise a trip like early to warm up. Levels of concentra- she knew it was a huge responsibility. the students to get used to high de- wished that more people had been this one, but one man has managed it. Sven-David Sandström Drums (1980) tion were high during the rehearsal in – When I saw my name on the web- mands and a high tempo, and find hap- there, they were still pleased on the He has also made sure that we have the concert hall, the students read their site I couldn’t believe it. It confirmed piness in that. That is what is beautiful whole. been fed every day. For once Johan scores intensively. that I was on the right track, and a sign about music, there is always a door After the concert the orchestra Jeppsson, please stand in the spot light! Alica Tserkovnaja had every reason that my teachers trusted me and saw that can be opened. It is also important gathered for a final dinner. Now there The applause seemed never-ending, Brass Orchestra repertoir to be nervous. She was starting the my potential. Then it was a bonus to that they learn the difference between was no nervousness and everyone could and it just got louder when Johan as- whole concert off with a flute solo, and be able to enjoy Venice too, she said preparation and performance, so that enjoy Venice. It wasn’t long before ked everyone what they would like for Conductor: Håkan Hardenberger this had not been her lucky trip so far. and smiled. they do not practice during the perfor- someone plinged their knife against a dessert. Dinner was rounded off in Claude Debussy Syrinx (1913) – I was vomiting all day the day mance, but really perform then. There glass. Speech! And Håkan Hardenber- true Italian fashion, with tiramisu and Soloist: Alica Tserkovnaja, flute before the concert, it was terrible. I felt After the rehearsal we met an is no time for self-criticism then. ger was the first speaker. espresso. The party continued into the better on the day, but I still hadn’t been excited Håkan Hardenberger. He was Håkan himself had a concert in – I usually think of life as an ele- small hours, but the details don’t need Igor Stravinskij Symphonies of Wind Instruments able to eat anything. It was a bit tricky happy with the rehearsal, and had a London a few days later, so all his free vator, and certain people are in the to be discussed here. (1920 - revised 1947) as it is hard to do your best on an emp- good feeling about the concert later time was going towards practicing for elevator with me. And I am honoured One thing is for sure, however. ty stomach. Alica started playing the that night. that. But there was one thing he had to share an elevator with you all again. Romantic gondolas in all honour, but Olivier Messiaen Oiseaux Exotiques (1955–56) Soloist: Julia Sigova, piano flute when she was 10 years old, and – The students were probably a litt- planned to find time to see while he It isn’t every day that I get to perform Venice should really be experienced in studied on the Master’s Programme at le nervous. It was a difficult repertoire, was in Venice. with such a fantastic orchestra. the company of a wind orchestra and a Toru Takemitsu Garden Rain (1974) the Academy. I wanted them to learn something, said – I wanted to visit Stravinskij. He is Håkan’s speech was followed by cheerful group of percussionists. | Magnus Lindberg Gran Duo (1999–2000) 10 malmö academy of music programme events 11 Eric Gadd, “Artist in Residence”, opened the concert together with the rock programme students.
Facts
The Malmö Academy of Music has offered teacher training for instru- mentalists and vocalists wanting to specialise in Rock/Pop/Soul since 1993.
Rock is an integrated part of the new secondary school music teacher training, which also qua- lifies teachers to teach grades 6–9 and extra-curricular music students.
The hub of the programme is two different types of ensemble studies. The first aims to develop students in playing their main instrument of study, and the second covers how Celebreating to teach ensemble studies. Leif Johansson and Anders Rydlöv were Carl-Axel Andersson, course director given the task of starting the rock pro- of the rock programme together with gramme at the Malmö Academy of Music Anders Rydlöv. Twent y 20 years ago.
Pilot COURSES. And that was how, ex- actly 20 years ago, the Malmö Academy of Music got the idea of starting a pro- Years of file in rock music. Anders and Leif were asked to develop a pilot programme, Rock which later became permanent. There were no problems with funding or attracting interested students. The first Anders Rydlöv and Leif Johansson intake was in 1993. Back then, the folk both worked as music teachers in dif- high schools and secondary schools did ferent parts of Malmö in the 1980s. not offer any continued education cour- Anders put rock on the schedule for ses, so the people who applied were primary school students at Linnéskolan. active and established musicians. – They played rock instruments – Some could read music, others during music lessons and we were al- couldn’t, but they were all good musi- ways having concerts. cians, remembers Leif. Unaware of what Anders was up to, The Academy offered a rock pro- Leif was using similar methods at the gramme, which spanned over the other community music school. programmes. Students who were ai- – Back then, the music that students ming to become instrumental/ensemble BY Björn Lundquist | Photo Daniel Andersson played in school was in sharp contrast teachers and those who wanted to be- to the music they liked listening to at come class teachers all studied together The rock profile of the Music Teacher Programme at the home. That was what we took into ac- for large parts of the programme and Malmö Academy of Music has now celebrated its first count in our lessons. Playing together is the big ensemble block was the con- the philosophy of rock music. necting element. 20 years. A total of 130 students have had the chance – It is a programme with huge diversity, After a while, the Academy got At the same time as the rock pro- says Caroline Gustavsson who gradua- to develop and broaden their musical knowledge during to hear about both Anders and Leif’s gramme started, the Academy also ted in 2009. You had a lot of choice, you started a folk music programme. The this period, and they have become sought-after teachers projects. could decide a lot yourself. I was given once they have graduated. The jubilee was celebrated – Suddenly, we were being visited jazz programme was already establis- many chances to make music with like- by researchers, who wanted to study hed. This made it possible for students minded people – and I became good at in the form of a big music festival for old and current us. Our rock students got to travel to niche themselves, while getting a it. Now I work mainly as a songwriter for students, teachers and other guests in February, 2012. around and play for different music broad music education at the same the production company Roasting House in Malmö. I use my education daily. teachers, says Anders. time.
12 malmö academy of music programme events 13 Five Decades
– We were given the chance to really in- – I got a fantastic education on the rock – The rock programme has meant a lot vest in ourselves, says Pontus Stenkvist, programme, says Andreas “Stone” to me. We were really privileged to have who was part of the first intake who Johansson who graduated in 2007. Today such amazing teachers and to get so graduated in 1997. I did not know much I work with writing songs and producing much time with them, remembers Ingrid about the programme, but as time went music at the production company Roas- Tidvall from Stockholm who graduated of Eurhythmics by I realised how good it was. We got ting House. After many years, things are from the rock programme in 2006. I By Lovisa Jones | Photo Leif Johansson everything and then a bit on top of that! starting to go well – so far I can report became a much better musician and The rock programme gave us incredible four million units sold and seven number teacher here! After graduating I started guidance and countless new methodolo- one hits in Japan! I made many contacts working first at Spyken and then later at In November 2011, the Eurhythmics profile of the Music Teacher Programme cele- gical skills. After graduating, I worked as on the rock programme – there are Fäladsgådent Intermediate School, both a teacher for many years, and today I am twelve songwriters at Roasting House in Lund. I teach ensemble studies, music brated its 50 year jubilee with a varied programme at the Malmö Academy of Music working as a free-lance musician. and ten of them have studied here. theory and dance. the Palladium. Exciting lectures were scheduled along with interesting seminars and concerts which showed Eurhythmics pedagogy from different perspectives.
– Eurhythmics is the art of interpreting discussions. Göran Folkestad, Professor concert on stage under the leadership music with your body or through bodily in Music Education, Sven Kristersson, of Rosa Mileros. movements. It fills the space created by researcher and Senior Lecturer in vo- After concentrating on Eurhythmics music. That is what we wanted to make cals, and Ann-Krestin Vernersson from it was then time to take a step back. Breaking new ground people in other situations, including as Academy. It was a big and necessary clear during the jubilee, says Professor the Malmö Academy of Music and Jo- Jonas Aspelin, Associate Professor in – The rock programme broke new a teacher. step in the world of music. We can of Eurhythmics Ann-Krestin Vernersson. hanna Österling Brunström, Lecturer in pedagogics at Malmö University gave a ground, says Leif. We managed to att- now meet public music life and music She had prepared for and planned the Music Teaching and doctoral student at lecture on relational competence. ract a special sort of musical, outgoing IMPORtant cultural work. Carl- education at all levels with professional jubilee for over a year. The invitation list the Örebro Academy of Music all spoke Monday Night Big Band and the people. They had a lot of experience Axel Andersson is the course director competence, both with practical instru- was long and among guests were those on the subject The Artistic Teacher and Eurhythmics students performed their of ensemble play and of playing one of the rock programme together with mental and vocal studies, and in music who belonged to the very first group of the Teaching Artist. children’s show What is a Big Band? in or more instruments besides their main Anders Rydlöv, a position he has held theory and history. graduates from the programme. The doors were opened for teach- the Rosenberg Concert Hall. instrument. They had a large musical since 2000. Now that the rock programme – With lectures, debates, classes ing on the second day. Jubilee visitors, During the last day, Johanna Öster- range and very good reputations, both – Rock is an important part of has been with us for 20 years, there and presentations we showed the and the personnel and students at ling Brunström gave an account of her as musicians and teachers. As a teacher, Swedish music life and there has to be are some names that need to be men- teaching methods used in Eurhythmics the Academy were given the chance current research together with Anna meeting students with the style of mu- opportunities to train as a teacher in tioned: Kalle Magnusson and Johan from various perspectives and in dif- to take part in classes in the specific Houmann, University Lecturer and sic they listen to is fantastic. this genre. We teach both the art of Pihleke, ensemble; Elisabeth Melander, ferent contexts. We have wandered subject areas of Eurhythmics, where researcher at the Malmö Academy of When Anders and Leif were asked rock and how to teach it. Our students vocals; Kjell Edstrand and Peter Berg- through history to contemporary times, learning music is connected to langu- Music. what the rock programme has meant have no problems getting jobs in secon- lund, piano; and Anders Hogeman, says Ann-Krestin. age, thought, intellect, body and soul. – The final event was a Jubilee to them, they were both in agreement dary schools, primary schools and com- guitar. Anna Persson, Anders Hallbäck The first day began with the – Rosa Mileros trained us in ear Concert at the Palladium and here also, that it has changed music teaching. munity music schools all over Sweden. and Peter Berglund together with Kalle Eurhythmics students appraised gradu- training and engaged us in complica- genres were mixed. We got to listen to – What we see today after 20 years Music teachers often take on the role Magnusson and Johan Pihleke who ation concert in the Rosenberg Concert ted metric patterns, Lisa Hallberg led and see soloists and ensembles from is a fully-matured field in teaching, says of culture-bearers. have worked with and supported the Hall. Thereafter, a lecture was given by us in a communication and drama role the Academy. There were solo perfor- Anders. Other programmes asked us Sixten Nordström, who was director skilful student ensembles that have Erik Rynell, a Senior Lecturer in Theatre play, Anette Wikenmo played with mances in flute, percussion, strings, a after 10 years why rock had been so of studies for many years at the Malmö performed here at this 20 year cele- Theory at the Theatre Academy at Lund our minds and the world of music jazz trio and movement. The concert successful and came to us for inspira- Academy of Music, held a speech bration. One of those who received University, on Hellerau. It was here, in and children, Stefan Klaverdal showed finished off with Rytmikon, a newly tion. The rock programme has also when the rock programme celebrated musical backup from the students was 1911, that the Festspielhaus Hellerau us how composing can be used both composed work by Stefan Klaverdal. His meant that the Academy has become 20 years with a big party at Glasklart singer Eric Gadd. After being involved was built – the centre designed by the on stage and for teaching and Lena work was performed by all the Eurhyth- attractive for new groups. There are Restaurant in Malmö on February 9. as “Artist in Residence” at the Malmö founder of the Eurhythmics pedagogy, Arstam held a yoga class for us, says mics students at the Malmö Academy clear connections between being an – It was an historic day in 1992 Academy of Music for two years, he has Emil Jaques-Dalcroze, to turn his vision Ann-Krestin who worked with play and of Music, says Ann-Krestin. The master outgoing person who loves standing when rock became its own, indispen- now thanked us by opening the concert into reality. improvisation in the name of music. of ceremonies was programme director on the stage and how you deal with sible programme of education at the of the jubilee celebrations. | The day continued with debates and Eurhythmic students gave a lunch Lotta Carlén. |
14 malmö academy of music programme events 15 Sophia Bergholm, French horn, and Anton Hugosson, percussion. The Symphony Orchestra Strikes Again
By Lovisa Jones | Photo Leif Johansson
It is five minutes past midday and the Music Academy’s café is packed with people. The queue is long, reaching all the way around the corner towards the reception. There is the constant bling of microwave ovens. Something is going on. It is that special atmosphere which comes about when it is time for orchestra project week.
ORCHESTRA PROJECT WEEK is held at believes. He is project manager at the the Malmö Academy of Music six times Academy and responsible for the or- annually. Rehearsals for the Academy’s chestra projects. symphony orchestra are many and of- Conducting, logistics and rehearsal ten. Every project is finished off with schedules – if everything is going to fall two, sometimes more, concerts in the into place, special planning is required. SRosenberg Hall or Malmö Concert Not in the least where the repertoire House. The symphony orchestra also is concerned which is decided by an goes on regular tours, both regionally orchestra committee. sal, she then feels less nervous. project weeks. They have played under of a panel of judges. Auditions are of- and internationally. The orchestra has – When we decide on the reper- – In the beginning it was a bit the guidance of British conductors ten held one year prior to the planned visited both the Baltic countries and the toire, we have a few criteria that have frightening and took some time before Charles Hazlewood and Peter Manning. concert date. Competition is tough and Venice Biennial. A tour to Berlin is being to be met: the music chosen must be I understood what the conductor wan- – In May we are also going to work it takes a lot to be selected. organised for this autumn, 2012. challenging for the students so they ted. Now I realise that they know the together with Malmö Opera and their – Students sign up for auditions and – You learn an incredible amount by have the chance to develop; it should music and know what they are doing so orchestra. It will be an enormous or- are judged by a panel of teachers and playing in a symphony orchestra. I’d like include pieces which may crop up in it feels good. But if you have to play a chestra conducted by Ralf Kircher from professional musicians. They choose the to do it more. That is why we are here, their professional lives, and then of special part yourself then of course you Austria. The repertoire includes music piece they would like to play together to play. It is also a fantastic experience Project leader Björn Elmgren is in charge course it has to be of interest to the get a bit nervous, she says. by Malmö Opera’s lead conductor Leif with the orchestra, says Björn Elmgren. to sit together with others and create of the Academy’s symphony orchestra audience, says Björn Elmgren. – Once I had to come in with a really Segerstam. It is an incredibly exciting – The chance of being selected as beautiful music for an audience, says and makes sure that everything sounds low note that was quite difficult. My project which we are really looking a soloist is an incentive for students to as it should. Sophia Bergholm who plays the French THE PROJECT TAKES PLACE over a week turn was right after a faint clarinet. I forward to. Students can sit together work harder, practice more and push horn. Since she started studying at the when rehearsals are scheduled with a thought I was playing really faintly until with professional musicians and get their own limits. Academy last autumn, she has already guest conductor Monday – Friday. The the conductor asked me to please play an idea of the pressure they are under, been in two orchestra projects. THE SYMPHONY ORCHESTRA is an week before consists of preparatory re- faintly! It didn’t go brilliantly. But you says Björn. TWO WEEKS HAVE PASSED since An- – The first time we played Strauss important part of the students’ educa- hearsals led by an orchestra répétiteur. have to laugh a bit too, she says with ton Hugosson and his classmate Jonas Don Juan and Kontakion by Ingvar Lid- tion. They get the chance to play “for And the students shall of course have a laugh. STUDENTS are also given the chance Bonde performed their solo together holm. A fun combination, but also a lot real” and gain valuable experience for gone through their parts themselves. to perform solos together with the or- with the symphony orchestra and guest to learn. I was so proud of myself after their future careers as professional Sophia thinks it is important to be DURING THE SPRING the symphony chestra projects. But to be given the conductor Charles Hazlewood. Anton the concert! musicians. This is what Björn Elmgren prepared when she comes to a rehear- orchestra has carried out two of three honour they have to audition in front has been involved in a number of or-
16 malmö academy of music programme events 17 Sophia Bergholm comes from Linköping and is studying her first year on the perfor- mance programme. She fell for the French horn instantly when she tested it for the first time at music school. However, she mainly played the drums during high school. – No one thought I should apply for the Academy on the French horn because I never played it in front of anyone. I felt so comfortable with the drums that the French horn felt a little strange. But when I started at Ingesund I didn’t have any drums so it just worked out that way, she says. The best thing is playing together with others, which is something that Sophia does whenever she gets the chance. The Road to – It isn’t really my thing to practice by myself, even if I do that too. It is much more fun to play together with others. During my time here I have been in a serenade ensemble, a quartet, and a symphony orchestra outside the Academy. It is an almost Learning Music indescribable feeling when you play together and get to the really great parts which take everyone’s breath away. Everyone feels the same thing which is so fantastic!
