Borealis 2010

Korskirken today!

KONSERAFTEN I KORSKIRKEN

Lørdag 15:00

Inngang 180/150

Av Kunsu Shim og Gerhard Stäbler

CO-OP #1 er et ensemblestykke skrevet i 2009/2010 med innslag av tilsatt lukt. Odøren står olfaktoriske teknikere for.

CO-OP #1 er kommet til som en kombinasjon av instrumentalverket UNIFON av Kunsu Shim, og stykket vollkommen, eins av Gerhard Stäbler. Begges disse verkene henter igjen referanser fra årstidsyklusen til den tyske romantikeren og poeten Friedrich Hölderlin (1770-1843).

Stykket fremføres av medlemmer av Forsvarets musikkorps Vestlandet (FMKV), Collegiûm Mûsicûms kor, samt olfaktoriske teknikere.

Bestillingsverk finansiert av Norsk Kulturråd.

KORSKIRKEN

Korskirken ble bygd på 1100-tallet. Navnet kommer ikke av kirkens form, men at den var viet til Det hellige kors. Den var en av de få kirker i Norge som angivelig var i besittelse av en relikvie fra det sanne kors. Kirken ble opprinnelig bygd som en enkel, rektangulær bygning med skip og kor på samme side. Senere ble den forandret ved en rekke utvidelser: som da den fikk en portal med Christian IVs monogram. Kirken rommer seks hundre plasser.

HØGSONGEN

Av Knut Vaage

Knut Vaage forteller:  ”Då Collegiûm Mûsicûm  tinga eit verk hos meg, fekk eg idéen om å bruka tekst frå Salomos høgsong til eit større anlagt verk for framføring i kyrkjerommet.

Eg tykkjer at det i vår kultur blir fokusert for lite på denne særprega bibelteksten med si altomfattande hyllest av kjærleiken.

 

Musikken sin dramaturgi byggjer på strukturar i teksten. Resultatet kan kanskje assosierast til mosaikk, som finst i rikt mon i dei fleste kyrkjer. Stor takk til Collegium Musicum som på alle nivå har lagt ned mykje arbeid for å få realisert dette prosjektet.”

 

Fremføres av Collegiûm Mûsicûms kor og orkester med Hilde Haraldsen Sveen, Simon Kirkbride; Trond Korsgård, dirigent.

 

Bestillingsverk finansiert av Det Norske Komponistfond 

 

GERHARD STÄBLER TALKING WITH KUNSU SHIM.

 

GS: Winter in Bergen: darkness, rain, a crack of sunshine (only) – best time of the year for music?

KS: Music seems to reflect something, in which it can be reflected – light, darkness, rain etc., but for me, music itself is far from those things. So, there is no best time for music. But a specific state of environment, for example, a dark, rainy and windy day gives a certain sense of sonic circumstance, that could be listened to as music itself.

 

GS: I agree, and I see music needs surroundings that let you „hear“, for example a silent room, a quiet hall, a night that is full of stars – no wind, no rain, and a comfortable temperature. This I would take as the usual presuppositions for being able to get a deep musical reception. I also see a chance for music in an environment, that is „loud“, as I'd like to try with my composition HELIOS NORDWÄRTS, that implants music into the harbour of Bergen with its traffic, its market, and its daily weather conditions. I'd like to accentuate everyday life with musical sounds that makes the ears – hopefully – open again, and let us realise that we are constantly bombarded by everlasting and omnipresent ambient music.

 

KS: I am curious to know how you are going to put together all the differences. What we are doing as composers, is (re)organizing the senses. Sounds in the environments are always functional. For me it is essential that sounds should be (re)born as a sensual body free from their daily-life-functions. I also did several open-air projects. One of them was called „here - open air“ as a performance with bicycles, fire, an artificial moon and musicians. The other one was called „places with airhorn“, an open-air performance for two weeks, in which I was playing just a single long sustained sound on a ship horn – but very gently – at a certain time of day. Perhaps you are trying to mark „the environment“, such as the fish market in Bergen, which turns a place into a „happening“; I am trying to be a part of the environment, I want to be involved in something taking place. For me music is still something open. The sense of sounds could be completely newly organized, if we could find the possibilities...

 

GS: ...and what music means to us. Most of your music – for example especially those for performance halls – leads the listener to a kind of inner sound world, you concentrate on listening to sounds that exist in the present - lets us hear their existence. And much of my music combines experiences of all our senses – listening, seeing, smelling, feeling... I am very much interested in engaging musicians in making music at a specific site – as Bergen's harbour or the former textile factory in Salhus – working with the existing sounds of those sites, and confronting them with added sounds composed of rotating helicopters, horns from fire engines, the rattling of weaving machines etc., in combination with instrumental musical structures created by brass players, and young people with traditional string instruments etc.

 

KS: I am also very interested in the various sources of klangkörper - sound bodies. The noise of helicopters in the sky is of course not comparable to one single tone on a piano. These are two very different worlds. But what appeals to me is that there are two (or more) worlds in one universe. Don't you, too? A crack of sunshine in winter in Bergen expresses itself as much as the striking brightness during the summer in Busan, where I was born. There are always specific beauties in any kind of environment.