Spaces and Places

Peter Bruun, Jexper Holmen, Torben Snekkestad, Morten Olsen, Thomas Agerfeldt OlEsen

Eva Østergaard – flute Spaces and places

Eva Østergaard, flutes and vocal Peter Bruun, vocal Peter Langberg, bells

Spaces and Places 4 PETER BRUUN Den bedste nytårsvise (The Best New Year’s Song) (2011) ��6:03 Peter Bruun, Jexper Holmen, Torben Snekkestad, for picccolo flute, C flute, alto flute, bass flute and vocals Morten Olsen, Thomas Agerfeldt OlEsen 5 TORBEN SNEKKESTAD (b. 1973) Eva Østergaard – flutes and vocal Francis Sketched (2009) �� 10:16 Peter Bruun – vocal for alto flute Peter Langberg – bells 6 PETER BRUUN Alt, hvad sjælen nynner på (All that My Soul Will Hum) (2011) ��4:58 for piccolo flute, C flute, bells, bass flute, alto flute and vocals

1 PETER BRUUN (b. 1968) Mit smykke, min rose, min ære (My Jewel, My Rose, My Honour) (2007) �� 6:08 7 MORTEN OLSEN (b. 1961) for bells, piccolo flute, C flute, alto flute, bass flute and vocals The Dark Room (2011) �� 11:56 Remix

2 JEXPER HOLMEN (1971) Mrs. Schmidt (2005/2010) �� 5:06 8 THOMAS AGERFELDT OLESEN (b. 1969) for 9 bass flutes Stralsund (2006) �� 14:41 for piccolo flute, C flute, alto flute and bass flute

