Frist 3 oktober 12.00 (!!)
Impossible SITUATIONS: A COLLECTIVE NORDIC EXPERIMENT
Duo Hellqvist/Amaral applies herewith for support from the Nordic Culture Fund for the artistic exchange project Impossible Situations: A Collective Nordic Experiment (IS:CNE)
A PLATFORM FOR ARTISTIC CREATION AND KNOWLEDGE EXCHANGE
IS:CNE is a platform for artistic creation and knowledge exchange in which a group of performers, composers, performance designers, architects, visual artists and festival curators from six Nordic countries, Germany, Brazil, Switzerland and the United States work together to design utopian spaces that expand traditional instrumental, performative and scenic boundaries as well as the very role of the artists involved in the project.
WITH CHALLENGING CORE QUESTIONS
At the core of IS:CNE is a reflection on the transformative power of artistic performances and their impact on real-life processes and situations. IS:CNE challenges adventurous Nordic composers and performers to think differently and to develop own musical ideas that they themselves deemed to date impossible to realize. By tweaking and twisting basic givens of musical performance such as the authority of historically well-established chamber music formations, the interaction between musicians, instrumental know-how and approaches to stage presence or notation, a group of adventurous musicians question what skills, expectations and traditions of classical music should still be kept today and how they might be used as sources of renewal.
What if, instead of creating a piece of chamber music, one were to use the chamber, that is, the performance space, as an element in the composition? What if, instead of writing for piano and violin, one were to compose for a pianist and a violinist? In brief, how can simple changes of perspective can allow for previously absurd ideas - or rather, musical dreams - to become possibilities?
Initiated by Swedish-Norwegian Duo Hellqvist/Amaral in 2014, IS:CNE has as its distinctive feature the responsibility of the performers in the creative process as well as in the overall coordination the project: Duo Hellqvist/Amaral selects participating artists and composers, commissions new works and sets conceptual premises for the new compositions together with composers. The fact that performers are so implicated in the composition process already at the conceptual stage requires new frameworks for collaboration. Traditional hierarchies are further dismantled through the engagement of an “in-house” sound designer that participates in all performances and takes part in the dialogue with composers at the same level as the instrumental performers.
While a number of IS:CNE composers might want to construct own visual and/or sound devices, the project also engages a number of artists from other disciplines to further explore the visual dimension of musical performance, among them a performance designer who provides advice on how to connect the new compositions of IS:CNE in cohesive concert concepts adapted to different venues and festivals.
INNOVATIVE WORKING METHODS
In the next phase of the project, starting January 2017, the inquisitive methodology of IS:CNE will be elaborated in a series of experimental workshops to take place in several Nordic countries in collaboration with local cultural institutions or in connection with a festival and/or event from one of our partner institutions. IS:CNE’s experimental workshops will be partly open for the general public and will include outreach activities such as open rehearsals, lectures and conversations.
RESULTING IN INTERDISCIPLINARY AND HIGH-PROFILE PERFORMANCES …
The result of IS:CNE’s experimental workshops will be eight new compositions and a sequence of concert concepts to be shown in various festivals and venues for experimental music in Norway, Danmark, Greenland, Iceland, Sweden and Finland as well as Germany, Belgium and the United States between 2017-2019.
… CAPACITY-BUILDING AND A LONG-TERM FOOTPRINT.
The IS:CNE project acts an umbrella for several subprojects (new compositions/concert-concepts/capacity-building through seminars), lending musicians, artists and composers a room for thought, discussion, exchange and interdisciplinary interaction aiming to establish new bonds between its participants. Courses and educational activities reach students and other professionals from the field of contemporary music and art. Finally, a diverse and carefully elaborated palette of outreach activities, thorough video documentation and social media actions contextualize the project, thus generating interest for the new creations among a general audience and ensuring the sustainability IS:CNE’s working methods.
