It is fascinating how lively the ensemble changes apparition. Koto has also been revived into modern art music, and the most obvious example of this, to me, is the recent collaboration between U. The music must therefore not only respond to the question of what the sound is and when it occurs, but also the question of where it comes from.
Sound is like a heavenly body moving through time and space. Concert halls, however, are constructed to concentrate sound in front of the listener, at best spreading out in stereo, and surround-sound systems at best present sound on a single plane around the listener. Nonetheless I often write for a three-dimensional space placing sound both above and below the audience, pending the arrival of concert halls and sound systems designed to produce three-dimensional sound.
The difference would be like seeing a character step out of the cinema screen and become a physical body. The music changes from being a phenomenon which appeals primarily to the mind and imagination to something which evokes a physical experience to a much greater degree. On numerous occasions I heard Stockhausen speak of the necessity of building concert halls like globes, with the listeners placed in the middle of the sphere, with sounds below as well as above and around them.
It was one of his greatest hopes for the future to see such performance spaces occur here and there, for his new, spatial music; his trans-real compositions. The music continues as we speak! Some of the most fascinating parts are the truly Japanese ones, when the harp talks sparingly to itself; when mind enters mind, into the lacquer of a Mount Fuji painting hanging on a wall in a room with a marble floor, one side open to a raked rock garden.
So much space for these sharp and brittle tones, so much air. It keeps on changing, keeps on keeping on. I flow with it, observing the scenery. The work — Vere meininga Be The Purpose — seems to recompose itself towards its conclusion in a gesture of recollection and reflection, as you might expect your life to do at a ripe age, when experience itself provides a tower of mental strength and see-through magic.
Det var mjukt I Awoke ; for Soprano and Harp 4: The author is one of the leading experts on humanistic and clinical psychology. Loss and parting is the one circumstance we can be absolutely sure of, since we tend to grasp for, and be enormously attached to, people and phenomenon; not least to ourselves and what we consider our self, the core of our present being.
That is how anonymous and formless reality is! In reality you are no one. Judicial systems, human dignity, freedom of will, are all images painted in dread in the empty hall of reality, in fear of acknowledging anything beyond right and wrong, beyond thesis and anti-thesis!
A place, a piece of clothing, a name — everything else is just your wish, your I a wish, your unsavedness also, your salvation another: Flashes of our years together come as uninvited guests at the most inconvenient times; memories of tenderness and trust, or just pictures from a time of closeness never to be recreated. The tender, extremely clean and high-pitch voice of Berit Norbakken Solset begins alone, inspiring angelic as well as medieval associations. There is a transcendental sensation about this music, and yet it comes so close to the listener, primarily through the timeless vocals by the soprano.
No vibrato; nothing superficial: I feel my mind purifying in this music, these vibrations through the ether; definitely music of the spheres, if ever I heard it! Listen to it with your gaze fixed on a point of nothingness, far, far away. The first movement is the face of timelessness; the second that of weightlessness. And before and in between each movement the harp plays cadenzas which attune our ear to silence.
More parts and differently tuned strings were needed to cover the seven-voice harp part. I used a string electric harp, tuning it differently to provide the sound required by the music, and had to learn a new playing technique. Performing on two harps with a total of 77 strings simultaneously gave the harp a new potential as a solo instrument.