Notes

Christine Ödlund & Leif Elggren: In Conversation

An English translation of the following conversation between Swedish artists Christine Ödlund and Leif Elggren is included in Notes on Other Music. Both artists performed as part of the SuperDeluxe Edition in Tokyo in November 2018. This conversation took place in Stockholm in December 2018.

Christine Ödlund: Senaste gången som jag träffade dig var i Tokyo, på SuperDeluxe. Då uppträdde du tillsammans med två andra personer. Ni spelade på kontaktmikrofoner.

Leif Elggren: Ja, det gjorde vi.

CÖ: Performancen avslutades med att du ställde dig upp och började med att – i alla fall som jag tolkar det – snyta ut något ur ditt huvud, eller snarare ur dina lungor. Har jag tolkat dig rätt? Var det något som skulle komma fram där, som skulle komma ut?

LE: Jag tror det. Du tänker på gesten när något förs ur munnen?

CÖ: Ja, ur näsan eller ur munnen. Som man gör när man nyser eller kräks när man inte ska kräkas.

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Annea Lockwood — Sound Streams

by Louise Gray

It was while attending summer schools in Darmstadt during the early 1960s that Annea Lockwood realised that there was more to sound than its orderly manipulation into the composed form of music alone, into what Edgard Varèse would have termed “organised sound”. At the time, she was a young postgraduate student, newly arrived in Europe from New Zealand for studies in composition and piano at the Royal College of Music in London. She was an enthusiastic participant at Darmstadt, then very much the world’s focal point for the pure, electronic music associated with Karlheinz Stockhausen, Luciano Berio and Pierre Boulez. She remembers the excitement of Darmstadt, its generous teachers (one of them was the German-Dutch composer Gottfried Michael Koenig, with whom she later studied under), the heady atmosphere of it. “I was really drawn to, excited by, electronic music,” she recalled in an interview we did in 2016, “because now, finally, other than writing for one’s own instrument, I was having the experience of feeling that sound was in my own hands and malleable. [It was] just there for me to work with, which was thrilling.”1

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