The Nordic dimension & partners
Being a Nordic interdisciplinary and collaborative project, the IS:CNE gather Nordic artistic expertise from different fields to interact and establish new connections between them. The collaborations are likely to put a long term footprint on the Nordic as well as international art and music scenes - presenting brand new Nordic performances, building dynamic inter-Nordic platforms for sharing ideas around artistic processes, finding new ways to cooperate artistically over nation borders.
1- Transnational mobility
With partners from Finland, Norway, Sweden, Greenland, Iceland and Denmark, over 39 scheduled trips, most of them between the Nordic countries, and 158 budgeted hotel nights in a period of two and a half years, IS:CNE will set off new connections in the cultural field and is likely to leave a long-term mark in the Nordic experimental music scene. Through collaborations with our partners in Germany, Belgium and the USA, IS:CNE creates infrastructures that give greater visibility for Nordic actors abroad.
In many respects a forerunner in its field, IS:CNE addresses several important challenges of the current Nordic experimental scene:
- Seen the lack of infrastructure for collective work within larger and long-term artistic projects in the Nordic experimental music scene, IS:CNE can function as a bridge to stimulate artists to exchange knowledge, before, after and during the creative process, both through structured activities and through spontaneous meetings, thus establishing lasting bonds and connections.
- Most artists involved in the project will have their works performed more than once, a rare fact in the ephemeral contemporary music world. These works will also leave further through the interested created therough outreach activities, writings, video documentation and the educational events of IS_CNE directed to both general and specialized audience.
- Started by the initiative of performers, it also aims at generating more respect and interest for the conceptual skills of the latter, often neglected in the public discourse about contemporary music, mostly due to the lack of organized initiative defending the interests of this professional group, something that stands in strong contrast with the very organized composer societies active in most Nordic countries.
Artists (see detailed biography of each partner attached)
Duo Hellqvist/Amaral (NO/SE) - Artistic directors, musicians. IS:CNE initiators Duo Hellqvist/Amaral combines openness, fearlessness and curiosity with musical and instrument specific virtuosity, critical evaluation of process and results and a constant drive to renew and catalyst meaningful collaborations.
Filippa Berglund (DK/SE)- Architect/Scenographer/Set designer. Filippa Berglund draws on a broad experience of projects melting visual and musical expressions together as well as profound knowledge of creating bespoke set design and costumes. In IS:CNE Filippa Berglund takes the role of a collective power in the visual structuring of the collaborations and helps building an integrated performance perspective to enhance audience involvement and public renewal.
Simon Løffler (DK) - Composer. Innovative Danish composer Simon Loeffler has lately, in the fearless and original spirit of the IS:CNE project, created a handfull of pieces that seek to explore instruments as a natural extension of the body. Few of his pieces are scored for traditional instruments, rather a new instrumental approach is sought, to create an music that researches the fine details of movements inherent in our body parts. Løffler's work is therefore a true embodiment of some of the core questions of the IS:CNE project.
Lars Petter Hagen (NO) - Composer. Lars Petter Hagen's fine tuned musical language and nostalgic remembrance of the violin and piano duo captures us in a deliberate sentiment. Thus, thrown into our days, what does the intimate of the chamber music setting manifest as? The IS:CNE core questions regarding new ways to approach the well known forms takes an exciting path i the new work of Hagen.
Ida Lundén (SE) - Composer. Ida Lundén works frequently with staged performances, and moves fearlessly between genres, embracing elements from jazz and popular music into her sound world. Just as the IS:CNE promotes, Ida often plays an active part in creating artistic collectives, like Swedish Syntjuntan, and she values close collaborations with musicians involved in her compositional projects.
