| COMPOSITION | 2006 For alto sax, accordeon and contrabass 45'
comment
I have generally chosen to discard the problem of sincerity in art, or rather to confine it to a statement such as: "The work itself has a way of being sincere. The author cannot be totally sincere." This is quite a complex matter if we begin thinking of it, especially in regard to such a highly formalized genre as written music is, and especially today in the presence of a myriad of different idioms. I guess that somehow, for each work, we create an author, and that he in some bizarre way could claim to be sincere (if he were real...). But what happens when I put different works together and partly alter their original intentions, when I begin remixing, deviating or mocking the originals? Well, in my case it's a totally natural operation. Already as a child when I burst into tears I was capable of looking into the mirror and making a funny face. I guess I was composing myself, since the word composition simply refers to putting something together and I put a funny face on top of a crying one. However that might be, here we have a cycle by the name of Composition: three solo pieces that may be said to reflect my attitude towards the art of musical composition. We get form and its opposite, placed side by side, in a composition of compositions. Hopefully the totality breeds on the energy released by the friction between its components, and by the friction between them and supposed - , real - , make-believe- , impossible – or violent sincerity.
The Poing trio was a tremendous source of inspiration for the completion of this work. It is dedicated to the trio.
main performances
Oslo, Reykjavik, Huddersfield, Trondheim, autumn 2006
comment
I have generally chosen to discard the problem of sincerity in art, or rather to confine it to a statement such as: "The work itself has a way of being sincere. The author cannot be totally sincere." This is quite a complex matter if we begin thinking of it, especially in regard to such a highly formalized genre as written music is, and especially today in the presence of a myriad of different idioms. I guess that somehow, for each work, we create an author, and that he in some bizarre way could claim to be sincere (if he were real...). But what happens when I put different works together and partly alter their original intentions, when I begin remixing, deviating or mocking the originals? Well, in my case it's a totally natural operation. Already as a child when I burst into tears I was capable of looking into the mirror and making a funny face. I guess I was composing myself, since the word composition simply refers to putting something together and I put a funny face on top of a crying one. However that might be, here we have a cycle by the name of Composition: three solo pieces that may be said to reflect my attitude towards the art of musical composition. We get form and its opposite, placed side by side, in a composition of compositions. Hopefully the totality breeds on the energy released by the friction between its components, and by the friction between them and supposed - , real - , make-believe- , impossible – or violent sincerity.
The Poing trio was a tremendous source of inspiration for the completion of this work. It is dedicated to the trio.
main performances
Oslo, Reykjavik, Huddersfield, Trondheim, autumn 2006
