New music for new instruments<\/p>\n
<\/p>\n
To compose for instruments of ice requires a large dose of intuition and a pinch of craziness. How will these instruments possibly sound? One has to guess: most likely softer och probably not so expressive as a traditional instrument. The lowest register of cello and double bass are certainly not as sonorous and dark.<\/p>\n
<\/p>\n
What must be taken into consideration due to the constant chill of the concert hall? To avoid quick passages since the musician\u2019s hands will become easily cold. Not to write too long a piece lest the musician\u2019s backside freezes to the icy stool. How can an ice flute work as it is filled with the warm breath of the flutist? Best to compose few, well-chosen and sparse notes, so that the instrument will not melt irreparably during performance. And, what about the percussion? Which instruments can be constructed? With warm wishes and few instructions I leave it to the musician to form his part when we have seen and heard the actual instrument.<\/p>\n
<\/p>\n
This was my approach to the composition of Ice Music Fantasy for singer, recitation and ice instruments (flute, percussion, 2 celli and double bass). The vocalist sings words beginning with ice: ice music, ice dream, ice bird, ice blue, etc. The speaker whispers geographic names of places about the North Pole, beginning with Nuuk on Greenland, proceeding west and ending in Troms\u00f6 och Spetsbergen in Norway. On occasion the music is interrupted by the words \u201cSilence \u2026 Snow \u2026\u201d<\/p>\n
<\/p>\n
Karin Rehnqvist, March 2003<\/em><\/p>\n — Singer:<\/p>\n ice music, ice dream, a nice dream,<\/p>\n ice bird, ice blue, a frozen and stony ice toe<\/p>\n ice in the rise of the sun<\/p>\n <\/p>\n a dream, a seam, a seal, a bee<\/p>\n a blink, a drink, a chest, ice free!<\/p>\n <\/p>\n A seal, a dream of light<\/p>\n <\/p>\n (Karin Rehnqvist)<\/p>\n <\/p>\n The speaker:<\/p>\n Nuuk, Iqaluit, Baffin Island, Sommerset Island, Lancaster Sound, Foxe Basin, Resolute, Bathurst Island, Ellef Ringnes, Devon Island Spence Bay, Gjoa Haven, Coppermine, Tuktoyaktuk<\/p>\n Tystnad! Sn\u00f6\u2026<\/p>\n Chakotka, Pevek, Cherskij, Tiksi, Taymyr, Dickson, Gyda, Yamal, Novaya Zemlya, Kanin, Archangelsk, Belomorsk, Kola, Murmansk, Nordkap, Troms\u00f6, Spetsbergen<\/p>\n Tystnad! Sn\u00f6\u2026.<\/p>\n ___ New music for new instruments To compose for instruments of ice requires a large dose of intuition and a pinch of craziness. <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[22],"tags":[],"class_list":["post-1093","post","type-post","status-publish","format-standard","hentry","category-programme-notes"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p79arM-hD","jetpack-related-posts":[{"id":1131,"url":"https:\/\/karin-rehnqvist.se\/eng\/till-angeln-med-de-brinnande-handerna-to-the-angel-with-the-fiery-hands\/","url_meta":{"origin":1093,"position":0},"title":"TILL \u00c4NGELN\u00a0 MED DE BRINNANDE H\u00c4NDERNA\u00a0\/ TO THE ANGEL WITH THE FIERY HANDS","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"for oboe and mixed choir, alternatively for oboe and descant chorus \u00a0 For a long time, I have been curious about how the different instruments and voices influence each other. One should be able to translate the specific qualities to the next instrument, for example in the female voice: From\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1085,"url":"https:\/\/karin-rehnqvist.se\/eng\/beginning\/","url_meta":{"origin":1093,"position":1},"title":"BEGINNING","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"Piano trio: a keyboard instrument, two string instruments. What do they have in common? At what point to they meet? The piano, with its short, percussive meeting of hammer and string, and its enormous register from the deepest bass to the highest treble. The stringed instruments, horsehair stroking against gut\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2246,"url":"https:\/\/karin-rehnqvist.se\/eng\/night-chant\/","url_meta":{"origin":1093,"position":2},"title":"NIGHT CHANT","author":"Johan N\u00e4slund","date":"September 21, 2021","format":false,"excerpt":"NIGHT CHANT (Musik i natten)for seven instruments* Duration: ca. 11 minutes At night our perception is sensitive. Sound is experienced louder, light brighter. You have to be wary.