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3 2 1 (vid midnatt har jag fallit klart)

Wed, 23 Sep 2015 01:02:56 +0200

’3 2 1 (vid midnatt har jag fallit klart)' is written for the ensemble Copenhagen Piano Quartet in 2018. The musicians also play electronics on small radio machines.

The piece was performed on the 19th of September 2018 at Roskilde Chamber Music festival’s 50th jubilee in Roskilde, Denmark by Copenhagen Piano Quartet.

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Material to download:

Score

Recording (from concert in September -19; CPQ)

4 Soundfiles

Achenar

Sat, 11 Jan 2014 22:42:53 +0100

’Achenar' is a chamber piece written for the Swedish ensemble Faint Noise in 2013.

The name of the piece, ’Achenar', relates to the constellation called Eridanus. The brightest star there is Achenar. It is blue and flat, caused by its high rotation speed.

Why this name? It started when the theme for the commissioned piece was: Swedish summer. I began to think about summer and memories from my childhood came back. We were always listening to cassette tapes with stories from the Greek mythology. One of them were about Phaeton, the son of the sun god Helios. Faethon almost destroyed earth and Zeus killed him to save all the humans. His body fell down into the river Eridanus.

Another inspiration in this piece was an old abandoned fruit garden next to my house. I used to go around alone and touch the trees, rocks, flowers and leaves.

The piece exists in two versions:

- Bass recorder, violin & object player (trio) - Bass flute, violin & 2 object players (quartet)

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Material to download:

Trio version:

Score

Recording (from concert in May -13; Faint Noise)

7 Soundfiles

Quartet version:

Score Recording (from concert in February -17; Tøyen Fil og Klafferi) Soundfiles

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Live performance with the ensemble Faint Noise playing 26/9 2015 in Copenhagen, Denmark, during the festival Nordic Music Days. The original version for recorder.

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Live performance with the ensemble Faint Noise playing 18/3 2018 in Stockholm, Sweden, during the festival Musikvår. The original version for recorder.

A future sheep of mine

Sat, 11 Jan 2014 22:28:11 +0100

'A future sheep of mine' is a piece composed by Ylva Lund Bergner & Nicolai Worsaae in 2016. It was written in a relatively free form with graphic score in 2016 for the Danish electronic festival Sonic (Echea).

The instrumentation for the two musicians:

Musician 1: Micro modular, Swarmandal, Stylophone Beatbox, Soprano recorder mouthpiece, Tube with balloon over top & Rubber band box

Musician 2: Violin, Trumpet, Metal tray with cat litter, 3 Wine Glasses, Styrofoam, Candelabra with magnifying glass & Velcro

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Material to download:

Soundfile (contact the composer to get the file)

Ajar

Sat, 11 Jan 2014 00:19:19 +0100

’Ajar' is a piece for viola d’amore, written for the Italian violinist Marco Fusi in 2015.

The title ”Ajar" refers to my inspiration, which is a calm place surrounded by wild environment, which you enter or exit with hesitation. This calm place gives the musician space to explore and be relaxed. In my vision a person comes from a dark forest and ends up in a glade where the light reaches the ground. The person can breath more freely and becomes instantly brave. The contrast is remarkable. When he glances back at the forest and realises that he has to go back at some point, he gets frightened and his mind starts to wander. The opening with its light which first seemed like a peaceful spot, ended up being a trap. The dark forest wasn’t frightening while he was in it; but now, when he is looking out from the light opening into the mass of high dark trees, the darkness seems impervious. He starts to gather up the courage to leave.

Another inspiration I used in the piece is folk music from Sweden & India. In traditional folk music they play in a different way on their instruments compared to musicians in classical music. I chose some elements from that style & inserted them into my music, e.g.: walking around while playing, taking down the instrument & play on it in another way, making eye contact with the audience & using the voice to make sounds and speak. The musician can choose if he/she wants to speak or just think of the text written in the score.

I am using a part of a poem by the Italian poet Francesco Petrarca. The reason for that is that the tuning of the strings used in the piece is the tone material from a piece called ”Cantai, ora piango” written for the Swedish ensemble Mimitabu. That piece was inspired by the same poem and now they are both connected through that. But they are not similar in any other way. The poem is written in the score both for inspiration for the musician but can also be read for the audience while playing. Only the Italian text should be spoken so if the musician doesn't feel comfortable in speaking that language, the text is for inspiration only.

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Material to download:

Score

Recording (buy online)

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CANTAI; OR PIANGO

Cantai, or piango, et non men di dolcezza

del pianger prendo che del canto presi,

ch'a la cagion, non a l'effetto, intesi

son i miei sensi vaghi pur d'altezza.

Indi et mansüetudine et durezza

et atti feri, et humili et cortesi,

porto egualmente, né me gravan pesi,

mia fortuna,

ch'i' non penso esser mai se non felice.

Viva o mora o languisca, un piú gentile

stato del mio non è sotto la luna,

sí dolce è del mio amaro la radice.

Poem by Francesco Petrarca

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I SANG; AND NOW I WEEP

I sang, and now I weep, and I take no less

delight in weeping than I took in singing,

for the cause and not the effect, is in

my senses, longing for my noble one.

So I bear mildness and severity,

cruel or humble or courteous actions,

equally, no weight burdens me,

let my fortune treat me as always,

and I will never think myself unhappy.

Alive, or dead, or languishing, there’s no

state better than mine beneath the moon,

so sweet is the root of my bitterness.

Translation (partly) by Anthony S. Kline

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JAG SJÖNG; NU GRÅTER JAG

Jag sjöng; nu gråter jag, och ej är fröjden

av tårar mindre än den sången gav:

jag ser blott fröet, märker inte av

dess frukt – har varje sinne vänt mot höjden.

Med samma jämnmod står jag därför ut

med hårdhet, ynnest, grymhet, milda ord

och ingen tyngd kan pressa mig mot jord;

min lycka varar

och skall ej förvittra.

Och jag må längta, leva, dö – ett mera

avundsvärt tillstånd finns ej under månen

än mitt: så ljuv är roten till det bittra!

Translation by Ingvar Björkeson

aq-V-le

Fri, 10 Jan 2014 14:38:44 +0100

'aq-V-le' is a chamber piece written for the Swedish ensemble Gageego in 2012. It has been written in 4 versions:

- Clarinet, percussion, objects, accordion, violin & cello

- Clarinet, trombone, percussion, objects, violin & cello

- Bass flute, clarinet, percussion, objects, violin & cello

- Bass flute, clarinet, piano, objects, violin & cello

The name of the piece, 'aq-V-le', relates to the flower aquilegia. In Sweden there are songs about this flower and also some myths that creates a mystery and a beautiful sphere to be inspired of.

'aq-V-le' is a part of my flower serie ”Flora". Other pieces in that serie are Euphorbia, LoveendL, Sigh, R. Tilia! & Myosotis.

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Material to download:

Clarinet, percussion, objects, accordion, violin & cello:

Score

Recording (from concert in April -12; Mimitabu)

Soundfile

Clarinet, trombone, percussion, objects, violin & cello:

Score

Recording (from concert in May -12; Gageego)

Soundfile

Bass flute, clarinet, percussion, objects, violin & cello:

Score

Recording (from concert in February -14; Curious Chamber Players)

Soundfile

Bass flute, clarinet, piano, objects, violin & cello:

Score

Recording

Soundfile

Batla

Thu, 09 Jan 2014 14:39:05 +0100

’Batla' is an electronic piece (2.0) composed in 2004. I found a melody, almost like a creature singing inside of some soundfiles. I used that as the material in the piece. It became a tale. My little singing creature and scary growling unknown monsters trying to kill my darling. The title of the piece came from the shape of the sound file. It looked like a bat and I just changed the word ‘bat’ a little bit.

