Radical Interpretations of Iconic Musical Works

norwegian academy of music

Three iconic solo works for percussion will be re-composed specifically for at least four new medias and performing situations, including produced visuals (TV or YouTube), site specific art, context related performance and staged concert performance.

Along the three year project we want to challenge the almost “sacred” relation to the score classical musicians are trained to possess. We will focus on how the musical content of each of the mentioned works can be interpreted radically different according to the performance medium and still be in accordance with the works inherent raison d’etre (based on our specific knowledge of the composers and their music).

Each of our radical interpretations follow at least four presentation forms:

  • A classical concert performance performance on stage, but with a visually designed context. Here we will investigate how the merger of two art forms will influence a more classical interpretation of the score.
  • The piece is performed as a fixed media production, created from various visual footage made in the project. The advantage of this approach is to transcend the limitations a physical performance always has.
  • The piece is transformed into a portable version for open air, local communities and interventions in public spaces.
  • A site specific media installation involving various mixed- and new media presentation techniques related to White Cube contexts.

As the project develops over the three years, we will consider other and emerging options for presentations.

The three works is intended to be three sets of investigation, with each piece containing four interventions. Therefore, the final outcome will be twelve different presentations. We thereby hope to gain more knowledge about a wider range of possible interventions; interventions not being limited the above mentioned.

We want to confront expertise in musical performance (Kjell Tore Innervik, NMH), music composition theory (Ivar Frounberg, NMH), conceptual design (Maziar Raein, KHiO), experience design (Ståle Stenslie, AHO). We expect the confrontation to be challenging, but rewarding, as there will be clashes between concepts and performance, music meaning and cognitivity.

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