Daniel Moreira (BR/DE) - Composer Composer, conductor and researcher Daniel Moreira will be creating his new work for the IS:CNE collective drawing on material from phenomena of the real world. It will reflect and incorporate gestures, sounds and rituals associated with contemporary daily life (e.g. use of sampled sounds, voices, signals etc.). In line with the IS:CNE Moreira will be using the room to create a musical environment, a scenery where some seemingly familiar, recognizable situation unfolds. This situation will draw inspiration from our real world, but it will soon create its own rules and inner relationships. An important aspect of the new work will be the collaboration with the IS:CNE musicians. The visual gestures as well as the sound materials will be explored and recorded with the musicians beforehand. This close cooperation would yield an organic, personal character to the work.
Marina Rosenfeld (US) - Composer. New York-based but a frequent Nordic guest, artist and composer Marina Rosenfeld will be developing her ensemble work My Red, Red Blood, originally scored for the IS:CNE musicians within a larger setting, for the duo format. Rosenfeld works at the intersection of modern composition, performance and installation, often occupying monumental sites with live and recorded sound. She has also performed as a pianist and, especially, as an experimental turntablist since the late '90s. Her original artistic ideas, unexpected use of the room and innovative notational techniques correspond to the IS:CNE ideas and guidelines.
Gudny Gudmundsdottir (IS)- Visual Artist. In IS:CNE Gudny Gudmundsdottir will merge her light, fairy world artistic pallet with composer Catherine Lamb's music. The two core aspects investigated in Gudmundsdottir's work; fragility and airiness verses sharp architectural forms are contrasts to be included in the visual language of the IS:CNE.
Øyvind Torvund (NO) - Composer. Torvund's music assembles disparate materials, inconsistent attitude: sounds from rock or from everyday life (or nature) occurring in chamber music, simplicity in a complex context, improvisation coexisting with exact notation, music combined with film or projections, seriousness in counterpoint with humor. Raw melodic schemes may come from Purcell, the infill from the detritus of electronic distortion or street noise. Categories are split open or blurred, habits unbent. Torvund's playful and surprising take on investigating new possibilities for the violin and piano duo formation was started in 2016 and will be further developed through the IS:CNE project.
Ricardo Eizirik (SE/BR) - Composer. Swedish/Brazilian Ricardo Eizirik has written for ensembles and festivals such as Wittener Tage für Neue Kammermusik (DE), Klang (DK), Festival ManiFeste (FR), Ensemble Intercontemporain (FR), Neue Vocalsolisten Stuttgart (DE), Ensemble Recherche (DE) and Uusinta Ensemble (FI). Among his numerous prizes is the 61. Kompositionspreis der Landeshauptstadt Stuttgart. Eizirik’s work, deal with sociocultural issues and with the spaces and the ways in which art is shown and perceived. His work for IS:CNE is inspired by the “sucata” (junk) aesthetics of Brazilian artist Nuno Ramos. Performing on junk on a stage overflowed by junk, performers become but shadows…
Catherine Lamb (US) . Composer. Catherine Lamb's work is exploring the interaction of elemental tonal material and the variations in presence between shades and beings in a room. In the IS:CNE project Lamb's new work will be exposed to the meeting with Icelandic visual artist Gudny Gudmundsdottir's new project specific creation and and interact with Duo Hellqvist/Amaral. Just as the artistic directors and musicians of the IS:CNE, Lamb always continues to go further into elemental territories, through various kinds of research, collaboration and practice.
Kaj Duncan David (DK) - Composer. Common to almost all the artistic output of Kaj Duncan David is a focus on creating connections between what is heard and what is seen, often through the use of light as a totally integrated musical voice. His works being truly interdisciplinary, Kaj Duncan David is a part of the IS:CNE collective to specifically further investigate the impact his minimalist yet effective light installations can have in the many aspects of performance while confronted with the violin- and piano duo.
Malin Bång (SE) - Composer. Malin Bång’s music is an exploration of movement and energy. She defines her musical material according to their amount of friction to create a spectrum of unpredictable and contrasting actions, ranging from the intimate and barely audible to the harsh and obstinate. In her work she often incorporates acoustic objects to explore a rich sound world and to suggest that musical content can be shaped by anything valuable to the artistic purpose. Malin Bång's open minded and explorative way of music making along with her inventive use of extra musical objects rhymes well with the IS:CNE's search for new, innovative takes on the use and relation to the classical instruments.