By Lovisa Jones | Photo Leif Johansson
You can’t ”talk” about music, can you? Just the opposite, claims Karin Johansson, researcher at the Malmö Academy of Music and author of newly published book chestra projects during his three years That was probably the biggest chal- Music, Life and the Joy of Playing. Music Teachers on Teaching, Artistic Development at the Academy but it was his first solo lenge. performance. They had already managed to play and the Challenges of Higher Music Education. – The first performance was special. the piece that Anton and Jonas per- There we were, suddenly at the front formed, Toccata for Marimba and Vi- where the orchestra sounds completely braphone by Danish composer Anders we start working. It is a good feeling different to what we were used to. We Koppel, many times before the concert, when you start getting some routines – The interviews I conducted for my incredible amount of knowledge and derful way, every person has their own are percussionists so we are usually at for example at Jonas’ graduation con- and when it doesn’t really matter who book, in particular, have shown me experience which is not visible to those individual experiences. From studying the back. cert. But despite this they still put a lot the conductor is. You learn to read how much there is to talk about and who are “outsiders” – and often not the material I gained from the inter- – It was a special feeling, but I of time into preparing for the concert. them and understand faster what it is reflect on. For example, how do we even for those who are ”insiders”. views I have been able to identify ge- thought that I would be more nervous – We rehearsed about 1½ hours they want. I think that is what defines contribute as musicians and teachers Many musicians who teach do not neral structures such as how important than I was. A performance like that every day and tested different things a good orchestral musician. to the process of transforming young have formal teacher training, but they it is that we never stop learning and depends on so much falling into place after consulting our teacher Lennart music students into tradition-breaking, possess extensive practical experience developing. as there are so many people involved. Gruvstedt. We talked a lot about how CALM HAS RETURNED to the café. creative, independent musicians and and knowledge, which they have gai- Being a teacher within higher music When Jonas and I started rehearsing we it would be to play with the orchestra to The food is gone, the coffee finished, teachers? The answer to this question ned throughout their musical lives and education means being part of on- quickly realised we would have to be prepare mentally. It is a totally different and only a few students are still sit- lies with the teachers themselves, but it through many years of teaching. going challenges and developments, adaptable. You can’t do whatever you thing from just the two of us playing. ting around the tables chatting. But in is often something, which is not discus- – Despite this, some of them do not both as an individual and as a repre- want just because you are performing When you have all those other people the Rosenberg Hall the musicians are sed, says Karin Johansson. think that their competence is anything sentative for traditions and institutions solo. We set the tempo we wanted but behind you there is so much happening getting ready. You can hear the chairs It is accepted knowledge that mu- special, ”It is just me”. This is where from within the music world. then we were flexible for the orchestra. that you can listen to which can cause scraping the stage floor. sic can communicate things we cannot reflection and discussion come in, to problems if you are not prepared. – Let’s take it from where we left express in words, but Karin Johansson allow competence to become visible TRAVELLING A COMMON ROAD. Music Performing with a symphony or- off. Violins, remember what I told wants to emphasise that words and and so that knowledge and experience education can be seen as a road that chestra is a great experience in itself you, says conductor Peter Manning. music are not opposites. can be shared, says Karin Johansson. teachers and students walk along side according to Anton: And then the hall is filled with tones – Music and music performance by side. The road twists and turns, slo- – It is a fantastic opportunity to find of Mozart which rise up, up, up and become enriched and developed when WITH LOVE AS A DRIVING FORCE. A pes steeply upwards sometimes, and out what it is like to play in an orchestra leak slowly out through the door. Yet we discuss them in words and reflect on topic which came up again and again downwards others. and meet different conductors. Because another rehearsal is underway for the them. They become quite simply more during the interviews Karin Johans- – It is all about socialisation, a that is what it is going to be like when Academy’s symphony orchestra. | enjoyable, and at the same time deeper son conducted with members of the development and a learning process, and more exciting. teaching staff at the Malmö Academy which you can only receive through of Music is that a love and passion for contact with other musicians. We meet THE VALUE OF REFLECTION. Karin music is one of the most important and walk together for a while and then Johansson claims that the practical- and driving forces – a joy found in making we go on to new meetings with other This year, Anton plans to continue on with the performance programme or do an experience-based teaching knowledge music and teaching it, in creating music musicians and teachers who we can exchange year. His goal is to work as a percussionist in an orchestra in the future and even be an active soloist, in duet and ensemble form. Anton tries to play as much as of musicians often remains at an and in learning music gives the energy exchange experiences and knowledge he possibly can outside his studies. Routines are important. individual level and more attention needed to follow a road of lifelong with. And this continues on throughout – I go to auditions as often as I can and take the chance to fill in for professional needs to be drawn to it. learning which is what is involved for life. Knowledge, inspiration and expe- orchestras when they need someone. And I also play in a youth orchestra. This sum- – Being a musician is often looked professional musicians and teachers of riences are shared along the way, which mer I played with the Baltic Youth Philharmonic, a youth orchestra consisting of at by the general public as a bit of a music. continues on in lifelong learning, says selected musicians from the ten countries bordering the Baltic Sea plus Norway. It mystery; it is seen as a skill that you – Teachers let their students look Karin Johansson. | was my second year with them, but I still had to audition for the place, says Anton. just “have”, but really it is built on an into their lives and careers in a won- The orchestra is under the direction of Kristjan Järvi and this year also Kurt Masur, who has previously led the New York Philharmonic. programme events 19 plan, study and rehearse. We were all from the music notation programme about to start a long period of practi- Sibelius. Everyone’s openness and wil- cal work experience in different places lingness to cooperate with each other around Sweden. Three of us were off and think creatively made it a great to Helsjön’s Folk High School and three experience. of us to St. Sigfrid’s Folk High School. Before we left we had two classes THE CONCERT’S OPENING NUMBER was where we could discuss things and we Glenn Miller’s In the Mood where we also decided that we would all meet up illustrated the feel of the 30s and 40s in Malmö for two weekends during the in the music, with a touch of Charles- Big Band period we were away. We had to be ton and also how the number could efficient and work hard! be performed in hip-hop style. Thad During the two classes we had to- Jones’ Greetings and Salutations was gether we began planning the music, performed as a “story” with a police which we had all listened to before- and bad-guy theme. There was a di- hand. In order to be as efficient as pos- rect connection with the work we had In Movement sible at the next meeting, we divided done with the children in the classroom, the pieces between us and each of us where they had worked with the music By Helena Hagström, Elin Rippe, Clara Kugelberg, Karin Westerberg, Maria Wallinder, Johanna Levin was responsible for one number each, and also with the theme. Photo Leif Johansson including presentation, performance The audience participated in the DURING THE SPRING TERM OF 2010 we, various characteristics and instruments and choreography. concert in various ways, including clap- all of whom were in our fourth year in the music. We all thought it sounded ping and “digging” the music. We ser- of eurhythmic studies, got an enquiry like a really fun project and accepted THINK OF THE INTRO TO Lady Gaga’s ved (pretend) coffee in the saxophones. from Musik i Syd about a children’s con- the challenge without hesitation! Pokerface with happy, safe, bubbling We danced to Manboy and Pokerface cert project which would be organised During our first meeting with Karin scissors…! Our first meeting with the and we cheered the participants on in together with Monday Night Big Band. Holmström, project leader for Musik i Malmö Academy of Big Band was at the dress rehearsal the challenge to find the best trumpet The project would result in a concert Syd, we were shown the preliminary Music’s Eurhythmic stu- two days before the concert tour was soloist for Manteca by Dizzy Gillespie. tour in the Autumn with a total of ten repertoire which included everything due to start. We had of course been dents and Monday Night concerts being held. The aim of the pro- from Thad Jones’ Greetings and Saluta- wondering about them, who they were, IT WAS AN INTENSIVE concert week Big Band organised a ject was to introduce big band music tions to the latest Swedish pop song hit how they would be to work with, yes, but incredibly enjoyable, inspiring and to fourth-grade children, something Manboy, sung by Eric Saade. Everything Children’s concert pro- how the whole project would go when rewarding. Meeting all the musicians, which maybe many of them would not would of course be adapted to Big Band we had not even met them (with the who really love playing together and ject together in the spring otherwise come into contact with. Be- Music and it was Mårten Lundgren, exception of Mårten Lundgren). And with us, and seeing how much fun they of 2010. Read on to hear fore the concerts we would also visit a Monday Night Big Band’s musical di- we were met by a terrific gang of jazz had, gave us a feeling of “this is how number of classrooms to introduce the rector, who was in charge of that. the students describe an musicians! It was a wonderful, relaxed, it should be”. We really felt that we all music to the children and prepare them intensive and inspiring fun and inspiring first meeting and worked together, and all of us were for the parts of the concert where they THE BIG QUESTION for we eurhythmic dress rehearsal. It was of course very together working towards and getting week. would participate, by, for example, clap- students was then how we would different to make music together for involved in the end product. We were ping along, listening for and feeling the manage to find the time to meet and real instead of working with recordings all equals. Just as it should be! | B20 malmö academy of music programme events 21 Malmö. Marika moved to Malmö six years ago. – What do I like about Malmö? The nearness to the sea. The sea has a special place in my heart, she says. tutors Violin Professor with both Tone and Finnish Sisu!
By Ove Torstensson | Photo Leif Johansson
In 2009 Marika Fältskog became Malmö Academy of Music’s third female profes- sor ever. Marika was received by Ingalill Rahm Hallberg, Professor and Assistant Vice-Chancellor at Lund University, at a welcome ceremony in the Malmö Concert House. Prior to this she gave her “thank you speech” together with the Malmö Symphony Orchestra, where she is First Concertmaster, performing a fantastic interpretation of J. S. Bach’s Violin Concerto in a-minor.
Speaking in front of a large audience Director, Sverker Svensson, who asked is not Marika’s thing, as she puts it. She me in March 2009 if I would be inte- does not, however, have any problem rested in applying for the position of expressing herself with the help of her associate professor. I accepted the offer microphone, the violin, which by the immediately as I think it is so exciting way is almost as old as the “speech” and challenging to teach, something I she held for the spellbound audience. have done consistently since I gradua- The “speech” was based on a manus- ted. cript, written by a master, who has – I am in the process of planning fascinated countless audiences for the next academic year at the moment. almost 300 years. The composer Bach I have many contacts with violinists and had many musical intentions with the other musicians so I am going to try to MARIKA FÄLTSKOG, 40 piece and I am convinced that the great get a number of guest lecturers to visit
Born: Helsinki, Finland master could quietly turn in his grave the Academy. I have already worked at and go back to sleep with a smile on the Academy as part of the teaching Family: Husband Peter, percus- his face after once again having enjoyed staff for the last two years and I have six sionist and also a member of the listening to his work in high Baroque students presently. I hope to meet all of teaching staff at the Malmö Aca- style – this time with a slight Finland- the violinists at the Academy in, among demy of Music; children Ludvig, 5, Swedish accent. other things, master classes. and Lovisa, 3, plus bonus “child- What do the students usually need ren” Kristina, 32, and Elisabeth, 24; Associate Professor. father Kaj-Erik plus siblings Jannica Marika Fält- to work on? Gustavsson and Jan-Erik Gustafs- skog became Associate Professor at – Intonation problems are normal, son, who both work for the Swe- the age of 37, making her one of the as are difficulties playing at the right dish Radio Symphony Orchestra. youngest ever at the Malmö Academy tempo and with the right nuances. of Music. She is employed as associate Mozart’s Violin Concerto is a good Lives: In a house in Mellanheden in professor for a five-year period after example of a revealing piece, where Malmö, just a stone’s throw away a donation from industrialist Sten K. you cannot get away with anything as from violin builder N. Nilsson’s Johnson. far as the above mentioned factors are workshop – close to instrument service in other words. – I was contacted by the Academy concerned.
