Song Circus are welcoming Ragnhild Thu Austnaberg as new members of our projects Songbook of Breast and Graatarslagjet. Please feel free to read more about the project in our project menu!
Ragnhild is a classical soprano who has been focusing mostly on performing early and contemporary music. She is educated from The Norwegian Academy of Music. Ragnhild is also a member of The Norwegian Soloist Choir and Uranienborg Vocal Ensemble. She is originally from Rogaland, and currently based in Oslo.
We have been working with a beautiful project this spring and summer: Birds, by Liv Runesdatter, is inspired by the birdlife on five locations in Rogaland in a period of four weeks. The music is developed together with and performed by Song Circus, Britt Pernille Frøholm (hardanger fiddle) and Odd Børge Sagland (percussion).
“Birds” is performed as a concerts piece, we are developing a programme with musical bird fairytales together with storyteller Marianne Stenerud, a short film in collaboration with Hinterland and visual artwork together with Nina Elisabeth Børke / Werksemd, and Sondre Oldereide Michaelsen is making a short docu for us.
Song Circus are developing a new and fascinating project, together with Laura Bowler, Lavinia Murray and Kate Land (UK) and cultural studies researcher Birgitta Haga Gripsrud (NO).
Together we are looking at the (un)articulated breast; through literature, history, art, religion, politics, psychology, popular culture, feminism, and social antropology.
The project will have shape as a music installation / music theatre and will be premièred in autumn 2018.
We just discovered this live recording from our concert at Classical:NEXT in Rotterdam. Enjoy!
Nutida Musik has written a very nice article and a great review about Song Circus and our album “Anatomy of Sound” (2L).
FREEDOM O(R) SPEECH
- I Solisti del Vento, Red Note Ensemble, Song Circus
- Actor: Jan Decleir and Simon Callow
- Conductor: Etienne Siebens
Angela Merkel is a Wagner enthusiast, Barack Obama listens to Bob Dylan and Vladimir Putin enjoys Russian folk music. Still sounds are seldomly a point of concern for politicians. But if choirs can topple a government and symphonies can discourage an army, then music is more than purely pleasure. In ancient China the first emperor of a new dynasty determined which pitch was in harmony with the cosmos. And in his ‘Republic’ Plato regarded only Phrygian and Doric scales to be politically correct: all others threatened the ideal civilisation.
Dutch composer Louis Andriessen took Plato’s text as the initial concept for a cantata which forms a fist against rigid forms of government with energetic rhythms and recalcitrant chords. Andriessen’s ‘De Staat’ (The Republic) is both a accusation against the soulless and suffocating totalitarianism which Plato defends and a reflection on his musical convictions. Andriessen seems to say with his explosive minimalism: everything a composer puts to paper is filled with political, social or religious meaning.
Thereof Mauricio Kagel was also convinced. Everything this Argentinian German composed is a politically tinged mockery of musical history. In ‘Der Tribune’ (The Tribune) – an audio play for political orator, marching sounds and speakerphone – Kagel twists Andriessen’s rhythmical tightness to a virtuously absurdist monologue, soaked with comical rage and disdainful indignation. Demagogy, misleading the people and egotripping are merged with marching band music with oom-pah-pah coppers and tickling woods.
We place both these analyses of the political system – one razor sharp, the other viciously joyful – right next to each other. A new text by writer Dimitri Verhulst to Kagel’s music hurrays the dawn of a new political age with malicious merriment: ‘The future beckons, the sky is clearing and even the roses are turning blue. Tomorrow, tomorrow is mine and yours.’
A production of I Solisti del Vento in collaboration with Red Note Ensemble, Song Circus and Sound Festival with concerts Scotland, Belgium and The Netherlands
With the kind support of: Aberdeen City Council’s Made in Aberdeen programme, Creative Scotland National Lottery Funding, Music Norway and Arts Council Norway
“the three ensembles closed with a blisteringly visceral account of the budgeoning dissonances of Louis Andriessen’s notorious De Staat. It proved a fittingly powerful, provocative and confident, internationally focused conclusion to sound’s thrillingly ambitious weekend.”