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Sci-fi-Lieder
Øyvind Mæland

Øyvind Maeland

Sci-fi-Lieder

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020181578
Catnr: LWC 1135
Release date: 06 October 2017
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Label
Lawo Classics
UPC
7090020181578
Catalogue number
LWC 1135
Release date
06 October 2017
Album
Artist(s)
Composer(s)
EN
DE

About the album

In the composer's own words:
The works on this CD were written in the period 2008 – 2012. Already this feels remarkably long ago – at the time I was a student at the Norwegian Academy of Music, but because I realize that these works have been important to me as a composer I have neither been able – nor wanted – to throw them to the wind. I found many elements that pointed towards more recent works such as Étude ralentissante, also recorded on LAWO (LWC1115), by Stine Motland and the ensemble Aksiom. This is contemporary music scored for very traditional instrument combinations such as piano solo, duo for violin and piano, string quartet, and “Lieder” – the latter, however, with the prefix “sci-fi”.

Ad undas – Sci-fi Lieder from the North Sea! (2011). In 2010 impro-singer Stine Janvin Motland, pianist Sanae Yoshida and I began a collaboration which resulted in the song cycle Ad undas – Sci-fi-Lieder fra Nordsjøen!, ten songs with words taken from the Øyvind Rimbereid’s canonized extended poem Solaris korrigert (2004). Subsequently the idea arose to expand the cycle into a dramatic work, and in 2013 the opera Ad undas – Solaris korrigert premiered at the Norwegian Opera. “Ad undas” - literally meaning “to the waves”.

The year is 2480. The oil wells are empty; the oilrigs sank long ago. The earth is struggling – humankind is still in existence but the fear of extinction has led to the planning of a new and safer world beneath the sea. Solaris. Nature can be enjoyed via huge screens and there is no need to worry about the reality above. A robot operator lets us see into a future he believes we will be ashamed of. The language in the poem also seems to be from another world; a mix of English, Stavanger dialect, old Norse, German and SMS indicates how the world has been divided into new regions with names such as "organic 14.6”.

Neither the music of the opera nor the song cycle attempts to create a futuristic sci-fi sound scape. We are instead presented with something reminiscent of a 2480s nostalgia that might sound sweet and sentimental, pathetic and intense, and even childish. Yet still we are left with the impression of simple, sober music that is neither unpleasant nor particularly agreeable; neither "yor apocalyptsen terror-mare" nor "yor beauty dream". The violent, “manipulative” gestures wither away.
Dies ist zeitgenössische Musik, die für sehr traditionelle Instrumentenkombinationen wie Klavier Solo, Duo für Violine und Klavier, Streichquartett dargeboten wird sowie "Lieder" - letztere jedoch mit dem Präfix "Sci-Fi".
... Es ist das jahr 2480. Die Ölquellen sind leer, die Ölquellen sind längst versunken. Die Erde kämpft - die Menschheit existiert noch immer, aber die Angst vor dem Aussterben hat zur Planung einer neuen und sichereren Welt unter dem Meer geführt. Solaris. Die Natur kann über riesige Bildschirme genossen werden und es gibt keinen Grund zur Sorge um die Realität oben. Ein Roboteroperator lässt uns in eine Zukunft blicken, von der er glaubt, dass wir uns schämen werden. Die Sprache im Gedicht scheint auch aus einer anderen Welt zu stammen; eine Mischung aus Englisch, Stavanger-Dialekt, Altnordisch, Deutsch und SMS zeigt, wie die Welt in neue Regionen mit Namen wie "organic 14.6" aufgeteilt wurde.
Weder die Musik der Oper noch der Liederzyklus versuchen, eine futuristische Sci-Fi-Soundlandschaft zu schaffen. Stattdessen wird uns etwas präsentiert, das an eine Nostalgie der 2480er Jahre erinnert, die süß und sentimental, pathetisch und intensiv, ja sogar kindisch klingen mag. Dennoch bleibt uns immer noch der Eindruck einfacher, nüchterner Musik, die weder unangenehm noch besonders angenehm ist; weder "yor apocalyptsen terror-mare" noch "yor beauty dream". Die gewalttätigen, "manipulativen" Gesten verwelken.

