in brief

12.07.2023

Grand Miniature Worlds

Éliane Radigue: »Naldjorlak«

In Naldjorlak French composer Éliane Radigue takes us on a journey of microscopic proportions as a seemingly simple musical situation reminiscent of her earlier work for synthesizers unfolds. Naldjorlak is a work for unaccompanied cello and Radigue’s first composition for acoustic instruments and relies on a verbal communication between composer and performer. Cellist Charles Curtis, hones in on just one note for the duration of the piece, however, this premise which at first can strike the listener as simple is anything but.

What 91 year-old Radigue is asking of her listener is to be present and it might come as no great surprise that she has been a practicing Buddhist since the 1970's. To experience Radigue’s music you need to be able to follow sound to its silence, and that is a mental state. Naldjorlak is an invitation to deep listening. What do you hear when you stop in your tracks and begin truly listening as Charles Curtis drones on? Curtis is right at home in Radigue’s investigation of sound and his playing reminds us that without a great performer a great work of sound art does not exist. Had there been a score we could have mused that the work itself exists for the reader to experience through reading, but given the fact that composer and soloist have worked verbally it is more difficult to imagine this piece without its performer and so it’s difficult to fully know when we are hearing Radigue and when we hear Curtis.

Curtis brings Naldjorlak to life so subtly that it’s easy to think that he is doing nothing. It sounds deceptively simple at first but if you take the time to actually experience the pace of the droning you will notice that not only are the two versions offered on this release vastly different in character and expressivity. They aren’t really drones with its implicit monotony, rather they are microscopic worlds of constantly changing textures of sound, and it is the way Curtis so masterfully mediates Radigue’s ideas that makes these recordings from Los Angeles and Paris so captivating.

playlist

07.02

My name is Masaya Ozaki – would you like to see my playlist?

»For me, music is a secret safe place. It is a refuge from society, from who you're expected to be, and from the idea of belonging. It is a space where you're free from conflict and dualistic ways of thinking. It is a place to feel the world without needing to understand it.«

Masaya Ozaki is a composer born in Niigata, Japan. His work is deeply influenced by the transient nature of space and the subtleties of sound within physical environments. Ozaki views sound not just as a medium, but as a form deeply intertwined with the spaces it inhabits, something that he explores extensively in site-specific projects like Echoes, which involved live performances inside a lighthouse.

Ozaki’s latest album, Mizukara (2024), is a reflection of his personal and artistic journey, primarily shaped by his experiences in Iceland. The album embraces minimalism and introspection, incorporating field recordings, sparse instrumentals, and the textures of the Icelandic landscape to explore the fluid relationship between self and environment. In recent interviews, he emphasized his shift from purely sound-based compositions to ones that deeply consider the environment and space. His relocation to Iceland has profoundly influenced his work, encouraging him to further merge the boundaries between music, nature, and architecture. He is also a member of the Reykjavík-based emo anime doom metal band MC Myasnoi.

playlist

06.02

My name is Malu Pierini – would you like to see my playlist?

»For me, music is a journey through time; one song can send you back to a childhood summer, a packed dance floor, a breakup – or a sense of hope you thought you had given up.«

Danish-Corsican Malu Pierini has created her own musical universe somewhere between Copenhagen, Corsica and 1960s Paris. Here, Nordic soul/pop and French chanson meet as she draws threads to her family’s roots in the Parisian cabaret scene, the raw beauty of the Mediterranean and stories that bridge the gap between past and present. Pierini has just released her debut album Libera Me – a cinematic and personal journey into family history and an examination of what we carry with us from those who came before us. The album unites French 60s sounds, bossa references, Corsican folk tunes and indie pop in a story of love, heritage and identity.

in briefrelease

06.02

Small Snowflakes in a Brutal Snowstorm

Mads Emil Dreyer: »Miniatures«

Dacapo, 06.02

Simon Heggum

As this review was being written, a snowstorm swept across Denmark, and even Østerbro was submerged in beautiful white snow. This turned out to be a remarkably fitting backdrop for the Danish composer Mads Emil Dreyer’s latest compositions, which are marked by melancholic, childlike phrases of glockenspiel and distant synths. The minimalist works are performed by the ensembles Scenatet, EKKI MINNA, and Athelas Sinfonietta, all of whom share a commitment to contemporary music, uncompromising experimentation, and a playful approach to acoustics and perspectives – qualities that are clearly audible in the works themselves.