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Material to download:

Soundfile (contact the composer to get the file)

B-so-R

Wed, 08 Jan 2014 14:18:46 +0100

'B-so-R' is a piece written for the percussionist Benjamin Fox in 2016. The instruments & objects used are spring steels, rubber band box, tubes, wheels, tomtom, styrofoam, feng gong, cymbals, saucepan lids & lamp shades. Other materials as water & metal are used. Electronic sound files are played through vibration speaker.

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This piece is published on Edition-S. For more information about the piece or other, send an e-mail to info@edition-s.dk. For only information about hiring material, send an e-mail to s ales@edition-s.dk.

>> Direct link to the piece on the publisher’s site

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Material to download:

Score (contact the publisher Edition-S)

Recording (only short version of the piece; no electronics used)

5 Soundfiles (contact the publisher Edition-S)

Live recording of a short version of the piece:

Ylva Lund Bergner: B-so-R by Edition·S – music¬sound¬art - issuu

Cantai, ora piango

Wed, 08 Jan 2014 14:18:27 +0100

’Cantai, ora piango’ is a piece for clarinet, cello, percussion, indian harmonium and chord zither. It is written for the ensemble Mimitabu to be played at Spor-festival 2014.

The title is Italian and means ’I sang, now I am crying’. It is a line from a famous poem by the renaissance poet Francesco Petrarca.

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Material to download:

Score

Recording (from concert in May -14; Mimitabu)

Soundfiles

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Live performance with the Swedish ensemble Mimitabu playing on the 8/5 2014 in Aarhus, Denmark, during the festival Spor. Bad video quality since it is recorded with an iPod but the audio is professonially recorded.

Cerulean Minim

Tue, 07 Jan 2014 14:40:43 +0100

'Cerulean Minim' for accordion and electronics is written in 2005 and can be played in either stereo or surround (5.1).

In 'Cerulean Minim', I put up two contrary poles. In the beginning, the accordionist is inside of a gigantic accordion trying to get out; trying to be an individual. In the middle, a chance to escape occurs, but it turns out, the accordionist wasn’t that much of an individual after all. The acceptance of letting go of total freedom creates a piece that builds up to something really beautiful. The gigantic accordion plays together with the accordionist.

'Cerulean Minim' is a part of my collection ”Equinox". Other pieces in that serie are Med en rest av kyla, Palabras, Merle, External cabinet, Leif & Phosphene.

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Material to download:

Score

Recording (from concert in April -12; Rasmus Schjærff Kjøller)

Soundfile (2.1)

Soundfile (5.1)

Conge au vent

Mon, 06 Jan 2014 14:41:14 +0100

’Congé au vent’ is a piece for male choir, 16 voices. 4 of the singers are also soloists in the middle part of the piece (T1, T2, B1, B2). The poem is written by the French poet René Char.

’Congé au vent' is written and performed by the Swedish Radio choir in 2002.

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Material to download:

Score

Recording (contact the composer to get the file)

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CONGÈ AU VENT

A flancs de coteau du village

bivouaquent des champs

fournis de mimosas. A l’epoque

de la cueillette, il arrive que,

loin de leur endroit, on fasse la

rencontre extrêmement odorante

d’une fille dont les bras se sont

occupés durant la journée aux

fragiles branches. Pareille à une

lampe dont l’auréole de clarté

serait de parfum, elle s’en va, le

dos tourné de lui adresser la parole.

L’espadrille foulant l’herbe, cédez-

lui le pas du chemin. Peut-être

aurez-vous la chance de distinguer

sur ses lèvres la chimère de

l’humidité de la Nuit?

Poem by René Char from ‘Fureur et Mystère’

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AVSKED TILL VINDEN

Fält översållade med mimosa slår

läger på sidorna av byns kullar.

Vid blomningstiden händer det

att man långt från växtplatsen

står inför det oändligt doftande

mötet med en flicka vars armar

under dagen arbetat med de

sköra kvistarna. Som en lampa

med en ljusring av vällukt

avlägsnar hon sig, med ryggen

mot solnedgången.

Att tilltala henne vore helgerån.

Medan dina espadrillos trampar

ned gräset - Låt henne passera på

stigen. Kanske du får lyckan att

skönja drömbilden av Nattens

fukt på hennes läppar?

Translation to Swedish by Lars Bergquist

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FAREWELL TO THE WIND

Fields strewn with mimosas,

put up camps on the sides of the

village's hills. At flowering time,

it happens that you, far from the

plant site, faces the infinitely

fragrant encounter with a girl

whose arms during the day

worked with the brittle twigs. As

a lamp with a bright ring of

fragrance, she walks away, with

her back towards the sunset.

Appealing to her would be

sacrilege. While your espadrilles

trample down the grass. – Let her

pass you on the trail. Maybe you

are lucky enough to discern the

nightly moisture on her lips?

Translation to English by Ylva Lund Bergner

Conqueror worm

Sun, 05 Jan 2014 14:41:17 +0100

’Conqueror worm’ is a piece for mezzo soprano soloist & 10 singers (3 sopranos, 3 altos, 2 tenors, 2 bass) written in 2012. The choir is the body and humanized part of the soloist who is sinking more & more into darkness. The choir is an echo and delay of her voice and thoughts. In the story ’Ligeia' by Edgar Allan Poe, she is dead but comes back with a message and for revenge; dark and powerful. The piece is also written in a version of the two last verses for soloist & chamber ensemble.

'Conqueror worm' is a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Mezzo soprano & Choir:

Score (Verse 1-5)

Recording (Verse 1-3) (from concert in April -12; Helene Lang & freelance singers)

Mezzo soprano & Ensemble:

Score (Verse 4-5)

Recording (Verse 4-5) (from concert in April -13; Helene Hvass & Lydenskab)

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CONQUEROR WORM

Lo! ’t is a gala night

Within the lonesome latter years!

An angel throng, bewinged, bedight

In veils, and drowned in tears,

Sit in a theatre, to see

A play of hopes and fears,

While the orchestra breathes fitfully

The music of the spheres.

Mimes, in the form of God on high,

Mutter and mumble low,

And hither and thither fly–

Mere puppets they, who come and go

At bidding of vast formless things

That shift the scenery to and fro,

Flapping from out their Condor wings

Invisible Wo!

That motley drama, –oh, be sure

It shall not be forgot!

With its Phantom chased for evermore

By a crowd that seize it not,

Through a circle that ever returneth in

To the self-same spot,

And much of Madness, and more of Sin,

And Horror the soul of the plot.

But see, amid the mimic rout,

A crawling shape intrude!

A bloodred thing that writhes from out

The scenic solitude!

It writhes! –it writhes!– with mortal pangs

The mimes become its food,

And seraphs sob at vermin fangs

In human gore imbued.

Out, out,–are the lights– out all!

And, over each quivering form,

The curtain, a funeral pall,

Comes down with the rush of a storm,

While the angels, all pallid and wan,

Uprising, unveiling, affirm

That the play is the tragedy, “Man,”

And its hero, the Conqueror Worm.

Poem by Edgar Allan Poe from the novel ‘Ligeia’

Den glimt jag sag

Sat, 04 Jan 2014 14:41:18 +0100

’Den glimt jag såg (The glimpse I saw)’ is a piece for bass singer, flute, percussion & piano and written in 2012. There is also a version for soprano instead of a bass singer. The piece is written with text by the Swedish poet Göran Sonnevi.

‘Den glimt jag såg’ is a song from the song collection "Eleven arias" with text by several nordic poets. It is also a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Bass singer, flute, percussion & piano:

Score

Soprano, flute, percussion & piano:

Score

Recording (a version in English) (from concert in April -13; Helene Hvass & Lydenskab)

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DEN GLIMT JAG SÅG

Jag ber om detta // Att mina ögon ska se

hela det flikade ljuset

Ett omöjligt norrsken

Det var den glimt jag såg

under de hypnagoga bildernas flöde

Fastän jag vet att de är värdelösa

om de inte har det osynliga korrelatet

Verklighetens helt utopiska närvaro,

överallt

Poem by Göran Sonnevi from ”Trädet"

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THE GLIMPSE I SAW

I ask for this // That my eyes will see

the entire tabs of light

An impossible aurora borealis

That was the glimpse I saw

during the hypnagoga flow of the images

Although I know that they are worthless

if they do not have the invisible correlate

The totally utopian presence of reality,

everywhere

Translation by Ylva Lund Bergner

Deres ord

Fri, 03 Jan 2014 14:42:01 +0100

’Deres ord’ is a piece for soprano, zither, violin & accordion written in 2011. It is written with text by Inger Christensen.

‘Deres ord’ is a song from the song collection "Eleven arias" with text by several nordic poets. It is also a part of the chamber opera "The Illuminated Traces of Ligeia”.

'Deres ord' is a part of my song collection ”Son ges” for soprano & piano. Other pieces in that serie are Det skarpe v, Søvnsind, På godt og ondt & Dag for Dag.

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Material to download:

Soprano, Zither, Violin & Accordion:

Score

Recording (from concert in April -12; Helene Lang & freelance musicians)

Soprano & Piano:

Score

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DERES ORD

Jeg ser de lette skyer

Jeg ser den lette sol

Jeg ser hvor let de tegner

Et endeløst forløb

som om de føler tillid

Til mig der står på jorden

Som om de ved at jeg

Er deres ord.

Poem by Inger Christensen

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YOUR WORDS

I see the light skies

I see the light sun

I see how easy they paint

An endless continuum

As if they feel trust

To me standing on the ground

As if they know that I

Am their words

Translation by Ylva Lund Bergner

Det skarpe v

Fri, 03 Jan 2014 13:54:55 +0100

Photo: Conrad Preisler

’Det skarpe v’ is a piece for soprano and piano. It is written with text by the Danish poet Juliane Preisler. ” Det skarpe v" was commissioned by the soprano Helene Hvass Hansen and the pianist Cathrine Penderup in 2015.

'Det skarpe v' is a part of my song collection ”Songes”. Other pieces in that serie are Deres ord, Søvnsind, På godt og ondt & Dag for Dag.

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Material to download:

Score

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DET SKARPE V

På stranden er der

Fuglespor en tidlig morgen

Det skarpe v er så energisk

Som den kølighed

Der omgiver hende på

En strand der kun er hendes

Et hav hun ikke bader i

En himmel som hun bare

Lader stå med sine skyer

I disse morgener

Er hun en anden

En kvinde på en strand

Som hører hjemme dér

Som fugletravlhed på en

Sommermorgen

Poem by Juliane Preisler

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THE SHARP V

On the beach there are

Bird traces an early morning

The sharp v is as energetic

As the coolness

That is surrounding her on

A beach belonging only to her

A sea she does not swim in

A sky she just

Lets be with its clouds

These mornings

She is another

A woman on a shore

Who belongs there

As busy-birds on a

Summer morning

Translation by Ylva Lund Bergner

Det man inte har

Thu, 02 Jan 2014 14:42:03 +0100

’Det man inte har & det man inte får, det tar man! (What you don’t have & what you don’t get, that you take!)’ is an electronic piece in stereo based on sound files that was given to me, but also some files that I took without permission from public place. The piece was composed in 2003.

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Material to download:

Soundfile (contact the composer to get the file)

Dream

Wed, 01 Jan 2014 14:42:04 +0100

There was a time when I was dreaming a lot. Not all dreams where pleasant but I tried to write it all down. One of the dreams where so strong that I decided to make a piece out of it. A little girl is describing how she found a little dog outside of her house. She let it in and wanted to help it because it was so seedy looking. She did what she thought was natural. She took a pair of scissors and started to cut. She didn’t stop until the only thing left was the head. She took it in her hands and the dog looked sadly at her. Suddenly the head shrank. The girl wanted to return the dog to its owner but she was afraid the little head would get hurt if she put it outside a house. That problem is her only concern.

’Dream’ was composed in 2005.

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Material to download:

Soundfile (contact the composer to get the file)

Du er dig selv

Wed, 01 Jan 2014 12:36:26 +0100

’Du er dig selv’ is a piece for soprano, clarinet, percussion and double bass. It is written for the ensemble Figura. It can either be performed as a chamber piece/mono drama or as a short chamber opera. The duration of the piece is about 15 minutes and the text is written by the Danish author Lærke Sanderhoff.

’Du er dig selv' was written in 2014 and was premiered in May 2015 with Ingeborg Fangel-Mo & the ensemble Figura.

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Material to download:

Score

Recording (from concert in May -15; Ingeborg Fangel-Mo & Figura)

6 Soundfiles

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DU ER DIG SELV

Jeg er sulten

mit hjerte knurrer

jeg hungrer efter

en særlig smag

min krop vil ha’ vil ha’

en bid af

moderkagen.

Snart buler jeg her

snart jeg buler der

mine fødder rummer et hav

huden knager og brager

i mens den krakelerer

røde lamper blinker

i blodsprængte pupiller,

det er kemisk kompliceret,

at få ønsket implementeret.

Man siger:

det er alt sammen indenfor

rimelighedens grænser og dog.

Man siger så meget, man siger:

at hjertet vokser

(for at øve sig i at elske mere,

for at rumme utilstrækkelighed,

dårlig samvittighed

i en nær fremtid).

Protesterne lyder

i kroppens demonstration,

arterierne gjalder, det er overarbejde.

Hvad med os? råber venerne vredt,

vi har ret til afspadsering.

Det var ikke det her

jeg skrev under på,

siger blæren skuffet

og tømmer sig midt på gaden, plask.

Vi ringer til vores fagforening,

råber benene i rødblå krampe.

Telefonsvareren melder:

kontoret er lukket

de næste mange måneder.

D d d, trrrr, ffff r s n

t t t, n, drrr n

g t, g t, g t

p l t s k

s d

et nog, en sinde

v a

ren muli

hed m ed d en

d erli g

esti l ling

eller

li’ g g

esti l ling

eller

oa e ua ia e e e o

over under indeni

ia e

a ø e ø e æ e

e e a e æ e e o ø

Jeg drikker the af hindbærblade

søde som sommer

midt i en vinter.

Noget trækker sig sammen,

In Utero er titlen på et album af

Nirvana,

er det mon der du kommer fra?

De synger med dybe stemmer

højt oppe fra:

Ebbe og flod hvid og fugtig

rød og klistret stærk og svag

livets lyd er på vej, vil frem.

Pludselig står jeg midt i

rummet midt i outer space

og ligner en tohovedet drage

ét ansigt ser lyset for første gang

ét andet har fået for meget sol,

adskilte og på én gang en.

Efter skriget, det sidste brøl:

jeg er din vogter

nej, det var jeg allerede

lang tid før du tog rejsen

ud af min krop,

metamorfet til et vagtsomt øje

med skarpladte fingre og villige kløer

en mund med giftig kløvet tunge

ingen skal nogensinde gøre dig ondt.

Til sidst husker jeg på:

Du er skabt i mig

jeg må sige farvel

du er dig selv

Poem by Lærke Sanderhoff

Construction of the 4th part of the text is made by the composer to fit the musical idea.

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YOU ARE YOURSELF

I am hungry

my heart is growling

I am starving for

a special taste

my body wants wants

a bite of the

placenta.

Soon I bulges here

soon I bulges there

my feet contains an ocean

the skin creaks and roars

while it cracks

red lamps are flashing

in bloodshot pupils,

it is chemically complex,

to get the desire implemented.

They say:

it is all within

reason and however.

They say so much, they say:

the heart will grow

(to practise how to love more,

in order to accomodate the inadequacy,

bad conscience

in the near future).

The protests are sounding

in the demonstration of the body,

the arteries are blaring, it is overtime.

What about us? the veins shout angrily,

We are entitled to time off.

It was not this

I signed on,

the bladder says disappointed

and empties in the middle of the street, plop.

We will call our union,

the legs cry in red-blue cramps.

The answering machine reports:

the office is closed

for the next several months.