\u00a0 As I compose this we are living in difficult times. The coronavirus is spreading and more and more people are getting infected.\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/programme-note_cirkel_1A.png?fit=567%2C358&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/programme-note_cirkel_1A.png?fit=567%2C358&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2021\/09\/programme-note_cirkel_1A.png?fit=567%2C358&ssl=1&resize=525%2C300 1.5x"},"classes":[]},{"id":1015,"url":"https:\/\/karin-rehnqvist.se\/eng\/chamber-music-voicevoices\/","url_meta":{"origin":1093,"position":3},"title":"Chamber music & voice\/voices","author":"admin2","date":"January 25, 2016","format":false,"excerpt":"THE DREAM (2022) for Mezzo-soprano\/ Alto and Cello 12\u2019 Text Rosa Taikon Dedicated to Unni L\u00f8vlid and Marianne Baudouin Lie Svensk Musik Programme note \u00a0| \u00a0Score sample SONGS BETWEEN LIGHT AND DARKNESS \u00a0(2021) \u2013 for two reciters, soprano, alto saxophone, clarinet in Bb (also b.cl) and piano. 16' Text: Gunnar\u2026","rel":"","context":"In "Chamber music & voice"","block_context":{"text":"Chamber music & voice","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/complete-worklist\/chamber-music-voice\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/KR-noter_chamber-voice.jpg?fit=900%2C659&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1894,"url":"https:\/\/karin-rehnqvist.se\/eng\/so-bloodhoof-sounds\/","url_meta":{"origin":1093,"position":4},"title":"So Bloodhoof sounds","author":"admin2","date":"August 9, 2019","format":false,"excerpt":"At the end of May, it was the world premiere of the 42-minute piece Bloodhoof, with music by Karin Rehnqvist and lyrics by Gerdur Kristn\u00fd \u2013 a monodrama for mezzo-soprano and eight instruments. So far, only the premiere audience in Gothenburg's concert hall that night heard the work. Here is\u2026","rel":"","context":"In "Notes"","block_context":{"text":"Notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/notes\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2019\/08\/Blodhov_Willemarkensemble-recherche.jpg?fit=1200%2C798&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2019\/08\/Blodhov_Willemarkensemble-recherche.jpg?fit=1200%2C798&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2019\/08\/Blodhov_Willemarkensemble-recherche.jpg?fit=1200%2C798&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2019\/08\/Blodhov_Willemarkensemble-recherche.jpg?fit=1200%2C798&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2019\/08\/Blodhov_Willemarkensemble-recherche.jpg?fit=1200%2C798&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1127,"url":"https:\/\/karin-rehnqvist.se\/eng\/varldsklockan-the-word-clock\/","url_meta":{"origin":1093,"position":5},"title":"V\u00c4RLDSKLOCKAN\u00a0\/ THE WORLD CLOCK","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"Composing for voices and instruments interests me very much. How can you make them melt together? How do voices and instruments colour each other\u2019s sound? \u00a0 The register of the cello is roughly the span of the mixed choir: from the second basses\u2019 low C up to the sopranos\u2019 highest\u2026","rel":"","context":"In "Programme notes"","block_context":{"text":"Programme notes","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/programme-notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1093","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/comments?post=1093"}],"version-history":[{"count":1,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1093\/revisions"}],"predecessor-version":[{"id":1094,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/1093\/revisions\/1094"}],"wp:attachment":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/media?parent=1093"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/categories?post=1093"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/tags?post=1093"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe texts:<\/p>\n
\nRead more at\u00a0The Ice Cubicle<\/p>\n","protected":false},"excerpt":{"rendered":"