Echoes of metallic sound surfaces blend with occasional floating pads, often tipping from the beautiful into the unsettling. The first half of the album is shaped by slightly brighter and more playful melodies, with »Miniature I–II« and »I–III« in particular delivering beautiful themes that frequently strike straight to the heart. A brief intermezzo opens the album’s second half, where abrasive keys and pads are introduced, and the ringing glockenspiels hover above the listener like eerie shadows or frightening ghosts.

The suites are short, simple, and effective, yet at the same time deeply atmospheric. In a short space of time, Miniatures has become a favored sonic space for this reviewer when there is a need to retreat into the chambers of the mind, where the blend of glockenspiel and principles of chance appears like small, glistening snowflakes in a long and brutal snowstorm.

in briefrelease

04.02

Poetic Nocturnal Rummaging

Bent Sørensen: »12 Nocturnes & Piano Concerto No. 3, La sera estatica«

Dacapo, 16.01

Bent Sørensen. © Peter Christian Christensen

Therese Wiwe Vilmar

Why is it that one can always recognize a lullaby? This musical archetype, circular and hushed, sung into us with mother’s milk. Composer Bent Sørensen’s solo piano cycle 12 Nocturnes is a tribute to the night’s musical cultural heritage. The nocturne – a nocturnal, lyrical composition – merges with, among other forms, lullabies and cantatas in a poetic narrative from sunset to sunrise about what is close at hand and yet unfathomable: that the sun rises, that children are born, that stars can be glimpsed through small windows on earth, that the piano can create worlds with twelve tones.

Bent Sørensen wrote the twelve short nocturnes between 2000 and 2014 for pianist (and wife) Katrine Gislinge. They have previously been released digitally. Now they appear as a studio recording paired with Piano Concerto No. 3, La sera estatica. The premiere of this “ecstatic evening” stands in contrast to the nocturnes’ simple, balanced forms. With a dramatic opening, multiple orchestral groups, and crackling storminess in the soundscapes, the dreamy nocturnal universe is ruptured by a surging ardor that unfolds in two parts, where purer melodic lines gradually take over the second – complete with a distinct (night?) bell.

Yet the piano concerto’s sovereign quality does not quite come into its own when presented as a postscript to the nocturnes’ rounded narrative. The two elements work best separately, so that the ecstatic evening for full orchestra does not puncture the magic of stars scattered blinking across the piano’s staccato attacks, or Sigrid’s nocturnal dances and lullabies. There is ample drama in the beautifully conveyed single night – for even the child Sigrid will one day no longer be sung to sleep.

playlist

04.02

My name is Cecilie Penney – would you like to see my playlist?

»For me, music is a rush in the chest – a way of understanding and expressing emotions.«

Cecilie Penney (b. 1990, Denmark) will be presenting the exhibition Rest and Routine – Duet for Sanatorium and Modern Hospital at Nikolaj Kunsthal from February. She is a visual artist and electronic composer working across sound, installation, video, and text. Her practice explores how infrastructure and cultural norms shape human behaviour, and how emotions and empathy unfold within structural, linguistic, and technological systems.

In recent years, Penney has focused in particular on the Scandinavian healthcare system and on how patients navigate institutions that can be difficult to access and understand. Through a conceptual approach, she examines how patients are often expected to conform to rigid frameworks that fail to accommodate individual needs. By creating imagined or alternative worlds, Penney explores new possibilities for healing and transformation within bureaucratic systems, while inviting reflection on how systemic change might emerge from emotional insight and collective rethinking.

Penney holds an MFA from the Royal Danish Academy of Fine Arts in Copenhagen and a BFA in Fine Art Photography from HDK-Valand in Gothenburg.