to work with iron, sometimes in a forge, otherwise as a musician and composer
the difference between click, tock and bing (i am addicted by slowness, or call it laziness, causing a microscopical view (not only) on sounds and noises)
the visible/tactile aspect of distinct sounds or the audible aspect of shape and material (means also that strange theater of abstract numbers called music and how it touches our imagination, senses or moods, how it creates visible forms)
the mathematical view on music or the musical view on numbers (helps me to find the "scapes", sounds, rhythms and harmonies wich i desire to listen)
some place or point in time has anything distinctive, each landscape or situation is represented by remarkable sounds, often they are showing a musical quality (how to approach such moments?)
our audible environment contents information about structure, nature, culture (how to explore and integrate this in musical concepts?)
the full range of different sounds we are able to produce with our voice(s)
(we are living in an age/place of abundance) esp. the hidden treasure in polyphonic or contrapuntal overtone singing
As a band we are:
stahlquartett: with micha antoni, peter andreas, alex fülle
the blechner: duo with bertram quosdorf (saxophones)
alchimie: duo with doreen saidowski-faust
voice, steel cello, iron sound sculptures, saxophones, ethnic wind instruments (didgeridoo, conchtrumpet, bukkehorn, duduk, long horn e. a.), mostly non-electrical sounds
schläft ein lied in allen dingen...
the birds in my garden, the various sounds of cities and landscapes, music from any time and culture
Not classical, but classic. Perhaps it doesn't translate well. But here Footprints is considered a "jazz standard"; in other words a great old piece respected and performed by many jazz musicians. Wayne Shorter is a very great master of sax and music, and a very important composer and bandleader.
Hope you're doing fine.
Thanks for a wunderful concert.
But I don't think I'm the Ylva you're looking for. I'm the one you visited after the concert and where two of your friends in the Stahlquartet lived while you were in Lund. There is another Ylva who sings in Midnattskören, a younger one. Perhaps she was at your workshop. She is interested in overtone singing as well.
I don't remember her surname right now, but I'm sure Gösta Petersen could help you with that, if you want to get in contact with her.