Best summer memory: Summers in the Åbo Archipelago. 23 vital for the competition. We are very thankful for every contribution, as they are what enable the Piano Competition to carry on, continues Marianne Jacobs. – The First Prize in the competition is a Blüthner Grand Piano worth SEK 450.000 as well as a performance with Lunds Stadsorkester. It is so rewarding to offer such an impressive prize as what Instrument. Marika’s violin was made newly fledged pianist can afford such in 1767 by Italian violin builder Joannes an instrument? But the other prizes are Baptista Guadagnini and is worth about also worth the effort of participating in SEK 5 million. It therefore must be played the competition. A positive sign in this with care, but the biggest challenges are direction is to see former participants to store it correctly, transport it safely, returning to the competition after two and never let it out of your sight. years. All participants have dedicated
Career. Diploma in Chamber Music 1996 and Soloist Diploma in 1998. Took the themselves to musical careers of vari- ous kinds and it is striking to experience permanent position as first violinist in Stockholm’s Philharmonic in 1996 and as Archipelago. I simply feel better phy- alternate concertmaster in 2000. Member in the Selin Quartet in Finland for 10 their seriousness and dedication, which sically when I am close to the sea. So years, with whom she won the well-known contest Concertino Prag in the late contributes to all the fantastic perfor- Malmö feels right for me. We live in an 1980s. She has also played in the Vertavo Quartet in Norway as well as a number mances in the competition, concludes area called Mellanheden with Malmö’s of other chamber music ensembles. In the spring of 2008 she was employed as Marianne Jacobs. concertmaster in the Malmö Symphony Orchestra and in September 2009 she was famous beach “Ribban” only a couple employed as associate professor at the Malmö Academy of Music. of kilometres away. As in earlier years, the competition – It feels like a big responsibility to features a panel of renowned judges, all teach what I know and to create good with international experience of concert From the other side of the Baltic then you need to work hard, our pa- violinists for the future. This is very im- performances and competitions. The in- Sea. Marika was born and bred in rents often said to us, says Marika. The portant! finishes Marika Fältskog and No Time to ternational panel this year includes Prof. Helsinki in Finland and comes from a competition is incredibly tough in our carefully places her “Guadagnini” in its Erik Tawaststjerna, Finland, Prof. Nikita large musical family. Everyone plays field! case after a successful photo shoot. Fitenko, USA, Prof. Izumi Furukawa, something – parents and siblings, It was probably this way of thinking, Japan, Laurent Boullet, Berlin as well as grandparents, aunts and uncles. Marika plus some typical Finnish Sisu determi- A strong will. If you look up the Play It our Swedish representatives; Prof. Mats grew up spending her summers with nation, that shaped the grammatical word ”sisu” you can read that it is a Fin- Piano Widlund, Stockholm, Prof. Hans Påls- the family in the Åbo Archipelago. Her struggle with all aspects of violin nish word, which means determination, son, Malmö and the chairperson of the father, Kaj-Erik, is an organist, choral technique: scales in all keys, in all posi- stubborn perseverance, anger, or the By Ove Torstensson | Photo Leif Johansson jury Ass. Prof. Marianne Jacobs, Malmö. conductor and composer and her mot- tions, and with all fingering, you name art of never giving up. Sisu is sometimes This year will be the 10th anniversary many nationalities nowadays, which On Sunday, October 28, the com- her was a pianist, so you can say that it… and from this grew an artistry with said to be typical of the Finnish culture. for Marianne Jacobs as artistic director contributes to the event’s wonderful petition will start with the Opening Marika has been breathing in music precision and incredibly delicate inter- The word ”sisu” became internationally of the Nordic Piano Competition at the atmosphere of creativity and commu- Concert at the Rosenberg Hall, perfor- since the minute she was born. pretation. recognised during the Finnish Winter Malmö Academy of Music, and these nication. med by the judges. Other performances When Marika and her twin sister – I have only been to two auditions War, when Finland fought the Soviet are busy days for Marianne and her as- – The event is of great importance and lectures are given during the week Jannica were 18 years old they moved in my life. Both went well. The first was Union. (Source – Wikipedia, the free sistant Ola Råbius Magnusson. locally, regionally, nationally and inter- and audiences are invited to participate from Helsinki to Stockholm in Sweden, for a position with the Stockholm Phil- encyclopedia). The Piano Competition, which nationally, Marianne Jacobs tells us. Be- freely during the competition, which where their two-year senior brother harmonic as 1st violin in 1996 and then Many things have been named sisu is arranged every second year, takes fore we started in Malmö, Sweden did is held in the Rosenberg Hall at the Jan-Erik Gustafsson was already stud- the second was as alternate concert- today – from sweets to vehicles – and place from October 28 to November 3, not have an international piano compe- Malmö Academy of Music. ying cello for Frans Helmersson at the master for the same orchestra in 2000. also ice breakers and a torpedo boat. It 2012, at the Malmö Academy of Mu- tition, so the Nordic Piano Competition To keep you updated on the pro- Royal Academy of Music/Edsbergs Mu- Marika was headhunted for the posi- is perhaps with inspiration from these sic. Invitations have been sent to music is totally unique from a national per- gramme of the competition, you can sic Institute. In the case of the girls, it tion of concertmaster for the Malmö impressive marine vessels, that Marika academies throughout Scandinavia, spective and has become well known visit the website at www.npcm.se and was the teaching of Endre and Jennifer Symphony Orchestra in 2008. is now taking on her new position to the Baltic region including Gdansk and internationally. Cooperation with Lunds follow the progress of the organisa- Wolf, which lured them across the sea. – I learnt to love the sea as a child help young, talented violinists at the Rostock, as well as Amsterdam, The Ha- Stadsorkester, Salomon Smith Chamber tion as well as the outcome of the – If you want to get a good job, when spending summers in the Åbo Malmö Academy of Music. | gue and Brussels. Participants represent Music Society and all our sponsors is competition’s three rounds. |
24 malmö academy of music tutors 25 Cello Professor with a Feel for Timing
By Ove Torstensson | Photo Leif Johansson, Jan-Olav Wedin, SVT
No one could hardly have missed the televised live concert in honour of the Crown Princess Victoria and Prince Daniel in the Stockholm Concert Hall, at the begin- ning of summer 2010. It was a fantastic musical odyssey covering different musical genres with some of Sweden’s presently most distinguished artists. Add to that a classical heavy weight such as the Royal Philharmonic Orchestra and you have a conductor’s job of Kamikaze proportions.
The fact that the orchestra had All performed in a well-organised and rounded by total silence it was hard to Cto sit in two sections with an aisle bet- highly-paced tempo with professional envisage that dark clouds are gathering ween them used for the entrances of host Stefan Forsberg guiding the au- on the horizon – but more information the roayl couple and soloists did not dience though the experience. on that later. make the conductor’s job any easier. There was maybe only one person On leaving Malmö we programmed Mats Rondin welcomed us and sho- who could both conduct at this level the GPS to “most direct route” which wed us around. It wasn’t long before and think of the genre crossover as turned out to be a rather winding one conversation turned to the concert at an exciting challenge, so the choice of after we left the E22 highway in Hörby. the Stockholm Concert House at the conductor was made; Malmö Academy With the help of the autopilot we navi- beginning of that summer. of Music´s very own cello professor, gated our way through the late summer – Yes, it was quite a special job for Mats Rondin. During the evening he landscape to Linderödsåsen. We were me, admitted Mats. Not your average steered the orchestra with style and heading to Mats Rondin’s residence concert exactly. But they had organi- repose so they were in perfect harmony in Huaröd. I have to admit that there sed everything so professionally, with with a long list of well-known artists were moments when I doubted the an especially assigned producer and and groups. Those there included Peter technical innovation, could this really hand-picked people for all the details Jöback, Helen Sjöholm, Martin Fröst, be the “most direct route”, but we saw such as sound, lighting, comp groups Malena Ernman, Peter Mattei, Roxette, many new and beautiful places along etc. A lot of the work was already done Salem Al Fakir, Lisa Nilsson, Magnus the way. by the time I came into the picture. It Uggla, Orphei Drängar, The Real Group, In any case, we finally arrived at was nice to not have to do everything. Rigmor Gustafsson, Sarah Dawn Finer Mats’ beautiful manor house with a And the atmosphere between us all and Lisa Nilsson, as well as child solo- traditional barn which he has converted was fantastic right from the start. ists and a pair of Chinese ballet dancers into a fantastic concert location and re- – When you work with musicians who truly were the icing on the cake. cording studio. In this idyllic setting sur- from genres other than classical there
26 malmö academy of music are always a few who have not worked with a conductor before. It can be dif- MATS RONDIN ficult for them in the beginning to know that you shouldn’t start exactly when Born: 1960 in Stockholm the conductor gives a downbeat, but Professional career: Started playing cello when he was that there is always a little delay. The seven. Made his professional concert debut as a 20 year percussionist in the comp group had old with Radio Sweden’s Symphony Orchestra in 1981, never done this kind of work before, so after being accepted to the Royal Academy of Music in I had to give him a lot of extra instruc- Stockholm four years earlier, where he studied for a year. tion. Sometimes it was best if he gave He then studied for three years towards a Soloist Diploma us the beat and I lead the orchestra ac- at the Edsberg Institute of Music (which was then run by Radio Sweden). He thereafter took up private studies un- cording to that and in other places he der legendary Cellist William Pleeth in London. He moved had to follow me. He made notes on the to Skåne in southern Sweden and started his career as solo score on how it should be and after that cellist for the Malmö Symphony Orchestra. His career as a it worked really well. conductor has gone straight up for the last 15 years. Since – It is also important that the or- 1984 he has been teaching violoncello for the Performance chestra does not lag behind the beat Programme at the Malmö Academy of Music. too much. But things worked smoothly Family: Wife Helena, 47, Principle at Picture and Sound with the Stockholm Philharmonic School (Ljud & Bildskolan) in Kristianstad and children Joa- Orchestra. They have learnt to adapt kim, 22, Tobias, 20, and Anja, 12. Included in the family is to other genres’ ways of playing. The ”The King seemed a little tired, but the others the famous lama Isidor, plus two dogs, one cat and four individual musicians in the Philharmo- hamsters. nic Orchestra have also learnt to play looked wide awake and happy, particularly with other musical forms of expression. Daniel and Viktoria who were both glowing.” Lives: In a manor house outside Huaröd in Skåne. This is There were no problems whatsoever where the annual concert “Isidor’s kulle” has been held ten when the wind section played with jazz times since 1997. The concerts have attracted up to 2500 people. Lama Isidor has worked as a successful logotype musicians or when the first trumpeter children simply were not up to it and as a second attempt, and then the things and mascot. stood up and played a jazz solo during the reserve children had sung perfectly she did while up there on her partner’s the concert, said Mats happily. from the first rehearsal, there really was shoulders made you wonder if the Plays: A cello built in the late 1700s by Fernando Gagliano. The conductor had to stand off to nothing to discuss. Stage fright can af- laws of gravity and the rules for what is the right of the stage as seen by the au- fect both children and adults and it is physically possible had ceased to exist. Hidden talent: Is a whiz on the electric guitar, at table dience instead of in the middle as usual. hard to know ahead of time if it will Bewitching does not describe it. tennis and at flying model helicopters. – Yes, it felt strange, both for me strike or not. Dark cloud on the horizon: Mats Rondon’s music centre in and for the orchestra, admitted Mats. One of the final numbers featured Less stressful, yet still challenging Huaröd is under threat due to 12 large wind power plants It took a while before we got used to it. the Chinese ballet dancers and was par- for the conductor, was the end of the being planned close by. Each will be 150m high and have But I like challenges and when you mix ticularly difficult for Mats. The dancers concert when all the artists stood on a noise level of 104 dB(A) and a propeller width of 90m. musical genres, you just have to get on had first sent a CD and wanted him the stage again, this time together. – If the wind power plant becomes a reality it is the end with it and make the most of the situa- to follow them in their movements at – There were many who simply of my musical activities here in Huaröd, including in the did not know much about what was in tion. And when TV is involved there are that tempo, which was easier said than could not see me at all and then it was studio I have built over the last 15 years, says Mats Rondin the concert. Mats and the others met always many practical things that need done, as they danced at a completely not easy for them to follow my beat, with sadness in his voice. We will be forced to move from the Royal family after the concert. They here then! to be sorted out, as the filming also has different tempo when they started re- even though I held my arms high up in stood in a row and thanked us all very to be rehearsed for. It could be quite a hearsing. He had to look back over his the air. I had to move Per Gessle and much. simple section for the orchestra, but the shoulder to keep an eye on them at a few others who were closest to me, – The King seemed a little tired, TV crew wanted it to be played several the same time as he tried to get the to be able to get eye contact with the but the others looked wide awake and times so that they got it right. Then it orchestra to follow his beat without concertmaster, Joakim Svenheden, who happy, particularly Daniel and Viktoria was my job to keep the orchestra’s spi- being able to look at them properly. was on the other side of the stage. Mats so much to do and think about the girlfriend were stand-ins for the Crown who were both glowing. Many of the rits up, smiled Mats. – By some miracle we managed to laughed at the thought of the slightly whole time, so I didn’t have time to Princess Viktoria and Daniel. They had soloists knew the royal couple and royal finish at the same time, laughed Mats. chaotic situation. be nervous. I decided beforehand that to make the same big entrance as the family so they were invited to the wed- Among film directors it is commonly It was definitely one of the evening’s – If things had started getting nothing would go wrong. Then we royal couple, smile and wave to every- ding dinner. known that the most difficult jobs are most difficult challenges, to get the distorted, they could get totally out of simply worked towards that goal and one and then go and take their places. – But not me, said Mats, with a hint those which involve children or animals. timing right for that number. control. It wasn’t exactly perfect at the took one step and one problem at a But we forgot to take pictures or film of disappointment in his voice and one There were no animals involved in this – One little mishap that occurred dress rehearsal, but luckily it worked time. I had to make a lot of notes, like it, so unfortunately there is nothing to got the idea that he would not have concert, but there were several children. during the concert was when one of pretty well at the actual concert when how people would exit here and enter show future generations. Typical that been against a further challenge in, – One dramatic event was when the ballet dancers, who was standing everyone made that extra effort. there. Without my notes it would have everyone was so into the moment that among other things, table etiquette. two child soloists, who should have on her partner’s shoulders, lost her He had been asked many times if he ended in chaos. no one thought to document it. He had after all, against all odds, just sung for Viktoria and Daniel, had to be balance and had to jump down. After was nervous. – A fun detail was that during the A few numbers had been requested survived the Kamikaze conductor’s job replaced at the last minute. The original dancing on for a few minutes she made – Actually, I wasn’t. There was preparations my son Tobias and his by the royal couple, but in general they of all time. |
28 malmö academy of music tutors 29 Frisk and continues: and the choir from Lindängen, plus is not a professional choral conductor – My job is to lead the choir mu- a supporting choir with experienced selecting and working together with sically, but I am also going to be per- singers who can help keep everything trained choir singers who want to sonally involved in what happens. The together. A classical piece will be per- perform. We want to find people who journey will stretch over 13 weeks and formed. are not experienced singers! Contrary the choir will rehearse just as any other The autumn will result in six one- to Körslaget, where the result is not a choir would do. Filming will happen in hour episodes and the series will be traditional choir but rather a group of periods. broadcast from the end of January. The pop artists, a group of amateurs will be During the summer we have intro- final concert can also be seen as ”Veck- trained by professionals. duced the project to the people living ans Konsert” (Concert of the Week) on Lena Ekman Frisk, who grew up in in Lindängen and tried to find potential SVT at a later date. Lena Ekman Frisk a musical family, is now in her thirtieth choir members. So how do we find the has, however, never worked with TV year as a choral conductor. This autumn people who are genuinely interested in before. she will also be working with building singing in the choir, and not just to be – I will have to be prepared for up a new women’s choir at the Aca- seen on TV? things being edited which I may think demy in the form of a free-standing – It is different from person to per- are important from a singing or choral course and Barnkammarsångarna are son. The first stage is to get together perspective, as they cannot prioritise changing their name to Musikhögsko- eighty or ninety people who want to everything in the final production. I am lans Flickkör audition. Then these people are inter- just a little piece of the puzzle, even if – The Academy Girls’ Choir. I think viewed and we have already found a I am prepared to fight for certain as- that I have a good balance between handful of captivating life stories of pects. professional activities and amateur people we can feature in the series, Programmes which popularise and activities, the latter of which give me even if we haven’t heard them sing yet. connect with various forms of cultural something totally different. There is When Lena Ekman Frisk comes into the activities are becoming more and more a different level of involvement and a How to Conduct production she will start with auditions popular. What similarities and differen- love for the music which professionals and select 40 singers for the mixed ces can you see between programmes do not always have so much time for, adult choir. such as Körslaget and Maestro and this because for them it is just a job. | – Hopefully the people who we programme you are working with? a Singing Staircase already know have interesting stories – In Maestro the focus is on the ar- The first season of The Singing Staircase will be selected, she says and continues: tist who is trying out a new profession. was produced in six episodes. The first – The goal is to have a big concert in It is close to Let’s Dance. The produc- aired on February 6th, 2012, on Swedish Television. Read more about the show By hedvig jalhed | Photo Leif Johansson the Malmö Concert House in December tion I’m working with isn’t like Körsla- 2011 with Malmö Symphony Orchestra get either, which involves an artist who on www.svt.se Lena Ekman Frisk is a well-known profile in Swedish choral circles. After appearing as the conductor on the new Swedish TV-show ”The singing stair case” last year, Lena Ekman Frisk is now even a familiar face to the general public. Live met Lena just before the show went into produc- in the choir. It was also a lot of fun to What was the most difficult? So, how experience up close the teamwork and – Without a doubt, the most diffi- tion to talk about her thoughts, hopes and dreams. professionalism of the TV team. There cult thing was to fulfil my main goal - to did it go? was a lot of positive feedback and the get the choir to sound good! I worked pace was continuously non-stop. It was really hard with that the whole time. We met Lena Ekman Frisk once again quite a change from my regular life in In addition, I had a few major falling Have you seen the BBC series The focus on Malmö and Lena Ekman Frisk. sic – and they wanted it to be a woman. after the reality series The Singing my various roles at Lund University, outs with some of the TV team. They Choir where choral conductor Gareth Lena Ekman Frisk teaches choral The idea with the programme is to Staircase had been broadcast in Fe- where things are allowed to take their had “good TV” as their goal, that is TV Malone builds a choir from beginners? singing and conducting at the Malmö build a choir in a residential area with bruary and March, 2012, on Swedish own time a little more. Then it was also which gives good ratings, while I was Gareth Malone says that his job is to Academy of Music, conducts the people who do not have any direct Television. The series was recorded wonderful to work with classical mu- thinking about the choir’s perspective introduce choral singing and make it Academy’s Girls’ Choir, is producer singing or choir experience, but who in the residential area of Lindängen, sic, which I love, and I also got to work and views. I also experienced that I got popular again and the British concept for the Körcentrum Syd and conducts have a story to tell and who want to just a stone’s throw from the Malmö with voice technique, which I believe is mixed messages from the TV team, one is not far from the idea behind the Kristianstad’s Motett Choir. She is now be involved in the choir for the sake of Academy of Music. How did the sustainable and developing in the long side wanted me to see that the choir programme on Lindängen, an idea broadening her commitments with this the area. challenging project turn out in her term. Artistically, it was a real kick to be members, who were totally unschooled which has been developed by a Danish autumn’s TV recordings. – We follow the musical process perspective? able to conduct the Malmö Symphony in classical music, should face difficulti- production company. Two seasons of – I have accepted the offer because and at the same time we learn about orchestra, which sounded fantastic. es, rise above them and grow in the ex- a similar idea have already been made I like the concept. I do not have to ad- the personal histories of the partici- What was the most fun? And last but not least it was amazing to perience. The other side wanted me to in Denmark with conductor Frans Ras- just to fit into a mould, which is good, pants. Being a good singer is not one – There were so many things. It see how much choir singing can mean make it fun for them so they wouldn’t mussen. Now Swedish Television (SVT) she says. SVT wanted an experienced of the criteria. The social aspect is going was fantastic to meet and get to know to people in their everyday lives. It really quit. I can tell you that it wasn’t easy to is investing in a Swedish version with conductor who could lead classical mu- to be very interesting, says Lena Ekman all of the wonderful people who were allows people to grow! achieve both these goals! |