Artist(s)

Stine Janvin Motland (vocals)

Vocalist Stine Janvin Motland (b. 1985) lives in Stavanger and Berlin and divides her time between experimental music, sound art and audio-visual performance. Through projects such as Fake Synthetic Music, In Labour and The Subjective Frequency Transducer, she challenges and explores the physical range of the voice as well as new performance contexts and strategies. Motland has presented her work at festivals, galleries and on stage in the USA, South America, Europe and Africa; she has released two solo recordings and has a third underway for PAN Records. In addition to her own work, she frequently contributes as a composer and performer to a wide variety of inter-disciplinary projects. She is a member of the vocal ensemble Song Circus and the...
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Vocalist Stine Janvin Motland (b. 1985) lives in Stavanger and Berlin and divides her time between experimental music, sound art and audio-visual performance. Through projects such as Fake Synthetic Music, In Labour and The Subjective Frequency Transducer, she challenges and explores the physical range of the voice as well as new performance contexts and strategies. Motland has presented her work at festivals, galleries and on stage in the USA, South America, Europe and Africa; she has released two solo recordings and has a third underway for PAN Records.
In addition to her own work, she frequently contributes as a composer and performer to a wide variety of inter-disciplinary projects. She is a member of the vocal ensemble Song Circus and the musicians’ collective Konzert Minimal; with these ensembles and as a soloist with Ensemble neoN she has performed works by composers including Cathrine Lamb, Øyvind Torvund, Antoine Beuger, Maja Ratkje, Cornelius Cardew and Ruben Sverre Gjertsen. Motland has collaborated with Øyvind Mæland since 2010, and performed the first version of Ad undas – Sci-fi-Lieder fra Nordsjøen! together with Sanae Yoshida in 2011.

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Sanae Yoshida (piano)

Sanae Yoshida is an Oslo-based pianist performing both contemporary and classical repertoire, both as a solo and chamber/ensemble musician. She has been working closely with a number of composers and has premiered a large number of works.   She is a founding member of Ensemble Temporum, a Norwegian ensemble for contemporary music, and the pianist of Ensemble Ernst. Yoshida has recorded chamber works by Monrad Johansen (the CD was nominated to Spellemannprisen, Norway’s Grammy, in the classical music category) and Halfdan Cleve (SIMAX), and solo/chamber works by Øyvind Mæland (LAWO Classics).   After her studies in Toho Gakuen School of Music in Tokyo, Sanae Yoshida went to Norway to study with prof. Jiri Hlinka at the Barratt Due Academy of Music, and later on...
more
Sanae Yoshida is an Oslo-based pianist performing both contemporary and classical repertoire, both as a solo and chamber/ensemble musician. She has been working closely with a number of composers and has premiered a large number of works.
She is a founding member of Ensemble Temporum, a Norwegian ensemble for contemporary music, and the pianist of Ensemble Ernst. Yoshida has recorded chamber works by Monrad Johansen (the CD was nominated to Spellemannprisen, Norway’s Grammy, in the classical music category) and Halfdan Cleve (SIMAX), and solo/chamber works by Øyvind Mæland (LAWO Classics).
After her studies in Toho Gakuen School of Music in Tokyo, Sanae Yoshida went to Norway to study with prof. Jiri Hlinka at the Barratt Due Academy of Music, and later on she studied with prof. Håkon Austbø. From 2017, she was undertaking artistic research at the Norwegian Academy of Music.