Max Sour (DE) - Sound engineer/Tonmeister. Max Sour is as a specialist in sound design and scenic technical know-how incorporated in the IS:CNE project as the IS:CNE project members considers sound design and project specific competence built up during rehearsals and workshops to be a crucial component in optionally conveying a musical performance and creating a well working performance machinery.
Festivals and concert venues (see letters of intention attached)
Borealis Festival, Bergen (NO): Borealis is a festival for experimental music that brings together new musical experiments from Bergen, Norway and around the world, Borealis occupies the city for 5 days each March, working with living composers, sound artists, improvisers and musicians, to develop projects that rearrange the furniture of the musical world, to question our assumptions about what music is and where it can go. We do not stick to one type or genre of music, but open the doors to the most innovative music makers to bring us something new. Featured artists under curator Peter Meanwell have included Jennifer Walshe, Joanna Bailie, Stine Janvin Motland, Lasse Marhaug, Simon Loeffler, asamisimasa et al.
Kontraklang, Berlin (DE): A monthly contemporary music concert series curated by Marta Blazanovic-Drefers, Andreas Engström and Christopher Williams, Kontraklang reflects the diversity of Berlin’s contemporary music scenes, focusing on chamber music as well as its exchange with neighbouring fields of sound art, composer-performer practices, media-based approaches and music theater.
EAR_TO_THE_ GROUND, Muziekcentrum De Bijloke, Ghent (BE): A one day-festival filled with short performances touching upon different contemporary music forms, experimental works, instalation art, young and old music, classical and pop. Guided by maps, the ETTG audience moves in an amalgam of atmospheres and spaces of surprise. The festival is curated by Maarten Quanten and has, in its previous editions, featured artists such as Eve Risser, Nadar Ensemble, Aernoudt Jacobs, and the Tiptoe Company.
Cycle Music and Art Festival, Kópavogur (ISL): A festival curated by Gudny Thora Gudmundsdottir and Tinna Thorsteinsdóttir in collaboration with Kópavogur Art Museum, Gerðarsafn and The Municipality of Kopavogur. Cycle exhibits interdisciplinary collaborations between contemporary music, visual arts and architecture and features artists such as David Levine, Libia Castro & Ólafur Ólafsson, Rachel de Joode, Carolyn Chen, Elena Rykova, Erik Bünger and South Iceland Chamber Choir.
Far North, Nuuk (GL): Far North is a multidimensional network for the development of contemporary music & theatre in the Far North. In addition to functioning as a network for artistic encounters, skill acquisition and new impulses, Far North organizes concerts and events that promotes music from the Nordic countries.
Aarhus Unge Tonekunstnere (DK): A nonprofit organisation for sound arts founded in 1966 that creates cross-genre cultural events that foster open dialogue, exchange and networking. AUT has for many years been an important part of the music scene in Aarhus, with a focus on a broad repertoire of both local and international sounds. Also, AUT works actively to support local ensembles and initiatives, as well as creating new opportunities for young and contemporary sound arts in Aarhus and Denmark.
AVGARDE CONCERT SERIES, Bergen (NO): A concert series for new music in Bergen which presents local composers and musicians. Avgarde wishes to gather the creative movements of the city’s music scene and establish artistic connections and cooperations across disciplines. Featured artists in AVGARDE are Else Olsen S., Alwynne Pritchard, Adam de la Cour, Stine Johanne Janvin Motland, Syed Zubair Ali, Thorolf Thuestad et al.