T t t, ssss, ttt, l t ch

t t t, ch, ssss ch

n th, n th, n th

p l t c l

There

v were

any poss, i bility

th t

e quali

p s ch n or

how s now p

ab under th

inside

when th hen m

ab under th

inside

oa e a ia e e e o

over under inside

ia e

a ou e ou e ae e

e e a e ae e e o ou

I am drinking thé from raspberry leaves

sweet like the summer

in the middle of the winter.

Something pulls together,

In Utero is the title of an album by

Nirvana,

is that were you come from?

They are singing with deep voices

from high above:

Ebb and flow white and wet

red and sticky strong and weak

the sound of life is coming, wants through.

Suddenly I am standing in the middle of the

room in the middle of outer space

and I look like a two-headed dragon

one face sees the light for the first time

another one has gotten too much sun,

separated and at the same time one.

After the scream, the last roar:

I am your guardian

no, that I was already

long before you started the journey

out of me,

metamorphed to a wary eye

with sharply loaded fingers and willing claws

a mouth with toxic forked tongue

no one should ever do you harm.

Finally I remember:

You are my creation

I have to bid farewell

you are yourself

Translation by Ylva Lund Bergner

Construction of the 4th part of the text is made by the composer to fit the musical idea.

Euphorbia

Mon, 30 Dec 2013 14:42:25 +0100

The title, ’Euphorbia', relates to the flower Euphorbia Palustris. It is one of 66 deadly poisonous plants in Denmark. It is beautiful and very common. In the piece I wanted to transform the effect the poison would have one a human if someone ate it.

’Euphorbia' is written in 2010 for 7 musicians in different versions. One of the parts has been written to be played by 3 different instruments and the electronics can be played either with Max/MSP with all effects live or with soundfiles played from a computer or a sampler keyboard:

The instrumentation of ’Euphorbia’ is:

Flute

Clarinet

Percussion

Zither or Grand piano (prep.) or Electric guitar

Violin

Cello

Live-electronics or Pre-recorded soundfiles

The piece has gotten a prize from the Danish Art Council and also been recorded at dB Productions with ensemble Curious Chamber Players with the conductor Rei Munakata.

Euphorbia is a part of my flower serie ”Flora". Other pieces in that serie are LoveendL, Sigh, R. Tilia!, Aq-V-le & Myosotis.

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>> Direct link to the piece on the publisher’s site

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Material to download:

Score (contact the publisher Edition-S)

26 Soundfiles (contact the publisher Edition-S)

Soundfile (electronic rehearsal file)

Max-patch (contact the publisher Edition-S)

Recording (buy online)

Ylva Lund Bergner – Euphorbia by Edition·S – music¬sound¬art - issuu

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Live performance with the Swedish ensemble Mimitabu playing on the 27/2 2017 in Gothenburg, Sweden, during the Geiger festival.

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Euphorbia (2010)

Record label: dB Productions

Ensemble: Curious Chamber Players

Buy online (Naxos direct)

Listen online (Spotify)

External cabinet

Sun, 29 Dec 2013 14:42:26 +0100

'External cabinet’, for harmonium & electronics (stereo) is written for the Swedish pianist Oscar Micaelsson in 2013. The harmonium is of indian style with 9 registers and 3 & 1/2 octaves.

'External cabinet' is in the serie ”Equinox". Other pieces in that serie are Med en rest av kyla, Palabras, Cerulean Minim, Merle & Leif.

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Material to download:

Score

Recording (from concert in September -13; Oscar Micaelsson)

Soundfile

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Live performance with the pianist Oscar Micaelsson playing on the 14/9 2013 in Copenhagen, Denmark, during the festival Sonic 2.0.

Fast ej det lar bata

Fri, 27 Dec 2013 14:42:29 +0100

’Fast ej det lär båta’ is an electronic piece composed in 2007. It is written in both surround (5.1) and stereo (2.1).

I had a terrible performance of an ensemble piece. I used a recording of that to make this piece. The title is old Swedish and could be translated as ‘Even though it doesn’t help’.

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Material to download:

Soundfile (contact the composer to get the file)

Gatto Solar

Thu, 26 Dec 2013 15:09:46 +0100

'Gatto Solar' is a piece in stereo (but works very well in 4 speakers, cross stereo). It was written for the festival Sonic 2.0 in Copenhagen 2013. It is a live-recording of feedback in a Max-patch.

The title, 'Gatto Solar', means 'sun cat’ in Swedish. In English that could be translated as a reflection of the sun (e.g. playing with a cat with the light reflection from the watch on the wall. The cat jumps after the light, therefor the name: sun cat.).

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Material to download:

Soundfile (contact the composer to get the file)

Gnisselgliss

Thu, 26 Dec 2013 14:42:58 +0100

’Gnisselgliss’ is an electronic piece in stereo, I have used old recordings on cassette tape from my childhood. The part I chose is when me and my big brother are playing in a bathtub. I have only used simple modifications like transpositions to make this piece.

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Material to download:

Soundfile (contact the composer to get the file)

Halogendansen

Wed, 25 Dec 2013 14:09:43 +0100

’Halogendansen’ is a piece for soprano, violin & keyboards (indian harmonium, Casio VL-1, objects and mp3-player) written in 2014. The piece is written with text by the Swedish poet Sara Falkstad and was commissioned by the Norwegian ensemble Vollen United.

’Halogendansen', is a theatrical song and creates a real scene on the stage. The poem is describing a summer memory; small images like a glass of wine, sound of grit and how you start the relay to the light in the garden. The music is like the summer itself; change of energy and character, humoristic and heartfelt.

'Halogendansen' is a song from the collection ”Ljudlosa steg” with texts by Sara Falkstad. Other song in that serie is ’Hander mot betong’.

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Material to download:

Score

Recording (from concert in October -14; Vollen United)

3 Soundfiles

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HALOGENDANSEN

och han avbryter sig

mitt i en mening, reser

sig från stolen, flaxar

med armar och ben i

augustimörkret

väcker utebelysningens relä.

och ljudet av hans gummisulor

mot gruset fördjupar ruset, rullar

in när jag andas in, blandas

med buddleja och shiraz.

en vilsen eldfluga:

cigaretten i hans magra hand

när han varje halvtimme flyger

upp och rör sig rytmiskt, med trassligt hår

utför stumt sin halogendans.

Poem by Sara Falkstad

Hander mot betong

Sun, 22 Dec 2013 19:07:44 +0100

'Händer mot betong' (Hands on concrete) for soprano, violin & keyboards (indian harmonium, Casio VL-1 and mp3-players) was written in 2014. The piece is written with text by the Swedish poet Sara Falkstad and was commissioned by the Norwegian ensemble Vollen United.

'Händer mot betong', is an intimate song. The singer is reflecting on an incident. The mood in the poem is almost ’film noir’. The song is creating a scene in the mind through the music.

'Händer mot betong’ is a song from the collection ”Ljudlosa steg” with texts by Sara Falkstad. Other song in that serie is ’Halogendansen’.

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Material to download:

Score

Recording (from concert in October -14; Vollen United)

6 Soundfiles

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GRAVITATION I ETT SUBTROPISKT KLIMAT

Det som slog mig mest

sa hon

var frånvaron av skymning.

Mörkret sänkte sig omedelbart

över Congress Avenue.

Och timmar senare slog det mig

att hon, precis som mörkret,

hade fallit mot min axel -

ofattbar.

Bara de vackraste tar

så kort tid på sig att somna

- gärna med stövlarna på. Den grå

gryningen får aldrig komma

väster om North Lamar.

Händer mot betong, hennes hår

efter öppen eld

kommer förfölja mig om natten.

Och allting händer för sent

- de ljudlösa stegen mot heltäckningsmattan

en slarvigt rullad cigarett.

Poem by Sara Falkstad

Leif

Sun, 22 Dec 2013 16:16:48 +0100

’Leif' is a piece for solo marimba and electronics played as soundfiles in stereo. The electronics is controlled by the musician on stage and played through small speakers inside of the marimba. The title ’Leif' is short for four words was an inspiration during the composition process: Lento, Espressivo, Indefeasible & Fragile.

