{"id":941,"date":"2016-01-20T12:29:29","date_gmt":"2016-01-20T11:29:29","guid":{"rendered":"http:\/\/karin-rehnqvist.se\/eng\/?p=941"},"modified":"2016-01-28T23:24:06","modified_gmt":"2016-01-28T22:24:06","slug":"between-the-angel-and-the-inchworm","status":"publish","type":"post","link":"https:\/\/karin-rehnqvist.se\/eng\/between-the-angel-and-the-inchworm\/","title":{"rendered":"Between the Angel and the Inchworm"},"content":{"rendered":"

About Karin Rehnqvist’s music<\/em><\/strong><\/p>\n

 <\/p>\n

In the beginning were not the words.
\nBefore the word there was the voice, in the voice the call was biding its time.<\/p>\n

 <\/p>\n

And the call said: I am \u2013 and the call was the voice of the caller
\nbut also the call pure and simple.
\nThere was both-feet-on-the-ground being. And there was becoming.
\nThe call established a limited here-ness and revealed measurable and immeasurable distances.<\/p>\n

 <\/p>\n

Before there were words the call expressed trust and anxiety, separate and together
\ninvocation, fear, pain, jubilation, amazement, bewilderment, assurance, ecstasy, petrifaction\u2026
\nand the infinite subtly shifting microstates between them.<\/p>\n

All that words had to fumble for later on.<\/p>\n

 <\/p>\n

 <\/p>\n

Calling permeates her music. Not only the many works based on vocal expression. Not only because she uses herding calls and other techniques unique to her.<\/p>\n

 <\/p>\n

There is no question that she refers to and passes down elements of what we call \u201cfolk music.\u201d Calls are one element. There is something \u201cprimordial\u201d about them, and the shamanic wisdom she often uses as her mottos speaks of \u201cstarting where the primordial steps forth\u201d. If we take those words literally, we find ourselves at a border that cannot be crossed, but of which we can pick up a hint, we find ourselves somewhere prior to calling, to words, to music\u2026<\/p>\n

Diktonius to Sibelius:<\/p>\n

Out of mute darkness
\nstepped sound with life
\nbecame voice in man and animal
\nwas shaped to sounds \u2013<\/p>\n

 <\/p>\n

There is also an introverted, downward-turning call; you can hear it beneath the sharp ones; it is a movement inside the course of the music, an ostinato that is not \u201ctimeless\u201d but, instead, full of time.<\/p>\n

 <\/p>\n

Darkness and light are reciprocal. That which appears to be contrast, to be irreconcilable opposites, is unity. This is the subject of much, perhaps all, poetry.<\/p>\n

This includes the sonorous poetry of Rehnqvist. Perhaps it begins \u201cwhere the primordial steps forth,\u201d In that which is prior to words. But the verbal is a prerequisite for it, the interaction between poets who are kindred spirits. Poetry, too, is calling.<\/p>\n

The sun is a life-giving and destructive force, as the ancient Icelandic bard tells us. The angel with the fiery hands, an image conjured up by Bj\u00f6rn von Rosen, offers both enticement and devastation. The inchworm described by Werner Aspenstr\u00f6m, staying on a single leaf where he ceaselessly measures out the space of his life is related to the human soul which, in the ecstatic, life-confirming poem by Edith S\u00f6dergran, experiences oneness with infinity. Nursery rhyme and psalm, hymn and incantation, invocation and desecration, the lament of the professional weeper and the comfort of the lullaby \u2026somehow they all share a common origin.<\/p>\n

Karin Rehnqvist\u2019s music listens in that same direction.<\/p>\n

And in the direction of what we call \u201cthe other\u201d\u2026<\/p>\n

 <\/p>\n

Bengt Emil Johnson<\/em>
\n translation: Linda Schenck<\/em><\/p>\n

\n

\n","protected":false},"excerpt":{"rendered":"

About Karin Rehnqvist’s music   In the beginning were not the words. Before the word there was the voice, in the voice the <\/p>\n","protected":false},"author":1,"featured_media":680,"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":[3],"tags":[],"class_list":["post-941","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-misc"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2015\/06\/transparent-flowers_swirl.jpg?fit=850%2C505&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p79arM-fb","jetpack-related-posts":[{"id":1438,"url":"https:\/\/karin-rehnqvist.se\/eng\/listen-and-also-thorns\/","url_meta":{"origin":941,"position":0},"title":"Listen: … and also thorns","author":"admin2","date":"March 22, 2017","format":false,"excerpt":"The human voice and the saxophones have a lot in common. The breathing of course, but also something in the timbre. Especially when the voices uses an archaic style of singing\/calling, called \u201ckulning\u201d. This is a technique used in Swedish folk music, traditionally employed outdoors, to call animals or to\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\/2017\/03\/UlrikaBodenStoSax_2017-03-20.jpg?fit=1200%2C726&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2017\/03\/UlrikaBodenStoSax_2017-03-20.jpg?fit=1200%2C726&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2017\/03\/UlrikaBodenStoSax_2017-03-20.jpg?fit=1200%2C726&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2017\/03\/UlrikaBodenStoSax_2017-03-20.jpg?fit=1200%2C726&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2017\/03\/UlrikaBodenStoSax_2017-03-20.jpg?fit=1200%2C726&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1101,"url":"https:\/\/karin-rehnqvist.se\/eng\/ljus-av-ljus-light-of-light\/","url_meta":{"origin":941,"position":1},"title":"LJUS AV LJUS (LIGHT OF LIGHT)","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"FOR CHILDREN'S CHOIR AND ORCHESTRA Dedicated to the memory of Anna Lindh Children\u2019s voices and symphony orchestra \u2013 what an exciting combination! It should give an opportunity to a wonderfully bright and intense timbre. This was my first thought. But also, character-wise, I wanted to do something bright and filled\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\/2016\/01\/ljus-av-ljus_cirkel-rotated.jpg?fit=1138%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/ljus-av-ljus_cirkel-rotated.jpg?fit=1138%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/ljus-av-ljus_cirkel-rotated.jpg?fit=1138%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/ljus-av-ljus_cirkel-rotated.jpg?fit=1138%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/ljus-av-ljus_cirkel-rotated.jpg?fit=1138%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1111,"url":"https:\/\/karin-rehnqvist.se\/eng\/raven-chant\/","url_meta":{"origin":941,"position":2},"title":"RAVEN CHANT","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"for instrumental ensemble duration approximately 12 minutes \u00a0 The raven, with its black feathers and characteristic call, is a bird with mythological overtones. In early Norse mythology, the god Oden had two ravens that flew out over the world, gathering knowledge. Among all the peoples living near the Arctic circle,\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":1131,"url":"https:\/\/karin-rehnqvist.se\/eng\/till-angeln-med-de-brinnande-handerna-to-the-angel-with-the-fiery-hands\/","url_meta":{"origin":941,"position":3},"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":1193,"url":"https:\/\/karin-rehnqvist.se\/eng\/a-composer-of-fiery-inspiration\/","url_meta":{"origin":941,"position":4},"title":"A Composer of Fiery Inspiration","author":"admin2","date":"January 30, 2016","format":false,"excerpt":"From an article in Nordic Sounds\u00a0 by Svend Brown \u00a0 On December 2, 2005, Swedish composer Karin Rehnqvist was awarded the Rosenberg Prize. The jury's citation introduces her well - and briefly: \u201dWith her feet deeply planted in the musical soil, the 2006 Rosenberg Award winner hos created a personol\u2026","rel":"","context":"In "Misc"","block_context":{"text":"Misc","link":"https:\/\/karin-rehnqvist.se\/eng\/category\/misc\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/NoSo12006-1.jpg?fit=1134%2C617&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/NoSo12006-1.jpg?fit=1134%2C617&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/NoSo12006-1.jpg?fit=1134%2C617&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/NoSo12006-1.jpg?fit=1134%2C617&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/karin-rehnqvist.se\/eng\/wp-content\/uploads\/2016\/01\/NoSo12006-1.jpg?fit=1134%2C617&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1103,"url":"https:\/\/karin-rehnqvist.se\/eng\/ock-av-tornen-and-also-thorns\/","url_meta":{"origin":941,"position":5},"title":"OCK AV T\u00d6RNEN\u00a0\u00a0 (\u2026AND ALSO THORNS)","author":"admin2","date":"January 28, 2016","format":false,"excerpt":"\u2013 lament for saxophone quartet and female voice \u00a0 \u2013 Klagos\u00e5ng \/Lament; ca 7,5 min \u2013 Jag lyfter blicken\/ I lift up my eyes to you; ca 4 min \u2013 M\u00e5ste ock av t\u00f6rnen vara\/\u2026and also thorns; ca 4 min \u2013 R\u00e4dda mig ur dyn\/ Rescue me from the Mire;\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\/941","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=941"}],"version-history":[{"count":4,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/941\/revisions"}],"predecessor-version":[{"id":1166,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/posts\/941\/revisions\/1166"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/media\/680"}],"wp:attachment":[{"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/media?parent=941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/categories?post=941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/karin-rehnqvist.se\/eng\/wp-json\/wp\/v2\/tags?post=941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}