SPOR FESTIVAL, Kopenhagen (DK): A festival which vision is to thematize, actualize and promote contemporary music and sound art, nationally as well as internationally. SPOR creates a platform for stronger connections to the international sound art and music scenes by inviting guest curators to program the different editions of the festival. This fruitful exchange inspires artists and further develops the Danish contemporary music. Artists recently programmed at SPOR include Scenatet, Lawrence Malstaf, Alessandro Perini, Natasha Diels, Kaj Duncan David, Agostino di Scipio, Simon Steen Andersen.
Time of Music Festival, Viitasaari (FI): A festival for contemporary music held yearly in Viitasaari, Central Finland that hosts the most important composers and artists of the field such as Ensemble MusikFabrik, Peter Ablinger, Curious Chamber Players and Petri Kumela. Its exotic and remote location causes a buzz among visitors: “the spirit of Viitasaari” is a known factin the contemporary music scene. Time of Music’s summer academy is an important meeting point for music professionals and students, offering meetings and lectures plus presentations. The festival, directed by Johan Tallgren, is member of important European networks for the promotion of music and art such as Ulysses Network Project and Modern Times.
National Sawdust, Brooklyn, NY (USA): This unparalleled, artist-led, non-profit venue, is a place for exploration and discovery where emerging and established artists can share their music with serious music fans and casual listeners alike. In a city teeming with venues, NS is a singular space founded with an expansive vision: to provide composers and musicians across genres a home in which they can flourish and receive support and critical resources essential to create, and then share, their work. IS:CNE is currently in dialogue with the venue about future collaboration.
Ny Musikk (NO): The association is Norway’s centre for new music and sound art with over over 75 years experience in commissioning, producing, curating and presenting new music and sound-based work. Through live music, screenings, installations, readings and lectures we arrange events exploring sound and music’s relationship with other art forms such as performance, film, literature, dance and visual art. With a head office in Oslo, we have a network of nine regional branches distributed around Norway. Through this wide national network we spread dynamic and innovative music across the entire country, helping new audiences to discover routes into contemporary music.
PROJECT TIMELINE AND PLANNED ACTIVITIES
(including experimental workshops, concerts and outreach ventures)
The application for support from the Nordic Culture Fund focuses mainly on the realization of the project's collaborative working method through nine experimental workshops taking place in different Nordic and Central European countries. Each experimental workshop will gather performers, 2 to 4 composers at a time, sound and performance designers as well as a video artist for 3 to 4 days of intensive workshops where first ideas or works at a more advanced stage of composition can be tested, developed and discussed within the group. Each composer involved in the project with a new work will take part in two workshops, one at an early stage of the work and another after the first performance of the piece (the possibility of evaluating and re-working apiece after the premiere is precious in a field where new compositions mostly only get the chance to be performed once. In the case of already existing pieces, composers wanting to further refine their work will be invited to one workshop only. Also invited is a video artist responsible for the documentation.
The different and original collaboration methods that will emerge as product of these intensive encounters will be researched upon, analyzed, shared within the group and will be brought forward to a specialized audience in seminars and open rehearsals and to the general public through talk, lectures and other educational activities as outlined below.
IS:CNE collaborates with a number of venues and concert arrangers to organize experimental workshops in connection to the performances. Those events are open to the public and include talks and moderation by the involved artists. Outreach activities and audience engagement initiatives will be decided with and customized for partner venue/festival. Planned are 9 production workshops in total during between January 2017 - July 2019.
1. IS:CNE KICK-OFF CONCERT
Date: 18 February 2017
Place: Kontraklang Concert Series/Heimathafen, Berlin (DE)
Description: All partners of IS:CNE are invited to this kick-off concert at one of the main concert series for experimental music in Berlin. The concert will present some of IS:CNE’s already existing repertoire (incl. works by Kaj Duncan David, Øyvind Torvund) and will serve as a starting point of discussion for future work.