Leif is a Nordic name and in my imagination a man called Leif is calling out for attention and help. The duration of the piece is about 6 minutes.

The piece is written for and commissioned by the Swedish marimba player Ellen Sjö Sander in 2014.

’Leif' is in the serie ”Equinox". Other pieces in that serie are Med en rest av kyla, Palabras, Cerulean Minim, Merle & External cabinet.

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Material to download:

Score Recording (from concert in November -14; Ellen Sjö Sander)

3 Soundfiles (mp3) 3 Soundfiles (wav; ask composer)

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Video with Ellen Sjö Sander in Växjö, Sweden, in November 2014:

LoveendL

Sun, 22 Dec 2013 14:43:02 +0100

’LoveendL’ is a piece in stereo, composed in 2005, and was made using memories of my childhood. I lived next to an abandoned fruit garden where me and my siblings where playing every day. The nature was so pure and wild. All small sounds, like a bee passing by or a flock of geese flying over you, were extended in that magic place.

’LoveendL' is a part of my flower serie ”Flora". Other pieces in that serie are Euphorbia, Sigh, R. Tilia!, Aq-V-le & Myosotis.

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Material to download:

Soundfile (contact the composer to get the file)

Macronectes

Sat, 21 Dec 2013 14:43:48 +0100

’Macronectes' is a piece for prepared piano. It exists in two versions. One is for 2 hands, the other one for 4 hands. Both versions only uses one grand piano.

2 hands version A fight to conquer the big instrument and explore its secrets.

4 hands version Almost like dancing, They move, stretch around the impressive instrument.

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Through a cooperation with the instrument builder Johan E. Andersson (Kapellet) in 2016, there is now a new version of this piece that is more flexible. In the old version, the construction of the grand piano needed to fit the balls used. In the newer version, a mobile steel construction to fit the balls can be put in the piano. The sound can therefor be created without a perfect piano at the concert hall. To borrow these steel constructions, just contact the composer. The 1st musician to use this new equipment at a concert is Anna Christensson, a Swedish pianist, who performed the piece at the festival Sound of Stockholm in November 2016.

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Material to download:

2 hands version:

Score Recording (from concert in November -16 using the new equipment; Anna Christensson)

4 hands version:

Score Recording (from concert in March -10; Neel Teilmann & Manuel Esperilla)

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Live performance with the pianist Lluïsa Espigolé from the Spanish ensemble Crossing Lines playing the two-hand-version of the piece on the 4/11 2015 in Stockholm, Sweden, during the festival Sound of Stockholm.

Maintricks

Fri, 20 Dec 2013 14:43:49 +0100

’Maintricks’ is an electronic piece in stereo using only old techniques. It is based on recordings from my home. I didn’t do much editing; only cutting and variations in speed and volume.

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Material to download:

Soundfile (contact the composer to get the file)

Med en rest av kyla

Thu, 19 Dec 2013 14:43:50 +0100

'Med en rest av kyla' is a piece for singer & live-electronics. Originally written for tenor and the pre-recorded sound files used in the piece, are sung by the Swedish tenor Conny Thimander who also premiered the piece. The poems used are written by the Swedish poet Göran Sonnevi.

I like the stories about the one in the shadow. I have chosen several poems by Göran Sonnevi which handle the same subject and after that created my own story about the man in the shadow. A person on the border to insanity. He tries to see some meaning in his surroundings; a bird, a cliff, blueberry or an eye. If he repeated saying all the names of beautiful things maybe the world would turn into a beautiful and nice place. Everything around him is alive but still he is so alone. Not understanding how to live in the world.

'Med en rest av kyla' is in the serie ”Equinox". Other pieces in that serie are External cabinet, Palabras, Cerulean Minim, Merle & Leif.

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Material to download:

Score

Recording (from concert in April -10; Conny Thimander)

Max-patch

Soundfiles

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MED EN REST AV KYLA

Det är natt, morgon

Dag, solen står

högt högre’

Snabba fåglar

genom nya löv Lövsångare

gröna

Alarnas till hälften ut-

slagna löv nästan svarta

Lönnarnas ljust grönt blommande kronor

Smakar dess honung

Från klyftan under

fornborgen vid vattnet

Kommer deras doft Slån

blommar mot den heta klippan

På klyftans botten

vitsippor, en svart trast

som bökar

Längre nedanför berget den smala

glittrande bäcken

i den mörka ravinen, mellan granar

Getrams nästan utslagna

Tallens fot en väldig

drakstjärt mot klippan

Allt ännu klart, genomskinligt

Allt ännu med en rest av kyla

Nattens stjärna är mörk, klar

Nattens öga är mörkt, klart

Det finns inget hinder för dess syn

Det finns inget skydd för dess flykt

Den dunkle upplyses av elden

Grön mossa lyser

på den grå stenen

i skogsbacken

bland gräs, bräken

blåbärsris och

växande vide

Svarthättan

hade bo där, men

är nu borta,

också dess sång

Nattens stjärna är mörk, klar

Nattens öga är mörkt, klart

Det finns inget hinder för dess syn

Det finns inget skydd för dess flykt

Den dunkle upplyses av elden

Skärvor av rymd Blekt

blå; opal,

skimrande Öga; blå kräftas öga,vi

slänger den i ån

Mörkt fågelöga

Poems by Göran Sonnevi

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WITH THE COLD REMAINING

It is night, morning

Day , the sun rises

high higher

Fast birds

through new leaves Leaf warbler

green

The alders half bloom-

ing leaves almost black

The light green blossoming crowns of the maples

Tasting its honey

From the rift under

the prehistoric castle near the water

Their scent comes The sloe

is flowering towards the hot rock

On the bottom of the rift

anemone nemorosa, a black trush

rooting

Further down the mountain the narrow

gleaming brook

in the dark rift, between spruces

Scented Solomon's-seal almost blooming

The scots pine's foot a large

dragon tail towards the rock

It all still clear, transparent

It all with the cold remaining

The night star is dark, clear

The night eye is dark, clear

There is no obstacle for its vision

There is no protection for its escape

The dark one enlightens by the fire

Green moss shines

on the grey stone

in the hillside

among grass, fern

bilberry stub and

growing willow

The blackcap

had a nest there, but

is now gone,
as well as its voice

The night star is dark, clear

The night eye is dark, clear

There is no obstacle for its vision

There is no protection for its escape

The dark one enlightens by the fire

Splinters of space Pale

blue; opal,

glowing Eye; blue crayfish eye, we

throw it in the stream

Dark bird eye

Translation by Ylva Lund Bergner

Merle

Tue, 17 Dec 2013 14:43:52 +0100

’Merle' is a piece for bassoon & electronics. The inspiration to the piece comes from birds. It was premiered by the bassoon player Anrijs Ivanovskis at the festival Sonic 2.0.

’Merle' is in the serie ”Equinox". Other pieces in that serie are External cabinet, Palabras, Cerulean Minim, Med en rest av kyla & Leif.

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Material to download:

Score Recording Soundfile (mp3) Soundfile (wav)

Myosotis

Mon, 16 Dec 2013 14:43:53 +0100

’Myosotis' is an electronic piece which can be played both in stereo or surround (5.1). I have used old recordings in many pieces. In this piece I used my own voice from when I was two years old, singing a famous Swedish children's song about a sheep. It was recorded on a cassette tape I found in the attic. At the end of the piece my father and brother talk.

They say:

Brother: What time is it?

Father: Twenty minutes past ten, in the evening.

Brother: At that time, Mouse-Olle doesn’t catch children. Not in the evening. Only during the night.

Father: …yes…

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Myosotis is old English and Latin for Forget-me-not.

’Myosotis' is a part of my flower serie ”Flora". Other pieces in that serie are LoveendL, Sigh, R. Tilia!, Aq-V-le & Euphorbia.