30 malmö academy of music 31 ”Playing jazz is a challenge as a musician both technically and mu- ”Music is such a wonderful thing and playing the flute, especially in students sically. You are there creating something here and now, together with an orchestra, is the most enjoyable thing I know. I was nine years old when others. I decided to play the flute because I just knew I loved everything about it. In fall 2010 I started my first year of the performance programme, Today the flute has become more than that, of course. It is a part of me, jazz specialisation. My main instrument of study is the piano which I have which I cannot live without. played since I was nine. After preparatory studies at Skurup’s Jazz Pro- I first came in contact with the Malmö Academy of Music when I gramme and the Music Academy at home in Finland, I decided to keep met professor Anders Ljungar-Chapelon who was teaching at the Royal going and applied for a place at the Malmö Academy of Music. I remember Northern College of Music in Manchester as a guest professor. He encou- experiencing the audition week to be intensive and chaotic and I was a raged me to apply to the Master’s programme at the Malmö Academy of little stressed about my choice of pieces and thought a lot about how it Music. There is a selfmotivated atmosphere here which I find to be very sounded when I was playing. Two weeks prior to the audition test I locked inspiring. It requires you to find other people to play with on your own, but myself away so I could concentrate and practice. A move which gave since the school is filled with really great musicians it isn’t really a problem. results. I was so happy when I was accepted because I didn’t have high I play in a trio, together with an oboe and a cello. We play chamber music expectations, even if I knew I had a chance. at weddings and other functions. This fall I’ve also been working on a The biggest difference between studying at a folk high school and a project with strings, winds and piano. We will perform a concert of works CHRISTINE CLANCY | FLUTE music academy is that at the Academy, students are responsible for their by J N Hummel. Working with others raises your own level of playing and Master’s student from Boston, USA. own time. The teaching was not structured in the same way at the folk musicianship, and it is great when we get coached by our professors. Completed a postgraduate diploma at the Royal Northern College of Music in high school as it is at the Academy. The Academy uses different teaching One thing I’ve learned during my time in Malmö is how to teach myself, Manchester, UK. Has a Bachelor’s Degree methods as well. There is also more room for your own projects. which is what I will need to be able to do when I’m out there in the field in Neuroscience. Malmö was my choice because I was accepted here. I hope my time as a professional musician. You need to listen and find the problems and here will allow me to develop. I want to learn how I can go further with my then be creative to come up with solutions. Anders Ljungart-Chapelon is music and become a better musician. To be creative and to make contacts such a knowledgeable teacher with an amazing way of interpreting music. Not only does he know the music written on the sheet, he also knows Jenny Lundström | jazz piano is also important, says Jenny, who would really like to teach piano and ensemble studies in the future.” the history surrounding it, so it is great to study interpretation with him.” What are the lifes of the Malmö Academy students like? We asked them to share their stories, hopes Student Life and future dreams. ”I came to the Malmö Academy of Music in the autumn of 2009 as an ”The French horn is not very common in Denmark so I decided to exchange student. I intended on being here for just one term, but I liked it apply to the Malmö Academy of Music because I thought it would be more so much that I decided to stay and now I have just started my third term of fun to play together with others. Most often students have already studied study at the Academy. My decision to stay was mostly due to my teacher under their professor here before they start at the Academy but this was Matthew Trusler. His way of working and the joy he gets from his job as a not so in my case. I talked to others who had studied here earlier and that teacher are very motivating and inspiring for me. You can really feel that was enough for me. Thomas Kjelldén is an excellent teacher who has made he loves the music. I have personally developed my interpretation skills and me think about how my playing sounds and not just to go with a feeling. an ability to place myself in the music when I play. Teachers are often quite One advantage at the Malmö Academy of Music is that we have classes strict concerning technical aspects such as fingering and bowing. Matthew together and listen to each other. There is a special solidarity here and I has a totally different approach and lets me use my own technique as long have never experienced any negative competition between us students. as it sounds correct and good. The best thing with the Malmö Academy We motivate, support and encourage each other a lot. I really appreciate of Music is the opportunities given to us to organise our own concerts. If the interpretation classes. During them I get the chance to, together with you have a programme which you want to perform then you just book a a pianist, focus totally on the musical form. concert hall. I also really appreciate the library. It has an excellent range The French horn suits me perfectly. It is, quite simply, me. My motiva- of music literature and a large album collection. If there is something you joao Andrade | classical violin tion is probably that I just cannot stop playing, especially when I am in a specifically want then the staff can order it for you. There is a special Exchange student from the Escola Su- phase when I am developing a lot. Of course I have my doubts sometimes perior De Musica De Lisboa in Portugal, atmosphere at the Academy. Students don’t just come here for classes and ANN SOPHIE BROHOLT JENSEN when things aren’t working, but I try to believe in myself and what I am studying the Performance Programme. then go home again, they stay and practice. There is music everywhere.” | FRENCH HORN doing. Music is in general so powerful and it fascinates me how with its Started playing the violin when he was nine years old. Originally planned to be- Studying Performance Programme, 2nd help we can bring on and affect emotions. Music for me can continue on year. Started playing the violin but then come an engineer but decided to pursue where words fail. Music speaks in a direct, almost primitive way.” changed to the French Horn. a career in music instead. “I have just finished my Bachelor’s degree on the performance pro- ”It was during high school that I decided to seriously pursue music gramme. This autumn I will start on my Master’s so I am going to study for and it is a decision which I have never regretted. While I was studying for two more years. I applied for the Academy straight after secondary school my Bachelor’s degree at the Norwegian Academy of Music I took private but didn’t get accepted. It was a real blow, but my parents encouraged lessons from Bo Nilsson here in Malmö. Commuting here from Oslo took me to study at a folk high school, which I did for two years. So I got to a lot of time so I applied to study at the Malmö Academy of Music as learn a lot about the world of music and its demands before I continued an exchange student. I can really recommend studying as an exchange on with my studies. student. It is very inspiring and you grow a lot. There is a lot of focus on playing and making music at the Academy. Now I am studying for my Master’s degree on the Performance Pro- Being in an environment where I can play together with others at this gramme. I love it here, thanks to my teachers Bo Nilsson and Håkan Har- level has been incredibly inspiring. When everyone really makes an effort denberger. Both of them are role models who have helped me develop and works together so the result will be as good as possible – and when as a musician. They make everything seem so easy and can hear straight it actually is as good as it can be – it feels brilliant. During my first year on away what needs to be worked with and improved. the performance programme I got the chance to tour with the Academy’s My goal is to play in a symphony orchestra when I graduate and I have symphony orchestra to Estonia, Latvia and Lithuania. It was an amazing already started auditioning for orchestra jobs. Most of the time my audi-
Mimmi Levander | viola experience which also gave me the chance to get to know the students tions go well, but whatever the result they provide excellent opportunities Comes from Luleå and studied for from other instrument groups. to play in situations where you have to perform at the highest level. As a EIVIND BJÖRNEVIK | TRUMPET two years at a folk high school befo- Being able to play under one and the same teacher has been really musician and a perfectionist, I am never truly satisfied but this is also my Studying Master’s level of the Per- re starting her studies on the perfor- important for my development. My head teacher for viola is Markus Falk- main motivation. I am of course very pleased when it sounds good, but I formance Programme, 4th year. Eivind has a Bachelor’s degree from mance programme. Started playing bring. He has always had a clear plan with his teaching and where we are know that it can be even better and that I have to practice, practice, and the Norwegian Academy of Music violin when she was five, using the going. Every piece we have worked with has been a continuance on from practice. When I see the results of this and everything works as it should Suzuki method, and changed to the in Oslo. what we have studied earlier. My playing has become better as I have in a concert I get a fantastic kick. That feeling definitely makes up for all viola at the age of 15. been given more and more difficult tasks to work with. Markus has also the hours in the practice room.” been able to help me with technical problems and has never left anything to chance. After my Master’s degree I want to work with an orchestra and maybe play chamber music on the side. I think there are many opportunities out there if you are motivated. I will almost certainly continue to study, learning is something that you are never finished with and you have to somehow ”I was twelve when I discovered the double bass. I already played get constant inspiration.” the violin, but then I heard a double bass at a concert. I was so excited that I decided then and there to start playing double bass. The double bass has a lower tone than the other string instruments. I like that. After my degree I want to work in a symphony orchestra as a tutti bassist and
“Music has really become my whole life since I began studying here play a five-stringed double bass. Right now I have a four stringed, which at the Academy. Even though no one in my family is involved in music at is most common when you are studying. a professional level, or even listens much to classical music, I knew early Here at the Academy Olle Davidsson is my main instrument teacher. I on that this is what I wanted to work with. That it would be the clarinet really enjoy it here. Those of us in the double bass class do a lot together was not as obvious however. I studied a music programme at high school and we try to practice together and take time off at the same time. The and specialised in pop and rock music where I played bass guitar. I played most demanding aspect for me is to be disciplined and to keep practicing, the clarinet in my free time in a youth orchestra. Through our conductor I which I do 4–5 hours daily. I work with the musical side of things – finding came into contact with Anders Åberg, who teaches clarinet at the Malmö the right phrasing and so on – with my improvisation teacher, Olle Sjöberg. Academy of Music, and I started taking private lessons from him. Anders Improvisation, where I can play to the piano, is my favourite class. Olle has helped me with all aspects of playing the clarinet. I have also received has lots of ideas on how I can develop my playing and he inspires me to a lot of help concerning how you should relate to the musical world in do new exercises. Emma Josefsson | Double Bass Studying her third year of the per- general. It is very demanding and you should be able to perform, deliver I also really appreciate the orchestra projects we have here at the formance programme. Studied the and compete at the same time as you find yourself under a lot of pres- Academy. The latest project was in cooperation with the Malmö Opera and orchestra programme at secondary EMELIE SANDGREN | CLARINET we got to play and give a concert together with their orchestra. I learnt so sure. The psychological side of this is as important as the musical side. school in Vänersborg. Is travelling to Studying Master’s level of the Per- much by playing together with professional musicians and get to see how Sometimes motivation is lacking and you need to take a pause. After my Vienna on exchange for one year to formance Programme, 5th year. Has third year of study I decided to apply for an exchange programme in France they work. The rehearsals were short and intensive which I thought was study at the Universität für Musik earlier studied at the Royal Danish good as you could really concentrate and then still have time to practice und darstellende Kunst. Academy of Music in Copenhagen. and study for one year in Paris. As a musician, finding myself in a cultural after the rehearsals. During the concert, each student shared a part with Was an exchange student at Con- city like Paris was incredible, and I also learnt a lot. I felt very proud to be servatoire á Rayonnement Règional a musician and brought a lot of new ways of looking at things home with an orchestra member. Mine had a solo and it was a big shock to suddenly de Boulogne-Billancourt in Paris and me. Another advantage of the programme here at the Malmö Academy stand in the spotlight. studied under Jean-Max Dussert. of Music is that we have been given the opportunity to learn to play both Next year I am going to be an exchange student in Vienna and study the bass and E-flat clarinet. As a new graduate it is often with one of these at the Unversität für Musik und darstellende Kunst. I will be away for a instruments that you can start playing with an orchestra. So it feels good whole year. Getting the chance to study abroad for a year is an important to have that competence, especially since I think the bass clarinet is quite part of my education. Vienna is a very cultural city and it is going to be a difficult to play.” lot of fun to take part in everything that happens there.” customs in one piece. When we walked into the arrivals The experience even took on a philosophic slant when the lounge at the airport there was a sign with “Meridion” being American group next to us sighed over how disrespectful it held by a driver, who took us to the hotel where Sergey and was that old Leonardo should paint Madonna’s breasts. his assistant were waiting in the lobby wearing tasteful smiles As the time of the concert drew close, the skylight room and holding generous amounts of dinner roubles. He gave us was closed off to the public and chairs were put into place, directions to the Winter Palace – which is located next to the along with air conditioning, water bottles and two assistants. State Hermitage Museum – which we thought a little unne- They could also have been guards but as they slept the whole cessary. A well-lit castle with ten blocks of grounds around it time it is hard to say. The audience surged into the hall and sticks out after all, but in this incredible city we actually found the Meridion Guitar Quartet was met by thundering applause the directions to be useful. Wherever we looked we saw from a diverse and very appreciative audience which filled another masterpiece of engineering and design brilliance, all every seat in the room. Our chords echoed with authority in beautiful original form and painted in garish colours. After around the gilt-framed works of art and we had definitely a quick look at the list in the hotel’s guidebook of everything not practiced our Spanish gazes in vain! After the last number we were strongly advised to avoid (police, members of the and also a breakneck extra number we were each presen- military, speaking our mother tongue, electric installations, ted with a bouquet of flowers. A small band of autograph being out after dark, drinking the water etc.), we went out hunters gathered and we were of course more than happy into the sunny city. to autograph their programmes. To Sergey’s distain it was The only thing which astounded us more than the ap- raining outside and all his attempts to flag down a taxi were parently enormous sums of money which had built the city fruitless. With authority he directed a female colleague to throughout the centuries was the fact that the newly-formed drive us back to the hotel, an entire kilometre away. She Meridion Guitar Quartet’s name was plastered on huge bill- waited for us as we changed and then took us on to a de- boards around the place. After a dinner consisting of lungs lightful little restaurant where Sergey shouted us dinner. We and brains in brown sauce we went slowly home to our talked loudly about everything there is to talk about after luxurious rooms to rest a little before our debut concert and a concert and two glasses of wine, which turned out to be to dwell on how life can suddenly so dramatically improve quite a lot. After ensuring Sergey that we were capable of for a musician. It was, after all, not so many years ago that getting ourselves back to the hotel, he thanked us and left us Four Guitars and a my guitar career consisted of some half-drunken versions of to spend the peaceful summer evening investigating all the Bach’s Bourrée and terrible, unrecognisable ballads delivered dangers listed in the guidebook. The oppressive heat and the from the corner of the sofa. And there I was, suddenly sitting beautiful background buzz of the Russians made an excel- in a five star hotel in St. Petersburg with advertisements in lent backdrop to our pondering over how fantastic a concert Russian Music Festival the paper and a fully-booked evening concert the next day. experience can be. The process of accepting these changes was not problematic, however, and by nightfall it had already begun to feel totally WHEN THE GREATEST GUITAR VIRTUOSO OF ALL TIME Mauro natural. That it had taken this long to come this far suddenly Giuliani arrived in St. Petersburg to perform a concert in 1837 By Marcus Strand became the mystery. he was so taken by the reception and hospitality he received he stayed in the city for several years. We might well have IN JANUARY 2010, Malmö’s Guitar Ambassadors visited a Spanish-sounding name, “Meridion”, a Spanish repertoire AS A RULE I WOULD NOT USUALLY RECOMMEND that one done the same, if Sergey had not been standing in the lobby Slottskyrkan Church in Stockholm and performed a fantastic and Spanish looks were organised in record time. starts the day of a concert with champagne and mackerel. the following morning to see that we were safely delivered concert. A few months later we were contacted by a Russian But now that I have tried it, along with the other uncoun- to the airport, that is. | gentleman with a big bushy beard who went by the name THIS WAS HOWEVER NOT ENOUGH for Mr Yevtushenko, oh table items at the hotel breakfast buffet, I cannot say that I of Sergey Yevtushenko. He wanted to have a guitar concert no. When our name, logo and sexy studio photos were sent wouldn’t recommend it either. A little lighter in the head and as part of the programme for his music festival at the State to him he immediately wanted, preferably last week, some heavier in the stomachs, we went to The State Hermitage Mu- Hermitage Museum in St. Petersburg and Mats Liljefors from recordings as he had organised radio sponsorship and ad- seum where Sergey happily welcomed us and gave us guest Slottsmusiken in Stockholm had recommended us. The opp- vertising time. When we dutifully sent him some material we passes which allowed us access to the entire complex. He ortunity to spread the word of the guitar to Eastern Europe were not exactly met by a standing ovation. Mr Yevtushenko showed us the concert hall we would be performing in that was seen as positive and four of us readily accepted the in- wanted to know why we had not sent a video – which he now evening – the huge Italian Skylight Hall – designed by Leo von vitation and started thinking about how we would meet the needed immediately – and how was it going with our visa Klenze and decorated with elegant 17th century Italian art. challenge. We were frank with Sergey and explained that we applications by the way – as they should have been finalised The ceiling height was at least 10 metres and the acoustics were students and that the four of us did not play together in a long time ago. And so it continued. When he came with were incredible: large and long, which was perhaps not opti- an established ensemble. More often than not such news is his last question, if he could upgrade us to a five star hotel mal but definitely impressive. Sergey took us to lunch in the received frostily, I have seen how calendars suddenly get full we all felt like he had gone a little too far. But, since none of staff restaurant and we talked about art, music and whether and budgets suddenly shrink when it is discovered that stu- us had a problem with five star hotels we decided to agree or not the hotel guidebook should be taken seriously – it dents are involved, but Sergey saw this as an opportunity. As with this last demand. We did not want to be thought of as should be – and after that we had a couple hours to wander we did not have a fixed programme we could together work difficult to deal with, after all. around the amazing art collections. We soon realised that it on a repertoire which would be perfect for the festival. Right was altogether too short a time for such an impressive col- from the start he showed us a mind-set which continued to ON THE FLIGHT OVER we put together a mobile staff to help lection. Leonardo da Vinci’s famous “Madonna and Child” impress us throughout the entire experience. He thought that us with the incredible amount of paperwork which was es- was found only after half an hour of serious detective work. his audience would be overjoyed with a Spanish theme. So sential if we wanted to get out guitars and kneecaps through
36 malmö academy of music students 37 Success! The Malmö contribution “Cleptomaniac” with vocalist Anne Lätt Nyboe and songwriters Christian Tellin Academy Scholarships give and Marcus Nygren won not only the regional final in Malmö but even the national SMASK final in Arvika 2011. The dancers in the background are Christian Students that Little Extra Tellin and Stefan Mårtenson.
