Way back in February, shortly before the first Corona lockdown, KoncertKirken provided the setting for an atmospheric Frankenstein’s Lab in which the sounds three newly composed works were mixed with excerpts from Bach’s 6 Sonatas & Partitas for solo violin.
This is a very much overdue lab report from a wonderful evening three months ago, in which Xavier, Cristian, and Bjørn each shared their (very different) approaches to working with modular synthesizers.
Two weeks ago Frankenstein’s Lab made an excursion out onto the windswept spaces of Nordhavn for a vinyl listening session at Nordsø Records.
Frankenstein’s Lab returned to an old haunt, Literaturhaus, for Monrad & Helms Advanced Avant-Garde album release.
This lab report is very much overdue – It’s been over a month since we met at 5e for an evening of show, tell, and tryout.
“Building an Instrument Is Composing” was the title of our most recent lab, a reversal of Helmut Lachenmann’s famous “composing is building an instrument.”
Frankenstein’s Lab, following the initiative of composer Niels Bjerg, partnered up with Dansehallerne in the latest of a series of excursions. The evening was intended as an opportunity for composers and choreographers to meet and exchange ideas on the relation of sound and movement.
Frankenstein’s Lab in the Buckminster Fuller inspired Dome of Visions with Yann Coppier, Knud Riishøjgaard, and Hanne Tofte Jespersen.
Sandra Boss, Harald Viuff, Christian Liljedahl and Tobias Lukassen each presented at Frankenstein’s Illutron Lab.
‘Why on earth are so many young composers throwing themselves at this impossible genre?’ In his own inimitable style Pelle Gudmundsen-Holmgreen kicked off the evening with a pointed question followed by a frank account of the genesis of his own opera and the frustrations involved in bringing it to the stage.
In which Toke Odin explains the acoustics behind his spatial compositions, Lars Kynde gives a peek under his Tasteful Turntable and Jens Peter Møller connects the dots between Bach, being and African Music.
From apps to free improvisation to intricate compositions: We covered quite a lot of ground in the latest of Frankenstein’s labs.
Ingredients: An extended Breathless Moment, some Twitter tryouts, Jexper Holmen’s vocal experiments and free glögg.
Irina Kalina Goudeva has for many years been working on various quite ambitious syntheses of contemporary music with video, theater and choreography – aiming for the highest and closest possible connection between instrument and performer.
Knud and Malene , together with their librettist, presented a brief ritualistic kernel of the opera they are working on – a piece based on the idea of a society in which men no longer exist: “What would the world be like without men?” Kai Steensgaard presented his Aluphone , an instrument of his …
“Everything is Opera!”
In the delightful Ambassaden Line Tjørnhøj talked about the role of improvisation and technology in her composition processes Eyvind Gulbrandsen talked about the thrill of being thrown into unusual situations and working with (pop) musicians one doesn’t normally work with: And Rudiger Meyer …
Anders Børup’s revival of music with mouth to MIDI, …and Carl Bergstrøm’s improvisation using Anders’ setup Mette Nielsen’s no-input mixing special London guest Zoe Martlew with her amplified cello and Casper Cordes with smartphone interactions
A sound-poetry-performance from Elving & Monrad A guided talk through some of the music of special Swiss guest Felix Profos by the man himself A brief history of Electronic music from Morten Carlsen …and spur of the moment electronica from Thomas.
Radical real-time ambient sound-filtering with Eske Nørholm A presentation of the architecture behind Carapace 23.7 (a piece Rudiger Meyer wrote for Anne la Berge) Martin Gylling’s PHD presentation on the creative process And a huge presentation covering two decades of her ever evolving tech …
It was on a warm June evening in 2011 that Frankenstein’s Lab was born. On that first fateful evening in Literaturhaus we had the joy of experiencing: