This year’s Ultima magazine is out now!

This year’s Ultima magazine is out now!
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Ultima 2014 in pictures

Ultima 2014 in pictures
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The nation: Who do you think you are?

The nation: Who do you think you are?
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Norwegian music history follows the development of Norway as a nation. In his book Med spark i gulvet og quinter i bassen, Harald Herresthal describes how music was used as a national and political tool in the years between 1770 and 1870. Music, art, and language were key elements in the discussion about how Norway could distinguish itself as an independent nation.

Since then, being a composer in Norway has also meant taking a position on the meaning of ‘Norwegian’. Discussions about national versus international and about tradition versus modernity were highly relevant in the years after World War II, and although this may at first seem as out dated as local issues, I would argue to the contrary: a universal issue that touches the core of making music and of being an artist today is an attempt to understand who we are. It’s far from being a distinctly Norwegian project.

According to the African Ubuntu philosophy, ‘You are who you are because of others.’ Music is strengthened through its dependency on its environment. This perspective is the starting point for the theme of this year’s Ultima. Reflections on identity, the function of music in a digitised, globalised, and individualised world; reflections on tradition and modernity, on borders and infinity. The Ultima Festival is a forum for ideas in music across disciplinary boundaries. We are a meeting place, an arena for dialogue. Through our subsidiary programme Ultima Academy, we highlight the ideas behind the music, and this year Antonio Negri, Laibach and Alain Badiou among others will discuss topics such as power, ideology, and cultural identity and how they are related to artistic practice.

We are delighted to be hosting Nordic Music Days in cooperation with the Norwegian Society of Composers. Nordic Music Days has been organised through cooperation be- tween Nordic composers since 1888, and is one of the world’s oldest music festivals. At the very first festival, which took place in Copenhagen, Johan Svendsen conducted a work by Edvard Grieg — with the composer himself in the audience. Eighty years after the festival was arranged for the first time, we are grateful that we, together with the Norwegian Society of Composers, can once again make Oslo a focal point of what is currently a truly exciting Nordic contemporary music scene.

On the opening day, the Norwegian Academy of Music will launch its essay collection Musikk etter 22. juli (Music after 22 July). As the editors write, it is a book ‘about powerful experiences related to music — experiences that move us and nourish us, that unite or perturb us. It’s about music as a form of survival, in some cases quite literally: of young people fleeing from Utøya, singing together to find the strength to keep on swimming; it’s about acting through music as part of individual and collective efforts to deal with the grief and to move on; it’s about acknowledgement, faith in the future, and about existential dimensions of the interaction between music and human beings; it’s about how music conveys the values and ideals of society, but also about the place of music within the destructive ideological ideas that formed the basis for the attacks that took place
on that dark Friday in Norway’s history.’ The launch will be followed by a performance in Oslo Cathedral of Luciano Berio’s Coro, a work in which forty individual voices and instruments fuse together a work inspired by folk music and text fragments from around the world.

A serious backdrop for this year’s Ultima Festival, because that’s how important music is.

 

 


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Ultima programme overview (updated)

Ultima programme overview (updated)
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Luciano Berio Coro, Laibach Olav Tryggvason, Mauricio Kagel Exotica, Scelsi Revisited, Schumann/Friedl/Schütz Dichterliebe, Karin Krog, Ben Frost A U R O R A live, TCF, Ultima’s Children’s Day, Avanti! Ensemblet ++

New work by Verdensteatret, Jenny Hval & Susanna, David Brynjar Franzson, Simon Steen-Andersen, Eivind Buene, Arve Henriksen & Eirik Raude, Maja S. K. Ratkje ++

Ultima Academy: Talks with Laibach, Antonio Negri, Alain Badiou, Esteban Buch ++

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Eivind Buene's new work premieres on Ultima's finale day

Eivind Buene's new work premieres on Ultima's finale day
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DR UnderholdningsOrkestret, Denmark’s beloved equivalent to Norway’s KORK (Norwegian Radio Orchestra), is coming to Ultima on the festival’s last day 20 September where they will perform amongst other works Eivind Buene’s new work Blue Mountain. Tickets available now.

Eivind Buene has been interviewed for the new programme book which is available from this Friday.

 

The Magic Mountain

Eivind Buene’s Blue Mountain dramatizes the musical significance of fragmented memories.

By Audun Vinger

Many artists today seek to cross the borders between art genres, though few manage it as elegantly as composer Eivind Buene. His orchestral works, ideas, and commissioned works all display a distinct musical intuition, whether it be contemporary, orchestral or pop.

He recently added ‘writer’ to his already extensive list of talents, thanks to the well-received novels Enmannsorkester and Allsang and the collection of essays, Dobbeltliv, published earlier this year, which makes a closer study of the crossing paths between music and literature. Where the one begins and the other ends is no longer easy to see; nor is it important. He problematises the significance of music in lyrics, though he does the same when composing music. After Blue Mountain, which premieres in the Great Hall, University of Oslo on the final day of this year’s Ultima, he can now add ‘playwright’ to his resumé. This work seems to be a continuation of the explorative aspect of his texts. Questions about the significance of memory when experiencing music, the death motifs that seem so alive for us, the idea of the orchestra performing bygone music, Marcel Proust, Mahler, Tor Ulven …

How did this come about? Is it an old idea you rediscovered and decided to develop?

—   No, not at all. Quite the opposite, actually. The festival asked if I would like to compose a work for which I wrote both lyrics and music. And I did. That method is quite common for songwriters, but contemporary composers rarely write their own lyrics. In the old days, it was quite common. For example, Wagner wrote his own librettos. The preference today is for canonised and ‘patinated’ lyrics, particularly in opera. I thinks that’s a rather defensive attitude to take. Then of course I discovered how incredibly difficult it is to juggle between lyrics and music. When I immerse myself in the lyrics, the music fades to the back of my consciousness, and vice versa. Both elements have an inherent desire to comply with their own natural laws, if you get what I mean. But when lyrics and music are to work in unison on stage, they have to balance. We’re used to dealing with this balance in the song format. But I soon decided that I wanted a dialogue and that it should not be sung. This gave rise to other problems and, well, I had to try and learn a whole new way of thinking.

“A concert is a bit like being in a haunted house: all that dead music coming alive.” is a line from the work. Are you mostly interested in memories and artistic events from bygone days?

—   Keep in mind that it’s the character in the piece that says it, not me. And memories constitute the elements on which a lot of art, whether it be music, literature or film, is based. But I often find that old music living a life of its own on the sheet music shelves can suddenly seem to come to life in the concert ritual. Music that was dead yesterday can come to life tomorrow. And I think that orchestras have their own memories, their own experiences, and that entering into a dialogue with them can produce good results when one is writing new music. Naturally, there is a danger of appearing sealed off, like a universe that is open only to the initiated, but an orchestra is also like a massive sensuality machine, with an abundance of colours and textures. You must always try to harness that energy and avoid composing your way into a musical mausoleum.

The music in the work is mainly based on fragments of the past greatness of others …

—   Well … I would say that I have composed a new work which only I could have written, because the quotations and fragments that flow out in the form of text and music originate in my personal reservoir of memories. And it is the pressure of this flow of memories that has given rise to the new music and to the way in which I combined the memory material. It must be said that long sections of the music are also brand new compositions, and frictions clearly arise between the old and the new when listeners suddenly hear fragments of music they recognize without quite knowing why. But when I compose, I derive as much pleasure from making up surprising combinations of textual and musical events as from writing hundreds of bars of completely new music. Assigning new meanings to old music by creating an interesting context is also part of the composition process.

You call it a radio play; how do you characterise that genre?

—   By radio play, I mean a radio genre, a play for the ears. When combined with the genre ‘orchestral concert’, something which — hopefully — transcends the radio theatre format evolves by assigning the music a much stronger function. The music should not just serve as background sounds for the text; it must also carry part of the narrative development. And hearing a radio play unfold live on stage makes a big difference. I’ve been very conscious of basing Blue Mountain on the situation in which we as musicians, actors and listeners find ourselves: we are attending an orchestral concert, and that is the setting for the story being told. That’s why I used the term ‘orchestral radio play’, as it points beyond the traditional radio play. We haven’t seen much of this in Norway, but Germany has a long tradition in creating musically ambitious radio plays. For example, Nobel laureate Elfriede Jelinek and composer Olga Neuwirth wrote a radio play for German radio.

Andrea Bræin Hovig and Mattis Herman Nyquist, two of Norway’s foremost young actors, are taking part in this production. What’s so special about them?

—   I was looking for someone with specific musical qualities, actors who could become part of the orchestra’s time flow. I already knew Mattis Herman, and I knew that he was good. In fact, we’ve even sung together on a few occasions, in a very low-threshold male quartet! Fortunately, he had time to squeeze in this project between performances of Peer Gynt at the National Theatre. I found Andrea after doing some research in actors’ circles, and I realised that she was a real find already at the first reading audition. She is highly responsive to and enthusiastic about this approach to interaction between stage, text, and music.

Could you say a few words about the orchestra and the conductor performing Blue Mountain?

—   I hadn’t heard of the orchestra before, it’s one of the Danish Radio orchestras. Meeting a new orchestra is always associated with a mixture of dread and anticipation: it’s like meeting an organism with thirty, fifty or a hundred heads that can eat you alive if you don’t get it right. The conductor takes care of the practicalities; the composer should preferably sit in the auditorium and listen, then have close dialogue with the conductor and let him or her take care of the dialogue with the musicians. In this instance, we have a conductor with whom I have already collaborated on several occasions. Baldur Brönnimann has that rare ability to be both extremely alert and relaxed at the same time. And he possesses an intuitive understanding of what I’m trying to achieve with an orchestra. Composers often have no say in the choice of conductor; they just have to cross their fingers and hope for the best. When I heard that Baldur would conduct Blue Mountain, it was a huge relief. It meant I had one thing less to worry about in what is a rather complex project.

Will Blue Mountain and this method be a one-off event?

—   I hope not. I hope that other orchestras will see this format as something which their audiences might enjoy. But it is in the nature of new music that a first performance may be the last, especially when one is trying to find new ways of staging an orchestra. Working with actors who must interweave with the orchestra rather than just talk alongside it requires other working methods than those used when working on a traditional orchestral concert. But I like the idea of working experimentally in the sense of testing a hypothesis and not being able to predict the outcome. That’s the essence of trying again, failing again, and failing better, as Beckett once put it.

 

 

 

 


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Ultima's Children's Day

Ultima's Children's Day
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Ultima’s Children’s Day at The Norwegian National Opera & Ballet will be jam-packed with concerts, installations, workshops and lots of other fun activities: Lar Vaular rapping to the sound of trees, the Improvisation trio Parallax, POING giving a ‘poop performance’, the sound of a guy bored to tears on a chair, a self-playing chest of drawers, and a self-playing orchestra, ‘on-site choreography’ with Panta Rei Dance Theatre, a children’s workshop in creating graphic scores and lots more!

 

Hosted by Berit Nermoen with Knotten Løvekylling (creator of Fantorangen) and Aslag Guttormsgaard (NRK Super, Black Debbath, Duplex).

Concerts:

TRE & Lars Vaular

Hip hop meets nature in new music that you’ll want to dance to when rapper Lars Vaular accompanied by the sound of trees. The instruments, played by Bjarne Kvinnsland, Eirik Raude and Markus Hernes, have been carved out of centuries-old basswood felled in Eidsvoll in conjunction with the Norwegian Constitution bicentenary celebrations. Maybe you’ll even get the chance to play them yourself?

Parallax and the room of sounds

Let yourself be wrapped in sound and light in the room of sounds! Improvisation trio Parallax (Are Lothe Kolbeinsen on guitar, Stian Omenås on trumpet and Ulrik Ibsen Thorsrud on percussion) and light designer Evelina Dembacke make music and visual expressions in a performance that will sharpen your senses.

Nordic Voices

What does it sound like when a guy is bored to tears on a chair? What does it sound like when a fly gets stuck on fly paper or when an old lady must fight her way through a big crowd? And can it be sung? This internationally acclaimed vocal ensemble’s repertoire ranges from medieval to contemporary music, combining song with humour and theatrical performance.

POING with Julian Skar and Guri Glans

POING (Frode Haltli on accordion, Rolf Erik Nystrøm on saxophone and Håkon Thelin on contrabass) is a group that combines instrumental mastery with a fearless approach to music. On Ultima’s Children’s Day, the trio will perform something they call a ‘poop-performance’, developed in collaboration with composer Julian Skar. With actress Guri Glans.

SKRAP

Duo Skrap has been playing together for six years and consists of Heida Karine Johannesdottir Mobeck on tuba and effects and Anja Lauvdal on Korg MS10. Together they work with sound experiments.

 

Installations

Everybody’s a composer

Everybody’s a composer (Apparatjik, Audiokolor & Nasjonalmuseet) is an open room into which you can enter. Motion sensors in the room transform the public’s movements into music. What does it sound like when one person moves in the room? Does it sound different when more people move? Is it possible to choreograph the movements and in doing so compose a piece of music?

Peter Baden – Dirigentstasjon

Ultima has commissioned interactive sound installations by drummer and sound artist Peter Baden (known from Rhythms from Space, among others). Sound, film and conducting. Exactly what it is remains to be seen, but it will be exciting!