By Ove Torstensson | Photo Michael Faes
About 40 Academy students receive students are in this case prioritised, ondary school students in Skåne, there extra funds handy to summer every year with a hope to increase the number of are scholarships from the John Anders- at the end of the spring term which to- applicants to the Academy specialising son Family in Anderslöv Foundation gether amount to SEK 1 million. in wood instruments. that can be applied for. This founda- Most of the scholarships are only Until now the scholarships have tion has scholarships for students of available to registered students at been worth about SEK 40 000 per classical music studying vocals, violin/ the Malmö Academy of Music, with student, but this sum is of course de- viola, piano or cello. The scholarships the exception of the Signe and Edvin pendant on the movements of the stock are divided into two groups – one for Malmqvist Scholarship Fund for wood exchange. university level students and one for instruments, where even new students For students from other music secondary school level students. | for the autumn term can apply. New academies in Sweden as well as sec-
SMASK is open to all students at the country’s six music academies, Malmö, Göteborg, Örebro, Stockholm, Arvika and Piteå. Ten contributions compete at the regional finals at each respective school. The winner and runner up then represent their school at the National Final (National SMASK), which the aca- Music Academics turn demies take turns in hosting. The event has grown continuously over the last 20 years. Just this is proof Pop Song Parody into that the concept is a popular one. When both the audience and partici- Serious Competition pants come together in their love for pop music, glitter and glamour, showy dances, clever lyrics and one or two By Ove Torstensson | Photo Leif Johansson witty comments often related to sex, can it be anything other than a success? SMASK was started by students at Sweden’s Music Add to this a few key changes and other Academies as a protest against the Swedish Melody favourite pop song characteristics, plus Festival, and the European TV networks’ Eurovision participants who sing with a passion and enthusiasm that can hardly be des- Song Contest. But as the years have gone by, the feeling cribed in words… can it get any better? of protest and irony have been replaced by a diligent SMASK was organised for the first following of what Swedish music students see as the time in 1991 in Stockholm by a couple fundamental grounds of Swedish pop song festivals: of students from the Royal College of Music in Stockholm. According to a live orchestra on stage and at least one rise in key in legend, they were sick and tired of the song. being refused year after year by the well-established Swedish Melody Festi-
38 malmö academy of music students 39 artistic development
Second place 2012 in the Malmö regio- nal final was “Ugly children”, written and performed by Oskar Appelgren. On stage: Oskar Appelgren, Niklas Larsson, Nils Magnell and Peter Olsson. An Ear for Music The winner of 2012 regional final in Malmö was “I have a dream” written and performed by Petter Music Teachers become Entrepreneurs Boström.
val. So they decided to start their own, opinions are divided. The divide goes already solid education from the Malmö much better, pop music festival, based between students, who participate Academy of Music. on the same basic principles. Suddenly with everything they have, and teachers And to round off, a little on the origi- By Lovisa Jones, Ove Torstensson | Photo Leif Johansson they had unlimited opportunities to who see how their students lose focus nal pop song competition, the Swedish write, arrange, perform and enjoy their during the pop festival. When SMASK Melody Festival, which started back Let’s say that you teach ear training at the Malmö Academy of Music. own pop music festival. The first com- is at its most intensive stage there are in 1958 and the Eurovision Song Con- petition was organised as a parody of many homework assignments which test (ESC), which is a joint production One day you decide to take your large bank of self-composed music, used the original Melody Festival. But time are not completed in time and, worst between the European TV networks in your classes, and put it in a database programme. All of a sudden you passes and a lot can happen. The big- of all, the most involved students even and the European Broadcasting Union gest, and in context, funniest change skip their lessons so they have time to (EBU). Sweden has won the ESC a total have created a unique digital ear training programme and also become that has taken place is what happened get the event organised. of five times which puts us at an im- an entrepreneur with your own company. in the Swedish Melody Festival, the But SMASK cannot be stopped. The pressive second place after Ireland who orchestra was abolished and the ideal desire and drive to partake and com- has a total of seven wins. Sweden won behind the songs changed. Suddenly it pete is just too strong! Five minutes in in 1974 with ABBA and Waterloo, 1984 was not a competition with songs that the spotlight at these dizzying heights with Herreys and Diggi-loo, Diggi-ley, It sounds like a real success story ted primarily at music students, music on and show how it could work. The represent true pop. So instead SMASK, – who knows, it might be all they get 1991 with Carola and Fångad av en and to a certain extent that is what it teachers, (choir) singers and those programmes out there on the market which was earlier a parody, has become in their musical lives. “It’s a once in a stormvind, 1999 with Charlotte Per- has been for Carl-Axel Andersson and generally interested in music who want today focus on the small components the big song competition of our time. lifetime thing”, reason many students, relli and Take Me to Your Heaven, and Björn Roslund, founders of the ear to advance their musical knowledge. It of music instead of thinking of it from According to the SMASK organisers, if and put their lives into overdrive for the now in 2012 with Loreen and the song training programme MusicalEar which can be used for both self-study or in a bigger perspective and that is where you want to experience a real pop-song months of March and April. Eurphoria. was launched in spring 2010. Since then teacher-led groups. we thought we could come up with an competition then it is SMASK that you Who knows anyway, maybe we Wouldn’t it be a great idea for the the company has expanded its business The difference between MusicalEar improvement – not just in Sweden but should listen to, not the Melody Festival. have many of the future’s Melody Fes- Swedish Melody Festival Organisation to the global market. and other similar ear training program- abroad too, says Carl-Axel Andersson. But all forces have a counter force. tival professionals among us here at the to be assisted by the fantastic SMASK But then, what is MusicalEar? The mes is that the exercises on MusicalEar Björn Roslund adds: Not even the 100% student driven Malmö Academy of Music as song wri- team to get back a little “original pop programme consists of three main are always based on real music, compo- – The programme is designed to be project SMASK is totally free from in- ters, arrangers, musicians, singers and culture” in the Swedish contribution to parts: A music bank with songs and sed by Carl-Axel Andersson and Björn a complement to traditional teacher- ternal criticism. Is the project a threat why not dancers, project managers, the Eurovision Song Contest, so that music pieces, an exercise bank with Roslund. led ear training. We work with reading to the student’s study performance lighting technicians, choreographers… Sweden can defend its title in 2013. | “healthy elements” for ear training, – Our basic idea is that ear training rhythm and melody as well as harmony or is it just a unique ingredient which Whatever happens, SMASK, which is and a dictionary and theory book. By should be associated with what the in a concrete and practical manner. spices up their study at the respective nowadays seen as a true copy of the Listen to SMASK songs on Youtube. using MusicalEar you can develop your Academy is primarily about – that is Another thing that the founders are academies? It is a project which is both original, is an excellent base to stand on Search by respective year, e.g. musical listening skills, deepen the playing music. We wanted to connect particularly pleased with is that they voluntary and unpaid. And this is where – a fantastic extra course on top of an SMASK 2011, www.youtube.com musical experience and increase your ear training to other subjects such as have managed to produce a compu- creativeness. The programme is targe- ensemble studies, piano, vocals, and so ter programme and teaching material
40 malmö academy of music artistic development 41 CD. This idea was abandoned relatively things from me, to see how they look ”Despite our differences we have always quickly however when since-deceased at, in this case, a product. Then you get colleague Leif Törnquist happened to that feeling of ”Aha, so that is what shared the same goal, something which is mention that the material could be you think, I hadn’t thought of that”. It really a prerequisite. We have wanted the put into FileMaker and categorised ac- is the best kind of cooperation, when cording to genre. The seed was sown you realise things yourself that you oth- same things, we have had the same objecti- and soon began to grow. Carl-Axel erwise wouldn’t have if you hadn’t met ves and we have had the same combination Andersson and Björn Roslund received that particular person, says Carl-Axel funding for artistic development work. Andersson. of artistic and teaching drive, where we love They began to travel and go on study to realise our own creativity by composing visits, primarily to USA, to examine the At the same time, they made con- market for ear training programmes, tact with Lund University Innovation and writing teaching material.” what was already available and what System (LUIS), which offered financial A unique collaboration between culture and commerce. The crea- björn roslund, founder of musicalear tive quintet behind MusicalEar at the global launch press conference in spring 2011: could be further developed. It didn’t support, but Carl-Axel Andersson and Sten K Johnsson, Björn Roslund, Sophie Persson, Carl-Axel Andersson and Niklas take long before they realised that they Björn Roslund decided to decline the Swedenborg. had something special and unique. offer and started their own limited – Generally, I strongly believe that there will be an increased cooperation seen bet- – We were at Berklee College of company instead. However, the dis- ween culture and commerce in the future, says Sten K Johnsson, and compares this to Music in Boston and met with the cussions they had with LUIS also had “The Medici Effect” in Florence which took place over three centuries starting in the heads of ear training there. We were their results. Through LUIS, they got in 1400s. It was during this period that the city of Florence blossomed, both economically sure that they would be ahead of us in and culturally, unlike any other place in the world either prior to this or since. contact with an experienced business this area. But what they were offering executive, Sophie Persson, previously their students on the net was really ba- CEO for Bibliotekstjänst, who is today sic. When we showed them our idea, working as the managing director of they were very impressed, and also a the company in charge of sales. Niklas little annoyed that they had not come Swedenborg, from Squaremoon AB, is up with the idea themselves. It was a also working with the company as head real kick for us, says Björn Roslund. of technology. The well-known industry man Sten K Johnson plays an important Stubbornness and the desire to role as investor and business partner. unite artistic creativity with the drive to teach has been the foundation of In late 2008 and early 2009, things to realise our own creativity by compo- Andersson and Björn Roslund will never the whole project. It has also required really started taking off which was ne- sing and writing teaching material. This stop doing – and that is teaching music. a large amount of networking both in cessary if there ever was going to be has been a very successful combination – We are teachers and we want to and beyond Lund University at times. a finished programme. Clearly-defined which has been the basis of our project. continue with that. We have no desire – We got in contact with Sven Ols- goals and timeframes were established We can see how things develop in the to work with the company on a full- son and LU Innovation at Lund Univer- and Carl-Axel Andersson and Björn future, no one knows what is around time basis. So we have other people ta- sity and he was interested in our idea. Roslund started working professio- the corner, says Björn Roslund. king care of things, says Björn Roslund. After some time he got us in touch with nally for their company. In March 2010 Another important ingredient in this Carl-Axel Andersson says that at the three international students from Rus- MusicalEar was launched at Sweden’s process has been the valuable support same time it is fantastic how they both sia, the Netherlands and England who Music and Cultural Schools’ Conference from a number of key players at Malmö have gone from being “just” music were studying their master’s in Entre- (SMOK) in Malmö. A year later the com- Academy of Music, the Faculty of Fine teachers to company owners: which can be used by both professional It has been a long journey, where preneurship. They took MusicalEar on pany went global. and Performing Arts, and at LUIS. – Here we are at the Academy and amateur musicians. the direction taken has changed many as their project and helped us to plan a Why just these two succeeded can – Without these people’s whole- working away and suddenly we have – We emphasise teaching diversity times during the five years it has taken product launch. possibly be put down to the pair’s stub- hearted support we would not be a company. We meet our people regu- which I think is incredibly important them to develop the product. It all Even if Carl-Axel Andersson and bornness and teaching drive which they where we are today. It is incredibly larly, talk about company issues, what and it is also one of the programme’s began when Carl-Axel Andersson and Björn Roslund probably would have share. time-consuming to work with com- we need to do now. It is a fantastic strengths – that it is multifaceted in Björn Roslund started to think about chosen different partners – the stu- – Despite our differences we have mercial products from idea-form to journey we have gone through and terms of musical genres but also in its how they could make their teaching dents’ musical backgrounds were mini- always shared the same goal, so- the finished product, says Carl-Axel we are in a totally new world that we different types of exercises, that you material, which they had composed mal – working with them gave a per- mething which is really a prerequisite. Andersson. haven’t been part of before. The whole can work with it in so many different themselves, available to the Academy spective that they otherwise wouldn’t We have wanted the same things, we thing has been quite amazing. I would ways, all of which complement each students and if they could compile it in have had. have had the same objectives and we Despite all the new journeys and never have believed it of myself if you other. I am really pleased with that, says some way. Their first idea was to publish – Personally, I think that it is fun to have had the same combination of ar- challenges they have faced as entrepre- had asked me five years ago. | Björn Roslund. it in book form with an accompanying meet people who work with different tistic and teaching drive, where we love neurs, there is one thing that Carl-Axel
42 malmö academy of music artistic development 43 Inter Arts Center Crossdisciplinary and International Research Centre for Art, Music and Theatre
They say that those who wait for something good, cannot wait too long. 1. In May 2010 it was finally time for the opening of the Inter Arts Center, a new, exciting and slightly unpredictable part of Malmö’s cultural life.