2. WORKSHOP 1
Date: February 2017
Place: Kronenboden, Berlin (DE)
Participants: Ida Lundén, Kaj Duncan David, Philippa Berglund, Duo Hellqvist/Amaral, filmmaker
Description of activities: First meeting with Philippa Berglund and Ida Lundén, open atelier with Karin Hellqvist and Malin Bång as well as a work-in-progress show (Kaj Duncan David) followed by an open discussion with Kaj Duncan David, Philippa Berglund and the performers at the Kronenboden Gallery.
Budget note: 4 travels to-fro Europe/Berlin/ 3 nights of accommodation for 4 persons / space rental/ fees
Accomodation, travel costs shared with Kontraklang, free rental space against open activities and work-in-progress concert.
3. CONCERT 2 (tbc)
Date: 13 May 2017
Place: Ear to the Ground Festival/De Bijloke, Ghent (BE)
Description: Performance of Plans for future violin and piano pieces by Øyvind Torvund
4. WORKSHOP 2
Date: May 2017 (in connection with Ear_to_the_Ground 2017)
Place: De Bijloke Ateliers, Ghent (BE)
Participants: Marina Rosenfeld, Simon Loeffler, Duo Hellqvist/Amaral, filmmaker
Description of activities: First meeting with Rosenfeld and Simon Loeffler, Open atelier with Rosenfeld and Loeffler (presentation of earlier works in conversation with performers), Work-in-progress show of Marina Rosenfeld’s My red, red blood.
Budget note: 5 travels to-fro Europe/BRU (Rosenfeld’s flight from New York covered by others) / 3 nights of accommodation for 5 persons/ space rental/ fees. Accomodation, travel costs, evt. space rental shared with Ear_to_the_Ground.
5. CONCERT 3
Date: August 2017
Place: Far North, Nuuk (GL)
Description: Performances of works by Malin Bång, Øyvind Torvund, Marina Rosenfeld
6. WORKSHOP 3
Date: October 2017 (in connection with Cycle Music and Art Festival)
Place: Reykjavik (ISL)
Participants: Lars Petter Hagen, Marina Rosenfeld, Cathrine Lamb/Gudny Gudmundsdottir, Max Sour, Duo Hellqvist/Amaral, filmmaker
Description of activities: First meeting with Lars Petter Hagen and Cathrine Lamb/Gudny Gudmundsdottir. Possible collaboration with Reykjavik College of Music on lectures and masterclasses for composers and performers with Hagen and Duo Hellqvist/Amaral, possible collaboration with Iceland Academy of the Arts on lecture and work-in-progress show with Rosenfeld.
Budget note: 7 travels to-fro Europe/KEF/ 1 travel to-fro New York/KEF / 4 nights of accommodation for 8 persons / space rental/ fees
Accomodation, travel costs, evt. space rental shared with Cycle Music and Art Festival.
7. CONCERT 4
Date: October 2018
Place: Cycle Music and Art Festival / Kópavogur (ISL)
Description: Performances of works by Marina Rosenfeld, Øyvind Torvund, Natasha Barrett, Ida Lunden
8. WORKSHOP 4
Date: December 2017 (in connection with the concert at AVGARDE)
Place: Bergen (NO)
Participants: Øyvind Torvund, Daniel Moreira, Finnish composer (tbc), Max Sour, Philippa Berglund, Duo Hellqvist/Amaral
Description of activities: First meeting with Daniel Moreira, further elaboration of pieces by Torvund and Bång. A collaboration with Griegakademiet will include lectures by Moreira, Torvund and Bång for compositions students as well as a day-seminar for performers and composers to discuss the methodologies and conceptual questions proposed by IS:CNE.
Budget note: 6 travels to-fro Europe/BGO/ 4 nights of accommodation for 6 persons / space rental/ fees
Accomodation, travel costs, evt. space rental shared with AVGARDE.
