Where does the music end and the listenig begin?

Musical jiggsaw-puzzles at Kamfest 2016

Our perception of reality is a highly individual matter: every day our mind is occupied by trying to create coherence between an unimaginable amount of fragments brought to us through our different senses. It is a bit like a game: you’re given certain pieces but how you combine them is up to you.

Art and music reflects this essential fact that we humans are not sharing one reality but rather perceiving myriads of different possibilities of reality, all interlaced and happening at the same time. We are all aware that two people might experience the same piece of music or art in entirely different ways. The music or the art work is the same and yet the experience differs.

The continued construction of our separate realities is a game which every human being plays continuously, whether we are aware of it or not but once we are aware of it it is possible to use it consciously. Within the world of music this sense of the possibility that lies in co-creation with the listener is more present in particular composers and their works than in others.

bent-sorensen Continue reading

The inner and outer experiences of music

kamfestHaving  just returned from the annual Trondheim chamber music festival KAMFEST I had some thoughts in my head, spurred by the many musical experiences there. KAMFEST has always been one of my favourite festivals in Norway as it always seems to somehow be able to think outside of the Box when it comes to chamber music and concert programming in general. A great mix of Expressions, genres, venues and, most often, superb musicians. This year’s composer in residence was the multi-faceted composer /pianist/poet and artist Lera Auerbach who were participating in all of her artistic roles. The program varied from the music-theatre-opera The Blind, chamber music works where the composer performed herself, poetry recital and a silent auction of some of her pictures.

This combined presentation was a rare experience and I wondered in advance how Auerbach would succeed in filling all of these roles. Through history there have been many examples of great composers who also have ventured into the field of performer; a double role which was much more common in older times, from the improvisation-competitions of Mozart´s time to the semi rock star-hysteria surrounding virtuosi composer-performers like Chopin and Liszt. But that said there are considerable differences between the demands to performers of today as to that of earlier times, both in instrumental changes and technical demands.

Some of the things I experienced with Auerbach concerns the theme of listening in a very profound way, more specifically: it concerns something we might call outer and inner listening. Continue reading