Reunion

What happens when chess pieces make music? What does checkmate sound like? NOTAM’s interactive chessboard provides the answer.

AJNA – Jens Peterson Berger

A chest of drawers by Jens Peterson Berger plays all by itself! It hides a number of secrets that will give you a good laugh.

Al Khowarizmi’s Mechanical Orchestra –Christian Blom

A self-playing orchestra: the orchestra plays random music when a computer connected to small motors calculates the occurrence and balance of the orchestra’s instruments.

 

Workshops

Thunder and lightning with Drivhuset

A practical music and imagery workshop on how what we see and what we hear are related: images are turned into music! Under the direction of Isak Anderssen and students from the Norwegian Academy of Music, participants will design their own graphic scores and then perform them. The scores are created in the workshop will be interpreted and performed by artists on Ultima’s Children’s Day. Suitable for children, for adults, and for adults together with children. Bring mum along and compose something!

Make your own dance with Panta Rei Dance Theatre

Panta Rei Dance Theatre creates ‘on-site choreographies’ for playful people of all ages. The music accompanying the choreographies is created in real time, in parallel with the participants’ suggestions for movements. Suitable for children, for adults, and for adults together with children. Bring dad along and get dancing!

Ultima’s Children’s Day will be rounded off with a viewing of Vårt visuelle verk (Our visual works), the Norwegian National Opera Orchestra’s concert workshop with a focus on music note pictures and pictures as notes. Pupils from cultural arts schools interacting with musicians from the Norwegian National Opera Orchestra, opera singer Hege Høisæter, visual artist Helle Kaarem, composer Ole Henrik Moe and workshop manager Jon Halvor Bjørnseth will be finding out if it’s possible play and compose music using symbols other than normal notes. They work together to invent new symbols, new sounds, and new pictures for the concert to be held on Sunday at 15.00 in Hall 2 of the Opera House. During this project we will see examples of other composers who have mixed images and notes together in exciting ways to make graphic scores. Hege Høisæther will sing Stripsody by Cathy Berberian.

Rooms for concerts, rooms for work, and nooks and crannies both inside and outside will be filled to the brim with exciting concerts, installations, and drop-in workshops for children and adults of all ages. 11 am – 4 pm. Free.

In cooperation with the Norwegian National Opera & Ballet.

Supported by Sparebankstiftelsen DNB.

 

 

 


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Ultima 2014

Ultima 2014

This year’s Ultima festival will take place in Oslo from 10–20 September 2014.

2014 is the 200th anniversary of the Norwegian Constitution, and under the theme “Nation”, the festival will focus on how a local musical identity is expressed in the context of an international, digital world.

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In 2014, the Nordic Music Days will also be arranged in collaboration with Ultima Oslo Contemporary Music Festival.

Read more about NMD/Call for works here


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Welcome to Nordic Music Days 2014!

Welcome to Nordic Music Days 2014!
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Established as far back as 1888, Nordic Music Days is the most important meeting point in Nordic contemporary music. For its 2014 edition, it is being is hosted by Ultima Oslo Contemporary Music Festival in collaboration with the Norwegian Society of Composers between 17–20 September.
 
Nordic Music Days presents a wide range of music by Nordic composers and ensembles. Also, the festival will hold ‘PechaKucha’ showcases (a form of rapidfire presentations launching new ideas and work-in-progress projects), as well as social get-togethers and networking events. 
 
Most of the festival will take place at Vulkan in central Oslo, a vibrant area where several cultural institutions, restaurants, clubs and bars are located. 

Read more and register as a delegate at www.nordicmusicdays.org

You can also follow Nordic Music Days on Facebook and Twitter.

We hope to see you in Oslo September 17 – 20 2014


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5pm
Loftet
Book Launch: Music after 22 July

Loftet / Book Launch: Music after 22 July

Book Launch: Music after 22 July (red. Jan Sverre Knudsen, Marie Skånland, Gro Trondalen)

The tragedy at the Labor´s party youth camp in Utøya and in the center of Oslo on 22 July 2011 put Norway in mourning and alerted the country to the impending danger of political extremism. Music played an important cathartic role in the aftermath of the events.

In ”Music after July 22”, researchers from the fields of music, health, media, literature and religion write about how music helped cope with grief and anger, how it brought together people and musicians from different social and ethnical backgrounds, as well as about its use in public and official ceremonies to express the vision of a more inclusive society.

The book launch is in coopertionwith Norwegian Academy of Music.

Musikk etter 22. juli omslag

WHEN5pm - 6:30pm
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PRICEFri entré.-
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7:30pm
Oslo domkirke
Opening concert - Luciano Berio: Coro

Oslo domkirke / Opening concert - Luciano Berio: Coro

Opening concert

Luciano Berio: Coro

KORK + Det Norske Solistkor

Luciano Berio (1925–2003) from Italy was known for his experimental works, but also for music that reaches a wider audience. He was a composer that adapted modern compositional techniques to his own, truly fascinating style. Coro from 1974–76 can absolutely be considered one of his key works, and music that places such high demands on its performers that it is something of an occasion when it is performed at all.

The score is for 40 voices and 40 instruments, with the vocalists positioned in the orchestra so that voice and instrument are placed side by side, both acoustically and visually. Like many other works, folk music from around the world is the source of inspiration for Coro, and the lyrics too, which are combined with poems by Pablo Neruda (Residencia en la Tierra). Thirty-two small sections glide into each other and form a rich sound universe and, to use Berio’s own words: “musical images engraved like graffiti on the harmonic wall of the city.” The result is powerful and gripping.

With the Norwegian Radio Orchestra and the Norwegian Soloists’ Choir.

Buy tickets here

Conductor: Grete Pedersen.

Produced in cooperation with KORK and Det Norske Solistkor.

WHEN7:30pm - 8:30pm
WHEREOslo domkirke  Map
PRICE200 / 150.-
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10am
Loftet
Kagel´s Exotica, Analysis

Loftet / Kagel´s Exotica, Analysis

 

Dr Jörn Peter Hiekel, Ensemble Modern (lectures)

The 1972 Munich Olympics – known as ‘the Happy Games’ – were the first to be held in Germany since the fall of the Nazi regime. Seizing the chance to show the world a more democratic face, the country commissioned artists from all nations to create works for a parallel exhibition. One of those was Mauricio Kagel, whose piece Exotica critiqued the dominance of Western culture with characteristically subversive humour and irony: classically trained musicians are required to grapple with unfamiliar, non-European instruments. Beginning with an analysis of Exotica, eminent musicologist Jörn Peter Hiekel (author ofCultural Identity (-ies) in Contemporary Music)and percussionist Rainer Römer (Ensemble Modern) talk about Kagel’s view of music as realist art, and, more generally, about the process of acculturation – the meeting between two cultures and the experience of the Other – through music composition and performance.

WHEN10am - 11am
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4pm
Cinemateket
Othernesses: Music in Contemporary Cairo (Ultima Academy)

Cinemateket / Othernesses: Music in Contemporary Cairo (Ultima Academy)

 

Ramz Sabry Samy, Yara Mekawei, Joachim Kwetzinksy, Dr Jörn Peter Hiekel and Andreas Engstrøm (panel/presentation) Ramz Sabry Samy composes orchestral, chamber and solo instrumental works; Yara Mekawei uses video art, electronics and new media in social-minded projects. Both live in Cairo and are active participants in the city’s cultural life. As Swedish journal Nutida Musik launches a special Egypt edition, we have invited them to present their work and talk about the role of contemporary music in Egypt. What does it mean to work with art forms rooted in Western tradition? Is colonial discourse still present today, in what way, and how does it affect the arts?

WHEN4pm - 5pm
WHERECinemateket  Map
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6pm
Nasjonalgalleriet
Cikada Ensemble / Liza Lim / Henrik Hellstenius

Nasjonalgalleriet / Cikada Ensemble / Liza Lim / Henrik Hellstenius

A concert with new and older works by Liza Lim, one of the world’s leading contemporary music composers, with a background from several continents: Asia, Australia, and Europa. Lim, who was born in Perth, Australia, is captivated by the quintessentially Norwegian sound of the Hardanger fiddle and has given it a central role in the concert. At this concert Cikada Ensemble will give a first performance of her latest work.

The concert will also mark the Norwegian premiere of Henrik Hellstenius’ new Oslo-inspired work entitled Places of Sounds and Words, a work for vocalists, ensemble, and sounds from the “real” world: from parks, squares, stairways, conversations, and arguments. Music, texts and sounds of reality are combined to form brief music–theatrical encounters that touch on the subject of how we are present in the world yet do not participate in it. Henrik Hellstenius has written the work for Elisabeth Holmertz, Cikada Ensemble. Peter Knutsen has made a video in conjunction with this performance at Ultima. Tea and cake will be served in  Nasjonalgalleriets café from 5 pm.

Liza Lim:

Winding Bodies (2013-14)

The Heart’s Ear (1997)

Philtre (1997)

Henrik Hellstenius:

Places of sounds and words (WP)

Soloist: Elisabeth Holmertz. Conductor: Christian Eggen. Cikada Ensemble.

Produced by Cikada

Buy tickets here

WHEN6pm - 7pm
WHERENasjonalgalleriet  Map
PRICE150 / 100.-
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6pm
Det italienske kulturinstitutt
 

Scelsi The Original

Dr Alessandra Carlotta Pellegrino (lecture)

Reclusive and eccentric, Giancinto Scelsi’s personal life was an enigma. Dr Alessandra Carlotta Pellegrino, scientific director of the Fondazione Isabella Scelsi in Rome and editor of Scelsi’s autobiography, Sogno 101, lectures on the composer’s life, work and legacy as an introduction to Klangforum Wien’s Scelsi Revisited concert.

WHEN6pm - 7pm
WHEREDet italienske kulturinstitutt  Map
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8pm
Kulturkirken Jakob

The story about the Italian composer Giacinto Scelsi is as mysterious and as fascinating as the music he eventually became known for. Following a breakdown in the wake of World War II, he began to explore the meditative qualities of sound as a form of self-therapy. Through meticulous study of single notes on the piano, Scelsi discovered a new form of music that would come to have a strong influence on this future works. His discovery of sonic nuances through close listening and Asiatic art traditions marked an awakening and a turning point in the composer’s life. Scelsi remained unknown for most of his career, but he became a source of inspiration for Ennio Moriccone and was finally heard by millions through the Martin Scorsese film Shutter Island.

It is a special occasion when one of the world’s most renowned ensembles, Klangforum Wien, gain access to Scelsi’s until now inaccessible sketches. As part of their performance in Kulturkirken Jakob, the ensemble has brought along film clips, exclusive recordings of an improvising Scelsi, early electronic instruments, and new compositions that are based on them by Tristan Murail and Georg Friedrich Haas, among others, and a new work by Ragnhild Berstad.

Workshops, lectures, and talks with Klangforum Wien, Ensemble Modern and the composers will be held in connection with Exotica and Scelsi Revisited.

 

G.F. Haas: Introduktion und Transsonation

Tristan Murail: Un sogno 

Ragnhild Berstad: Cardinem (WP)

Giacinto Scelsi: Anahit

Klangforum Wien:

Johannes Kalitzke – conductor
Gunde Jäch-Micko – violin solo  
    
 Thomas Frey – flutes  
 Zinajda Kodrič – flutes  
 Doris Nicoletti – flutes  
 Markus Deuter – oboe, English horn  
 Olivier Vivarès – clarinets  
 Bernhard Zachhuber – clarinets  
 Gerald Preinfalk – saxophone  
 Christoph Walder – horn  
 Reinhard Zmölnig – horn  
 Anders Nyqvist – trumpet  
 Andreas Eberle – trombone  
 Daniel Riegler – trombone  
 Annette Bik – violin  
 Uli Mertin – viola  
 Dimitrios Polisoidis – viola  
 Benedikt Leitner – violoncello  
 Andreas Lindenbaum – violoncello  
 Nikolaus Feinig – double bass  
 Uli Fussenegger – double bass  
 Florian Müller – piano  
    
 Peter Böhm – sounddesign  
 Florian Bogner – sounddesign

Klangforum Wien is kindly supported by ERSTE BANK.

Supported by Komponistnes Vederlagsfond

Buy tickets here

 

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Scelsi at Ultima Academy

WHEN8pm - 9pm
WHEREKulturkirken Jakob  Map
PRICE200 / 150.-
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10pm
Teatersalen, Bondeungdomslaget i Oslo

A national concert – a study of musical fellowship in Norway in this age of globalisation, self-realisation, and commercialism.

Challenges related to the nation state, globalisation, and multiculturalism are today key issues both in Norway and around the world. Music defines identity, belonging – and distance, which is precisely what makes a study of musical fellowship in contemporary Norway so interesting, potentially controversial, and most likely doomed to fail: an alternative canon will have to do the splits while the dilemmas hail down, and in doing so produce a study and manifestation of modern-day challenges when it comes to the relationship between the individual and society, between multiculturalism and national fellowship, and between a free market and cultural refinement.

The national concert is a mix of talk show, concert causerie, and lectures, with elements of archive material and current politics –but first and foremost it is, of course, a concert.