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Material to download:

Soundfile (contact the composer to get the file)

Neo

Sun, 15 Dec 2013 14:44:32 +0100

’Neo' is a piece for 15-16 strings and prepared piano (it can be played with only one double bass who then plays double stops instead of single tones) and is written for l'Orchestra Sinfonica di Perugia e dell'Umbria, an orchestra in Perugia, Italy. The duration of the piece is about 12 minutes. It has only been performed in parts so the existing recording of the piece is only 6 minutes long.

The title is Italian and have 3 different meanings: new, mole & flaw. During the working process I was reading the famous Swedish epic poem called Aniara (written in 1956) by Harry Martinson, which I think inspired to the atmosphere of the piece. The poem describes an endless journey into space. The earth is destroyed and there is no way back. The spaceship Aniara with thousands of people is travelling in the wrong direction, due to a collision with a meteor. The habitants of the spaceship continue to live their lives for generations without any hope of rescue. Their only hope is Mima, the spaceships soul, which they worship.

”The empty sterile space provokes our horror. Glass-like its stare encircles us.”

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The instrumentation of ’Neo' is:

Solo group: Violin, Viola & Cello

Grand Piano (prepared with screws)

Violin I (2)

Violin II (2)

Violin III (2)

Viola (2)

Cello (2)

Double bass (1-2)

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Material to download:

Score (contact the publisher Edition-S)

Recording (with l’Orchestra Sinfonica di Perugia e dell’Umbria, only half the piece)

Recording (with SAMI Sinfonietta, only half the piece)

Nina's Inner Turmoil (NIT)

Sun, 15 Dec 2013 14:41:15 +0100

'Nina’s Inner Turmoil (NIT)' is an electronic piece (stereo) that is a part of the short chamber opera ”Traces”. The title ’'Nina’s Inner Turmoil’’ is also called NIT.

It is also a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Soundfile (contact the composer to get the file)

Nocturne

Sat, 14 Dec 2013 14:44:33 +0100

’Nocturne’ is a piece for flute, violin, cello & piano. The title comes from the poem Nocturne by Edith Södergran, a Finnish poet. I have been inspired by that poem many times.

I have had a reccuring nightmare since my childhood. In the dream waves slowly come towards me. I can see and hear them, but the sound changes while the scenario is the same. The waves are coming faster and faster. The noise is terrifying. It is not dangerous, but the feeling of danger is still present. The sea looks calm, but the sound is continuos and you get the feeling that it will go on forever.

The piece was written and premiered for Pëarls Before Swïne on Gotland, Sweden, in 2003.

The piece is written in two versions:

- Flute, violin, cello & piano - Clarinet, violin, cello & piano

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Material to download:

Score Recording

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NOCTURNE

Silverskira månskenskväll,

nattens blåa bölja,

glittervågor utan tal

på varandra följa.

Skuggor falla över vägen,

strandens buskar gråta sakta,

svarta jättar strandens silver vakta.

Tystnad djup i sommarens mitt,

sömn och dröm, —

månen glider över havet

vit och öm.

Poem by Edith Södergran

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NOCTURNE

Moonlit evening, silver clear

and the night’s blue billows,

sparkling waves, numberless,

follow one another.

Shadows fall along the path,

on the shore the bushes softly weep,

black giants guard its silver in their keep.

Silence deep in summer’s midst,

sleep and dream, -

the moon glides out across the sea

white tender gleam.

Translation by David McDuff

Oblivion

Thu, 12 Dec 2013 14:44:35 +0100

’Oblivion’ is an electronic piece (stereo) that is based on recordings from the laser lab in Lund (Sweden). I used the idea and vision of the dangerous light in the music to create an atmosphere of both flow and machines.

It is written for a butoh-dancer in Gothenburg, Sweden, called Frauke.

The picture of Frauke to the left, is from another of her performances. The lower picture is from a rehearsal of Oblivion in Copenhagen 2012.

’Oblivion' is a part of the chamber opera "The Illuminated Traces of Ligeia"

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Material to download:

Soundfile (contact the composer to get the file)

Palabras

Wed, 11 Dec 2013 14:44:36 +0100

’Palabras’ is a piece for violin or viola and electronics (live or tape). It is a part of my future chamber opera ‘The Illuminated Traces of Ligeia’. The title Palabras, comes from the short novel ”Light is like water” by Gabriel Garcia Marquez, that I use as an inspiration.

The live-electronic version was a first test of my multifunction live-electronic patch in Max/MSP. It is very demanding for both the musician and the one playing electronics. Nothing is pre-recorded so it is important that all settings are right during the whole piece.

The version for musician and electronic sound file, acquires a stopwatch and something to start the sound file; loop pedal, computer or mp3-player.

The piece exists in 4 versions:

- Violin/Viola & Live-electronic

- Violin/Viola & Sound file

'Palabras' is in the serie ”Equinox". Other pieces in that serie are External cabinet, Merle, Cerulean Minim, Med en rest av kyla & Leif.

’Palabras' is a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Violin & Live-electronics or Soundfile:

Score Recording Max-patch Soundfile (mp3) Soundfile (aif)

Viola & Sound file:

Score Max-patch Soundfile (mp3) Soundfile (aif)

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Palabras (2011/14)

Record label: Melodiya

Musician: Serge Poltavsky

Buy online (Naxos direct)

Listen online (Spotify)

Pas de Signal [help]

Tue, 10 Dec 2013 14:44:38 +0100

'Pas de Signal [help]' is a chamber piece written in 4 parts for the Swedish ensemble Paerls Before Swine. It has been written in two versions:

- Flute, violin, cello & piano (prepared)

- Flute, clarinet, percussion, piano (prepared), accordion, zither, violin & cello

Other versions have been made as well for special occasions.

1st & 2nd part (performed at Darmstadt): - Flute, clarinet, percussion, piano, violin & cello

3rd part (performed in Aarhus (DK) by Lydenskab): - Flute, trumpet, percussion, piano (prepared), guitar & cello

I chose the title after seeing an emergency text that appears when a projector looses its contact with the computer. I saw this many times when I lived in France in 2010. It was like a cry for help from the machine and I thought it was a suitable title for this piece.

Part 1-3 all ends with an improvisation part. Because of that the duration of the piece can vary. I have written some time suggestions but I am open for other durations as well.

The piece can be played with or without a conductor. If the ensemble not are used to play together as a quartet (or to play inside piano) it can be a good idea to have some help to keep it together. But it is up to the musicians to choose this.

’Pas de Signal [help]' is a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Score (Quartet version) Recording (Quartet version)

Score (Octet version)

3rd part of Pas de Signal [help] with Lydenskab (fl, trp, prc, pno, gtr & vlc):

Score Recording

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The piece is in 4 parts:

Part 1: is called ‘Pas’ (without) and has elements borrowed from the piece Euphorbia. Like an echo and reminiscence from another piece.

Part 2: is called ‘de’ (of/binding word) and is a short piece about the things in between. It is based on Frederic Chopin’s Prelude no 14 in E-flat. That prelude has always meant a lot to me. It is so different and leads nowhere. Like waves rolling towards the shore.

Part 3: is called ‘Signal’ (signal/contact) and is based on an old song I made for soprano and string trio. The song was called ‘Junis äventyr’ (The adventures of June). It has never been finished but the melody is very interesting. I use the melody to bind the instruments together in a liquid stream throughout the piece.

Part 4: is called ‘[help]’ and the idea for the piece came quite quick when I composed. I thought of my old electronic piece Batla. In that piece it sounds like some small creatures screaming for help. I used that piece to create a new strange creature. It is very different from the rest of the piece.

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Video with Pearl Before Swine in Canberra, Australia, in 2013:

Pa godt og ondt

Sun, 08 Dec 2013 14:45:34 +0100

’På godt og ondt’ is a piece for soprano, percussion & cello. It was written in 2012.

‘På godt og ondt’ is a song from the song collection "Eleven arias" with text by several nordic poets. It is also a part of the chamber opera "The Illuminated Traces of Ligeia”.

'På godt og ondt' is a part of my song collection ”Songes". Other pieces in that serie are Deres ord, Det skarpe v, Søvnsind & Dag for Dag.

