Recently i am the first European member of the landscape music composers network - landscapemusic.org : exploring music inspired by landscape, nature and place. I feel honored to be part of this amazing group of musicians. It maybe the right time that Landscape Music is recognized as a 'real' music style and/or genre in itself. Many many thanks to Brooklyn - NY based composer, librettist and multi-media artist Nell Shaw - Cohen for initiating this amazing platform.
“Between nature and music there is a mysterious, irreplaceable and eternal mystical connection. Besides conducting a symphony of sounds, nature is also a source of inspiration for artists/human beings. ― Like a sculptor as it were i shape sounds into cinematic imagery with the intent to move the listener. I believe in the power of subdued and stilled music that reflects the internal (psyche) and external (nature + cultural) landscapes we are moving in = landscape music. A minimal and poetical note-score (so called harPoems) that comes from my strong desire to find beauty and consolation; music as an antidote to the present. Or to quote F. Nietzsche: without music life would be a mistake.”
Landscapes, nature and places have been and still are a major inspiration for artists ; at the moment one can experience the exhibition 'The Joy of Nature' -
works of contemporary artist David Hockney who is inspired by Vincent van Gogh in the Van Gogh museum. I feel a great affinity with both artists and they are a wonderful inspiration to me, as they experiment with coloring, perspectives, nature impressions, patterns, textures, landscapes, rhytthm & movement of the wind, the poetry of light and how they feel that nature is beauty and consolation - even art in itself. Eventhough making music can be compared with painting, i prefer to see my music as sound-sculptures (three-dimensional). A scenery where one can walk around the notes as it were, with room to embrace the natural sound, movement, light, morphology, texture and poetry of the actual landscape or architecture, inevitable reality is altered by the subtle harp whispers. Stillness is fundamental to make music tangible. When an actual harp-sound is seen as clay then the way i pull and push the following string(s) will obviously be of influence to the shape of the material. How and when i mold my strings define the music. Silence and the intention between one and the other note give the listener time and space to experience the music as a real sculpture. The creation of a sound-sculpture is an organic and intuitive process ; coloring, grading, movement and texture happen simultaneously, light and shadow are inherent. To make my compositions work the sound-quality of the harp recordings and musical architecture are crucial.