3 JEXPER HOLMEN Deimos (2010) �� 2:10 Total: 61:17 for 9 bass flutes

Dacapo is supported by the Danish Arts Council Committee for Music Sensing space by Frode Andersen For some years the composer PETER BRUUN lived in the neighbouring city of Ribe and visited Løgumkloster many times. “There is a quite special atmosphere around the old abbey church in Løgumkloster. History is alive and present, and it’s as if you can feel the Few of us are aware how much we use our ears to orient ourselves in everyday life. life that was once there: the beautiful, impressive building speaks! The surroundings Through sounds, our brain quickly forms an impression of the space or place in which too have spiritual vibrations. I’m quite sure that since the dawn of time the sacred sites we are moving, indoors as well as outside. We ‘know’ that sounds are reflected quite have been established at places where nature and the landscape already exude fertility, otherwise in places surrounded by stone – brick churches or city spaces in concrete – than grandeur and gentleness,” he says. On one occasion when he visited Løgumkloster in buildings of wood, and the width, height and architectural shape too are significant. he heard the large carillon in the tower playing one of the old Danish hymns – “The We can also tell where in the space the source of a sound is, and whether it is moving; and loveliest rose has been found”. The space of the landscape and the space of the church if it is, how quickly it is moving – an invaluable faculty to have in traffic for example. This in Løgumkloster, the sound of the bells and the hymns, were the inspiration for three capacity to sense a space with our hearing is the starting point for the present CD. pieces for song, bells and the many flutes. Løgumkloster Church in South Jutland is one of the most important church build My Jewel, My Rose, My Honour is a set of variations on “The loveliest rose”, which ings from the Middle Ages in Denmark, and was built as part of a large abbey complex almost seems to start in the landscape around Løgumkloster, hear the bells and the for the Cistercian Order. This church has particularly strong acoustics, with high melody and then move into the church. The Best New Year’s Song too is a set of variations vaulting, aisles and small spaces. EVA ØSTERGAARD has played many concerts there, on a hymn – “God’s goodness we shall praise now”, while All that My Soul Will Hum is and after one of them she had the idea of animating the space – making it into a living a composition based on the well known melody “Jesu deine tiefe Wunden”. At the end player in the experience of the music. She therefore asked a number of Danish compo one moves humming out into the landscape again, where the airy sound of the flute sers to compose music with this in mind – or should one rather say in the ear? – for this mixes with the wind and the song of the birds. particular CD. The wish to vitalize the space has meant that a range of unorthodox methods have JEXPER HOLMEN’S Mrs. Schmidt is pretty much a song, apart from the fact that it is not been used to record this CD. Normally one would have found one place in the church performed by a singing voice, but by nine bass flutes placed at various points in relation to interior where everything was recorded. But here constant variations were made in the the microphone. The nine voices fuse together into one sound, which however constantly distance from and positioning of the microphone and instrument, both in the main changes character in shades of light and darkness. Mrs Schmidt is not a specific person church interior and in the small passages and adjacent rooms – as well as outdoors. but a representative of all of us, just as one might say Mrs. Smith in English. At the same time Eva Østergaard’s many flutes were recorded ‘layer on layer’, often In Deimos Jexper Holmen takes us out into a different space – outer space. Deimos is the with different placings in the space. We can thus hear some flutes sounding far off, name of the Greek god of terror, but also of a very small moon in orbit around the planet some close up, some in a compact, closed space, others high up in the vaults. This gives Mars. It moves around Mars almost at the same speed as the planet’s own rotation, so our ears an impression of a space – a space both physical and mental that is constantly viewed from the surface of Mars the moon would almost seem to stand still. And the music changing and becoming a part of the music. in Deimos is almost static too; it moves around and around in the same circular motion again and again – like a small moon in orbit around a planet. 