Amund Sjøli Sveen, Erik Dæhlin, Tora Ferner Lange, Ignas Krunglevicius, Alwynne Pritchard, Kristin Norderval, Trond Reinholdtsen, Gildas Le Pape, Vestre Aker musikkorps, Schola Cantorum, Daniel Paulsen and Taro Cooper. Ensemble NING.

Produced in cooperation with Ensemble NING and Bygdeungdomslaget

Supported by Norsk Kulturråd, Fond for lyd og bilde, Det norske komponistfond.

WHEN10pm - 11pm
WHERETeatersalen, Bondeungdomslaget i Oslo  Map
PRICE150 / 100.-
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10am
Loftet
Scelsi Revisited (Ultima Academy)

Loftet / Scelsi Revisited (Ultima Academy)

 

Klangforum Wien (Uli Fusseneger, Johannes Kalitzke and Sven Hartberger), Ragnhild Berstad, Emil Bernhardt, Dr Alessandra Carlotta Pellegrino (panel/workshop)

Giacinto Scelsi was deeply interested in foreign cultures. An early perception of the microtonal qualities of Egyptian music inspired his developing philosophy of sound, which privileged its physical vibrations and texture over classical forms of organisation. He conceived of sound as a three-dimensional prism whose innumerable planes are made visible by the work of the composer. The Scelsi Revisitedproject has been developed by Klangforum Wien and the Fondazione Isabelle Scelsi. Eight composers – including Tristan Murail, Georg Friedrich Haas and Ragnhild Berstad – were commissioned to write works based on Scelsi’s privately recorded improvisation tapes. This conversation will seek connections between Scelsi’s work and the new pieces, discuss technical and interpretation challenges, and present Scelsi’s archives in Rome. Plus Anahit: From tape to score A hands-on workshop session aimed at musicians and composition students. The idea is to give an informal analysis of Scelsi’s Anahit (1965): listening to tape fragments, detecting them in the composed score, tracing their metamorphosis, and understanding basic composition techniques and Scelsi’s notation system.

WHEN10am - 11am
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PRICEFri entré.-
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12pm
Ny Musikk
Bohman Brothers + Vilde&Inga

Ny Musikk / Bohman Brothers + Vilde&Inga

Lunch concert with Bohman Brothers + Vilde&Inga

London based Jonathan Bohman and Adam Bohman aka The Bohman Brothers, are known for their unique experimental sound based live performances which use found objects, text and an innumerable array of sound sources. Their humourous visual set-ups resemble hard-wired flea markets, are the basis from which the duo, in the spirit of Fluxus, musique concrète and sound poetry, create their often grotesque soundscapes freely quoting from any source available to them. Found texts such as advertising spiel is juxtaposed with sounds ranging from amplified shoe brushes to a tape cutup of seventeenth-century instruments.

By exploring nontraditional approaches to their instruments, Vilde (violin) and Inga (double bass) greatly expand their timbre palette. The wide horizons of colour allow the music to develop slowly and organically, yet with a keen underlying sense of compositional form. Vilde Sandve Alnæs and Inga Margrete Aas are classically trained musicians from Norway and released their debut album on ECM earlier this year, to great international acclaim.

In collaboration with Ny Musikk

WHEN12pm - 1pm
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PRICEFri entré.-
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4pm
MESH
Ultima Remake: Coro

MESH / Ultima Remake: Coro

Remake is Ultima’s secondary schools outreach project. Remake presents a piece of music considered a ‘contemporary classic’, and through a mixture of careful listening, reflection and creative analysis, explores how the social, political and artistic context in which the work was composed relates to students’ own present day experience and their artistic understanding.

This year’s Remake work is Luciano Berio’s Coro (featured in Ultima’s opening concert on 10 September). Inspired by Berio’s folk music collage, participants will develop their own sample/folk music based installation, which will be presented alongside the launch of a specially designed app for field recording, Remake Recorder, and Remake’s online sound map.

Participants: Students from the music department of Manglerud Secondary School (MU2A/2B). With: Daniel Teige (sound scenography)/Heloisa Amaral (music)/Petr Svarovsky (app development)/Magnus Bugge (production)/Kristian Skaarbrevik and Otto Graf (composition teachers, Manglerud VGS.)

Supported by Sparebankstiftelsen DNB.

 

WHEN4pm - 5pm
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5pm
Nasjonalgalleriet

It is now fifty years since Håkon Austbø made his debut performance as a pianist in the University of Oslo’s Great Hall at the tender age of 15. His first performances were as a soloist with Harmoniens Orkester in 1963, and his debut concert drew much attention. Since then, he has enjoyed a successful international career as a soloist and chamber musician, and has earned himself a central place in Norwegian and international music scene. Austbø crossed borders long before interdisciplinarity became a buzzword. He collaborated with poets (Claes Gill), actors (Juni Dahr), choreographers (Jiri Kylián), and jazz musicians (Bengt Hallberg), often in brand new, innovative ways.

His works have attracted a lot of attention both at home and abroad; he has won three Spellemann awards, been nominated for the Nordic Council’s music award, and was made Knight of the French l’Ordre National des Arts et des Lettres.

The breadth of his activity also found resonance in the pedagogical field: he has taught at the conservatories in Utrecht, Amsterdam, and the University of Stavanger, in addition to giving guest lectures and master classes all over the world. Austbø is now a professor at the Norwegian Academy of Music.

This Ultima concert, which will be staged in the National Gallery, marks Håkon Austbø’s fifty years as a professional pianist. He will perform a mix of European core repertoire and three generations of Norwegian composers.

Arne Nordheim: Listen

Øyvind Mæland: Nytt verk

André Jolivet: Mana

Asbjørn Schaathun: Physis

Håkon Austbø

In collaboration with Nasjonalmuseet for kunst, arkitektur og design

Asbjørn Schaathun at Ultima Academy

 

WHEN5pm - 6pm
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PRICEFri entré / Oslo kulturnatt.-
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6pm
DogA
Opening of installation/concert: Horisonter (Horizons)

DogA / Opening of installation/concert: Horisonter (Horizons)

Eirik Raude / Arve Henriksen / Bjarne Kvinnsland / Knut Bry / mmw arkitekter: Horisonter

Opening of the installation Horisonter, which is based on a series of concerts from 2013 in five of Sverre Fehn’s buildings around Norway which explore music in space and which are based on Fehn’s ideology. Trumpet, percussion, and electronic instruments hit the concrete, glass and wood of the buildings when one of Norway’s leading jazz musicians, trumpet players and composers Arve Henriksen and one of our leading percussionists Eirik Raude played in, on, and together with Sverre Fehn’s famous architecture. Photography by Knut Bry and sound installation created by Bjarne Kvinnsland. Mmw architects.

The opening will be marked by a concert at DogA (Norwegian Centre for Design and Architecture). Suitable for the whole family.

In collaboration with DogA.

Supported by Norsk kulturråd, Komponistfondet, EGD, MFOs vederlagsfond, Fond for Utøvende Kunstnere og Fond for Lyd og Bilde.

WHEN6pm - 7pm
WHEREDogA  Map
PRICEFri entré / Oslo kulturnatt.-
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8pm
Riksscenen

Scored for non-European instruments, Mauricio Kagel’s modern classic Exotica was commissioned for the Munich Olympic Games in 1972. Kagel was inspired by visits to Asia, the Middle East, and South America in the seventies, and the work questions the dominance of Western music or “culture”. The ensemble must handle around 200 wind, string, and percussion instruments from non-European cultures. The highly revered Ensemble Modern (familiar to Ultima audiences after last year’s opening concert when they performed Frank Zappa) will perform the work at this year’s Ultima.

Exotica at Ultima Academy

Ensemble Modern:

Valentín Garvie
Michael M. Kasper
Rainer Römer
Sava Stoianov
Dietmar Wiesner
Ueli Wiget

Conductor:
Clemens Heil

Sound director:
Dominik Kleinknecht

WHEN8pm - 9pm
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10pm
Kulturkirken Jakob

Meshes of Voice, the product of a collaboration between two of the country’s most distinctive voices, was commissioned for Ladyfest and performed on 8 March 2009. According to Jenny Hval and Susanna, it is a kind of modern-day, surrealistic fable that deals with lust, fear, wondering, and mythical creatures. Grand piano, guitar, electric harmonium, various effects and electronics, and prepared piano and percussion combined with a mesh of voices has resulted in an alternately frugally delicate and solid soundscape. Meshes of Voice is genre-free music set in a modern, mythical landscape. The piece will be revived in a new version during Ultima. The album Jenny Hval & Susanna Meshes of Voice will be released in August on SusannaSonata. They will perform their new version of this piece in the JAKOB Church of Culture during Ultima in Oslo.

Buy tickets here

WHEN10pm - 11pm
WHEREKulturkirken Jakob  Map
PRICE200,- / 150.-
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12pm
Ekebergveien 59, oppmøte på Youngstorget

Guided tour and concert in Eivind Groven’s house at Ekeberg

Featuring Eivind Groven’s famous just intonation  organ

Bus from Youngstorget at 11.45 pm. Limited number of seats!

As a composer, musician, acoustician, collector and musicologist, Eivind Groven (1901-77) stands shoulder to shoulder with Norway’s musical pioneers. Interest in his work with issues related to pure tuning continues to inspire further research in fields such as composition and acoustics – benefitting musicians from various genres. The realisation of his three life tasks has impressed people such as Albert Schweitzer, Alois Hába and Arne Nordheim. Nordheim once claimed that Groven as a composer resides in a place “east of noise”.

The purely tuned organ that Eivind Groven built in the 1940s has undergone several upgrades in pace with new technology, and is now available as a computer program which can be used on all digital instruments. The portable software is developed by Notam in collaboration with David Loberg Code from Western Michigan University, and is freely available for download.

At this lunch concert, two organ works by Eivind Groven and four new works by nyMusikks composers group, written especially for the just intonation organ, will be performed.

Rebecka Sofia Ahvenniemi: Organic Encounters (2012)
Karstein Djupdal: Groven spiller Jondølen (2012)
Peter Edwards: Boulez Springar (2012)

Eric Skytterholm Egan: Through the Barbacans (2014) UP
Eivind Groven: Hymne
Eivind Groven: I balladetone

 

Organist: Sara Aimée Smiseth

Produced by NOTAM in collaboration with nyMusikks Composers group (NMK).

More Eivind Groven at Ultima Academy

WHEN12pm - 1pm
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12pm
Nasjonalbiblioteket
Erik Dæhlin/Ingfrid Breie Nyhus: Avstandsriss

Nasjonalbiblioteket / Erik Dæhlin/Ingfrid Breie Nyhus: Avstandsriss

“I’m interested in what lies between folk music and Western, classical music. There are so many differences – and also places where these two cultures meet,” says Ingfrid Breie Nyhus.

The pianist herself comes from both traditions, and it is precisely that which fascinates her as a musician.

“Although as a pianist I have studied the classical music tradition, I grew up with folk music and carry it around inside me. Some of my best childhood memories are of my dad sitting down in the basement, which was directly under my bedroom, and playing before I woke up in the morning.” ‘Røros-pols’, the fiddle, and Hardanger fiddle tunes: that love of playing was incredibly inspiring, and I’m still hooked on it.”

It is precisely in that tension between the two musical traditions that Nyhus is in her element, and she has challenged Øyvind Torvund, Asbjørn Schaathun and Erik Dæhlin to explore this tension in their respective commissioned works.

“There is a world of difference between music that originates in a need in everyday life, such as folk music, and the wanted, willed art music,” says Nyhus.

“It doesn’t have to be a case of either–or; it’s more like an axis. There are many such axes, the the friction occurs between the extremes, between the raw and the refined, the natural and the cultivated, the prosaic and the monumental.”

Asbjørn Schaathun and Øyvind Torvund have both composed works for Nyhus as solo pianist, while Erik Dæhlin’s installation combines old recordings with Nyhus’ own playing.

“Schaathun and I often talk about heterogeneity as the link between the two languages of folk music and contemporary music, like tiny variations in a unified material.” Øyvind Torvund was concerned with the relationship between culture and nature, and makes active use of concepts such as imitation from folk music,” says Nyhus.

“Dæhlin is interested in distance, including distance in time, and for our collaboration we combined my playing with old archive recordings from the Norwegian Collection of Folk Music.” This collection is now in the National Library of Norway, so the concert is also going to be held there,” says Nyhus.

Nasjonalbiblioteket, kl. 12, 13 og 14

Concert / Installation

In collaboration with Nasjonalbiblioteket and Norsk Folkemusikksamling

Supported by Norsk kulturråd

Erik Dæhlin and Ingfrid Breie Nyhus at Ultima Academy

WHEN12pm - 3pm
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3pm
Kulturkirken Jakob
Bjørn Erik Haugen/Nordic Voices: Utterances

Kulturkirken Jakob / Bjørn Erik Haugen/Nordic Voices: Utterances

How do you relate to and communicate with your surroundings via utterances? Bjørn Erik Haugen expounds on this question in his new three-piece work by, among other things, using the transcription of an interview with Julia Kristeva about linguistics, transcriptions of sounds from 28 films portraying different emotions and situations with inarticulate use of voice, and a third section based on a documentary on how an autist relates to the world around him by communicating with objects. This work will be performed by the renowned vocal ensemble Nordic Voices.