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Material to download:

Soprano, Percussion & Cello:

Score Recording

Soprano & Piano:

Score

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PÅ GODT OG ONDT

Jeg ser at jeg er her med vilje

Ser at jeg ikke forsvinder

Selv om jeg har lyst

Ser at der ikke er kontakt

Mellem det jeg vil

Og det jeg gerne vil

Ser at jeg må begynde forfra

På godt og ondt

Poem by Inger Christensen

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FOR GOOD OR BAD

I see I am here because of my will

See that I don’t disappear

Even if I want to

See that there is no contact

Between what I want

And what I desire

I see that I have to start all over

For good or bad

Translation by Ylva Lund Bergner

Scotoma

Sun, 08 Dec 2013 00:35:32 +0100

’Scotoma’ is a piece for quartet: zither/guzheng, percussion, cello & indian harmonium. It is written for the ensemble Mimitabu in 2015.

The title comes from the Greek word scótos, which means darkness. The piece is inspired by a visual phenomena where you see dark areas in your field of view. It can sometimes be described as if you saw something looking like transparent vibrating entities moving in front of you; almost like a supernatural experience. The inspiration for a piece often comes from a title and this time the idea is about personal experiences. No one sees and hears the same thing.

The piece was after a while during the writing process put together with a poem by a maltese poet called Alfred Grech. Since there is no translation of his work, the translation below is only a try and not a professionally made translation.

’Scotoma' was commissioned by RANK for KompFest in Malmö (Sweden) in April 2015.

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Material to download:

Score Recording

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Live performance with the ensemble Mimitabu playing 18/4 2015 in Malmö, Sweden. This is the second performance during the evening.

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TAQA’ DALMA KBIRA

Musbieħi isfar lellux u f'moħħi

Jintefa d-dawl u taqa' dalma kbira

U bħal fi nżul ix-xemx iterrqu lura

Ħsibijieti, raħħala bieżla jerġgħu

Jinġabru għall-wens ta' darhom

U jġorru lura magħhom l-għaja.

Poem by Alfred Grech

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SLÄCKER LJUSET & SPRIDER MÖRKRET

Ljus, gult som krysantemum och tankar

Släcker ljuset och sprider mörkret

Och såsom solnedgången täckandes hela vyn

Är tankarna, som livliga invånare

Samlade i hemmets trygghet

Återvänder försvagade.

Translation by Ylva Lund Bergner

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DARKNESS SPREAD

A light yellow chrysanthemum and thoughts

Turning off the light and darkness’ spread

And like at sunset often covering the view

Are the thoughts, like villagers bustling again

Gathered for the comfort of home

Carried back with fatigue.

Translation by Ylva Lund Bergner

Sigh, R. Tilia!

Sat, 07 Dec 2013 20:39:18 +0100

"Sigh, R. Tilia!" is a piece for string quartet. It was written in 2014 for the ensemble Stenhammar Quartet.

The title relates to the tree tilia cordata, or little-leaf linden. The inspiration was the memories of this type of tree and also pictures of light micrograph of a transverse section of the tree. The title came up when I played with the words and letters in the more formal scientific term for a transverse section of a little-leaf linden: Xylem Ray Tilia (Sigh, R. Tilia!).

'Sigh, R. Tilia!' is a part of my flower serie ”Flora". Other pieces in that serie are LoveendL, Aq-V-le, Myosotis & Euphorbia.

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>> Direct link to the piece on the publisher’s site

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Material to download:

Score (contact the publisher Edition-S) Recording

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Live performance with the ensemble Stenhammar Quartet playing on the 6th of November 2015 in Stockholm, Sweden during the festival Sound of Stockholm.

Star-dials pointed to morn

Sat, 07 Dec 2013 14:45:35 +0100

’Star-dials pointed to morn’ is a piece for male choir, 12 voices. The conductor will also sing at one point. It is based on the text ”Ulalume" by Edgar Allan Poe.

The piece was composed in 2012 and has not yet been performed.

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Material to download:

Score

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ULALUME

The skies they were ashen and sober;

The leaves they were crisped and sere-

The leaves they were withering and sere;

It was night in the lonesome October

Of my most immemorial year;

It was hard by the dim lake of Auber,

In the misty mid region of Weir-

It was down by the dank tarn of Auber,

In the ghoul-haunted woodland of Weir.

Here once, through an alley Titanic,

Of cypress, I roamed with my Soul-

Of cypress, with Psyche, my Soul.

There were days when my heart was volcanic

As the scoriac rivers that roll-

As the lavas that restlessly roll

Their sulphurous currents down Yaanek

In the ultimate climes of the pole-

That groan as they roll down Mount Yaanek

In the realms of the boreal pole.

Our talk had been serious and sober,

But our thoughts they were palsied and sere-

Our memories were treacherous and sere-

For we knew not the month was October

And we marked not the night of the year-

(Ah, night of all nights in the year!)

We noted not the dim lake of Auber-

(Though once we had journeyed down here),

Remembered not the dank tarn of Auber,

Nor the ghoul-haunted woodland of Weir.

And makes me end where I begun.

And now, as the night was senescent,

And star-dials pointed to morn-

As the star-dials hinted of morn-

At the end of our path a liquescent

And nebulous lustre was born,

Out of which a miraculous crescent

Arose with a duplicate horn-

Astarte’s bediamonded crescent

Distinct with its duplicate horn.

And I said- ”She is warmer than Dian:

She rolls through an ether of sighs-

She revels in a region of sighs:

She has seen that the tears are not dry on

These cheeks, where the worn never dies,

And has come past the stars of the Lion,

To point us the path to the skies-

To the Lethean peace of the skies-

Come up, in despite of the Lion,

To shine on us with her bright eyes-

Come up through the lair of the Lion,

With love in her luminous eyes.”

But Psyche, uplifting her finger,

Said- ”Sadly this star I mistrust-

Her pallor I strangely mistrust:-

Oh, hasten!- oh,, let us not linger!

Oh, fly!- let us fly!- for we must.”

In terror she spoke, letting sink her

Wings until they trailed in the dust-

In agony sobbed, letting sink her

Plumes till they trailed in the dust-

Till they sorrowfully trailed in the dust.

Poem by Edgar Allan Poe

Stjernetrae

Fri, 06 Dec 2013 14:45:36 +0100

’Stjernetræ’ is a piece for soprano and acoustic guitar. It is written for Ingeborg Fangel-Mo and Thomas Winthereik in 2013 with text by the danish poet Inger Christensen.

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Material to download:

Score

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STJERNETRÆ

Kalder på én der kalder

broen er lang og tom

Løber ud til forsoningen

voldsom asfalt lygter

der springer til side

og svulmende skinner

på vej gennem hjertet

Kalder på én der kalder

på én der kalder…

og bagved trin

omme ved bagsiden

trin

jeg hører dem ikke

jeg går

går så sejgt

i tjæreregn

slæber mig ind

ind mod bagsiden

trykker min krop

mod husets krop

står

med alt forvitret

klæbet tæt mod livet.

III

Sommerkort liv

ensom frost i blomst

kærlighedens stjernetræ

Poems by Inger Christensen from ’Græs'

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Calling on one who is calling

the bridge is long and empty

Runs out for atonement

Rampant asphalt lanterns

leaping sideways

and lit bulging

on the way through the heart

Calling on one who is calling

on one who is calling…

and behind steps

at the back

steps

I don’t hear them

I walk

walk so slowly

in tar rain

drag myself in

in towards the back

push my body

against the house body

stand

with all withered

tightly sticked to life.

III

Summer short life

lonely frost in flower

star tree of love

Translation by Ylva Lund Bergner

Taivas noyrtyy

Thu, 05 Dec 2013 14:45:37 +0100

‘Taivas nöyrtyy’ is a piece for bass baryton, zither, violin, accordion & cello. The piece is written with text by the finnish poet Pentti Saarikoski in 2011. A new version of the piece with a soprano instead of a bass singer, also exists.