BY Ove Torstensson | Photo Leif Johansson 2.
1. Exhibition with Master’s students from the Malmö Art Academy in the White Room.
2. One of the most popular pieces of art, by artist Thale Vangen, involved dropping frogs into syrup, on mass. A large red room primarily for music, and Ph.D. level which will be carried – The main idea behind the centre is By spinning a large wheel, visitors were invited to give a white room for art and a black room out here. One of the corner stones of that it will lead to increased contact the frogs an involuntary dip in a pool of sticky syrup. for performance. Add ten or so sound the center is crossdisciplinary projects between personnel, active students, studios, art studios, rehearsal rooms – projects within the arts which also and former students (alumni) of the 3. Improvisation concert after the opening ceremony with Henrik Frisk and Kent Olofsson, both teachers at and coffee rooms and there you have cooperate with other areas of Lund faculty. It is going to be a lot about 3. the Malmö Academy of Music. the new Inter Arts Center (IAC) in a University such as science, medicine or development and energy as well as nutshell. sociology. a free method of meeting the future This modern and unique laboratory A planning troika, consisting of of artistic research and development for cultural cross-fertilisation is located Håkan Lundström, Gertrud Sandqvist work. The idea is that there will be a the opening speech, where she empha- works, which maybe are the ones that simple. The base requirement to be able in the Mazetti building at Bergsgatan and Ulf Nordström, worked together on dialogue between us, Lund University sised the importance of the arts having lead to further learning and that, in the to start a project here at the Inter Arts I29 in Malmö, on the third and fourth the project from the start. The group and the community, he continued. a place to experiment so as to be able long term, lead to more development. Center is that you are a student, former floors. IAC has been given a tasteful worked with getting the challenging – There are going to be many areas to develop and move forward. The safe choices may well give a profit student (alumni) or teacher at one of and lavish new interior, where only the pieces of the puzzle into place, such we share, but not everything will be – It is necessary for an artist to be in a short-term perspective, but in the the Music, Art or Theatre Academies old factory floor from the long 20th cen- as financing and finding premises, and open to the public. Sometimes we able to fail in their work once, twice, long term they lead to the stagnation in Malmö. You send in a project plan tury era of chocolate making has been then of course with following the reno- need some peace and quiet to work in, three times, she says. At the same of artistic expression. and we then invite you to an interview, preserved, otherwise everything else is vation work which was both interesting something which can only exist when time she told us about her colleague in The idea was for IAC to become a where you are given the chance to new. The architect Annika Ljung and and incredibly time-consuming. The you know that not everything will be Malmö, Sarat Maharaj, who does not place which allows this incredibly im- present your idea. If your project idea interior design company Testbedstudio core of the organisation is under Lund seen by an audience. share this approach to the subject. He portant new creative art to bloom wit- is accepted then you just have to pay Arkitekter did a genuine and tasteful University. In the long term, IAC has cal- – There are of course many oth- claims that it sounds a little too glib to hout too much hindrance. There will be a deposit of SEK 1000 and then come job of mixing old with new, the result culated a SEK 5 million annual budget ers to thank for this big dream which be allowed to fail. Try harder – fail bet- both long and short term projects car- here and start working. being synergetic unity. The head of the once the organisation is fully running, started fifteen years ago that has now ter, says Sarat’s own, modified version ried out in the building simultaneously – But what will actually happen company, Peter Lingstrand, was also an which demands further investors. become a reality, such as Sven-Yngve of a generous and permissive working – crossdisciplinary and in-depth studies here, wondered Gertrud. I don’t know important part of the initial discussions Oscarsson, (Site Manager of IAC), Kent situation for the individual artist. at the same time. Gertrud Sandqvist the answer to that. It is up to the people before the decision was made concer- On the day of the opening, the do- Olofsson (composer and teacher at the Gertrud Sandqvist emphasised that continued: who come here to work to decide! ning IAC’s new premises. ors opened at 2pm and one hour later Malmö Academy of Music), and Johan a newly established artist does not nor- – The concept of IAC is unique in – So far about 25 applications have it was time for the opening ceremony. Nordström (technician at IAC), plus Per mally have so many chances available to Northern Europe. Just the combination been made and a number of them will IAC is intended to be a meeting place Håkan Lundström, dean of the Faculty Helander (Department of Buildings, IT them to try to establish themselves as of artistic research and the fact that be getting started this academic year. for personnel and students from the of Fine and Performing Arts, started and Services at Lund University), finis- professional artists. Many galleries, art artists who are not associated with a We have an exciting autumn ahead of three Malmö academies of art, music his speech with the word “finally” to hed Håkan Lundström. exhibitions and state and public institu- teaching post are invited is very unu- us with the launch of many crossdis- and theatre and shall support those describe the long process of hope and tions are run as commercial enterprises. sual. ciplinary projects, added Sven Yngve who conduct experimental and forward dashed hopes, hard work and unlimi- Thereafter Gertrud Sandqvist, It is then easy for a not-yet-established – There should not be any complica- Oscarsson, Site Manager of IAC, ent- thinking research and developmental ted enthusiasm which preceded the professor at the Malmö Art Academy, artist to avoid taking risks and stick to tions in starting up a project here, con- husiastically. | work. Primarily it is work at master’s moment. took over the microphone and delivered conservative rather than experimental tinued Gertrud Sandqvist. The rules are
44 malmö academy of music artistic development 45 By Lovisa Jones | Photo Leif Johansson
Voice is everything for Ann-Lena Tide- man. As a vocals instructor, she works with students on the Academy’s Perfor- mance and Music Teacher Programmes and helps them to develop their voices. Her study on the use of resonance tubes has attracted a lot of interest even outside the world of vocals and now everyone Anna-Lena Tideman instructs vocal students Josefine Erlings- wants to sing into tubes. son, Jenny Fransson and Josefine Eckerström with phonation tubes. (Photo Gunnar Menander)
IT HAS BEEN A HECTIC period for completely healthy from start to finish dents who have problems with singing Anna-Lena. Interviews for radio, TV has made the study somewhat contro- but it is not about any genetic ability. and newspapers have been many. Her versial. The border between speech A lot has to do with your environment response to this is pure happiness: therapy on one side and vocal training and how much you have sung during – There is a new method in vocals, on the other has been very clear. your childhood, for example. There are which can give incredibly many effects – I am very proud of the cross- musicians who cannot dance, but who if you use it in the right way, which feels disciplinary aspect of the study. Speech still have a feeling for rhythm and those fantastic! If I train using tubes, I can therapy, cognitive science, psychology who sing off pitch are not necessarily sing arias, which I otherwise wouldn’t and vocal training – I have needed all unmusical. If you took out my larynx be able to. these pieces to be able to complete the and put it beside one belonging to a fa- study. mous female vocalist, I don’t think you BUT WHY SING INTO GLASS TUBES? would be able to see any difference. Anna-Lena has long been searching for THE RESULTS BUILD ON the subjective But the phonation tubes give, according Breaking New a fundamental teaching method, which experiences of the participating stu- to my study, functional effects on the can be used to develop the singing dents when they have used the glass singing voice such as density, depth, voice. As a vocals instructor she meets tubes for 20 minutes twice daily, for height and dynamics. singers on a daily basis who can’t get a period of two weeks. The students’ their voice to do what they want it to experiences show that vocal technique ANNA-LENA EMPHASISES that you Ground in Vocal for a variety of reasons. She has also is about a lot more than just technical should not try it yourself. It is not the experienced this herself as a choral exercises. Being grounded in the body, tube in itself, which is most important singer. During her Master’s studies in consciousness and self-confidence all but rather the effects it generates. In speech therapy at Lund University she affect and are affected. the long term you should learn to sing came into contact with a technique that – When I use the glass tubes I without phonation tubes. This demands Training used glass tubes for the rehabilitation gain control, I listen, I can see what is a well-established knowledge and of sick and tired voices. Phonating into happening and I gain confidence. If I understanding. For this reason, Anna- glass tubes placed in water massages sing too strongly I get water over the Lena is planning to write an instruction the larynx and vocal cords. whole floor, says Anna-Lena and tells us book to develop a certified system for – This technique is used in speech about a student who with the help of those who are interested in teaching therapy so I started by carrying out a a phonation tubes increased his range the method. speech study. When I then went on to by several tones. The knowledge that – This is an innovation, which will use it in singing, I had a background to you can do something is incredibly im- help and inspire musicians who often work from. But it was no longer to do portant. If you only hear that you can’t, use their singing voice. For example, with rehabilitation, but rather I was out that you don’t have a singing voice, choral singers, conductors, music after the effects the tubes could have then in the end you cannot. teachers, priests and church musicians. on vocal techniques. This, together with – I refuse to accept the belief that Using this easy method, they can im- the fact that my test subjects have been some people cannot sing. I have stu- prove their singing voices. |
artistic development 47 BY Ove Torstensson | Photo Leif Johansson | illustration lovisa jones Artistic Development Work Research and Artistic Development Work (KU) is carried out with great enthusiasm – a short history at the three institutions, which together make up the Faculty of the Fine and Perfor- The term Artistic Development Work (KU) was ming Arts at Lund University – the Malmö Art Academy, the Malmö Academy of first coined in the Higher Education Reform of 1977, when the artistic institutions in Sweden Music and the Malmö Theatre Academy. Hans Hellsten, Professor of Organ at the were embodied by the universities, and were Malmö Academy of Music, is chairman of the committee for artistic development thereby given the task to not just teach, but also to conduct research. Seeing artistic proces- work, which allocates approximately SEK 800 000 annually to various projects. ses as a part of the building of academic know- Interested teachers can apply for the funding. They need to convince the committee ledge was not a popular concept; in contrast to “true academic research”, artistic projects that their project has the potential to contribute new and valuable knowledge to were seen as neither general nor verified. The the future. solution was to equate artistic research work with a particular kind of research – so-called development work. (In international context, it is often said that research has three forms: basic research, applied research and develop- ment work). Artistic research and development work beca- me characterised by broad, boundary-spanning subject choices and methodology freedom. Relatively short projects were organised and documented in forms specific for each area – for Time for Musicians music these forms included recordings, festivals and concerts. Towards the end of the 1990s, the academic methodology development had ad- to Learn to Find vanced to the point that the strongly subjective perspective of artistic work was no longer seen as an unsurmountable barrier to including art on the universities’ lists of recognised forms of Their Own Voices? knowledge. Artistic research made its entry and research projects, careers and funding became a reality even within the arts. Artistic develop- ment work still remains with us in the form of independent, open and short projects as part of this branch of research and also as a way into it. At the Malmö Academy of Music, the commit- A tool for understanding, com- the creative process, yes, even before The possibility of finding your tee distributes funding for artistic develop- munication and fellowship. then, it can be the spark that starts own voice. ment work to different projects. The deadline for applying for funds is usually at the end of – The KU committee is presently it all. I think that KU work can be the – The language of musicians is November/beginning of December each year. prioritising projects which are in the bridge between studies and research, not just a tool for creativity. It is also Funds to cover costs incurred when travelling, field of language and music, says and that it can help to create a creative about being able to speak for yourself. on conferences and the like are paid out con- Hans Hellsten. We would not be able and reflective working climate, conti- Musicians have been sitting still and tinuously. | to make music without language. It is nues Hans Hellsten. keeping quiet for too long. But now not just about communication within more and more musicians have started an inspiring humanistic approach to the music produced in the class room is cisca Skoog with her concerts, where music and about music, but also about As a catalyst for the imagination. to speak for themselves. On-stage in- playing and communicating. Research at least as interesting as that performed even the audience participates in her using language as an instrument in – Music, art and language are all terpretation has become popular even and development work can have a big in the concert hall. It is just different performance, and soprano Sara Wilén’s the studying process, language as an connected, at least in our way of thin- among musicians. And musicians are influence here, says Hans Hellsten. variations of the same activity. I am so opera improvisations which would not instrument to infiltrate music. Language king. The creative imagination is dif- no longer willing to accept that only And to support this development tired of the attitude that all practice, all be possible without the audience’s ac- also allows us to share our experiences, ficult to express without words. Why others can speak about them, be they the KU committee has started with teaching, all rehearsals, should just be tive participation. Not to mention Peter create new ones and build new social not then use words consciously, even musicologists, reviewers or journalists. a new publication, titled Forum för for preparation for a concert situation. Spissky and Nguyen Than Thui who are connections. Both written and spoken as musicians? I have to quote Paul Aus- Not that there is anything wrong with musikaliskt lärande (Forum for Musi- We make music even when we teach researching the connection between language are important. Look at the ter, one of my favourite authors: ”He what they do, says Hans Hellsten. To a cal Learning), which publishes artistic and practice, I say! music’s gestures and the body langu- teaching, which is carried out at the wonders if words aren’t an essential certain degree, musicians have chosen development work. Two volumes have Concerts have also changed a lot. age of the musicians (and even gender Academy for example. I know that element of sex, if talking isn’t finally a this. Musicians have contributed to been published and there are more on Just look at the incredible creativity and roles), finishes Hans Hellsten. | language in the classrooms is gutsy, more subtle form of touching, and if the mystery of art, seen it as religion the way. diversity, which is shown every year at lively and effective. It is full of pictures, the images dancing in our heads aren’t and themselves as priests or bishops. the Academy’s graduation concerts! which lead to new understanding for just as important as the bodies we hold But not anymore. Music is very much The concert concept is changing Take a look at some of our doctoral both students and teachers. Language in our arms.” (Auster, Paul. Invisible, a human activity. It is time to remove – More and more people think that students as well, such as pianist Fran- can also be found at the beginning of 181, paperback edition 2010). the religious undertone in favour of
48 malmö academy of music artistic development 49 Young Brass Players Set the Tone at the Brass Festival
By Lovisa Jones | Photo Leif Johansson
Over 150 children from Skåne in southern Sweden participated in the Brass Festival which took place on a Saturday at the end of January 2011. The guest lecturer was trombonist Nisse Landgren who held a workshop in improvisation technique.
FOR THE SECOND YEAR IN A ROW the – The Brass Festival is a result of this Brass Festival was held at the Malmö cooperation which started two years Academy of Music in association with ago. We realised that together we the music and cultural schools in Skåne. needed to do something to encourage The day started early on a Saturday more children and young people to morning with a warming-up session start and continue playing brass instru- for everyone in the Rosenberg Concert ments in Skåne. So we organised the Hall with Bo Nilsson, trumpet teacher Brass Festival. Ann-Charlotte Carlén is Yat the Academy, and Nisse Landgren. very pleased with this year’s event. Afterwards, the students went to their – The response we have had, both respective workshops. Before lunch, last year and this year, has been fan- Sixten Nordström, who is a well-known tastic. A cultural school in the nearby profile in the world of classical music, province of Halland contacted us and held an exciting and inspiring lecture asked if they could also take part de- and listening hour for the older stu- spite the fact they didn’t belong to the ANOTHER THING which was apprecia- The concert also featured performances dents, who were presented with a Skåne region. They came with about ted was meeting the students from the from a number of Music and Cultural palette of samples of brass music from ten children. It seems to be really appre- Academy’s Performance Programme Schools’ brass ensembles. different periods. The younger partici- ciated that we invite pupils to a day like and Music Teacher Programme who Ann-Charlotte Carlén would like to pants went to a theatre show put on by this where they are given the chance to helped during the day. The students see further development of the Brass the students from the Academy’s Music meet more really good teachers. There were there helping and teaching in Festival and even that the concept is Teacher Programme. were teachers and instructors from different workshops and even holding adopted for other instrument groups. both the Malmö Academy of Music their own workshops. Everyone joined Cooperation between the Music and ANN-CHARLOTTE CARLÉN is the direc- and the Music and Cultural Schools in in and played pieces that had been Cultural Schools of Skåne and the tor of studies of the programme and Skåne. Our aim is for them to go home prepared throughout the day, at the Academy is going to continue, but it is has been active in organising the Brass with that “wow” feeling and feel like it concert held in the afternoon in the too early to say if a third festival will Festival from the start. It was back in is really fun and exciting to play a brass Rosenberg Concert Hall. Nisse Land- be held next year. But Ann-Charlotte is 2008 that the music and culture schools instrument. It means so much to meet gren played together with the children sure about one thing: in Skåne contacted the Academy to see others who share the same interests as and youngsters, and students from the – The meeting of people is a recipe if they could find a way of working to- your own. Academy’s Jazz Programme accompa- Ann-Charlotte Carlén, director of studies for development. That is when we get gether. nied on piano, drums, guitar and bass. of the Music Teacher Programme. the chance to grow and progress. |
50 malmö academy of music artistic development 51 sir george Sir George Martin martin is First Honorary Doctor in Music
By Ove Torstensson
The Faculty of Fine and Performing Arts of Lund University and the Music Academy of Malmö have their first honorary doctor in music – Sir George Martin. The man who is primarily known for taking the pop group The Beatles and helping the young working class boys from Liver- pool, John Lennon and Paul McCartney, turn their 18 carat songs into 24 carat hits. They became timeless songs which took the world by storm.
In May 2010, Sir George Martin was I first met them they were four young Facts. The Sir George Martin Music Award consists of SEK 100 000 which is sponsored by Sparbanken Öresund. The prize is conferred a doctor’s degree in Lund totally normal boys, but they made fast awarded annually to a person who has worked in the spirit of Sir George Martin as a producer, composer, arranger, conductor or Cathedral together with 18 other ho- progress and were soon pop icons for musician. The award winner shall be one (or more) physical person(s) who either lives in Skåne, southern Sweden, or who works on their musical endeavours there. (Photo Rober Eseel). norary doctors. It was however the the whole world. former Beatles producer who stole George Martin emphasises how Sthe show – he definitely took most of important he thinks music education is the media attention in coverage of the for children and youngsters. celebrations. The majority of people – I think that music is something for them a better understanding of the young people have today. In 40–50 ducers who can be seen to work in the over 30 can sing Beatles’ melodies and that many teachers in England see more in-depth connections between mathe- years most of them are going to be spirit of George Martin. sing along to a couple of verses to at as a hobby or a harmless way of passing matics and language for example. Music deaf! I believe that they should ration It remains to be seen if we can ma- least a dozen Beatles’ songs. Even if the time, rather than an important is also an audible art form and deals their listening and take pauses. And nage to get him to travel to Sweden to his work with producing The Beatles’ subject, which offers a lot of personal with communication between people. if you go to a nightclub or a concert award his prize in the future. He has music has not made up more than one development. I think that the subject George Martin has an important where music is being played loudly, explained that he has cut down on his percent of all the projects he has carried of music should make up an important message which he wants to convey to you should take breaks – ten minutes international commitments. It is prima- out in his career, it is still what people part of a child’s primary education – on the young people of today. Throug- each hour during the evening when you rily the air travel which he has tired of, remember. He has, however, a lot of the same level as history, geography hout his career he has spent countless leave the location and let your ears and in particular the time-consuming routi- tolerance for this constant focus on The and even mathematics. That is how hours in the studio in front of powerful brain rest. Listen to the warning signals nes now in place in airports. Beatles’ fantastic career. But the truth is important it is! In England there are a loudspeakers and today he suffers from your body gives you, says George Mar- So how did he receive the news that he worked together with them for eight small number of state-funded schools considerable hearing loss, which is a big tin with a serious expression. he had been awarded an honorary years, while he has been active in the which have music in primary school, handicap for him. A large part of his doctor’s degree from Lund University branch for over fifty years. while the majority of schools do not working life today is spent together At a welcoming ceremony at the in Sweden? – The Beatles are the biggest thing offer any music teaching at all. I think with a team of researchers to help pe- Palladium in Malmö in May 2010, the – I felt truly honoured. It is a big dis- that has happened to both you and that this can be damaging, and I am ople with hearing problems, where he then 84 year old musical legend was tinction, which I am not sure I deserve, me! They are without a doubt the not just saying this because I work with claims that preventive work is by far the acclaimed and a music prize of SEK says the humble and sympathetic Eng- most talented people we have had in music and that it is the biggest passion most important area to concentrate on. 100 000 was founded in his name. lishman, who has given us all so many the 20th century, claims George Martin. in my life, but because I can see how – I am concerned that hearing loss The aim of the prize is to create a new fantastic musical experiences for more I feel very privileged to have been given music makes children more receptive to is going to be a growing problem in Skåne music prize which is, primarily, than half a century. | Photo Leif Johansson the chance to work with them. When other things in life and how it opens up the future with the listening habits that for new and/or established music pro-
52 malmö academy of music sir george martin 53 By Lovisa Jones | Photo Leif Johansson
At the end of a forest road, about 20km outside the village of Sjöbo in Skåne, southern Sweden, there is a half-timbered house. It is the home of Analogue music producer Christoffer Lundquist, the first person ever to be awarded the Sir George Martin Music Award. During his career, Lundquist has worked together with a number of artists in the Swedish music scene, Sound Waves including one of Sweden’s greatest music exports ever, Roxette.
IT ALL STARTED WHEN Christoffer Lund- adds to them. But there are, of course, we have control so we can make it quist was four years old and realised he exceptions. Music produced by Phil perfect!”, but what actually happens could record himself playing drums to Spector sounds more Phil Spector than is the opposite, the music is gone. It Beatles songs with the help of two tape The Ronettes, for example, but this is sounds like music but it isn’t music. & Magical recorders. Even when his musical career unusual. Music has to contain a dimension of with the Lund band Brainpool took off, human mystery, or it isn’t music, says it was often Christoffer Lundquist who PRODUCING MUSIC is not about po- Christoffer Lundquist and refers to the was in the studio taking on the role of lishing and adjusting the sound in a 60s and 70s, an important era when producer. Now, a couple of decades la- computer to create something that artists were still in charge of themselves ter, he is still busy with recordings, the sounds good. For Christoffer Lundquist and their music. He returns to this era Moments difference being that nowadays he uses it is about capturing a magical moment, often to get inspiration. somewhat more advanced equipment. when the people involved create so- – Right now I only work in analo- – I was astounded when Sverker Svensson from the Malmö Academy of Music rang me to tell me I had won the prize. Since I was four years old I have been totally obsessed with music from the 60s and 70s and in particular the Beatles. I sat and listened to all of the George Martin productions in detail, it was an amazing world that opened up for me already back then. And that is the feeling that I try to get back to in my own work. So to then receive a prize in his name is unbelievable! says Christoffer Lundquist.
FOR THE LAST twenty years he has run his own studio, Aerosol Grey Machine Studio, where he creates music to- gether with both Swedish and foreign artists, such as Ed Hardcourt, The Magic Numbers, Bo Kaspers Orkester, Laakso, mething fantastic together there and gue, partly because I think it sounds Wilmer X and Eldkvarn just to name a then. This is a way of thinking which is better and partly because it is easier to few. To answer the question as to if becoming more and more uncommon play and less work. Since you record on there is a particular Christoffer Lund- in a music industy dominated by a focus tape instead of on the computer, you quist sound he says: on technical equipment: can’t see the music. You can only listen – There is some kind of ideal which – Developments in digital recording to it, which means that you have to go sounds consistent to me, but which technology are trying to take control of more on your own feelings. The best others probably do not hear, I guess. the music. You can go into more and way to make good music is to make sure The artist’s own mode of expression more detail and adjust, move, change you have fun, it doesn’t have to be too and the character of the works are and click up and down, here and there. serious. Then the album will be good. much stronger than what the producer Once you are done you think “finally If, after a take, you are rolling around
sir george martin 55 By Ove Torstensson Photo Leif Johansson
”Since you record on tape instead of on the computer, you We have decided to meet for an in- terview in Skillinge, Skåne, where the can’t see the music. You can only listen to it, which means award winner lives. At this time of year, that you have to go more on your own feelings.” early March, the little community is a sleepy paradise, nestled in the rolling hills of the Österlen landscape. The sun laughing because you are having such matter”, But it does. The only thing when we go into his studio, which is Musical is shining and we notice that the fishing fun, then you know it is going to be that happens is that it gets worse, says located out in an old barn behind the and tourism which supports the region good. But if everyone is frowning and Christoffer Lundquist. house. Together with his wife, who is starting to wake up again after a long anxious then you haven’t succeeded is an architect, he has made a world winter. As you would expect, the hub in creating the atmosphere needed to CHRISTOFFER LUNDQUIST’S concept is where he can create music in his own of the village is a pub on the seafront, make good music. Anxiety is the most simple. The journey between an idea way. There are at least twenty different Philanthropist which after a long closure has been effective creativity-killer there is. and a finished piece should not be too guitars hanging on one of the wooden taken over by a new owner who has long. It is when you work together with walls and there are microphones set up renovated it and is now waiting for the EVEN IF technical developments others that the magic can happen, even on the partially covered wooden floors tourist season to bring in the guests. blew away earlier barriers regarding if a recording can sound strange or just waiting for the next recording ses- He generously allows us in to eat lunch, consuming and creating music, it has off-pitch. It is the human factor, which sion. It is suddenly very easy to imagine with a Red even though he hasn’t planned to open also been a breeding ground for the can make all the difference to the end how that magical moment might come for the season until the following week. fear that something isn’t going to be product and you have to dare to let it about in a room like this one. good enough to fit in. This fear has happen and go with the flow. It is also After the customary photo session THE KEY PERSON of the day, Nils Land- spread throughout the entire industry. important that the creative process is – where Christoffer Lundquist starts gren, shows up in a red scarf, which It is particularly noticeable amongst kept sealed off from outsiders, which playing on a well-used, beautifully pa- Trombone matches his black winter coat perfectly. younger artists. can be difficult sometimes: tinated, acoustic guitar with the brand My colleague immediately looks excited – Young artists are used to only – Nobody except those who are name Kalamazoo, apparently a prede- as he thinks about the photo session he needing to deliver a bit of noise at a involved in the process should be al- cessor to Gibson – we get a quick tour He is one of Sweden’s most diverse musicians will soon have. We sit down together recording and then leaving it to a do- lowed to hear anything until the piece of the studio before leaving. There are who, with his great artistic talent, is active at a table in the light and airy restau- mineering technician or producer who is completely finished. It can even be all kinds of instruments in there, most rant. I start the interview by asking the then transforms everything into music. said that it is dangerous to play a mix dating from the 50s, 60s and 70s: Or- within various genres including jazz, funk, folk obvious question as to how it feels to I simply say “No thanks, I’m not going for your husband or wife, I think it is gans, saxophones, vibra chimes, drums, music and rock. Living in Skåne, with the whole be awarded with the prize and if he is to work that way. You have to deliver important to keep the creative bubble theremins etc. It cannot be denied that familiar with Sir George Martin, the something fantastic, otherwise nothing intact until everything is finished. Then Christoffer Lundquist is in his natural world as his working place, he is the second per- man who has given the prize his name? will come out of this”. I have tried you can burst it and let the world dis- environment out here. And it couldn’t son ever to be awarded the Sir George Martin – It is hard to believe. I yelled “Are countless times to go in and correct and cover what you have created, he says. be more natural that it was just him you mad” when I got the telephone fiddle and edit a bit and thought “Aha, Christoffer Lundquist’s area of spe- who received the Sir George Martin Music Award. call. maybe I can do this, it doesn’t really cialisation becomes even more obvious Music Award 2011. | – I don’t know George Martin, but I
56 malmö academy of music sir george martin 57 “Nils Landgren is an inexhaustible ambassador for Swedish music. Just as an explorer would, he crosses all borders – both geographical and those between genres. As George Martin once started “The British Invasion”, Nils Landgren has led a Swedish jazz wave. A diverse, bold and enthusi- astic musician who from his base in Skåne, south- ern Sweden, sees a world without borders.”