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Composer(s)

Øyvind Mæland

Øyvind Mæland (b. 1985) studied piano with Jiri Hlinka at the Barratt Due Music Institute in Oslo before embarking on composition studies at the Norwegian Academy of Music where his teachers included Olav Anton Thommesen, Ivar Frounberg and Henrik Hellstenius. Attending masterclasses he has also received guidance from a number of composers including Aperghis, Furrer, Billone, Ferneyhough, Czernowin, K. Lang and D. Kourliandski. Øyvind Mæland’s output consists primarily of chamber and ensemble works; he has collaborated with instrumentalists, ensembles and conductors including Marco Fusi, Håkon Austbø, Hans-Kristian Kjos Sørensen, Stine Motland, Pinquins, Oslo String Quartet, Kairos quartet, Aksiom, The Royal Norwegian Naval Forces' Band, Bodø Sinfonietta, Telemark Chamber Orchestra, BIT20 and Pierre-André Valade, and Oslo Sinfonietta and Christian Eggen. Mæland’s music...
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Øyvind Mæland (b. 1985) studied piano with Jiri Hlinka at the Barratt Due Music Institute in Oslo before embarking on composition studies at the Norwegian Academy of Music where his teachers included Olav Anton Thommesen, Ivar Frounberg and Henrik Hellstenius. Attending masterclasses he has also received guidance from a number of composers including Aperghis, Furrer, Billone, Ferneyhough, Czernowin, K. Lang and D. Kourliandski.
Øyvind Mæland’s output consists primarily of chamber and ensemble works; he has collaborated with instrumentalists, ensembles and conductors including Marco Fusi, Håkon Austbø, Hans-Kristian Kjos Sørensen, Stine Motland, Pinquins, Oslo String Quartet, Kairos quartet, Aksiom, The Royal Norwegian Naval Forces' Band, Bodø Sinfonietta, Telemark Chamber Orchestra, BIT20 and Pierre-André Valade, and Oslo Sinfonietta and Christian Eggen. Mæland’s music has been performed at festivals such as Ultima, Borealis, and Oslo Chamber Music Festival. In 2013 he completed his nearly two hour long opera Ad undas – Solaris korrigert for six singers, full orchestra and nine-part choir, which premiered at the Norwegian Opera in October the same year, in close collaboration with the poet Øyvind Rimbereid and director Lisa Lie.
In the autumn of 2015 eight of Mæland’s works were recorded for the LAWO, Fabra and Geiger labels by Stine Motland, Marco Fusi, Sanae Yoshida, Oslo String Quartet, Aksiom, and Telemark Chamber Orchestra.

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Press

Play album Play album
01.
KOMMEN du vid meg? (2012)
07:32
(Øyvind Mæland) Oslo String Quartet, Øystein Sonstad
02.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): I. WAT vul aig bli
06:01
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
03.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): II. I natt dei i slammen arbeidar
02:40
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
04.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): III. picts takat fra ovfen
03:55
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
05.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): IV. tarmar infectat!
02:05
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
06.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): V. Mrs. Chan
01:47
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
07.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): VI. OU fara afgarde
01:21
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
08.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): VII. ven aig ne svefndrauma kan
02:22
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida, Oslo String Quartet, Liv Hilde Klokk, Øystein Sonstad
09.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): VIII. Siddy Stavgersand
03:09
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
10.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): IX. nokon bar meg ovfr skuldr
03:02
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida
11.
Ad undas ? Sci-fi-Lieder fra Nordsjøen! (2011): X. DEPT i Nordsea
03:41
(Øyvind Mæland) Stine Janvin Motland, Sanae Yoshida, Oslo String Quartet, Liv Hilde Klokk, Øystein Sonstad
12.
Through surfaces (2008)
09:21
(Øyvind Mæland) Sanae Yoshida, Liv Hilde Klokk
13.
Glimpse ? vanished (2012)
05:05
(Øyvind Mæland) Sanae Yoshida
14.
String quartet in two movements (2009/10): I.
09:29
(Øyvind Mæland) Oslo String Quartet, Liv Hilde Klokk, Øystein Sonstad
15.
String quartet in two movements (2009/10): II.
09:45
(Øyvind Mæland) Oslo String Quartet, Liv Hilde Klokk, Øystein Sonstad
show all tracks

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