‘Taivas nöyrtyy’ is a song from the song collection "Eleven arias" with text by several nordic poets. It is also a part of the chamber opera "The Illuminated Traces of Ligeia”.

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Material to download:

Score Recording (soprano version)

Score Recording

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TAIVAS NÖYRTYY

Taivas nöyrtyy

ja ajattelu

ei vie mihinkän

me olemme aina

eksyksissä

Poem by Pentti Saarikoski

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HIMMELEN UNDERKASTAR SIG

Himmelen underkastar sig

och tänkandet

för oss ingen stans

vi är ständigt

vilsegångna

Translation by Mia Berner

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THE SKY SURRENDER

The sky surrender

and thinking

get us nowhere

we are constantly

lost

Translation by Ylva Lund Bergner

Tough Jewel-E

Thu, 05 Dec 2013 12:59:33 +0100

’Tough Jewel-E' is written for the ensemble Norrbotten Neo in 2018. The instrumentation is flute, clarinet, percussion, piano, violin, viola & cello. There is also electronics included in the piece played by the percussion player.

The piece was performed on the 5th of June 2018 at Klang festival in Copenhagen, Denmark by Norrbotten Neo.

’Tough Jewel-E’ has 5 parts with very different atmosphere & character.

1st: Playful (elastic rubber bands wrapped around instruments)
2nd: Etheric (piano solo & electronics)
3rd: Gasping for breath (glimpses from the past & future)
4th: Dynamic (car with speaker)
5th: Warmth (greeting cards & playing lightbulb)

The instrumentation of ’Tough Jewel-E' is:

Flute (alt. alto flute)

Clarinet (alt. bass clarinet)

Percussion

Piano

String Trio

A childish mind, an open mind. Moving through different stages and layers.

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This piece will soon be published on Edition-S. For more information about the piece or other, send an e-mail to info@edition-s.dk. For only information about hiring material, send an e-mail to s ales@edition-s.dk.

>> Direct link to the piece on the publisher’s site

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Material to download:

Score (contact the composer)

Recording (contact the composer)

8 Soundfiles (contact the composer)

External Page

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A video recording of the live performance with ensemble Norrbotten Neo playing ’Tough Jewel-E’ on the 5th of June 2018 in Copenhagen (Denmark) during Klang festival. This is the premiere where 4 out of 5 parts are played (1-2 & 4-5).

Toujours vers toi

Thu, 05 Dec 2013 12:59:23 +0100

'Toujours vers toi' is a piece that is written for Klangforum Wien in 2016. The instrumentation is flute, clarinet, trombone, piano, 2 violins, viola, cello & electronics.

In the piece ’Toujours vers toi” (in my interpretation it is translated into "Always against you”. Normally it would be ”Always to/about you”). I'm working on the thoughts of group dynamics & pressure. Another influence comes from colonies and their fight for independence. Yet another one comes from when people are fleeing their country with the hope of a better future. The thing thats binds these subjects together is the hope of a change & better future. Also the feeling of not belonging anywhere. Fight spirit & confusion when it feels like the whole world is against you. The title comes from a poem by the french poet René Char.

The instrumentation of ’Toujours vers toi' is:

Flutes

Clarinet (alt. bass clarinet)

Trombone

Piano

Violin 1

Violin 2

Viola

Cello

Electronics

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On stage:

Vln II Fl Vla

Vln I Vlc

Pno

Trb Cl

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>> Direct link to the piece on the publisher’s site

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Material to download:

Score (contact the publisher Edition-S)

Recording

10 Soundfiles (contact the publisher Edition-S)

Instruction video

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A video recording of the live performance with ensemble Klangforum Wien playing ’Toujours vers toi’ on the 13th of June 2016 in Copenhagen (Denmark) during Klang festival.

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Instruction video for the musicians about the objects in the piece:

Traces

Wed, 04 Dec 2013 16:12:15 +0100

’Traces (El rastro)’ is a chamber opera for soprano, mezzo soprano, tenor, flute, clarinet, percussion, piano, violin, cello and electronics.

It was written for a workshop during the Darmstadt festival 2014 but is a part of a 3 part chamber opera called ”The Illuminated Traces of Ligeia". This chamber opera has the subtitle ’a visual audiodrama’ and should focus on this when performed. It can be performed either as a chamber music piece or as a short chamber opera. It is 15 minutes long, with text inspired by the Colombian author Gabriel García Márquez & two poems by Inger Christensen and Pentti Saarikoski.

The characters in ’Traces’ are:

Nina - soprano

Will - tenor

Narrator - mezzo soprano

’Traces’ is a part of the chamber opera "The Illuminated Traces of Ligeia”. The Darmstadt version is not the one that will be final in the chamber opera. The instrumentation will then be:

Singers: Soprano, Mezzo soprano, Tenor & Bass

Musicians: Fl, Cl, Prc, Pno, Acc, Ztr, Vln & Vlc

Other: Choir, Electronics & Dancer

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Material to download:

Score (contact the publisher Edition-S) Recording 3 Soundfiles (contact the publisher Edition-S)

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Dress rehearsal with the singers Jessica Aszodi (sopr), Clara Stengard Hansen (mezz sopr) & Hitoshi Tamada (ten) & the ensemble Interface with the conductor Stefan Schreiber playing on the 14th of August 2014 in Darmstadt, Germany during the Darmstadt festival. Ensemble Interface consists of: Bettina Berger (flute), Andrea Nogy (clarinet), Angus Wilson (percussion), Anna D’Errico (piano), Alicja Pilarczyk (violin) & Christophe Mathias (cello)

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Text:

Narrator:

Jeg ser de lette skyer I see the light skies

Jeg ser den lette sol I see the light sun

Jeg ser hvor let de tegner I see how easy they paint

Et endeløst forløb An endless continuum

som om de føler tillid as if they feel trust

Til mig der står på jorden To me standing on the ground

Som om de ved at jeg As if they know that I

Er deres ord. Am their words.

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Will:

¿Es algo grave? Is it bad?

Nina:

No. Not really.

Es sólo un pinchazo. It is just a little sting.

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Nina:

Si alguien nos quiere encontrar será If someone wants to find us, it

muy fácil. Sólo tendrá que seguir el will be easy. He only needs to

rastro de mi sangre en la nieve. follow the traces of my blood in the snow.

Imagínate, un rastro de sangre en la Imagine, a trace of blood in the snow,

nieve desde Madrid hasta París. the whole way from Madrid to Paris.

¿No te parece bello para una canción? Wouldn’t it be nice for a song?

[Canción de Nina] [Nina’s song]

Él llegó, él vio y la siguió. He came, he saw and followed.

Siguió mi rastro en la nieve. Followed my trace in the snow.

Una nieve que tenía un color. A snow which had the colour.

El color del amor, la vida, la desesperanza. The colour of love, life, despair.

Él no pudo resistir He could not resist

para encontrar la fuente. to find the source.

Él no pudo resistir mi rastro. He could not resist my trace.

Mi rastro de sangre es visible My trace of blood is visible

sin parar desde Madrid hasta París. the whole way from Madrid to Paris.

Mi vida se está quedando sin mí. My life is running out of me.

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No te asustes. Don’t get scared.

Lo único que puede suceder The worst thing that can happen

es que este caníbal me corte la mano is that this cannibal cuts off my hand

para comérsela. and eats it.

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Narrator:

Taivas nöyrtyy The sky surrenders

ja ajattelu and thoughts

ei vie mihinkään do not bring us anywhere

me olemme aina we are constantly

eksyksissä lost

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[Canción de Will] [Will’s song]

Will:

Él vino, él, el tonto, y estrangulado. He came, him the fool, and strangled.

Estrangulado por el amor de su vida. Strangled the love of his life.

Una vida que de él no es digna. A life of which he's not worthy.

Si alguna vez fue digan de él. If worthy was ever for him.

¿Cómo voy a pasar? How can I ever go on?

Dame la oportunidad de empezar de nuevo. Give me a chance to start over.