9. CONCERT 5
Date: December 2017
Place: AVGARDE, Bergen (NO)
Description: Performances of works by Øyvind Torvund, Malin Bång, Ida Lunden, Kaj Duncan David
10. CONCERT 6
Date: 8-12 March 2018
Place: Borealis Festival, Bergen (NO)
Description: Performances of works by Marina Rosenfeld, Daniel Moreira and Cathrine Lamb
12. WORKSHOP 6
Date: May 2018 (in connection with SPOR Festival)
Place: Aarhus Unge Tonekunstnere, Århus (DK)
Participants: Lars Petter Hagen, Daniel Moreira, Kaj Duncan David, Ida Lundén, Max Sour, Philippa Berglund, Duo Hellqvist/Amaral, filmmaker
Description of activities: IS: CNE is invited by AUT to hold a series of activities in connection with the concert at SPOR Festival (presentation of composers, performers and works, open rehearsals with moderation and inclusion of the audience and workshops in collaboration with the Royal Academy of Music.
Budget note: 8 travels to-fro Europe/Aarhus / 4 nights of accommodation for 8 persons / fees
Accomodation, travel costs, evt. space rental shared with SPOR Festival.
13. CONCERT 7
Date: May 2018
Place: SPOR Festival, Aarhus (DK)
Description: Performances of works by Lars Petter Hagen, Daniel Moreira, Ida Lunden and Cathrine Lamb
14. WORKSHOP 7
Date: July 2018
Place: Viitasaari (FI) in connection with Time of Music Festival
Participants: Finnish composer (tbc), Cathrine Lamb/Gudny Gudmundsdóttir, Duo Hellqvist/Amaral, Max Sour
Description of activities: During Time of Music, Duo Hellqvist/Amaral and Max Sour plan to give an introductory course on communication and collaboration skills for and between composers, performers, and tonmeisters open for students from music academies and conservatories worldwide as part of the Time of Music Academy. The workshop last five days and is two-fold: 1) Performers meet composers: Modes and processes of collaboration from the commissioning and conception of a new work to its first performance, how to make the best use of each other’s expertise during the creation process, how to structure rehearsals, how to define the rights to the music, how to preserve notation. 2) Performer and Tonmeister: insisting on the fact that Tonmeister working in live performances are musicians on the same level as instrumentalists, this modules deals with technical aspects of the collaboration performer/Tonmeister such as how to read a score from different perspectives, what skills belongs to whom, how to make technical riders and share information and other practical issues
The call for participants will be posted in musicalchairs.org, Ulysses Platform and other Nordic channels such as ballade.no, seismograf.dk, Nutida Musik and the information channels of Time of Music).
Budget note: 5 travels to-fro Europe/Viitasaari / 4 nights of accommodation for 5 persons / fees
Accomodation, travel costs, evt. space rental shared with Time of Music Festival.
15. CONCERT 7
Date: July 2018
Place: Time of Music, Viitasaari (FI)
Description: Performances of works by Simon Loeffler, Finnish composer (tbc), Ida Lunden and Øyvind Torvund
16. WORKSHOP 8
Date: September 2018 (right before or after the Ultima Festival in Oslo)
Place: Sentralen, Oslo (NO)
Participants: Ricardo Eizirik, Philippa Berglund, Duo Hellqvist/Amaral, Max Sour
Description of activities: First meeting with Ricardo Eizirik, recording of Natasha Barrett’s work. Seminars and workshops in collaboration with the Norwegian Academy of Music to be agreed upon. Proposed topic:
• The experimental performer, a new discipline: This theoretical course by IS:CNE provides musicians with an overview of different strands within musical performance practice as well as with basic knowledge about the evolution of performance aesthetics and theory from the 1950s onwards, not only in music but also in other arts such as dance, literature and theatre. The idea of the course is to motivate students to explore the rich world of experimental music on their own by introducing them to new repertoire or ways of discovering new repertoire, and by giving them practical guidelines on how to approach and/or combine different forms of expression. Seminars will focus on the analysis of specific productions, review of literature (incl. Fischer-Lichte, Butt, Taruskin, Rancière, Goehr, Danuser, Cox, Xavier LeRoy) and will incorporate lectures by guest speakers working with music theatre, space-based performance, conceptualism, interactivity, movement and new media.
