21 October 2016: Specs On festival Berlin, Alpaca Ensemble playing Rehnqvist

A fantastic venue, such a rich sound in the room. In the free passages, I try to do as I worked with Stanislaw, and I feel it works better than before. Karin comments that she really liked what I did this time. More contact in the free passages and more concentrated feeling, from the body (cannot be said to much). There is more variation in the dynamic expression.

 

Watching the video of the concert I react to the visual expression I have, concentrated but somehow it looks like I am not engaged. But the music sounds, I just need to be more expressive in my face. I feel like shouting to myself to wake up even though I am fully aware of how hard I work on the inside. But maybe I have to be even more awake. The free passages sound like me talking about something. When I concentrate the sound in the point of contact it comes out much clearer. It does still sound as a tremolo, but not like a kind of muffled sound. Last movement of Outer space with my bassline. I keep a good line. Sound is open and free. Sometimes not all notes are open, I could be even more “there”. Feel the notes before you play them. 

Karin Rehnqvist says she was using us musicians as a starting point and inspiration for the work. In the video below you can get a feeling of the work with examples from the different parts. The first movement is comprised of individual voices developing in their own orbits, which link up and meet  from time to time. Then the musicians orbit, while the cello improvises in the Transit parts. Then comes the movement Planet Play. Like a game. Again I interrupt the movement with a Transit part, this time standing. Then comes Outer space for bass clarinett and bass violin (stringed one octave down). A new Transit with piano and bartok pizzicatos as a new element, going into Laud – a worship and joy. Then a Transit together with violin, second Outerspace for contra bass clarinet and cello with an intense bass line. Finally the Epilogue, where the elements are freeing themselves and walking out into the universe (on a c#). The pianist walks out into a parallel universe, and the cello is left as a center where everything orbited around.

 

Karin has also drawn a stage map of where the musicians should orbit, which is an artwork in itself: