The music on this CD release has been written by composers who often work within the audiovisual medium. When working on their creations, they are in dialogue with a starting point, a story, an expression, their surroundings, and an emotion – a series of images and actions that require interaction. This is a premise which fascinates me.
As a performer, I also operate with a great deal of interaction. I address an audience and I take on suggestions and the wishes of my fellow musicians. We form an expression together from each from our own standpoints, with our own bodies, and each with our own personality. We acquire material by digging from that quarry. Perhaps it could be said that our goal is, in principle, to create openings where what we play creates meaning for those who listen and where our interpretation can be perceived as meaningful. We want others to also find value in what obviously holds true value for us when we play.
So it makes sense for me that this release is a collection of music by composers who quite specifically relate to music through dialogue. At the same time, I wanted the composers to concentrate on the cello as a solo instrument and make music that at least in this context does not necessarily conform to a cinematic expression.
My experience tells me that composers are still on the lookout for dialogue, which can also be achieved through a strong adaptation to the instrument. Gaute Storaas, Henrik Skram and Ginge Anvik all have differing approaches, and the processes I have been through with them have their contrasts. However, it is their flexibility which has become a common denominator for our collaboration. What all three composers want is that the music should work, for the cello, for the ensemble and for the listeners. Functional thinking is perhaps the opposite end of a process where the composer instinctively wants to provide resistance, to invent new ways of playing, to strive for something that is nigh impossible to achieve – and which consequently creates demands on the listener. For me, both of these approaches are equally and clearly valid, and I want there to be room for both. In this release, I have chosen to highlight the perspective which has arguably been given the least amount of elbowroom. I’ve been aiming to show music where the intended material is good for my instrument, and which has been fine-tuned to my physique.
I hope with this perspective that this release will be a door-opener for new listeners of contemporary music. Most of all though I am proud to be able to present five new works which will resonate with me for a long time.
Audun Sandvik (put in writing by Ida Habbestad) Recorded in NRK Radio Concert Hall, Oslo, 17–19 January 2018 (Anvik/Skram) and in Oslo Concert Hall “Lille sal”, Oslo, 11–12 June 2020 (Storaas). Andun Sandvik plays on cello built in Rome in 1695 by Giorgio Taninger.
