Hans tilknytning til hjemlandet var sterk og dobbel. The viola da gamba, being a progenitor of the contemporary violin and cello, sounds inherently antique, suited more for music of the 16th century than the 21st, but Ratkje manages to imbue them with an intense sense of the contemporary. Available on CD and on vinyl. Supplerende kommentarer til anmeldelsen: And how do I talk about it in such a way so as to not reduce it to the stereotypes of the genre:

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The range of expression is considerable — reeling off, exclamations, whispering and intense displays of what is — and of what is in danger of disappearing; the earth is given a voice of many inflections. River Mouth Echoes reviewed by Judas Kiss. For a start… what kind of music is this? If you feel intimidated by music this intellectually oriented, perhaps you should wait a little while before attempting River Mouth Echoes. Full reviews Works on this album: Well, most definitely not wasted! Je n’arrive pas a les trouver malgrer la liste de musique que tu as mit comme reference:

Ratkje emphasizes that contrast is central to her work, and we hear that principle repeatedly play out in the extremes of harsh noise and near-silence that emerge during these electro-acoustic chamber settings.

Scored for four viols violas da gambathe twenty-minute title hagmonik likewise explores the full sonic potential of a single instrument with scrapes, swoops, and pizzicato effects appearing in episodes that range from serene to agitated umsique everything in between.

Sure nothing needs to be said about Mr. This album outlines the last ten years of Maja S. For a start… what kind of music is this? But be warned anyway, this album is haunting!

When I started writing this review I had planned just to skip through the tracks shortly once again and, hence another Well, most definitely not ollegal Though I must admit the first listening was a bit of a …maybe torture is a bit too heavy, but I had to force myself through it.

Harmonies in search for other harmonies, harmonies to pair with, sing and swing with for a while to just fade, or to dominate, to leave for a drink and then come back for a chat and yet another drink — rather dreamy! Things sound like improvisations here and there but Maja is a trained musician and composer. Everything sounds exactly the way she barmonik it to.

Too weird, to expressionistic? You know what I mean? I am not even talking of Schoenberg! Everything sounds fresh, surprising all the way and very spontaneous too. And though this is a compilation, a survey the album comes illeal much as a whole. Everything sounded so warm, so complete and inwardly self contained. Pretty weird, but pretty. I you really want get into this album you need to invest a little time, but time that is worth squandered.

Jeg har anmeldt den i Politiken. Nedenfor har jeg et par supplerende kommentarer til anmeldelsen:. Gambens fysiske muligheder udnyttes stramt og med en intensitet, som revitaliserer dette instrument, der tidligere blev betragtet som en slap udgave af violin og cello.

Essential Extensions er ikke musiqu min kop te. Det er som om der er ekkoer af nogle af det Det er delt op i en masse korte satser med hver deres karakter. Parmi elles, Maja Ratkje, joue de la musique avec sa voix, ses filets de voix, ses susurrements, ses sifflements, ses fredonnements, ses grommellements, ses grognements, ses hurlements, ses parlers et ses chants, tous leurs échos et leurs détournements par des machines désirantes.

Elle craque des allumettes, franchit des sas, éteint la lumière. Det burde nu heller ikke komme som en stor overraskelse, at kvinder kan lave vedkommende eksperimentalmusik. Noise and distortion have an unlimited earthly beauty, chaos and simplicity often appearing side by side. Det er heftig musik, fuld af dramatiske kontraster og meget aktiv. I det hele taget er det tydeligt, at Ratkjes udgangspunkt er hardcore-modernismen, men musikken er ikke det mindste gammelmodernistisk af den grund: Stykket munder dog overraskende og garmonik ud i en vuggeviseagtig afslutning.

Som improviserande solist och medlem i FeMail har hon signerat minst ett par album, som redan är milstolpar i den samtid, där elektronik och processing spelar en central roll.

Här gäller frispel och stark uttrycksfullhet. Jag vet inte vilken av hennes sidor som mest vunnit gehör, kompositören eller improvisatören?

Hwrmonik röst spelar en avgörande roll; liksom vokal flexibilitet och klang hos de olika instrumenten. Mot dessa kvaliteter ställer hon det processade ljudet och den rena elektroniska klangen. Har man live hört hennes triumfatoriska, extatiskt uttrycksfulla vokala stegringar glömmer man dem aldrig. Här är det Rolf-Erik Nyströms altsax som processas av Ratkje. Resultatet är mer komplext än i det äldre stycket. Det är skrivet för en viola da gamba-ensemble och framförs övertygande av Fretwork.

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Stämningen blir intensiv och musiken omsluter mig snart totalt. Det är litet av samma böljande uttrycksfullhet som hon har i sin egen röst. Det är sfäriskt ljusa klanger, iklegal litet andas av jazzens diktion, accentuerade av olika slagverksinstrument. Det blir litet molande och samtidigt svävande. Den liksom slutar med en paus.