4 5 From outer to inner space: Francis Sketched is inspired by Francis Bacon’s famous painting At sanse et rum af Frode Andersen Triptych. It is based on a long, whispering series of notes that slowly and patiently change. “I like to imagine that it is like taking these notes along on a walk,” says TORBEN SNEKKE STAD. Abstract Expressionism, Surrealist textures and restless reflections make up this De færreste af os er bevidste om, hvor meget vi bruger vore øren til at orientere os i dag piece, as if it were a “painting for the ear”. ligdagen. Gennem lyde danner vores hjerne sig hurtig et indtryk af det rum eller sted, vi bevæger os i, inde som ude. Vi “ved” at lyde reflekteres helt anderledes i omgivelser The producer of this CD, MORTEN OLSEN, is also a composer, and his The Dark Room is a omgivet af sten – som i kirker af mursten eller byrum i beton – end i bygninger af træ, remix of selected elements recorded for this CD. In fact this is more of a recomposition, or og rummets bredde, højde og arkitektoniske udformning har ligeledes også betydning. perhaps rather a kind of sound-collage, of pieces and fragments from the CD’s other works. Vi kan også afgøre hvor i rummet en lydkilde er, og om den bevæger sig, og hvis den Here one can let one’s ears go ‘re-exploring’ among the sounds and tones of the CD, and gør – hvor hurtigt den bevæger sig. En uvurderlig egenskab at have med sig i fx trafik experience how they are radically changed in sound and tone by being relocated in a differ ken. Denne egenskab – at sanse et rum gennem vores hørelse – er udgangspunktet for ent context and – as the title suggests – given a more sombre character. denne CD. Løgumkloster kirke i Sønderjylland, en af de betydeligste kirkebygninger fra middel Not far from Løgumkloster, twice a year, a strange natural phenomenon takes place, known alderen i Danmark, er bygget som del af et stort klosteranlæg for Cisterciensesordenen. by the name of ‘Black Sun’. In the marshland around Ribe huge numbers of starlings congre Denne kirke har en særlig levende akustik, med høj hvælving, gange og små rum. EVA gate, flying in great flocks across the sky – literally turning the sky black. And birds are in fact ØSTERGAARD har spillet en lang række koncerter her og fik efter en af disse koncerter the key concept in THOMAS AGERFELDT OLESEN’S Stralsund. “In Stralsund I yielded to cer idéen at levendegøre rummet – at lade det blive en konkret medspiller i oplevelsen af tain preconceptions about the flute,” says Agerfeldt Olesen. “It’s a bird fluttering around. Nor musikken. Hun bad derfor en række danske komponister komponere musik med netop mally I would avoid that sort of thing, but I thought that in among the preconceptions there dette for øje – eller burde man heller sige øre – og netop for denne CD. was a lot of valuable flotsam and jetsam that deserved to be looked at. Especially if you looked Ønsket om at levendegøre rummet har betydet, at der er blevet brugt en række at it through the microscope. The introduction looks at the flight of the birds close up, so you uortodokse metoder for at indspille denne CD. Normalt ville man have fundet ét sted can’t see the flock of birds from a charming “National Geographic” perspective, only very close i kirkerummet hvor det hele bliver indspillet. Men her er der konstant blevet varieret i up as if you were a bird yourself. The flock spreads out as if in panic and each bird ends up on afstanden og placeringen af henholdsvis mikrofonen og instrumentet både i kirkerum its own. In a spatial loneliness from which each bird hears the other birds spread to the four met og i de små gange og tilstødende rum – og også udendørs. winds, in their own corners of a dizzyingly large landscape. I tried to get inside that loneliness Samtidig er Eva Østergaards mange fløjter blevet indspillet “lag på lag”, lagt ovenpå and feel it as a human being, and then I gave in to the urge to unite the bird flock again in the hinanden, ofte med forskellige placeringer i rummet. Således kan man opleve at nogle end. Stralsund is a town in Mecklenburg-Vorpommern which may be the mighty landscape in fløjter lyder langt væk fra, nogle tæt på, nogle i et tæt, lukket rum, andre højt oppe under which the scenario is played out. Perhaps the birds fly over the town at some point.” hvælvingen. Derigennem skabes en oplevelse af et rum for vore ører – et både fysisk og Frode Andersen trained as an accordionist. Alongside his work as a musician he has been mentalt rum, der konstant ændrer sig, og bliver en del af musikken. active as an entrepreneur, administrator, writer and organizer on the Danish music scene.

