B E H I N D ” N O V I S U A L “
This year I got the opportunity to write for the Trondheim-based Alpaca Ensemble, a super flexible, open, and skilled ensemble doing lots of cool projects with composers like Maja Ratkje, Alwynne Pritchard and others. The project I took part in was a collaboration between Alpaca Ensemble and nyMusikks Komponistgruppe, and the other composers participating in the project was Kristin Bolstad, Ansgar Beste, Eric Egan and Lasse Passage Nøsted. The Arts Council Norway funded 4 of 5 pieces, and I really appreciate them doing this investment in the future composers – we are here, and you are stuck with us, so you might as well be part of shaping our journey!
W H A T I S ” N O V I S U A L ” A B O U T
No Visual is a work for 2-4 blindfolded performers playing amplified everyday sounding objects provided by “the composer”. There is a score of the piece, but it’s mostly for the composer to remind, since all the sounds are initiated and controlled by the composer. The performers are part of a well oiled sound machine, all controlled and shaped by the composer. The piece is deeply routed in my work with creating increased empathy in the world though listening. The question “in a time surrounded by sound, have we forgotten how to listen?” is a big bold red tread through my works, and also very present in “No Visual”. I somehow think that this work is more for the performers, or for the composer, than for an audience, but I like the idea of the different roles having different experiences of the piece.
W O R K P R O G R E S S
The project was based on collaborative workshops between composers and ensemble. We all applied for the project with project proposals, and had time with the ensemble to really try out ideas and experiment with sound. But in the end we all had to really shape the material – with five very different outcomes – which is natural with five so different composers. For making everything one concert experience the ensemble hired in Alwynne Pritchard – who is one of my favourite composers in Norway, often doing these amazing composer-performer works. For me this was a great help, since my work was very composer-performer based, but I really felt this lifted all the pieces to a different level!
For me this work was an experience where I grew a lot as a composer where I:
- Found a new way of working with the musicians/performers – like a well oiled machinery of creating and controlling sound – creating links between my work methods as an instrumental and an electroacoustic composer.
- Found a new way to convey a musical material / sonic world to musicians/performers which suited me and my way of working super nicely.
- Got to play around with and challenging the roles of the composer and the performer.
- Got to work with a way where I as a composer where placed in my own work in a way that felt natural to me.
So all in all, this was such a good experience, where I felt me and my colleagues where taken very serious and got to evolve as composers in a safe and explorative environment. I hope this project will be re-performed, both as individual pieces and as a whole.
V I D E O
I wish I could share the videos from the other composers as well, but it seems like I’m the only one who uploaded the video to the internet for now – will update this post regarding this. But for now, here’s the video of my work from the project “No Visual”:
Video made by Madsen Music.
Video made possible thanks to the Norwegian Society of Composers.
R E V I E W
“the one work that stood out – perhaps more for dramatic than musical reasons – was Tine Surel Lange‘s No Visual, where the ensemble was blindfolded (it was a tough day for performers in Oslo!) and wielded various wine glasses and bowls of water, creating a delicately fragile sonic world. Initially somewhat superficial, it later developed a demonstrative, vigorous character that made a strong impression.” http://5against4.com/2018/06/03/only-connect-2018-part-2/
P H O T O S