The Bird District #architecture
At the moment i am working on new compositions and audio. The recorded harp compositions will be the basis for the musical dialogues and for the solo piano project that will be published as actual music and as sheet music. The inspiration for all my work comes from landscape, nature and place that also includes architecture. I love extraordinary buildings that are art works in itself and also how are houses are homes in a district in a city. it is interesting how grey (maybe ugly) flat buildings can be seen in another visual perspective and that the building becomes kinda cool. And how the street where i live the architecture of the homes and trees where birds are housed complement and need each other. And how it is to embrace our beautiful old oak trees instead of .. The third project in the landscape music triptych EK IS EIK - Beautiful World is called The Bird District.
from ARCHITECTURE to SOUND SCULPTURE = AUDIO ART = hq .WAV
My compositions have a structure based on patterns like squares, triangles, circles or //, instant music, textures, nature and poetry. A harp solo must stand on its own before it receives a musical answer in order to create music that matters. I like 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, inevitably 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.