The governing board for the Sir George Martin Music Award
we played jazz. After some time at other people and you can do something the school I went through a life crisis. together. Making music across the age I couldn’t decide what it was I really barrier is fantastic! You learn a lot more wanted out of life. But I realised that from the group dynamics when many making music was the only thing I wan- people meet and work together than ted to do. I don’t feel tied to any genre, when there are only two of you. except for the trombone genre. THE AFTERNOON SUN stubbornly con- IN ADDITION to playing his characteris- tinues to shine through the windows, tic instrument, the red trombone, he making us wonder for a moment if sings on his albums and in recent years Spring is already here. The stories of has also worked as a producer. As if this big philanthropist, who can see this is not enough, he even works as and take full advantage of the endless manager for a couple of jazz festivals, possibilities of music, are inspiring to both here at home and in Berlin, which listen to. He manages to keep his focus is the biggest of its kind in Germany. So on solutions all the time, rather than he has to listen to a lot of music from problems. other artists, both known and unk- The quiet of the restaurant is relax- nown, to be able to make selections ing, not even a cell phone can be heard. for an exciting programme. The delicious lunch, with coffee and I ask him if he has any good advice chocolate mousse to finish, enhances for young musicians, who love music the feeling of harmony. But when we did actually meet him once in the mid SIR GEORGE MARTIN is primarily known – I have thought about that, but meals in a school of 250 children in and who are thinking about a musical hear the distant sound of a vacuum 1980s at a lunch restaurant in Stock- as producer of the pop group The Beat- I haven’t decided yet. I would like to Africa’s worst slum Kiberia, located in career. cleaner we realise that the staff might holm together with singer Lill Lind- les during the 1960s. How much do you donate some of the money to a project Kenya’s capital city Nairobi. The project – Practice practice practice, but want to clean under our table too, to fors and her producer. The producer know about them and their music? in Kenya which collects second-hand gives the children food three times per make sure you have as much fun as prepare for the evening’s guests. wondered if we would like to come – The Beatles have been among my musical instruments and gives them to day. The meals give them motivation to possible at the same time. You can’t Once out in the fresh air I realise and sit at their table and talk about favourites since I was seven years old. children who live in slum areas. I would actually go to school and learn. If they lose yourself in it all. Think about what that, surprisingly, I can’t actually feel music, which we did willingly. George I yelled non-stop for the entire three really like to do something for the child- don’t get any food, the risk is that they you want to do. The world is a different any warmth from the shining sun. Win- was a very pleasant and well-mannered minutes they played She Loves You for ren in some of Africa’s worst slums. I will stay at home. And then I know that place after you graduate from what ter is still with us in the little commu- man. He asked me if I wanted to be the first time live on TV. Back then I have already donated money together our house here at home is in need of you expected when you applied to the nity Skillinge of 1000 residents. After successful in my trombone career. I’m didn’t know that there was someone with my group Funk Unit. Since we re- renovation, so some of the money will programme. Remember there is always finishing the photo session it is time to sure I answered yes. He then asked behind them, taking care of everything leased our CD Funk for Life in the spring go to that too. room for one more, you just have to say farewell. But first we ruin Nils’ lovely me if I wanted to make an album with in the recording studio and contribu- of 2010, €1 per sold album goes to the find the place where you can fit in. It walk home by offering him a ride as we trombone and strings. I was young and ting so much musically. I came to un- organisation Doctors without Borders. HIS OWN MUSICAL EDUCATION was is important that you have a goal with are driving in the same direction. cocky then and had other ideas about derstand that later. It can’t have been I feel that I need to do something for carried out at the Ingesund Music Aca- what you are doing. You must also It is a privilege to be able to full- what I wanted to do. So nothing came easy to produce their unique sound. It these children, even if their needs are demy in Arvika. dare to question things, not just the heartedly do that which you are most of it – back then. But ten years ago I must have been all over the place in the endless. – My teacher, Ingemar Roos, was teacher but also yourself, and experi- passionate about. And at the same time was ready to think about his idea. And I beginning. – For the last three years I have also very understanding and let me experi- ment so you can find that tone which is live in this small world, while working made an album with strings. The album I then ask the second almost una- been donating money to an educatio- ment a lot. I learnt to play the classical unique. Music is an unbeatable form of in the big one. | is called Sentimental Journey. voidable question, that is what he plans nal project I started a number of years trombone by day. And then at night, communication. You can really touch to spend the prize money on. ago, where together with others I fund when the teachers had all gone home,
58 malmö academy of music sir george martin 59 instruments of love
Claes Ottelind arrives at our mee- ting with a 20 year old Spanish fla- menco guitar in a black gig bag on his back. Mats Andersson brings a brand new Brazilian guitar with him in a white moulded guitar case. They will now tell us about their instruments, why they choose them and what guitars mean to HIGH TONES. Mats’ new guitar has a raised fingerboard, which makes it easy to play the highest tones. Mats has just picked up them and their music. his new Brazilian guitar, made by the well-known guitar builder Lineu Bravo in Sao Paolo. – I move between different music genres all the time, but it is the guitar which is constant, says Claes Ottelid. – I can thank Brazilian music for nal flamenco technique to tap with the just an unplanned result of the whole – In a way, the guitar is my big love me finding the classical guitar. The fingernails against the top of the guitar. thing. story. Brazilian music tradition is not as wi- I decided to buy a flamenco guitar in He has made a name for himself despread as classical guitar music, but 1989 after I had been at home listening SEVENTH STRING A GOOD MEDIUM in recent years by playing Swedish there is more room for improvisation, to Paco de Lucia and I had realised that Mats Andersson had had his guitar for folk music on a flamenco guitar. He The Brazillian guitar has seven strings, the seventh as with jazz. less than a month when he brought also plays pure flamenco, Argentinian is a bass string which is most often tuned to C or H. – I often think that the guitar is a it along to show us. He went all the Tango, Swedish melodies and classical natural ingredient in so many music ”The guitar is a way to Rio de Janeiro to pick it up. The guitar. He has managed to play the genres. The guitar is a fantastic instru- fantastic instrument guitar comes from the well-renowned guitar for a total of 50 years. And he ment – you can express yourself in guitar builder Linue Bravo in Sao Paolo, does it today with the same passion for so many ways with one and the same – you can express who builds the instruments according music as he has always had. instrument, and to think there are only yourself in so many to the Brazilian tradition. Mats had to – The more time you spend with six strings! ways with one and the wait 18 months for his guitar. The Guitar an instrument, the more inexhaus- Typical for Mats’ Brazilian guitar is tible it gets. I have realised that I will INCREDIBLY LIGHTWEIGHT. Time to same instrument” the seventh string which he tunes in C never have the time to specialise in all check out the guitars! Claes Ottelid or sometimes H. He needs this extra the things which interest me with the takes out his flamenco guitar. It is smal- I couldn’t produce the same sound on bass string because he plays so much – A Love Story guitar. I usually say to my students that ler and slimmer than a regular classical my classical guitar, says Claes. I simply music without bass players. they chose well when they chose music, guitar and is incredibly lightweight. It had to have a flamenco guitar! – A seventh string gives the guitar because music is inexhaustible during By Björn Lundqvist | Photo Leif Johansson was made by the well-known guitar – My flamenco guitar has a thinner a new dimension, especially when ac- a lifetime. builder José Lopez Bellido in Granada sound and quicker, more direct attack. companying and it is a plus when I am Mats Andersson did not choose (not to be confused with his brother A classical guitar can sometimes feel writing arrangements. Which guitar is your personal favourite? We music, it was music that chose him, Manuel Bellido or his son Jesús). Its like a grand piano, like an ocean liner When Mats ordered his guitar, he booked a meeting with Claes Ottelid and Mats he says. Mats plays primarily within body is made from cypress and it has a which needs time to turn a corner. I re- specified which wood should be used the Brazilian musical tradition and also spruce top. Flamenco guitars generally member my own comment when I sat and he also ordered a fingerboard Andersson – both guitar teachers at the Malmö improvised jazz. He has played for al- have a thinner top, which gives them and test-played a guitar in José Lopez which is raised in relation to the top. Academy of Music, experienced freelance musi- most 27 years, 15 of which have been their special sound. It also has tapping Bellido’s workshop: “It feels like it pro- – A raised fingerboard gives me the classical guitar in the Brazilian tradition. plates on the top, called golpeador vokes a more rhythmic sound”. Maybe effect of a cut-away, without actually cians and skilled guitar players. Prior to this it was mostly electric guitar after the Flamenco term golpe which that was what I was looking for. That I having a cut-away that affects the gui- and jazz. means to tap. It is part of the traditio- then began playing flamenco music was tars body and acoustic sound.
60 malmö academy of music instruments of love 61 Kalle Magnusson was born into a musical family in Växjö where his father granada. Claes Ottelid with his Spanish flamenco guitar from Granada. He has played it in Gitarrpolska, a well-received Swedish Sven ran the shop Hagström Musik folk music CD. and his mother Ingrid was a singer. His parents had a band and played a lot at cabarets and other shows. Many The top is made of cedar wood with which means he can use it for everyth- guitar. musicians visited their home and there ribs and the body of Indian Jacaranda. ing he plays. was always a lot of music – both on eve- He has even had a capacitor microp- – It is pretty much the only guitar I PRICES AND FINGERNAILS. Specially ryday occasions and when there were hone installed in the guitar and a piezo use, but it does not have an enormous built guitars cost large sums of money. parties. Kalle’s father was involved in microphone placed under the bridge. bass presence and that nobility that If you look on the internet you will Hagström’s Music School and he wrote classical guitars have. I hope to have notice that prices are seldom included music himself. Even today, at the age AGING TOGETHER Is it not a bit strange that with my next guitar that I am wai- along with other information – “Con- of 90, he works with his music printing to buy such an advanced instrument ting on now. tact us for price information” is often company. from afar without being able to test He has ordered a classical guitar written. Claes thinks that he could get – I started on the electric organ play it beforehand? from the well-known Swedish guitar SEK 35 000 for his guitar if he decided when I was ten and took lessons from – Yes, but I had the chance to test builder Per Hallgren in Gråbo, near to sell it, while a new one would cost I’m the Bass! dad together with my brother Dan, two similar guitars before I ordered it, Gothenburg. That was three years ago. SEK 60 000. Mats paid SEK 40 000 for says Kalle. The foot bass on the electric so I knew more or less what I was orde- He has to wait a further two years be- his Lineu Bravo. By Björn Lundqvist | Photos Leif Johansson organ fascinated me – the low sound ring. The height of the stings is often a fore his guitar will be ready… How do you play such exclusive was interesting. One day I took an difficult subject, but I got it right from The sound of Claes’ flamenco gui- instruments – with fingernails or fing- electric bass from the shop without the beginning. Otherwise I am not af- tar has improved over the years. The ertips? Mattias Hjorth fell for the double bass – a large asking dad first and learnt a song by raid to fiddle around with my guitars. guitar, which is fitted with a spruce top, – If you use your nails you have to instrument which has been known to damage Thorleifs. When dad found me he was Mats knows that it is going to be a matures and keeps it sound for many make sure that they are well manicured, at first angry that I had taken the bass lifelong love between him and his new years. says Claes. I wish I could combine the smoke alarms and is always difficult to get on without permission, but later he was guitar. – Guitars made of cedar wood have two techniques, that I could retract my board a plane. Kalle Magnusson fell early for the impressed that I had learnt the song by – I can play everything on this a good sound already when new, but nails when I felt like it like a cat retracts more convenient electric bass. Both are teachers myself. The next day he signed me up guitar. I have had other seven-stringed are thought of as having a shorter life its claws and play with my fingertips for Hagström’s bass course. I was al- guitars, but they are not even close to than guitars with spruce tops. People sometimes. at the Malmö Academy of Music and the spend lowed to keep the electric bass, a Kent this. Now I have a multifaceted guitar talk about material fatigue in other – I play with my nails and am lucky an incredible amount of time playing their in- which I sadly don’t have anymore. And with a clear sound – an instrument that contexts and it probably applies to to have naturally good nails, but I have that was the start of my life-long rela- I can grow old with. Everything just fell wood as well, as it is a living material. broken a nail now and again, says Mats. struments. Why did they really start playing tionship with the electric bass. into place. It feels so right! The structure in the wood changes and I have worked out how to rebuild bro- bass? And why did Mattias Hjorth fall for the The Magnusson family had their it becomes hard and stiff. One of the ken nails with the help of super glue own family orchestra, called the Ham- BETTER SOUND WITH TIME. Claes’ most beautiful sounding guitars I have and a coffee filter. It works really well! double bass and Kalle Magnusson become a pas- mond Trio, where Sven played a lot instrument is a traditional flamenco ever heard was a Hauser guitar from sionate electric bassist? together with his two sons. Växjö was guitar which also has a lyrical capacity, 1936, it was considered very old for a a hub for dance band music and Kalle
62 malmö academy of music instruments of love 63 – We make our choices. I have found the instrument which I can express myself through. It is a part of my body as a musician. I don’t feel like a musician without it, says Mattias Hjorth.
– But why the bass? I don’t know. I have been asked that question so many times, but what it really boils down to that I simply like the instrument. I have had a lifelong relationship with the electric bass, says Kalle Magnusson.
later played with both Thorleifs and programme specialising in jazz and for the performance programme, jazz and ensemble teacher on the music therefore chooses a medium hard sting – Red Mitchell talked a lot about the Ingmar Nordströms. He learnt fast and improvised music. specialisation. teacher programme, rock specialisation. from German Pirastro, Evah Pirazzi relationship to the instrument, that it was always playing, which had its con- It was at Skurup’s Folk High School Kalle Magnusson is also a teacher at model. is not just a thing. I really listened to sequences on school work. that Mattias changed from electric bass the Academy but his journey took him A part of my body. Mattias does not Other bassists have a high string that and I care for my bass as if it were – I quickly came out into the profes- to double bass. It was the legendary via a two-year programme at Berklee want to see his bass as a thing. height, some up to a centimetre above a living creature, I change the strings, sional world and understood how im- American bassist Red Mitchell who was College of Music, a well-known school – It is a part of my body as a musi- the fingerboard. Isn’t that a hindrance? polish it and look after it. portant it is to get out there and play. I behind the change. for contemporary music in Boston, USA. cian. Without it, I don’t feel like a musi- – It depends on what you consider It is the only one like it in the world. usually say to my students that the best – Red Mitchell visited the program- – It was a turning point. I was extre- cian. I express myself through the bass. ideal. If you have a high string height, Kalle Magnusson loves his electric bass. school is to play at a four-hour dance! me and had heard from the teachers at mely focused, met fantastic musicians, My relationship to music never stops you are maybe not a musician who – It is a beautiful instrument which the school that I might be interested in was offered a job but turned it down getting deeper, and the instrument is plays especially fast. If you improvise sounds fantastic if you know how to Come and try! Mattias Hjorth disco- the double bass. Afterwards he pointed and went home to graduate high school always with me. phrases with quicker movements you play it. It is also an electric instrument, vered the bass in another way – in his to me and said: ”Come and try!” So and then in 1983 I did my military ser- He has had three double basses – choose a lower string height. Danish but for me it is like an acoustic instru- case the double bass. He started with that was how it happened – it just felt vice in the Army’s musical core at the the latest is his best. He found it after a Niels-Henning Ørsted Pedersen had ment which has a sound even when the violin, and then the electric bass at so right! Regiment P10 in Strängnäs. lot of searching with the help of a “bass a relatively low string height, for ex- it isn’t connected to an amplifier. The the local music school in Lidköping. His Still unsure of what he wanted to do Kalle went through a dramatic fixer”. It is a German Saumer from the ample. electric bass is so flexible – you can play first teacher was Herman Bergfried, a with his career, Mattias started studying change of scene when he said no to the 1970s. The ribs, back and neck are Most things can be modified on a all kinds of music on it. Danish restaurant violinist who was a to become a natural science teacher jazz scene in USA and instead played made of maple, and the top is made double bass. It is quite common that Nowadays, Kalle only changes captivating performer with a lot of life after his two years in Skurup, but every marching music and performed for mar- of spruce. bassists have different preferences on strings on it once a year as he used Elixirs experience. After secondary school, free moment was spent hanging at the ches at the Royal Palace in Stockholm. It – Its tone is warm and soft but with how the fingerboard shall be shaped Goretex-treated strings which you only Mattias applied for Skurup’s Folk High Academy’s café with his music friends. was during his time in the military that a clear attack and it has an even sound lengthwise. Mattias usually plays pizzi- need to wipe down now and again. It School on the recommendation of his In the end he realised that music was he was recommended to apply to the over the entire neck. cato and wants to have his fingerboard was another story before – Kalle used childhood friend Fredrik Ljungkvist to be his career and he was accepted Academy. He was accepted at Malmö, Mattias prefers a string height over a little less hollowed than a classical to have to change strings weekly, which who had already started there. Mattias onto the four-year music teacher pro- later completed a teaching degree and the fingerboard which is neither high double bassist who often plays with a cost him “an arm and a leg”. He has 15 was accepted to the two-year music gramme. Today he is course director got a job. Today he is working as a bass nor low but rather in between and he bow. electric guitars which cover an entire
64 malmö academy of music instruments of love 65 Double bass life. What does life look like for a double bassist respective an electric bassist, logistically? Mattias Hjorth has to bend down so he doesn’t rip down smoke alarms with his double bass. It is a bit easier for Kalle Magnus- son with his electric bass.
wall at home. His favourite bass is a five-stringed Ken Smith BT, hand built in New York by an experienced studio musician who has developed his own instrument concept. Kalle had to wait 18 months for his bass, and it is the only one in the world that looks like it. It is built from mahogany, oak and maple – a so-called flamed maple. – Compared to a double bass, my
Ken Smith doesn’t have much string Bass inspiration height, and then there are bassists who want their strings even lower. Jack Pastorius in Weather Report (1951–1987) of course.
Double bass – if I get to choose John Deacon in Queen played the bass fantastically. Despite the physical disadvantages of Paul McCartney played melodically and lyrically, which is both unusual and a double bass – such as its weight and difficult. Can it be bigger than that? Playing bass with the Beatles? size – Mattias won’t budge from his first choice of instrument. Red Mitchell (1927–1992), lived in Sweden for many years. He recorded with, – I have found the instrument which among others, Barney Kessel, Joe Pass and Herb Ellis. I can express myself through. I can’t re- place the double bass with an electric Niels-Henning Ørsted Pedersen (1946–2005) was huge. No one played like bass. I can of course play an electric him.
bass, but if I get to choose, then I will Ray Brown (1926–2002), bassist in the Oscar Petersons trio. always choose the double bass.
And now for some philosophical Miroslav Vitos, so fantastic that no one comes close to him. thoughts from Kalle Magnusson on Marcus Miller, who later produced Miles Davies. what it is that characterises a bassist: – In general, a bassist is a fairly Charlie Mingus (1922–1979), played with the biggest names in Jazz. harmonic person who wants to sup- port other musicians and who maybe Paul Chambers (1935–1969), played with John Coltrane and Miles Davis. has another approach to the music. A Scott LaFaro (1936–1961), Bill Evan’s legendary bassist. bassist has nothing against playing a whole piece with only one tone – if I Charlie Haden, who played a lot with Ornette Coleman. don’t do it then the others fall apart. A good bassist plays simply and clearly James Jamerson (1938–1983), influential Motown bassist. and rolls out the red carpet for the oth- ers. It is our role to be the motor in the Will Lee, CBS Orchestra together with Paul Shaffer. band which steers it to wherever we are Rutger Gunnarsson, ABBA’s bassist and Lars Danielsson, play a lot with Nisse heading. | Landgren, Viktoria Tolstoy etc.
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