6 7 Komponisten PETER BRUUN boede en årrække i nabobyen Ribe og besøgte Løgum Fra det ydre rum til det indre; Francis Sketched er inspireret af Francis Bacons berømte kloster mange gange. “Der er en ganske særlig stemning omkring den gamle klosterkirke maleri “Triptych”. Det er baseret på en lang, hviskende tonerække, der langsomt og i Løgumkloster. Historien er levende og nærværende, og det er, som om man kan mærke tålmodigt ændrer sig “Jeg kan lide at forestille mig at det er som at tage disse toner med det liv, der engang har været: Den smukke, imponerende bygning taler! Ånden vibrerer på en vandring”, siger TORBEN SNEKKESTAD. Abstrakt ekspressionisme, surrealistiske også i omgivelserne. Jeg er ganske sikker på, at man fra tidernes morgen har etableret de teksturer og rastløse refleksioner udgør dette stykke, som var det et “maleri for øret”. hellige pladser på steder, hvor naturen og landskabet i forvejen udstråler frugtbarhed, storhed og mildhed”, siger han. En af de gange han besøgte Løgumkloster, hørte han det Denne CD’s producent, MORTEN OLSEN, er også komponist, og hans The Dark Room store klokkespil i tårnet spille en af de gamle danske salmetoner – “Den yndigste rose er et remix af udvalgte dele indspillet til denne CD. Egentlig er der mere tale om en er funden”. Landskabets rum og kirkens rum i Løgumkloster, og lyden af klokkerne og genkomposition af, eller måske nærmere en slags lyd-collage af stumper og stykker fra salmerne, blev inspirationen til tre stykker for sang, klokker og de mange fløjter. CD ens andre værker. Her kan man lade sine øren gå på “genopdagelse” i CD’ens lyde Mit smykke, min rose, min ære er en række variationer over ”Den yndigste rose er fun og klange, og opleve hvordan de radikalt ændres i klang og tone af at blive sat ind i en den”, der nærmest synes at starte i landskabet omkring Løgumkloster, hører klokkerne anden sammenhæng og – som titlen antyder – til en mere dyster karakter. og melodien og bevæger sig ind i kirkens rum. Også Den bedste nytårsvise er en række Ikke langt fra Løgumkloster opstår der to gange om året et forunderligt naturfænomen variationer over en salme – “Guds godhed vil vi prise”, mens Alt, hvad sjælen nynner på er kendt under navnet “sort sol”. I marsken omkring Ribe samles enorme mængder stære, en komposition bygget over melodien ”Jesus dine dybe vunder”. I slutningen bevæger der flyver i store flokke over himlen og – bogstavelig talt – gør himlen sort. Og netop fugle man sig igen nynnende ud i landskabet hvor den luftige lyd af fløjten blander sig med er nøgleordet i THOMAS AGERFELDT OLESENS Stralsund. “I Stralsund gav jeg efter for vinden og fuglenes sang. nogle fordomme om fløjten”, siger Agerfeldt Olesen. “Den er en fugl, der flyver vimst omkring. Normalt ville jeg undgå den slags, men jeg syntes, at der inde i fordommene lå JEXPER HOLMENS Mrs. Schmidt er nærmest en sang, rent bortset fra den ikke bliver en masse værdifuldt vraggods, som kunne fortjene at blive kigget på. Især hvis man virke udført af en sangstemme, men ni basfløjter, der er placeret forskellige steder i forhold lig satte mikroskopet til. Indledningen kigger på fugleflyvning helt tæt på, så man ikke til mikrofonen. De ni stemmer smelter dog sammen til én lyd, der dog konstant skifter ser fugleflokken fra et yndigt ”National Geographic”-perspektiv, men helt tæt på, som var karakter og nuancer af lys og mørke. Mrs Schmidt er ingen bestemt person, men en man selv en fugl. Fugleflokken spredes panikagtigt og hver fugl havner i ensomheden. En repræsentant for os alle, ligesom når man på dansk bruger udtrykket “fru Jensen”. rumlig ensomhed, hvorfra hver fugl hører de andre fugle, spredt for alle vinde, fra hver I Deimos tager Jexper Holmen dog os med ud i et andet rum – det ydre rum. Deimos deres hjørne af et svimlende stort landskab. Jeg forsøgte at gå ind i den ensomhed og føle er navnet på grækernes gud for rædsel, men har også givet navn til en ganske lille måne, den som menneske, og gav så efter for trangen til at forene fugleflokken igen til sidst. der er i kredsløb om planeten Mars. Den bevæger sig rundt om Mars næsten med Stralsund er en by i Mecklenburg-Vorpommern, der måske kunne være det mægtige samme hastighed som planetens egen rotation, så set fra Mars’ overflade synes månen landskab, scenariet udspiller sig i. Måske flyver fuglene over byen på et tidspunkt.” næsten at stå stille. Således er musikken i Deimos næsten også statisk; den bevæger sig rundt og rundt i samme cirkelbevægelse igen og igen – som en lille måne i kredsløb om Frode Andersen er uddannet accordeonist og har sideløbende med sit virke som musiker været en planet. engageret som igangsætter, administrator, skribent og organisator på den danske musikscene. 8 9 Mit smykke, min rose, min ære My Jewel, My Rose, My Honour Den bedste nytårsvise The Best New Year’s Song fra salmen Den yndigste Rose er funden from Den yndigste rose er funden fra salmen Guds godhed vil vi prise from Guds godhed vil vi prise H.A. Brorson (1694-1764) H.A. Brorson (1694-1764) N.F.S. Grundtvig (1783-1872) N.F.S. Grundtvig (1783-1872)