Bjørn Erik Haugen/Nordic Voices: Utterances (WP)

Tickets here

WHEN3pm - 4pm
WHEREKulturkirken Jakob  Map
PRICE150,- / 100.-
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7pm
Nationaltheatret
Robert Schumann and Heinrich Heine: Dichterliebe

Nationaltheatret / Robert Schumann and Heinrich Heine: Dichterliebe

Dichterliebe, Robert Schumann and Heinrich Heine’s quintessential cycle of poems of the high Romantic era, has been recorded and performed many times over the years with bel canto and soft piano tone from the first to the final wunderschöne tone. The story of the poet who sits alone in his study all day long, only able to meet his young fairy love by night, is based on a poem by Heinrich Heine, and has been a part of the standard repertoire of both musicians and music theorists since it was published in 1844.

Actor Bernhard Schütz and pianist Reinhold Friedl therefore have a long performance history with heavy traditions to contend with when they enter high Romanticism’s inner sanctum.

Schütz is best known to German audiences as a respected actor in film and theatre. He is no classical singer, but he lets rips on Schumann with the actor’s urge to tell a story: convincingly and full of expression. Now it is quiet and intimate, now it is explosively extrovert with a full band, and sounds more like expressive pop/rock than a stylised classical masterpiece.

With slightly untuned piano and aching, soaring vocals, the lines between Schumann’s manic drug abuse and the modern artist are drawn, and many questions emerge: What is work and what is interpretation? Who is the artist, and can it really be that we can get closer to the music by doing something completely different than what the composer himself intended?

The performance will be given at the National Theatre during the Ultima Contemporary Music Festival.

Amfiscenen

Produced by Volksbühne am Rosa-Luxemburg Platz, Berlin.

Bernhardt Schütz, Maximilian Brauer, Reinhold Friedl (piano) and Fucking Famous.

Dramaturgy: Henning Nass

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WHEN7pm - 8pm
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PRICE200,- / 150.-
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10pm
Sentrum Scene

Controversial Slovenian art/music collective Laibach present their version of Grieg’s Olav Tryggvason – Norway’s lost national opera – as a multimedia presentation, followed by a concert featuring a selection of tracks from the whole of their career, right up to this year’s Spectre album.

Buy tickets here

Laibach på Ultima Academy

WHEN10pm - 11:30pm
WHERESentrum Scene  Map
PRICE350,- / 250.-
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11am
Den Norske Opera & Ballett

Ultima’s Children’s Day at The Norwegian National Opera & Ballet will be jam-packed with concerts, installations, workshops and lots of other fun activities: Lar Vaular rapping to the sound of trees, the Improvisation trio Parallax, POING giving a ‘poop performance’, the sound of a guy bored to tears on a chair, a self-playing chest of drawers, and a self-playing orchestra, ‘on-site choreography’ with Panta Rei Dance Theatre, a children’s workshop in creating graphic scores and lots more!

Hosted by Berit Nermoen with Knotten Løvekylling (creator of Fantorangen) and Aslag Guttormsgaard (NRK Super, Black Debbath, Duplex).

Concerts:

TRE & Lars Vaular

Hip hop meets nature in new music that you’ll want to dance to when rapper Lars Vaular accompanied by the sound of trees. The instruments, played by Bjarne Kvinnsland, Eirik Raude and Markus Hernes, have been carved out of centuries-old basswood felled in Eidsvoll in conjunction with the Norwegian Constitution bicentenary celebrations. Maybe you’ll even get the chance to play them yourself?

Parallax and the room of sounds

Let yourself be wrapped in sound and light in the room of sounds! Improvisation trio Parallax (Are Lothe Kolbeinsen on guitar, Stian Omenås on trumpet and Ulrik Ibsen Thorsrud on percussion) and light designer Evelina Dembacke make music and visual expressions in a performance that will sharpen your senses.

Nordic Voices

What does it sound like when a guy is bored to tears on a chair? What does it sound like when a fly gets stuck on fly paper or when an old lady must fight her way through a big crowd? And can it be sung? This internationally acclaimed vocal ensemble’s repertoire ranges from medieval to contemporary music, combining song with humour and theatrical performance.

POING with Julian Skar and Guri Glans

POING (Frode Haltli on accordion, Rolf Erik Nystrøm on saxophone and Håkon Thelin on contrabass) is a group that combines instrumental mastery with a fearless approach to music. On Ultima’s Children’s Day, the trio will perform something they call a ‘poop-performance’, developed in collaboration with composer Julian Skar. With actress Guri Glans.

SKRAP

Duo Skrap has been playing together for six years and consists of Heida Karine Johannesdottir Mobeck on tuba and effects and Anja Lauvdal on Korg MS10. Together they work with sound experiments.

Installations

Everybody’s a composer

Everybody’s a composer (Nasjonalmuseet, Apparatjik & Audiokolor) is an open room into which you can enter. Motion sensors in the room transform the public’s movements into music. What does it sound like when one person moves in the room? Does it sound different when more people move? Is it possible to choreograph the movements and in doing so compose a piece of music?

Peter Baden – Dirigentstasjon

Ultima has commissioned interactive sound installations by drummer and sound artist Peter Baden (known from Rhythms from Space, among others). Sound, film and conducting. Exactly what it is remains to be seen, but it will be exciting!

Reunion

What happens when chess pieces make music? What does checkmate sound like? NOTAM’s interactive chessboard provides the answer.

AJNA – Jens Peterson Berger

A chest of drawers by Jens Peterson Berger plays all by itself! It hides a number of secrets that will give you a good laugh.

Al Khowarizmi’s Mechanical Orchestra –Christian Blom

A self-playing orchestra: the orchestra plays random music when a computer connected to small motors calculates the occurrence and balance of the orchestra’s instruments.

Workshops

Thunder and lightning with Drivhuset

A practical music and imagery workshop on how what we see and what we hear are related: images are turned into music! Under the direction of Isak Anderssen and students from the Norwegian Academy of Music, participants will design their own graphic scores and then perform them. The scores are created in the workshop will be interpreted and performed by artists on Ultima’s Children’s Day. Suitable for children, for adults, and for adults together with children. Bring mum along and compose something!

Make your own dance with Panta Rei Danseteater and Intuitive People
Panta Rei Dance Theatre creates ‘on-site choreographies’ for playful people of all ages. The music accompanying the choreographies is created in real time by Intuitive People (students from NMH), in parallel with the participants’ suggestions for movements. Suitable for children, for adults, and for adults together with children. Bring dad along and get dancing!

Ultima’s Children’s Day will be rounded off with a viewing of Vårt visuelle verk (Our visual works), the Norwegian National Opera Orchestra’s concert workshop with a focus on music note pictures and pictures as notes. Pupils from cultural arts schools interacting with musicians from the Norwegian National Opera Orchestra, opera singer Hege Høisæter, visual artist Helle Kaarem, composer Ole Henrik Moe and workshop manager Jon Halvor Bjørnseth will be finding out if it’s possible play and compose music using symbols other than normal notes. They work together to invent new symbols, new sounds, and new pictures for the concert to be held on Sunday at 15.00 in Hall 2 of the Opera House. During this project we will see examples of other composers who have mixed images and notes together in exciting ways to make graphic scores. Hege Høisæther will sing Stripsody by Cathy Berberian.

Rooms for concerts, rooms for work, and nooks and crannies both inside and outside will be filled to the brim with exciting concerts, installations, and drop-in workshops for children and adults of all ages. 11 am – 4 pm. Free.

In cooperation with the Norwegian National Opera & Ballet.

Supported by Sparebankstiftelsen DNB.

 

WHEN11am - 4pm
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12pm
Cinemateket
The Concept of Nation (Ultima Academy)

Cinemateket / The Concept of Nation (Ultima Academy)

 

Antonio Negri, Laibach

The Construction of an IdeologyAntonio Negri (lecture)

Retracing the origins of European nation states from the late Middle Ages via their evolution to the present, philosopher, political theorist and activist Antonio Negri, co-author of the acclaimed Empire (2005),explains the spiritual and political construction of an ideology that prepared the ground for democracy while at the same time endorsing power struggles and oppression. Pre-Renaissance society was controlled by the church and subjugated to natural laws. Reacting to this, humanist thinkers such as Dante, Galileo and Spinoza drew heavenly powers down to earth and advocated knowledge and human action. Technology and the liberal arts became tools for bringing nature under control, and the old theological state was gradually replaced by a secular society with spiritual foundations based on national identity. Negri’s rereading of history uncovers the power structures that underpin contemporary global society and raise questions about our own participation in the configuration of a new world order. Defying IdeologiesLaibach/Petr Svarovsky (discussion) Slovenian collective Laibach are an example of how artists can mobilise themselves to find innovative methods of defying prevailing political ideologies. Formed in 1980 in Tito’s Yugoslavia, the group soon became known for their controversial use of political symbols in cover versions of iconic rock, pop and classical music. With a strategy ‘to take the system more seriously that it takes itself’, they appropriate elements of totalitarian political systems and dogmatic art movements, and, as in a game of rock, paper, scissors, juxtapose them in order to reveal the emptiness of radical ideologies. With their Ultima commission – a version of Grieg’s unfinished opera Olav Trygvason – as a starting point, the group will talk to media artist Petr Svarovsky about how they select the elements to construct their audiovisual presence.

WHEN12pm - 1pm
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PRICEFri entré.-
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9pm
Black Box Teater
Christophe Meierhans: Some use for your broken clay pots

Black Box Teater / Christophe Meierhans: Some use for your broken clay pots

Pure political science fiction

Some use for your broken clay pots is a sort of debate between Meierhans and the audience about the fictional constitutional proposal that he has been making. In short, he presents elements of what that democratic system is, and attempt to convince the audience that his is a better option than what we have presently. As the audience questions, criticises the proposing, he unveils more and more of what is in the constitution. Having the scenography, the lighting, the venue and the context of the theatre provides the right balance for people to engage in pure political science fiction.

In collaboration with Black Box Teater.

Buy tickets here

WHEN9pm - 10pm
WHEREBlack Box Teater  Map
PRICE150.-
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12pm
NyMusikk
Ole Martin Huser-Olsen

NyMusikk / Ole Martin Huser-Olsen

Ole Martin Huser-Olsen is a classical guitarist whose repertoire spans from Renaissance to newly composed contemporary music. The search for his own time lies at the heart of Huser-Olsen’s lunchtime concert in nyMusikk’s premises in Grønland. His quest is expressed in pieces by Martin Rane Bauck and Simon Steen-Andersen, who rework Shakespeare material and Bach’s Capriccio i B-flat major, respectively. Charlotte Piene and Dagfinn Koch also touch on the relationship between the past and the present: Piene through her translation of a specific person’s specific actions in a specific space of time, and Koch through his musical rendition of the poem entitled Hud. He also plays new work by Rainer Rubbert.

Charlotte Piene – Turn back to that point where (you think) you were that day (2011/2013)
Dagfinn Koch – Hud (WP)
Martin Rane Bauck – Shakespearean Miniatures (WP)
Rainer Rubbert – Aus Snodens Zeit (WP)
Simon Steen-Andersen – Beloved Brother (2008)

In collaboration with Ny Musikk.

WHEN12pm - 1pm
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4pm
Deichmanske hovedbibliotek
Natasha Barrett: OSSTS (Oslo Sound Space Transport System)

Deichmanske hovedbibliotek / Natasha Barrett: OSSTS (Oslo Sound Space Transport System)

Installation

Natasha Barrett: OSSTS (Oslo Sound Space Transport System)

The Oslo Sound Space Transport System invites you to explore Oslo like a computer game in 3D. With it’s interactive form the installation allows you to re-make the sound of Oslo. As you move around the city, you can hear your own voice or other performed sounds ‘activate’ Oslo’s real acoustic architecture. It may be a quite surreal journey through a specially made electroacoustic landscape that you’ll be creating on the move. OSSTS’s travel guide, programmer and designer is British composer Natasha Barrett residing in Norway.

Installation opens at 15 September and will be open every day during the festival.

Produced in cooperation with NOTAM.

OSSTS

WHEN4pm - 5pm
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PRICEFri entré.-
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6pm
Dramatikkens hus

A talk show hosted by controversial Johannes Kreidler.

Audioguide is a series of talk shows conducted in the course of one evening – for several hours with no breaks. This theatre installation is not just a work for the stage that happens to contain music; it’s also a piece of music theatre about music and its relationship to politics, psychology, technology, and terrorism. Themes from Shakespeare and Derrida’s philosophy lie lurking in the background, while ultra modern technology is explored, subcutaneous signals transmitted via music, 100 instruments destroyed, the tragic consequences of the MP3 format discussed with a programmer, and a hyper instrument built in the hall. It will be neither modest nor reticent, but you are guaranteed an artistic experience for life.

Like most talk shows Audioguide has a host (Tammo Messow) and a sidekick (Tom Pilath). Not that common in this setting is the fact that they also have their own psychologist (Andrea Seitz), coder (Peer Blank) and two translators (Wieland Hoban and Philipp Blume). Felix Dreher is responsible for sound and video, and guests at the talk show are Stefan Fricke and (obviously) Johannes Kreidler. With musicians from Oslo-based Ensemble neoN: Karin Hellqvist (vl), Yumi Murakami (fl), Heloisa Amaral (pn/keyboards), Kristine Tjøgersen (cl.), Ane Marthe Sørlien Holen (perc), Inga Byrkjeland (vc).