HARMONIK – ILLEGAL sur Orange Vidéos

I dubbel mening märks hennes röst. Den här speciella gestiken förknippar jag med jazzens tilltal. Här finns ingen ironisk distans eller avslagenhet. Allvaret i tilltaget laddas av stark glädje och en obändig skönhetslust.

Hon bygger skimrande lager av klanger, experimenterar med skilda slags genomsiktlighet. Och inte minst verkar hon vara upptagen av koloreringen. Det glöder av varma färger och skär i bländande vitt. Med en preferens för det ljusa. Allra tydligast hörs denna dramatik kring skönhetens gester, när hon är solo med sin elektronik och röst i Wintergarden.

Hon sväljs av sin egen röst, och resultatet blir ibland triumfatoriskt. I Wintergarden kan vi höra snittytan mellan impro och komposition.

Hon är helt enkelt den som allra bäst framför sin egen musik. Om man vill kan man kalla det en begränsning i det komponerade materialet. Men i mitt minne sitter hela tiden klangavtrycket av Ratkje själv. Jag tror det är för att hon njuter av den skönhet hon finner. Elektroniken är bara en förlängning, en utvidgning, liksom orkesterinstrumenten är en utmaning för henne att även denna väg finna besläktade klangvärldar. Dette blir bare tydeligere for meg.

Ratkje and Hild Sofie Tafjord both from Fe-mailcommissioned by Rikskonsertene for a concert series. The result outdoes the sum of the products by far — Trinacria represents something unique on the music scene as a whole.

Trinacria is an abstraction in both aspects; musically and conceptually. The light in the room appears as a transition between the internal and external space of the building, in the force-field between room and external world. The light apertures in the building act as points of contact between room and nature, but are also a symbolic meeting point between art and Man.

Harmonik – Illegal – Remix | Écoutez gratuitement sur Anghami

Each performer chooses a place in which to perform solo. The sound of the four concerts will remain on site after the performance as traces only, whist images from the performances are projected into the concert space.

Alongside projected images of nature, and of the building seen through selected windows surfaces, these images will hxrmonik a subjective visual representation of the art centre, which merges with that of the concert. The room itself is customised by SPUNK with reflective panels and transparent layers, so that the fragments of film from the site are multiplied and overlapped.

Historien om John Zorn er i stor grad sammenfallende med historien om New Yorks radikale musikkliv. Han sender konsekvent ikke plater til anmeldere. I dag regnes John Zorn som en levende legende. Han er en respektert og mye spilt komponist, ikke minst i USA.

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Stilen hans er postmodernistisk. Godard er en stor inspirasjon. Bandet Naked City, som oppsto itar cut-up-estetikken helt ut. Publikum fikk sjokk av volumet, det fysiske og den sinnssyke timingen i musikken. Flere av disse spiller i Bergen med Zorn i morgen. Store vinduer lager en forbindelse mellom senteret og naturen rundt.

SPUNK er fascinert av hvordan lyset brytes i alle de forskjellige vinduene. How does one write about contemporary classical music? And how do I talk about it in such a way so as to not reduce it to the stereotypes of the genre: So excuse me for a second while I try to discuss them as such, while trying to avoid some of the pitfalls of the style. The viola da gamba, being a progenitor of the contemporary violin and cello, sounds inherently antique, suited more for music of the 16th century than the 21st, but Ratkje manages to imbue them with an intense sense of the contemporary.

It almost sounds as if a composition by Purcell were torn apart, laced with sounds from the noise scene, and then reformulated for acoustic instruments. That is the key element of her aesthetic, in fe-mail or Spunk or on her own——taking the old, radically reconsidering it, and making it something new.

These may be minute distinctions, but they show one way that classical music, or whatever you want to call it, can move out of its current dead end by listening beyond the hallowed halls of the canon.

Perhaps the folks that write about classical music will be able to follow suit.

A noise band that deliberately contrasts unabashed femininity with deep, harsh noise caught more than a muwique eyes with the release of Syklubb Fra Haelvete translation: Before Fe-Mail, however, there was Spunk, a Norwegian avant-jazz quartet that featured Ratkje on electronics and voice, as well as Hild Tafjord.

Whereas Fe-Mail was destruction and medieval-spiked bats forcing granite doves through ,usique wire, Spunk was more refined and chamber-oriented, with less of a basement sound and more of a gallery flair. Be warned that none of her music will sound normal if your idea of weird stops with David Bowie, but some of it is less black and viscous than the rest — some of it, like River Mouth Echoes.

The tracks that do credit her voice, electronics, processing also feature saxophone, almost as a rule. Sparseness and restraint dominate, with total noise coming only in spurts. Passages like that are what noise music, ever the wooden boy, aspires to be.