Da lod Gud en rose opskyde God then let a rose grow tall, Guds godhed vil vi prise, God’s goodness we shall praise now, og sæden omsider frembryde, Allowed at last the seed to sprout, de store med de små; Mighty or poor, grown-ups and small ones; at rense og ganske forsøde That purified and sweetened be den bedste nytårsvise, The best New Year’s song vor slægts den fordærvede grøde. The tainted crop that is we, mankind. som vi kan finde på, That we can put together er tak af hjertens grund Is a Thank you from the bottom of our hearts Al verden nu burde sig fryde, All world should be rejoicing now for gave god fuldmangen For countless precious gifts received, med salmer mangfoldig udbryde, And chant in manifold hymns at once, til os i år forgangen In the year that is now behind us, men mangen har aldrig fornummen, But many a one ne’er opened his heart af Gud så rig og rund. From God, so generous with his riches. at rosen i verden er kommen. To the rose that entered the world. Fik føde vi og klæde, Were we fed, and were we clad, Ak, søger de ydmyge steder, O seek out the humble places, gik frit vi ind og ud, Could freely we come and go, i støvet for Frelseren græder, Go weep in the dust before the Saviour, har vi haft hjertens glæde, Did true joy fill our hearts, så får I vor Jesus i tale, If the ear of our Jesus you would gain: det alt er fra vor Gud; All that comes from God; thi roserne vokser i dale. The roses grow in the valley. og satte han med fred And did he not in the peaceful setting i kirke og i skole Of church and school in his grace Min Jesus! du stedse skal være My Jesus! Forever you shall be ej nådig til os stole Have chairs pulled out for us to sit mit smykke, min rose, min ære, My jewel, my rose, my honour, midt i sin kristenhed? In the midst of his Christendom? de giftige lyster du døder The poison of desire you deaden, og korset så liflig forsøder. And sweeter now is the cross. Vi føle må med smerte, Painfully we are aware det alt er ufortjent, That none of this we merit, Melodi: Wittenberg / Joseph Klug (1542) Melody: Wittenberg / Joseph Klug (1542) men Gud har faderhjerte But God has a father’s heart til synder hver omvendt; For the repentant sinner; tror vi kun på hans Søn, If only in His son we trust, tilgiver han os brøden, Our offences he will pardon formindsker daglig nøden, And daily lessen our burden, forøger troens løn. Increasing the rewards of faith. 10 11 Vor Fader i det høje, Our Father on high, Eva Østergaard, (b. 1966) trained as a flautist at the Royal Academy of Music in Aarhus, som var i år så mild! So clement to us all, this year! making her debut from the Soloist Class in 1994. The same year she was engaged as solo Vi nåde for dit øje Your eye looked down upon us flautist in the Royal Danish Orchestra. Early in her studies she began to take an interest har fundet hidindtil; With mercy up till now; in music by contemporary composers, and already then she co-founded the ensemble i Jesu Kristi navn In the name of Jesus Christ Tukutukahh …, which consisted of the ‘primal instruments’, percussion and flute. Eva was vi beder dig så såre: We beg of you sincerely: also a member of Århus Sinfonietta and later Athelas Sinfonietta Copenhagen. In these Vær dobbelt mild ad åre! O doubly clement be henceforth! ensembles, in orchestras, and as a soloist, she has given first performances to a number of Råd bod på alle savn! Make good our every want!! works by Danish and foreign composers. Since 2010 Eva has been a chamber musician and soloist on a freelance basis, with many concerts in Denmark, the Continent, China and the Melodi: Joachim Magdeburg (1571) Melody: Joachim Magdeburg (1571) USA. At the same time she is a very committed instrumental and chamber music instructor. Alt, hvad sjælen nynner på All that My Soul Will Hum fra salmen Hører til, I høje Himle from Hører til, I høje himle, Eva Østergaard, (f. 1966) er uddannet fløjtenist fra Det Jyske Musikkonservatorium, med Thomas Kingo (1634-1703) Thomas Kingo (1634-1703) debut fra Solistklassen i 1994. Samme år blev hun ansat som solofløjtenist i Det konge lige Kapel. Tidligt i studietiden begyndte hun at interessere sig for musik af nutidens Stem da op mit svage hjerte, Now lift and tune my feeble heart, komponister, og var allerede her med til at skabe ensemblet Tukutukahh …, som bestod stem min tunge, sjæl og ånd, Tune my tongue, my soul, my spirit, af “urinstrumenterne” slagtøj og fløjte. Eva var også medlem af Århus Sinfonietta og se at jeg synger om din smerte, That I may sing but of your pain, nere Athelas Sinfonietta Copenhagen. I disse ensembler, og orkestre og også som solist stem mig med din egen hånd, Tune me with your own hand, har hun uropført en lang række værker af danske og udenlandske komponister. Siden at din død den blive må That indeed your death may be 2010 har Eva været kammermusiker og solist på freelancebasis, med talrige koncerter i alt, hvad sjælen nynner på, All that my soul will hum to itself, Danmark, i Europa, Kina og USA. Samtidig er hun en meget engageret instrumental- og så jeg drive kan og dræbe So that I may chase and kill kammermusikinstruktør. døden med din død på læbe! Death with your death upon my lips!! Melodi: Jesus, dine dybe vunder Melody: Jesus, dine dybe vunder (Genève 1551) (Genève 1551)

12 13 d Recorded in Løgumkloster Kirke and Løgumkloster Refugium 2007-2011 Recording producers: Morten Olsen [1] [3]-[7] and Jens Hørsving [2] [8] Mastering: Morten Olsen Executive producer: Frode Andersen & © 2012 Dacapo Records, Copenhagen Liner notes: Frode Andersen English translation: James Manley Translation of hymn texts: Svend Ravnkilde Proofreader: Svend Ravnkilde Photo p. 14: © Karen Relster Artwork: Denise Burt, www.elevator-design.dk Publisher (Agerfeldt Olesen): Edition Wilhelm Hansen AS, www.ewh.dk Dacapo Records acknowledge, with gratitude, the financial support of KODA’s Collective Blank Tape Remuneration and The Danish Composers’ Society/KODA’s Fund for Social and Cultural Purposes. We wish to thank organist Poul Skjølstrup Larsen for his time and help given on this production.

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Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world Eva Østergaard premieres, and we are dedicated to producing music of the highest international standards. 14