In collaboration with Internationales Musikinstitut Darmstadt.

Supported by Norsk kulturråd and Fonds Experimentelles Musiktheater NRW.

Buy tickets here

WHEN6pm - 10pm
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PRICE100.-
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7pm
Musikk & Scenehuset
Nenia - a chamber opera in commemoration of Fartein Valen

Musikk & Scenehuset / Nenia - a chamber opera in commemoration of Fartein Valen

Unfortunately the venue in the programmebook is incorrect: The venue for this show is Musikk & Scenehuset i Nedre Slottsgate 1!

Nenia lends its title from one of the central orchestral pieces by Fartein Valen, composed in 1933. Nenia means ‘lament’ or ‘commemoration song’, thus making it a natural choice of title for an opera composed to commemorate Fartein Valen. The outer time frame is set to a single day during the Second World War in 1943, between winter and spring.

We meet Fartein and his sister Sigrid whose simple everyday life soon is interrupted by the horrors of the war, their fear of the future, and not to mention the memories from the past that are haunting Fartein. From the Madagaskar of his childhood, up till his time as a grown man living the life as a composer in Berlin. Images from the past intervenes his daily life, and the intimate and trivial stands up against the grand and the unimaginable.

Here is his past life, but also the dreams of that which he did not let into his life. Voices and shapes appear and disappear, before we in the end return to Farteins everyday life, in Valevåg, just before winter must yield to spring.

The opera is composed by Kjell Habbestad, but with a subject such as that of Nenia, it is natural to let the musical universe of Valen resonate through his new composition, as a reminder and a tribute.

Libretto: Paal-Helge Haugen
Music: Kjell Habbestad
Director: Mira Bartov
Producer: Gjøril Songvoll

Co-producer: Kristin Bredal

Fartein Valen: Mathias Gillebo, tenor
Sigrid Valen: Lydia Moellenhoff, mezzo-soprano
The man: Daníel Óskar Daníelsson, bass baritone
The woman: Magnhild Korsvik, soprano

Ensemble directed by Magnus Loddgard

Line Maher, costumes

Trond Kjelsås, light

Gard Gramstad, film

WHEN7pm - 8:30pm
WHEREMusikk & Scenehuset  Map
PRICE200 / 150.-
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7pm
Universitetets Aula
Det Norske Kammerorkester: In light of Beethoven

Universitetets Aula / Det Norske Kammerorkester: In light of Beethoven

Anthony Marwood is what one might call a complete violinist; a brilliant soloist, a fine chamber musician and one of the few who masters the function of a performing leader. To us, he comes in all of these roles. The program is comprised of the old and new. We have invited two Norwegian composers in each generation to write music for us with Beethoven’s late string quartets as the foundation. Both Maja Ratkje and Asbjørn Schaathun took on this challenge with their shared fascination for the old mater. 

Marwood will be the soloist in the last part of the concert playing the violin concerto by Thomas Adès. Adès is considered a wonder boy in the modern classical music scene. At the age of fourty three, he has already received commissions from the Metropolitan Opera, premieres with Berlin Philharmonic Orchestra and conducted many of the world´s leading orchestras. The Adès´violin concerto was first performed by Marwood at the BBC Proms in 2005. 

Announcement of the winner of Arne Nordheim’s Composer Prize 2014.

Maja Ratkje: Tale of Lead and Frozen Light (WP)
Ludwig van Beethoven: Strykekvartett op. 127 og op. 135 (utvalgte satser)
Asbjørn Schaathun: Beethoven singt (WP)
Thomas Ades: Fiolinkonsert

Produced by Det Norske Kammerorkester

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Beethoven at Ultima Academy

WHEN7pm - 8:30pm
WHEREUniversitetets Aula  Map
PRICE395,- - 120.-
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9pm
Nasjonal jazzscene
Maja S. K. Ratkje / Helge Sten / Kåre Kolberg: Eastern Waves

Nasjonal jazzscene / Maja S. K. Ratkje / Helge Sten / Kåre Kolberg: Eastern Waves

Studio Experymentalne in Warsaw was the “office” for among others Arne Nordheim and Kåre Kolberg in the 60s and 70s. Some of their best known music from that period was created in the legendary studio.

Eastern Waves shed light on the studio’s electronic legacy with commissioned works by Helge Sten and Maja S. K. Ratkje. Ratkje’s work In dialogue with Rudnik is inspired by the Polish electronic musical pioneer Eugeniusz Rudnik, who incidentally was Norheim’s technician there. In the live version, Ratkje plays with, and together with, Rudnik’s music. Helge (‘Deathprod’) Sten’s composition is based on recordings of two of the Polish radio studio’s other pioneers: Bohdan Mazurek and Tomasz Sikorski. Kåre Kolberg’s Anonymus.

The concert is a cooperation between Ultima, Nasjonal Jazzscene, Stiftelsen 4.99, Bolt records and Notam.

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WHEN9pm - 10pm
WHERENasjonal jazzscene  Map
PRICE150,- / 100.-
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10am
Dansens Hus

Korp, korp is an interactive installation performance for children aged 6 months – 3 years, where the children enter, and discover a landscape.

The performance last 30 min with time afterwards for further discovery of the room.

Enveloped by a world of sound, texture and movement. A tactile landscape. Nature. Above it all flies the birds. Belonging everywhere and anywhere. Come! Listen, see, feel, hear, dance! Discover!

The abstract landscape draws inspiration from our Nordic heritage. But how can one define “the Nordic landscape”? It´s diverse and varied: plateus, vulcanic rocks, green mosscled islands, forests, farm fields, coast, mountains, fjords, lakes, snow and ice. The Nordic countries have such a rich and diverse landscape that it proves hard to draw a common line. Still, there is this definition: “the Nordic Landscape”, and most would agree that there is something particular and definable about “the Nordic Landscape”.

 
The children meet two dancers in this environment. Two peculiar shapes, birdlike and identical. Maybe human, maybe birds, maybe both. These bird twins land in the unknown landscape together with the children, and together they embark on discovering a new world.

The installation is sculptural, three dimentional, and filled with objects. We focus on experiencing the room with our senses: the children can see, smell, look, hear, touch, move and be present. Within a set frame work of a performance there is freedom for improvisation and discovery.

Concept, idea, choreography and dance: Annika Ostwald, Ida Uvaas

Composer and sound design: Jens L. Thomsen

Scenographer and sculptor: Carl Nilssen-Love

Electronics development: Hans Wilmers, Notam

Technician: Cato Langnes, Notam

Character development: Nancy Mannes

Costume Design: Elena Becker in collaboration with Maria Melinder

Lighting Consultant: Martin Myrvold

Photography: Anja Elmine Basma

Collaborators and co-producers: Dansearena Nord, Nord-Trøndelag Teater, Dans i Nord-Trøndelag og Notam Norwegian Center for Technology in Music and the Arts.

Supported by: Kunstløftet (Art Council Norway), Nordic Culturepoint and Fund For Performing Artists.

Buy tickets here

WHEN10am - 12pm
WHEREDansens Hus  Map
PRICE120.-
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1pm
Kulturkirken Jakob
 

The starting point for this recital and discussion is a series of works commissioned by pianist Ingfrid Breie Nyhus as part of her research project Arv (Inheritance). Composers Øyvind Torvund and Asbjørn Schaathun are all intrigued by the question of national identity and folk music. Torvund’s piano/video piece is inspired by Norwegian folk ornaments and the paintings of Gerhard Richter. In Nations, Schaatun electronically stirs up music from all over the world in virtual centrifuges.

Afterwards both composers join a panel moderated by British music writer Rob Young on reinventing the past with new technologies. Also taking part are Erik Dæhlin, whose Avstandsriss (performed on 13 September) recombines thousands of Norwegian folk music samples, and Notto Thelle (NOTAM), who will present the work of composer and instrument builder Eivind Groven.

WHEN1pm - 2pm
WHEREKulturkirken Jakob  Map
PRICEFri entré.-
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1pm
Kulturkirken Jakob

Øyvind Torvund: New work (WP)

Asbjørn Schaathun: Nations (WP)

 

“I’m interested in what lies between folk music and Western, classical music. There are so many differences – and also places where these two cultures meet,” says Ingfrid Breie Nyhus.

The pianist herself comes from both traditions, and it is precisely that which fascinates her as a musician.

“Although as a pianist I have studied the classical music tradition, I grew up with folk music and carry it around inside me. Some of my best childhood memories are of my dad sitting down in the basement, which was directly under my bedroom, and playing before I woke up in the morning.” ‘Røros-pols’, the fiddle, and Hardanger fiddle tunes: that love of playing was incredibly inspiring, and I’m still hooked on it.”

It is precisely in that tension between the two musical traditions that Nyhus is in her element, and she has challenged Øyvind Torvund, Asbjørn Schaathun and Erik Dæhlin to explore this tension in their respective commissioned works.

“There is a world of difference between music that originates in a need in everyday life, such as folk music, and the wanted, willed art music,” says Nyhus.

“It doesn’t have to be a case of either–or; it’s more like an axis. There are many such axes, the the friction occurs between the extremes, between the raw and the refined, the natural and the cultivated, the prosaic and the monumental.”

Asbjørn Schaathun and Øyvind Torvund have both composed works for Nyhus as solo pianist, while Erik Dæhlin’s installation combines old recordings with Nyhus’ own playing.

“Schaathun and I often talk about heterogeneity as the link between the two languages of folk music and contemporary music, like tiny variations in a unified material.” Øyvind Torvund was concerned with the relationship between culture and nature, and makes active use of concepts such as imitation from folk music,” says Nyhus.

WHEN1pm - 2pm
WHEREKulturkirken Jakob  Map
PRICEGratis.-
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3pm
Riksscenen
New Music Incubator Oslo Reunion

Riksscenen / New Music Incubator Oslo Reunion

In April 2014, 20 professional composers, musicians and sound artists from the Nordic and Baltic countries met for four days at Nida Art Colony, on an island in Lithuania. Every day the participants created new music pieces in close collaboration, which were premiered the same evening. All concerts was internal and without audiences. The project design ensured that every day new groups was created, and no one worked with the same person twice. Through this meeting, New Music Incubator wants to promote mutual professional development, skill sharing and the development of networks for future projects.

The participants meet again in Oslo during the Ultima Festival, to re-develop, rehearse and perform some of the works for a public concert. For this concert, the participants have worked creatively together for 36 hours in different constellations, to re-develop, rehearse and perform some of the music created during the week in Nida.

The participants are: Alexandra Nilsson (Sweden), Annika Cleo (Finland), Austėja Valušytė (Lithuania), Benjamin Quigley (Sweden), Carly Lake (Finland), Elo Masing (Estonia) Erik McKenzie (Norway), Geir Sundbø (Norway), Jan Liljekvist (Sweden), Jason Alder (USA), Johannes Bergmark (Sweden), Julija Karaliunaite (Lithuania), Jurgis Baltrušaitis (Lithuania), Leonardas Pilkauskas (Lithuania), Line Tjørnhøi (Denmark), Nikolaj Kynde (Denmark), Robert Jürjendahl (Estonia), Sandra Kazlauskaite (Lithuania), Steinar Yggeseth (Norway), Viktorija Smailyte (Lithuania)

New Music Incubator Oslo Reunion Concert is a part of NMI Neringa, which is arranged by Uruppförandeklubben, and has been generously supported by Nordic Culture Fund, Nordic Culture Point, Lithuanian Council for Culture, Musikalliansen, Elektronmusikstudion EMS and Ultima Festival. The project is facilitated by Ruta Vitkauskaite, Lithuania/UK and Martin Q Larsson, Sweden.

About New Music Incubator

WHEN3pm - 4pm
WHERERiksscenen  Map
PRICEFri entré.-
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6pm
Office for Contemporary Art Norway - OCA

The first Nordic Music Days 2014 features a selection of contemporary electronic music. Composer and performer Ida Lundén presents Songs My Mothers Taught Me for female cellist, inspired by and celebrating famous and successful ancestors and forebears; Maija Hynninen’s Borrowed Tunes 1: Dead Man Theme builds on Neil Young’s soundtrack for Jim Jarmusch’s Dead Man; and Osmo Tapio Räihälä’s Seurat I combines violin, kantele and live electronics. Free entry.

Ida Lundén: Songs my mother taught me

Maija Hynninen: Borrowed Tunes: 1. Dead Man Theme

Osmo Tapio Räihälä: Seurat I

 

Supported by Norsk Komponistforening

WHEN6pm - 7pm
WHEREOffice for Contemporary Art Norway - OCA  Map
PRICEGratis.-
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8pm
Vulkan Arena

The colonization and liberation of Iceland

New York based Icelandic composer David Brynjar Franzson presents his new chamber opera at this year’s Ultima festival. Longitude, a new interdisciplinary work, is inspired by the early 19th century colonization and liberation of Iceland, and the life of Jørgen Jørgensen, the controversial leader of the Icelandic Revolution. Music by David Brynjar Franzson and Davyde Wachell. Performed by Ensemble Adapter.

This marks the start of Nordic Music Days 2014, which is hosted this year by Ultima with the Norwegian Society of Composers.

CREATIVE TEAM

Davíð Brynjar Franzson – composer

Davyde Wachell– film maker

Halldór Úlfarsson – installation artist


Angela Rawlings – text artist

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David Brynjar Franszon at Ultima academy

WHEN8pm - 9pm
WHEREVulkan Arena  Map
PRICE200,- / 150.-
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10am
Dansens Hus
Korp Korp: Nordic Landscapes

Dansens Hus / Korp Korp: Nordic Landscapes

Korp, korp is an interactive installation performance for children aged 6 months – 3 years, where the children enter, and discover a landscape.

The performances starts at 10 and 11 am. Last 30 min with time afterwards for further discovery of the room.

Enveloped by a world of sound, texture and movement. A tactile landscape. Nature. Above it all flies the birds. Belonging everywhere and anywhere. Come! Listen, see, feel, hear, dance! Discover!

The abstract landscape draws inspiration from our Nordic heritage. But how can one define “the Nordic landscape”? It´s diverse and varied: plateus, vulcanic rocks, green mosscled islands, forests, farm fields, coast, mountains, fjords, lakes, snow and ice. The Nordic countries have such a rich and diverse landscape that it proves hard to draw a common line. Still, there is this definition: “the Nordic Landscape”, and most would agree that there is something particular and definable about “the Nordic Landscape”.

The children meet two dancers in this environment. Two peculiar shapes, birdlike and identical. Maybe human, maybe birds, maybe both. These bird twins land in the unknown landscape together with the children, and together they embark on discovering a new world.

The installation is sculptural, three dimentional, and filled with objects. We focus on experiencing the room with our senses: the children can see, smell, look, hear, touch, move and be present. Within a set frame work of a performance there is freedom for improvisation and discovery.

Concept, idea, choreography and dance: Annika Ostwald, Ida Uvaas

Composer and sound design: Jens L. Thomsen

Scenographer and sculptor: Carl Nilssen-Love

Electronics development: Hans Wilmers, Notam

Technician: Cato Langnes, Notam

Character development: Nancy Mannes

Costume Design: Elena Becker in collaboration with Maria Melinder

Lighting Consultant: Martin Myrvold

Photography: Anja Elmine Basma

Collaborators and co-producers: Dansearena Nord, Nord-Trøndelag Teater, Dans i Nord-Trøndelag og Notam Norwegian Center for Technology in Music and the Arts.

Supported by: Kunstløftet (Art Council Norway), Nordic Culturepoint and Fund For Performing Artists.

 

Buy tickets here

WHEN10am - 12pm
WHEREDansens Hus  Map
PRICE120.-
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11am
Podium (Hausmania)
 

Please note that the panel discussion has been moved from DogA to Podium (Hausmania)!

Eivind Buene, David Brynjar Franzson, Ida Lundén, Simon Løffler, Morten Eide Pedersen (panel)

What are the advantages and disadvantages of living as a composer in the well funded Nordic states?

In this forum, a handful of composers from Denmark, Finland, Iceland, Norway and Sweden comment on their works for NordicMusic Days 2014 and discuss artistic life in the Nordic countries, and their approaches to funding possibilities, career building and everyday life.

 

WHEN11am - 12pm
WHEREPodium (Hausmania)  Map
PRICEFri entré.-
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1pm
Office for Contemporary Art Norway - OCA

Lunch concert with Thuridur Jonsdóttir, Risto Holopainen and Rikhardur H Fridriksson. In Jonsdóttirs INNI – Musica da Camera (for baroque violin and 2-channel electronics), the fragile harmonics of a baroque violin interact with a soundscape generated from an infant’s murmur, with an ancient lullaby woven into the texture. The piece was written for Halla Steinunn Stefánsdóttir with support from Hlaðvarpinn – women cultural fund 2012.

Risto Holopainen’s algorithmic composition Spielraums employs systems associated with computer games. Rikhardur H Fridriksson’s Three Pieces on the Nature of Iceland examines the extraordinary sonic qualities of Iceland’s natural environment. Free entry.

WHEN1pm - 2pm
WHEREOffice for Contemporary Art Norway - OCA  Map
PRICEGratis.-
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2:30pm
OCA
New Music Online (Ultima Academy)

OCA / New Music Online (Ultima Academy)

 

Panel discussion about contemporary music and online streaming.

WHEN2:30pm - 3:30pm
WHEREOCA  Map
PRICEFri entré.-
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5pm
Kulturkirken Jakob

One of the most important arenas for European electronic music is 50 years old this year. Since 1964, EMS Elektronmusikstudion has been the centre of Swedish electroacoustic music and sound art. Besides EMS promoting Swedish electronic music internationally, EMS offers professional studio space and supports the development of electroacoustic music and its integration within other arts. Some of the genre’s most important works have been made in their studio. EMS will be celebrating its 50th birthday with a concert at Ultima featuring music composed and performed by Hanna Hartman and Erik Bünger.

In collaboration with Elektronmusikstudion EMS.

Buy tickets here

WHEN5pm - 6pm
WHEREKulturkirken Jakob  Map
PRICE100.-
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7:30pm
Den Norske Opera & Ballett

With Buenos Aires we present the world premiere of a completely new chamber opera. The work is about indirect communication and, as implied in the title, the air, or perhaps simply the absurdity of communicating through song.Danish composer Simon Steen-Andersen is behind this production. With his multimedia works that explore the grey area between music, performance, theatre and video art, Steen-Andersen has attracted a lot of attention on the European music scene in recent years. In his new opera, he also fills the roles of librettist, set designer and instructor. 

The cast is the German vocal ensemble Neue Vocalsolisten Stuttgart and the Norwegian Ensemble asamisimasa, with whom Steen-Andersen has worked for many years.

Produced in coollaboration with The Norwegian National Opera & Ballet.

Also performed 19 September kl. 19.30

Buy tickets here

In collaboration with Neue Vokalsolisten Stuttgart, Asamisimasa and The Norwegian National Opera & Ballet.

Supported by Norsk kulturråd

Buenos Aires at Ultima Academy

 

WHEN7:30pm - 9pm
WHEREDen Norske Opera & Ballett  Map
PRICE350,- / 250.-
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9pm
Riksscenen
Marie Munore /Panta Rei Danseteater: On the Outside

Riksscenen / Marie Munore /Panta Rei Danseteater: On the Outside

What happens when a songwriter is given free rein to give a concert to a dance theatre – and the dance theatre is given free rein to choreograph a concert?

In their first collaborative project entitled On the Outside, Panta Rei Danseteater and vocalist and songwriter Marie Munroe will provide the answer. Inspired by a shared fascination for Dave Egger’s quote “You have What I Can Afford To Give”, they want to use their different forms of expression to convey the loneliness of togetherness.

PRD is one of Norway’s best-known dance companies which through touring at home and abroad challenge themselves to find new types of audiences, this time a concert audience.

Marie Munroe is the name and sound of one of Norway’s most distinctive voices and songwriters. This vocalist from Ålesund has already several recordings to her credit, both as a solo artist and in collaboration with others.

Costumes by Hanne Iveland Henriksbø. Video art, set design, space concept and light design by Anastasia Isachsen.

Soloist: Marie Munore

Cast: Kari Vikjord, Robert Guy, Erlend Ringseth, Ole Myrvold, Stig Værnes, Marie Munroe

Panta Rei Danseteater

Produced by Panta Rei Danseteater in collaboration with CODA Oslo International Dance Festival.

Buy tickets here

 

The doors and the bar open at 8 PM.

ON THE OUTSIDE will also be staged as a closed performance for school classes, in collaboration with Concerts Norway (Rikskonsertene), on Friday 19 September 11 AM and 1 PM. 

WHEN9pm - 10pm
WHERERiksscenen  Map
PRICE200,- / 150.-
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9pm
Vulkan Arena

Simon Løffler: C

 

PechaKucha:

Trevor Cox

Nwando Ebizie

Ragnar Berthling

Mads Lindström

(+ more)

 

Victor Lisinski: Intersecting Pulses

Isak Edberg/Mats Erlandsson/Victor Lisinski

 

PechaKucha – a Japanese word meaning ‘babbling’ – is a patented system designed to help speakers stick to the point. Experienced speakers and novices alike are allowed twenty slides with twenty seconds on each, with a total of six minutes and 40 seconds, to present their project or idea. PechaKucha nights are also informal social gatherings for creative people who want to exchange ideas. At he PechaKucha night during Nordic Music Days, contributors will be presenting ideas, projects and concepts related to contemporary music, serving as a showcase and mingling opportunity for delegates and audience alike.

Speakers include Trevor Cox, professor of Acoustic Engineering at the University of Salford, presenter of many science programmes on the BBC, and author of the acclaimed recent book Sonic Wonderland: A Scientific Odyssey Of Sound. He will talk about ‘sonic wonders’ and why you should bring a tape recorder with you on holiday. Nwando Edizie will give a talk on Nonclassical, a London based club concept the Financial Times described as “a fresh approach to the presentation, dissemination and consumption of classical music”. From Sweden, Mads Lindström will take us behind the scenes at Stockholm’s EMS electronic studio, which he directs, and Ragnar Berthling guides us around the festival Sound Of Stockholm.

The PechaKucha sessions will be bookended by two musical performances. Beforehand, Simon Løffler presents C. The piece seeks to make our body the medium in which the music arises, and tries to establish a context where we are all connected through listening.

Afterwards, Victor Lisinski’s Intersecting Pulses juxtaposes traditional Balinese gamelan instruments and specially designed live electronic instruments to explore how expressions from different nations and cultures can be used to create a new locality. Put in a new context, the strong traditions of the different expressions create something new. The piece is a collaborative work involving composers/performers Isak Edberg, Mats Erlandsson and Victor Lisinski. It was composed collaboratively by playing and creating software solutions together.

Updates and information on the PechaKucha program for Ultima Nordic Music Days.

 

 

WHEN9pm - 11:30pm
WHEREVulkan Arena  Map
PRICEFri entré.-
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10am
Loftet
Buenos Aires (Ultima Academy)

Loftet / Buenos Aires (Ultima Academy)

 

The voice is a symbol of liberation and self-expression. But a voice can also remain silent, or be forcibly silenced. In the opera Buenos Aires, performed at this year’s Ultima (18 September), innovative Danish composer Simon Steen-Andersen deals with the cultural shock experienced during a long stay in the Argentine capital, and issues around censorship under the Argentinian dictatorship (1976–83), one of Latin America’s more unfortunate historical episodes.

Argentine musicologist Esteban Buch specialises in the relationship between music and politics and has written the libretto for Sebastian Rivas opera Aliados (2013). Currently, Buch is director of studies at the École des Hautes Études en Sciences Sociales in Paris, . Here he hosts a conversation with Steen-Andersen and singers from Neue Vocalsolisten Stuttgart and musicians from asamisimasa, following the different phases of putting on a stage work, from conception and composition through to rehearsal, performance and interpretation.

WHEN10am - 11am
WHERELoftet  Map
PRICEFri entré.-
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10am
Dansens Hus

Korp, korp is an interactive installation performance for children aged 6 months – 3 years, where the children enter, and discover a landscape. The performance begins at 10 and 11 am. Last 30 min with time afterwards for further discovery of the room.

Enveloped by a world of sound, texture and movement. A tactile landscape. Nature. Above it all flies the birds. Belonging everywhere and anywhere. Come! Listen, see, feel, hear, dance! Discover!

The abstract landscape draws inspiration from our Nordic heritage. But how can one define “the Nordic landscape”? It´s diverse and varied: plateus, vulcanic rocks, green mosscled islands, forests, farm fields, coast, mountains, fjords, lakes, snow and ice. The Nordic countries have such a rich and diverse landscape that it proves hard to draw a common line. Still, there is this definition: “the Nordic Landscape”, and most would agree that there is something particular and definable about “the Nordic Landscape”.

The children meet two dancers in this environment. Two peculiar shapes, birdlike and identical. Maybe human, maybe birds, maybe both. These bird twins land in the unknown landscape together with the children, and together they embark on discovering a new world.

The installation is sculptural, three dimentional, and filled with objects. We focus on experiencing the room with our senses: the children can see, smell, look, hear, touch, move and be present. Within a set frame work of a performance there is freedom for improvisation and discovery.

 

Concept, idea, choreography and dance: Annika Ostwald, Ida Uvaas

Composer and sound design: Jens L. Thomsen

Scenographer and sculptor: Carl Nilssen-Love

Electronics development: Hans Wilmers, Notam

Technician: Cato Langnes, Notam

Character development: Nancy Mannes

Costume Design: Elena Becker in collaboration with Maria Melinder

Lighting Consultant: Martin Myrvold

Photography: Anja Elmine Basma

Collaborators and co-producers: Dansearena Nord, Nord-Trøndelag Teater, Dans i Nord-Trøndelag og Notam Norwegian Center for Technology in Music and the Arts.

Supported by: Kunstløftet (Art Council Norway), Nordic Culturepoint and Fund For Performing Artists.