Budget note: 4 travels to-fro Europe/OSL / 3 nights of accommodation for 4 persons / fees
17. CONCERT 8
Place: Ny Musikk Norway Tour Part 1 (Stavanger, Bergen, Arendal)
Description: Selected repertoire from the IS:CNE project
18. WORKSHOP 9
Date: WS2018/SS2019 (in connection with the Ny Musikk Tour)
Place: Sessions in Oslo, Stavanger, Bergen, Arendal, Tromsø, Trondheim
Participants: Philippa Berglund, Duo Hellqvist/Amaral, filmmaker
Description of activities: This last workshop includes a four-day session in Oslo where the core of IS:CNE, Duo Hellqvist/Amaral and Philippa Berglund work on the editing and production of the documentary of the project together with the filmmaker. The video will subsequently be played as an installation before/after each concert of the duo during the Ny Musikk IS:CNE Norway tour.
Budget note: 3 travels to-fro Europe/OSLO / 3 nights of accommodation for 3 persons / fees
Accomodation, travel costs, evt. space rental shared with Ny Musikk.
19. CONCERT 9 (tbc)
Date: SS 2019
Place: National Sawdust, New York (US)
Description: Performances of works by Lars Petter Hagen, Catherine Lamb, Marina Rosenfeld, Øyvind Torvund
20. CONCERT 10
Place: Ny Musikk Norway Tour Part 2 (Tromsø, Trondheim)
Description: Selected repertoire from the IS:CNE project
19. IS:CNE ROUND-OFF
Place: To be defined
Description: All partners of IS:CNE are invited to the round-off session that will include an evaluation seminar and other activities to be defined later.
Specific rehearsals periods for the performance of each piece are not included in the application.
MARKETING AND DISSEMINATION
1. TARGET AUDIENCE
IS:CNE target audience includes a broad art-interested audience as well as students and professional composers, musicians and artists from related art forms.
2. OWN INFORMATION CHANNELS
IS:CNE has its own blog that will be regularly updated with news, links, texts, videos relevant to our target audience. It is linked to social media channels and to relevant blogs. Also, all members of the project are active professionally on a number of social media channels.
3. IS:CNE PARTNERS
The many partners of IS:CNE also represent strong networking resources.Each festival involved in the project has own information channels and a cooperation plan for information exchange between festival partners is currently being developed.
4. NORDIC PARTNERS
Contact will be taken with the Council of Nordic Composers and the Association of Nordic Music Academies (ANMA) to spread information about our project among their members. IS:CNE will also be in touch with Music Norway, Music Finland, the Ministry of Foreign Affairs, Embassies and Consulates of the different countries for further information exchange.
Specialized press: International Music Journals, blogs and webplatformssuch asBallade, Lydskrift (NO), Seismograf (DK), Nutida Musik (SE) will be contacted for marketing purposes.
IS:CNE’s contents should be accessible outside its own frame in an interactive and inclusive form. Therefore, all activities will be documented in video for archive and information purposes.The documentation material will be available at www.hellqvistamaral.no/IS:CNE.
Documentation will include a commissioned piece by a Nordic video artist (tba, selected in early 2017). The video artist will attend several of the production workshops. The result will be a 25’ minute video documenting important parts of the production workshops and the processes in the different landscapes of Finland, Norway, Sweden, Denmark, Iceland and Greenland. In addition, all musical creations of IS:CNE will be documented through video and audio recordings.
A publication is planned in 2019 with a collection interviews and lectures from IS:CNE 2017-2019, edited by the artistic leaders of IS:CNE, Duo Hellqvist/Amaral, who will additionally write an article on the insights and observations made through the collaborations.