Buy tickets here

WHEN10am - 12pm
WHEREDansens Hus  Map
PRICE120.-
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1pm
Loftet
A Supranational Anthem (Ultima Academy)

Loftet / A Supranational Anthem (Ultima Academy)

 

Beethoven´s Ode To Joy has been the anthem of:

a) Rhodesia

b) The European Union

c) The UEFA European Football Championship

The answer: all of the above – and more. Beethoven´s Ode To Joy is currently the anthem of the European Union, it has been in the 70s the national anthem of the apartheid State of Rhodesia (now Zimbabwe), it has been used many times in international sport tournaments as ceremonial music. Why? What is it about the final movement of Beethoven´s Symphony No 9 that makes it so universally appealing? Where does it get its symbolic force? The Ninth symphony was composed at the height of the European Restoration, but Beethoven adopted Schiller´s poem in order to convey a truly revolutionary experience: a community of free people sharing common dreams, united in brotherhood. How has it come to mean so different, even contradictory, things, since its first performance in 1824?

Esteban Buch, author of the acclaimed Beethoven’s Ninth: A Political History (2003), tells the controversial story of a work that became a political symbol in spite of itself, and discusses the incorporation of music into the political realm.

WHEN1pm - 2pm
WHERELoftet  Map
PRICEFri entré.-
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5pm
Kulturkirken Jakob

One of Norway’s premier young new music ensembles, the nine-piece Aksiom will perform a programme of new Scandinavian music by young Nordic composers. They continue their collaboration with Lyvind Mæland and vocal soloist Stine Motland, who has performed successfully with Performa13 in New York, andJohan Svensson. They will also play works by Lisa Streich and a new piece by Kaj Duncan David, whose audio-visual computer music piece is performed in almost complete darkness, lit only by the glow of monitor screens.

Kaj Duncan David (DK) – Computer Music (WP), composed with support by Norsk kulturråd

Øyvind Mæland (NO) – Nytt verk (WP), composed with support by Norsk kulturråd

Lisa Streich (SE) – Papirosn (2013)

Johan Svensson (SE) – Shiver (2014) (WP), composed with support by Komponistenes vederlagsfond

 

Aksiom

Stine Janvin Motland, vokal (Mæland)

Kai Grinde Myrann, dirigent

The concert is supported by Fond for utøvende kunstnere

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WHEN5pm - 6pm
WHEREKulturkirken Jakob  Map
PRICE100.-
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6pm
Henie Onstad kunstsenter

Verdensteatret premieres new work at Ultima Oslo Contemporary Music Festival

The Ultima festival proudly presents the premiere of the new work by one of Norway’s most innovative and experimental art constellations.

Verdensteatret consist of artists from different artistic professions who for almost 30 years have been making installations, performance art, concerts and related works. Their works are presented widely international in different art contexts and locations. New work by the group, which in 2006 received the prestigious Bessie Award in New York, is always met with high anticipation.

The works of Verdensteatret often appear as a journey through different forms of landscapes. This new piece are right now entering its last phase towards completion after a long and winding road. Among a great diversity of material to surface this time there are some imprints from their last stay in India in 2011. Moving through different landscapes simultaneously might be a result of Verdensteatrets nearly 30 years of nomadic practice.

Nevertheless it is still not possible to predict which direction the work will take in the time to come before the opening at Henie Onstad Art Center in September. The new piece is a hybrid between concert, performance and installation, where the whole space is played as one polyphonic audiovisual instrument.

Broen over Gjørme (Bridge over Mud) is created and performed by the artists:
Lisbeth J. Bodd, Asle Nilsen, Eirik Blekesaune, Piotr Pajchel, Martin Taxt, Alireza Djabbary, Benjamin Nelson, Elisabeth Gmeiner, Torgrim Torve and Espen Sommer Eide.
Other artists involved in the project: Thorolf Thuestad, Kristine R. Sandøy.

 

Henie Onstad Art Center (HOK) / Studio

Tickets available now! NOK 160/120, also includes entrance to the exhibition Josef Albers: Minimal Means Maximum Effect at HOK

Also shows these dates in September: 20, 21, 23, 24, 25, 26, 27 and 28 (at 2 pm)

The presentation is a collaboration between Ultima Oslo Contemporary Music Festival, Henie Onstad Art Center, Black Box Teater, BIT Teatergarasjen and Verdensteatret.

Verdensteatreter is supported by The Norwegian Art Council.
See more information here: www.verdensteatret.com

 

 

WHEN6pm - 7pm
WHEREHenie Onstad kunstsenter  Map
PRICE160,- / 120.-
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7pm
Oslo Konserthus

Ultima and Oslo Philharmonic Orchestra present five new orchestral works by a star-studded line-up of Scandinavia’s most distinctive young musicians. Malin Bång’ work entitled avgår, pågår, commissioned jointly with Gothenburg Symphony Orchestra, will have its world premiere in Oslo during Ultima. The work is a fascinating noise wandering through the streets of her native city, Gothenburg. Ørjan Matre’s new violin concerto will have its Norwegian premiere just a week after its world premiere in the Netherlands. In 2012 Anna Thorvaldsdottir from Iceland was awarded the Nordic Council Music Award for Dreaming. The music is reminiscent of a shifting landscape that gives the impression of time standing still, as if in a dream. Simon Steen-Andersen’s Ouvertures, a work for the traditional Chinese instrument guZheng, samplers and symphony orchestras, had its breakthrough when it earned him first prize at the Shanghai Spring International Music Festival in May 2009. The conductor for this evening is Israeli conductor Ilan Volkov, who until now was chief conductor and artistic director of Iceland Symphony Orchestra, will be conductor for the concert.

Malin Bång: Avgår, pågår (WP)

Ørjan Matre: Fiolinkonsert

Hlynur Adils Vilmarsson: bd

Anna Thorvaldsdottir: Dreaming

Simon Steen-Andersen: Ouvertures for guzheng, sampler and orchestra

Conductor: Ilan Volkov

Soloist: Peter Herresthal – violin
Soloist: Liu Le – guzheng

Buy tickets here

 

WHEN7pm - 8:30pm
WHEREOslo Konserthus  Map
PRICE300,- - 100.-
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7:30pm
Den Norske Opera & Ballett

Buenos Aires

Neue Vocalsolisten Stuttgart + Asamisimasa

With Buenos Aires we present the world premiere of a completely new chamber opera. The work is about indirect communication and, as implied in the title, the air, or perhaps simply the absurdity of communicating through song.Danish composer Simon Steen-Andersen is behind this production. With his multimedia works that explore the grey area between music, performance, theatre and video art, Steen-Andersen has attracted a lot of attention on the European music scene in recent years. In his new opera, he also fills the roles of librettist, set designer and instructor. 

The cast is the German vocal ensemble Neue Vocalsolisten Stuttgart and the Norwegian Ensemble asamisimasa, with whom Steen-Andersen has worked for many years.

Produced in coollaboration with The Norwegian National Opera & Ballet.

Premiere 18 September.

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In collaboration with Neue Vokalsolisten Stuttgart, Asamisimasa and The Norwegian National Opera & Ballet.

Supported by Norsk kulturråd

WHEN7:30pm - 9pm
WHEREDen Norske Opera & Ballett  Map
PRICE350,- / 250.-
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9pm
Riksscenen
Marie Munroe og Panta Rei Danseteater: On the Outside

Riksscenen / Marie Munroe og Panta Rei Danseteater: On the Outside

What happens when a songwriter is given free rein to give a concert to a dance theatre – and the dance theatre is given free rein to choreograph a concert?

In their first collaborative project entitled On the Outside, Panta Rei Danseteater and vocalist and songwriter Marie Munroe will provide the answer. Inspired by a shared fascination for Dave Egger’s quote “You have What I Can Afford To Give”, they want to use their different forms of expression to convey the loneliness of togetherness.

PRD is one of Norway’s best-known dance companies which through touring at home and abroad challenge themselves to find new types of audiences, this time a concert audience.

Marie Munroe is the name and sound of one of Norway’s most distinctive voices and songwriters. This vocalist from Ålesund has already several recordings to her credit, both as a solo artist and in collaboration with others.

Costumes by Hanne Iveland Henriksbø. Video art, set design, space concept and light design by Anastasia Isachsen.

Soloist: Marie Munore

Cast: Kari Vikjord, Robert Guy, Erlend Ringseth, Ole Myrvold, Stig Værnes, Marie Munroe

Panta Rei Danseteater

Produced in collaboration with CODA Oslo International Dance Festival and Panta Rei Danseteater.

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The doors and the bar open at 8 PM.

ON THE OUTSIDE will also be staged as a closed performance for school classes, in collaboration with Concerts Norway (Rikskonsertene), on Friday 19 September 11 AM and 1 PM.

 

 

 

WHEN9pm - 10pm
WHERERiksscenen  Map
PRICE200,- / 150.-
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11pm
Vulkan Arena

Finland + oompah + tango = HumppAvanti!

Avanti! Ensemble

HumppAvanti! is a musical laboratory cooked up by 13 musicians from the Avanti! Chamber Orchestra. It started as an in-joke, playing Finnish humppa (‘oompah’) music of the 1950s and 60s and parodying other crossover music projects. You would have thought that humppa – a type of vintage dance music – was the kind of ghastly kitsch that was the total opposite of everything these avant garde improvisers and performers stood for. But it turned out to be a great platform for the band to enjoy complete freedom. The HumppAvanti! style can suddenly switch from free atonality to old-school dance music to klezmer – anything goes.

21.30: Before the HumppAvanti!-concert ethnomusicologist Pekka Gronow will talk about the humppa as musical form. Then «father of the band» Timo Hietala will share the story behind the ensembles flirtation with with humppa. Interviewer: Guttorm Andreasen.

Concert starts at 23.

Avanti! Ensemble. Soloists: Topi Lehtipuu, Aija Puurtinen og Marius Neset

DJ collective NORWEGIAN DISCO LOVERS presentsDJ METTE after the concert.

 

Buy tickets here

 

In collaboration with FINNO (Finsk-norsk kulturinstitutt).

Skjermbilde 2014-07-03 kl. 13.03.21

WHEN11pm - 1:30am
WHEREVulkan Arena  Map
PRICE150,- / 100.-
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2pm
Henie Onstad kunstsenter

Also shows these dates in September: 21, 23, 24, 25, 26, 27 and 28 (at 2 pm)

Tickets available now! NOK 160/120, also includes entrance to the exhibition Josef Albers: Minimal Means Maximum Effect at HOK

Verdensteatret premieres new work at Ultima Oslo Contemporary Music Festival

The Ultima festival proudly presents the premiere of the new work by one of Norway’s most innovative and experimental art constellations.

Verdensteatret consist of artists from different artistic professions who for almost 30 years have been making installations, performance art, concerts and related works. Their works are presented widely international in different art contexts and locations. New work by the group, which in 2006 received the prestigious Bessie Award in New York, is always met with high anticipation.

The works of Verdensteatret often appear as a journey through different forms of landscapes. This new piece are right now entering its last phase towards completion after a long and winding road. Among a great diversity of material to surface this time there are some imprints from their last stay in India in 2011. Moving through different landscapes simultaneously might be a result of Verdensteatrets nearly 30 years of nomadic practice.

Nevertheless it is still not possible to predict which direction the work will take in the time to come before the opening at Henie Onstad Art Center in September. The new piece is a hybrid between concert, performance and installation, where the whole space is played as one polyphonic audiovisual instrument.

Broen over Gjørme (Bridge over Mud) is created and performed by the artists:
Lisbeth J. Bodd, Asle Nilsen, Eirik Blekesaune, Piotr Pajchel, Martin Taxt, Alireza Djabbary, Benjamin Nelson, Elisabeth Gmeiner, Torgrim Torve and Espen Sommer Eide.
Other artists involved in the project: Thorolf Thuestad, Kristine R. Sandøy.

The presentation is a collaboration between Ultima Oslo Contemporary Music Festival, Henie Onstad Art Center, Black Box Teater, BIT Teatergarasjen and Verdensteatret.

Verdensteatreter is supported by The Norwegian Art Council.
See more information here: www.verdensteatret.com

WHEN2pm - 3pm
WHEREHenie Onstad kunstsenter  Map
PRICE160,- / 120.-
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2pm
Universitetets aula
DR UnderholdningsOrkesteret with live radio theatre

Universitetets aula / DR UnderholdningsOrkesteret with live radio theatre

DR UnderholdningsOrkesteret, Denmark’s beloved equivalent to Norway’s KORK (Norwegian Radio Orchestra), is coming to Ultima.

They will perform Eivind Buene’s new work Blue Mountain, commissioned specially for the occasion. In this work the orchestra and actors Ingrid Bolsø Berdal and Mattis Herman Nyqvist play key roles in a kind of live radio play. Blue Mountain is about how music shapes our dreams and our desires, how we organise our memories and thus who we are. Life histories and music histories are intertwined, and the concert is a play that offers us the opportunity to sense the concrete presence of time– and the ability of music to capture the moment when everything changes.

Papillon Mignon (which translates to ‘sweet’ in French) – is a new concert for piano by the master of suggestion, Bent Sørensen. The piece had it’s world premiere and was performed by DR UnderholdningsOrkestret at the Klang Festival Copenhagen. Soloist (piano): Katrine Gislinge. Conductor: Baldur Brönninmann.

The orchestra will also perform music by Swedish composer Karin Rehnqvist. Rehnqvist composed original music for the Swedish royal wedding in 2010 and then became the first female composer to ever compose music for such an occasion.

All this will take place in the University of Oslo’s Great Hall.

 

Karin Rehnqvist: Breaking the Ice

Bent Sørensen: Papillon Mignon (NP)

Eivind Buene: Blue Mountain (WP)

DR UnderholdningsOrkesteret, Mattis Herman Nyquist, Andrea Bræin Hovig

Conductor: Baldor Brönnimann

In collaboration with DR UnderholdningsOrkesteret.

Buy tickets here

Eivind Buene at Ultima Academy

WHEN2pm - 3:30pm
WHEREUniversitetets aula  Map
PRICE200,- / 150.-
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6pm
Kulturkirken Jakob

Ensemble Ernst, one of the leading Nordic contemporary music ensembles, perform a selection of new work. Especially notable is a rare new large scale composition by Ole Henrik Moe: a new guitar concerto featuring soloist Thomas Kjekstad. They also perform Finnish composer Sampo Haapamäki’s piece Velinikka for quartertone accordion and chamber orchestra, as well as Djuro Zivkovic’s On the Guarding of the Heart , which received the prestigious Grawemeyer Award.

Sampo Haapamäki: Velinikka

Hikari Kiyama: Shamisen

Morten Ladehoff: APART

Djuro Zivkovic: On the guardening of the heart

 

Buy tickets here

 

WHEN6pm - 7pm
WHEREKulturkirken Jakob  Map
PRICE200,- / 150.-
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10pm
Vulkan Arena
Ultima Finale: Ben Frost A U R O R A live / Karin Krog & John Surman / TCF / Jeppe Just Instituttet

Vulkan Arena / Ultima Finale: Ben Frost A U R O R A live / Karin Krog & John Surman / TCF / Jeppe Just Instituttet

One of Norway’s leading jazz singers of wide international acclaim, Karin Krog helps Ultima round off with a grand finale concert at Vulkan Arena. Krog is mainly known as a great jazz singer, but has strong roots in avant garde, through her work with among others Kåre Kolberg. She will perform with her long time partner, English composer and multi-instrumentalist John Surman.

Also contributing will be Ben Frost, who since his recording debut in 2003 has made a mark with his intense, structural, minimalist sound art with roots in militant post-classical electronic music. Born in 1980 in Melbourne, Australia, Frost relocated to Reykjavík Iceland in 2005 and working together with close friends formed the Bedroom Community record label/collective. In 2010 he was chosen by Brian Eno as part of the Rolex Mentor and Protégé program for a year of collaboration.

Frost regularly collaborates with other musicians and artists; in the production of albums and producing scores for choreographers, film (he composed the score for the Palme d’Or nominated Sleeping Beauty by Julia Leigh), ans in the visual arts. 2013 also marked his debut as a director with the première of Frost’s first Opera, based on Iain Bank´s infamous 1984 novel The Wasp Factory. At the Ultima Finale he will perform from his latest album A U R O R A.

With a passion for musical rattle aesthetic and a metallic energy charge mixed with barrel organ and 70- and 80s synth, intensity, unintentional theatre, sincerity, nostalgia, musical mismatch and breakdown, the Danish Jeppe Just Instituttet’s repertoire comprises everything from nursery rhymes to drinking songs are orchestrated for homemade instruments.

TCF is artist and musician Lars Holdhus, who through a range of techniques explores codes and cryptography in relation to musical composition. The musical references are taken from electroacoustic music, hard style, hard core, poetry, and digital noise.

Ultima Finale:

Jeppe Just Instituttet

Karin Krog & John Surman

TCF

Ben Frost A U R O R A live 

In collaboration with nyMusikk and Natt&Dag

Buy tickets here

WHEN10pm - 3am
WHEREVulkan Arena  Map
PRICE100.-
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Ultima Remake

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Ultima Remake 2014: Coro

Remake is Ultima’s secondary schools outreach project. Remake presents a piece of music considered a ‘contemporary classic’, and through a mixture of careful listening, reflection and creative analysis, explores how the social, political and artistic context in which the work was composed relates to students’ own present day experience and their artistic understanding.

This year’s Remake work is Luciano Berio’s Coro (featured in Ultima’s opening concert on 10 September). Inspired by Berio’s folk music collage, participants will develop their own sample/folk music based installation, which will be presented alongside the launch of a specially designed app for field recording, Remake Recorder, and Remake’s online sound map.

Participants: Students from the music department of Manglerud Secondary School (MU2A/2B). With: Daniel Teige (sound scenography)/Heloisa Amaral (music)/Petr Svarovsky (app development)/Magnus Bugge (production)/Kristian Skaarbrevik and Otto Graf (composition teachers, Manglerud VGS.)

Supported by Sparebankstiftelsen DNB.


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Children's ultima-day

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Ultima’s Children’s Day at The Norwegian National Opera & Ballet will be jam-packed with concerts, installations, workshops and lots of other fun activities: Lar Vaular rapping to the sound of trees, the Improvisation trio Parallax, POING giving a ‘poop performance’, the sound of a guy bored to tears on a chair, a self-playing chest of drawers, and a self-playing orchestra, ‘on-site choreography’ with Panta Rei Dance Theatre, a children’s workshop in creating graphic scores and lots more!

Hosted by Berit Nermoen with Knotten Løvekylling (creator of Fantorangen) and Aslag Guttormsgaard (NRK Super, Black Debbath, Duplex).

Concerts:

TRE & Lars Vaular

Hip hop meets nature in new music that you’ll want to dance to when rapper Lars Vaular accompanied by the sound of trees. The instruments, played by Bjarne Kvinnsland, Eirik Raude and Markus Hernes, have been carved out of centuries-old basswood felled in Eidsvoll in conjunction with the Norwegian Constitution bicentenary celebrations. Maybe you’ll even get the chance to play them yourself?

Parallax and the room of sounds

Let yourself be wrapped in sound and light in the room of sounds! Improvisation trio Parallax (Are Lothe Kolbeinsen on guitar, Stian Omenås on trumpet and Ulrik Ibsen Thorsrud on percussion) and light designer Evelina Dembacke make music and visual expressions in a performance that will sharpen your senses.

Nordic Voices

What does it sound like when a guy is bored to tears on a chair? What does it sound like when a fly gets stuck on fly paper or when an old lady must fight her way through a big crowd? And can it be sung? This internationally acclaimed vocal ensemble’s repertoire ranges from medieval to contemporary music, combining song with humour and theatrical performance.

POING with Julian Skar and Guri Glans

POING (Frode Haltli on accordion, Rolf Erik Nystrøm on saxophone and Håkon Thelin on contrabass) is a group that combines instrumental mastery with a fearless approach to music. On Ultima’s Children’s Day, the trio will perform something they call a ‘poop-performance’, developed in collaboration with composer Julian Skar. With actress Guri Glans.

SKRAP

Duo Skrap has been playing together for six years and consists of Heida Karine Johannesdottir Mobeck on tuba and effects and Anja Lauvdal on Korg MS10. Together they work with sound experiments.

Installations

Everybody’s a composer

Everybody’s a composer (Nasjonalmuseet, Apparatjik & Audiokolor) is an open room into which you can enter. Motion sensors in the room transform the public’s movements into music. What does it sound like when one person moves in the room? Does it sound different when more people move? Is it possible to choreograph the movements and in doing so compose a piece of music?

Peter Baden – Dirigentstasjon

Ultima has commissioned interactive sound installations by drummer and sound artist Peter Baden (known from Rhythms from Space, among others). Sound, film and conducting. Exactly what it is remains to be seen, but it will be exciting!

Reunion

What happens when chess pieces make music? What does checkmate sound like? NOTAM’s interactive chessboard provides the answer.

AJNA – Jens Peterson Berger

A chest of drawers by Jens Peterson Berger plays all by itself! It hides a number of secrets that will give you a good laugh.

Al Khowarizmi’s Mechanical Orchestra –Christian Blom

A self-playing orchestra: the orchestra plays random music when a computer connected to small motors calculates the occurrence and balance of the orchestra’s instruments.

Workshops

Thunder and lightning with Drivhuset

A practical music and imagery workshop on how what we see and what we hear are related: images are turned into music! Under the direction of Isak Anderssen and students from the Norwegian Academy of Music, participants will design their own graphic scores and then perform them. The scores are created in the workshop will be interpreted and performed by artists on Ultima’s Children’s Day. Suitable for children, for adults, and for adults together with children. Bring mum along and compose something!

Make your own dance with Panta Rei Danseteater and Intuitive People
Panta Rei Dance Theatre creates ‘on-site choreographies’ for playful people of all ages. The music accompanying the choreographies is created in real time by Intuitive People (students from NMH), in parallel with the participants’ suggestions for movements. Suitable for children, for adults, and for adults together with children. Bring dad along and get dancing!

Ultima’s Children’s Day will be rounded off with a viewing of Vårt visuelle verk (Our visual works), the Norwegian National Opera Orchestra’s concert workshop with a focus on music note pictures and pictures as notes. Pupils from cultural arts schools interacting with musicians from the Norwegian National Opera Orchestra, opera singer Hege Høisæter, visual artist Helle Kaarem, composer Ole Henrik Moe and workshop manager Jon Halvor Bjørnseth will be finding out if it’s possible play and compose music using symbols other than normal notes. They work together to invent new symbols, new sounds, and new pictures for the concert to be held on Sunday at 15.00 in Hall 2 of the Opera House. During this project we will see examples of other composers who have mixed images and notes together in exciting ways to make graphic scores. Hege Høisæther will sing Stripsody by Cathy Berberian.

Rooms for concerts, rooms for work, and nooks and crannies both inside and outside will be filled to the brim with exciting concerts, installations, and drop-in workshops for children and adults of all ages. 11 am – 4 pm. Free.

In cooperation with the Norwegian National Opera & Ballet.

Supported by Sparebankstiftelsen DNB.


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about

Ultima is the premiere contemporary music festival in the Nordic region. The festival became a designated “knutepunkt” (cultural hub) in 2006 and is supported by the Ministry of Culture and Church Affairs and Oslo City Council. Ultima is a foundation with 17 members, all of them professional cultural institutions or organisations.

The festival takes place during September and is staged at venues all around Oslo. Our events are staged both in large, established venues such as the Norwegian National Opera & Ballet, Oslo Concert Hall and the University of Oslo’s Great Hall as well as in small clubs, shop premises, industrial premises, museums, schools and outdoors.

The Ultima Festival aims to promote artistic distinctiveness, trends and innovation and to make music of a high artistic standard accessible by everyone.

His Royal Highness Crown Prince Haakon is the patron of Ultima.

members

The Ultima Foundation has a council comprising 17 members. Their efforts and contributions make it possible to arrange Ultima and to make it such a successful festival of contemporary music year after year.

BIT20 Ensemble

Black Box Teater

Den Norske Opera & Ballett

Det Norske Kammerorkester

Det Norske Solistkor

Henie Onstad Kunstsenter

Institutt for musikkvitenskap

Kunsthøgskolen i Oslo

NICEM

Norges musikkhøgskole

Norsk Komponistforening

NOTAM

NRK, Kringkastingsorkestret

NyMusikk

Oslo Domkor

Oslo-Filharmonien

Oslo Sinfonietta og Cikada

when?

The upcoming festival happens 10–20 September 2014.

staff

LARS PETTER HAGEN
Artistic Director
lphagen@ultima.no

ALF GREGUSSON
Financial Manager
M +47 90 60 66 81
alf@ultima.no

TRUDE DOMBESTEIN ELDE
Project Manager
M +47 97 58 43 21
trude@ultima.no

CATHRINE NYSÆTHER
Head of Information
M +47 93 00 93 42
cathrine@ultima.no

HELOISA AMARAL
Educational Projects Coordinator
heloisa@ultima.no
M +47 45 66 78 73

SOFIE RINGSTAD
Festival coordinator
M +47 46 42 55 07
sofie@ultima.no

board

Ultima’s board of directors in 2014:

Odd Gullberg, Chairman of the Board
Henrik Hellstenius, Vice chairman
Audun Hasti, Member
Cathrine Pia Lund, Member
Eva Fredrikke Dahr, Substitute
Eivind Lorentzen, Substitute
Bente Leiknes Thorsen, Substitute
Sten Cranner, Substitute

contact

Visit: Ultima, Skippergata 22, N-0154 Oslo
Post: c/o Sentralen, Postboks 183 Sentrum, 0102 Oslo, Norway

 

tickets

Tickets for Ultima 2014 HERE

Buy your tickets to concerts at www.billettservice.no

Ordered tickets can be picked up at the post office, ‘Post i butikk’, Narvesen, and 7Eleven.

Single tickets: Please view information about each specific performance.

Full price and discounts (students, elderly, unemployment etc.) is available.

NB! Sold out! Book early, as we expect performances to be sold out. To make sure you get a seat using punch tickets, please arrive ahead of time before the performance begins.

join us

VOLUNTEERS?
We need talented, enthusiastic volunteers to help with production, marketing, tickets sales, assisting at the venues and other odd jobs before and during the festival. Are you interested in being a volunteer?

Registerform here

SPONSOR?
Are you interested in hearing more about sponsoring opportunities? Contact us at info@ultima.no.

ARTISTIC?
If you would like to make an artistic contribution to Ultima, submit your programme ideas to program@ultima.no. We usually receive a large number of program ideas, so please bear with us if it takes time before you receive a reply.

support

Ultima is supported by:

  

ministryofculture

cityofoslo 

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sparebankstiftelsen

dextra

egd

norden

evs-m

frittord

 

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