 WALTMANSEARLY AND CONTEMPORARY MUSIC |
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ARNT HAAKON AANESEN (NO) Aesthetic ideas: Aanesen’s music has a diversity of aesthetic directions and goals. You cannot hear only one work of him, and say: “This is Aanesen’s music”. He likes to do different things; explore the new concepts like undiscovered each time he starts to write. This does not mean he try to develop the wheel each time he composes, but this naivety; this feeling of being unfamiliar to what will happen; this playfulness towards the material, is part of the essence of how he works. Therefore, imagine that the task in front of him is unfamiliar, even if it is something he has done lots of times before, can create a fresh eye towards it, and perhaps some kind of aliveness can influence the techniques. This eagerness to experience composing as new and as a diverse task, can of course develop a state of loss of identity, but it can also create a wide range of possibilities. Having a wide perspective does not mean not to be focused. In order to solve this, he dwells on intuition and fixed systems. In this mixture and constant dialectical pendulum between intuition and predetermination, he works with music that has a certain degree of contemplation and peace, a certain degree of chaos structures, and much space in between for the listener to conceptualize what was heard. When composing, he finds it very important to listen to what one creates, as much as develop and say something more. He likes to live music, not just to think it. This evokes also the attitude of being open to compromise when his music is being played. The way it became can be as good as the way it was supposed to be, depending on how you listen. ARNT HAAKON AANESEN was born in Fauske, Norway, January 20th 1977. His first musical training was in Tuba, Piano and Music Theory; mainly under supervise of Academy lector Jan Erik Lund. In 1996 he moved to Oslo, the capital of Norway, to study at the Norwegian Academy of Music. Since then he has done the following studies at this Academy; 2 years of Studies in Instrumental Playing, 4 years for a Bachelor in Composition, 2 years for a Postgraduate degree in Pedagogical, and is now on the last year of a Master degree in Composition-Theory. Some of his teachers during these years have been the professors Lasse Thoresen, Bjorn Kruse, Olav Anton Thommesen, Ivar Frounberg, Torbjorn Krist and Mindaugas Urbaitis. During the last five years he has been working as a freelance composer in Norway. He has had a special interest in cooperation with other art forms. In cooperation with the artist Hilde Aagaard he has had performances in Athens, Tokyo and Melbourne as well as Lillehammer, Tromso and Gjendin in Norway. In Athens he was performed at Philopappos Hill, towards Acropolis, a situation created by Aagaard in cooperation with Ileana Tounta Centre of Contemporary Arts and The Norwegian Embassy, Athens. He also had the same work played non-stop for three months at Ileana Tounta Centre of Contemporary Arts. In Tokyo Aagaard created a similar situation, here at Jingubashi Bridge in Harajuku, Tokyo. And in Melbourne Aagaards film from the similar situation in Gjendin, Norway was shown at the art center Kings Ari Making Space, containing Aanesen’s music. The musicians involved in these projects have been: Bjarne Magnus Jensen, Petros Christidis and Karl Espegard. Currently he is cooperating with the dancer Helle Siljeholm and the soprano Silje Aker Johnsen in Treffpunkt, an interart-project focusing on links between vocal art, choreography and composition. He has had commissions from for instant The Norwegian Academy of Music, the artist Hilde Aagaard and the improvisation-group Treffpunkt. He has also received scholarships, grants and support to commissions from Det Norske Komponistfond, Komponistenes Vederlagsfond, TONO, Norges Musikkhogskoles felleslegat and Skipsreder Tom Wilhelmsens stiftelse. The autumn 2007 he is performed at the Oslo Contemporary Music Festival, Ultima. His piece for Bass-Clarinet, Cello and Piano “In progress” will be performed by Artriol; Marita Vardal Igelkjon, Mats Iversen Vangen and Tove Torngren, with dance by the choreographer/dancer Helle Siljeholm and dancer Mari Somme Hammer. Aanesen has written twenty-two works; two orchestral works, other smaller ensembles, pieces for solo instruments and electro acoustic music. His piece, “Janus” (commissioned by the Norwegian Academy of Music) for nine trombones is published at Warwick Music Ltd. in United Kingdom. WORK LIST: Blue Passion (for Concert Band) 1996; Partnerskap (for String Trio) 2002; Heimlich/Unheimlich (for Tape) 2002; Nasjonen (for Mixed Choir) 2002; Glede (for Piano) 2002/2003; Lyden av en stol som dras fra punkt til punkt over en overflate av tre (for tape) 2003 Loop; Beyond Surface (for Tape) 2003; Gjenspeil; 8 avbildninger for orkester (for Orchestra) 2003; Love's Requiem (for Vocal Quartet) 2003; Disabled Mercy (for Vocal Bass and Double Bass) 2004; Tilgivelse (for Piano) 2004; Janus (for 9 Trombones) Published at Warwick Music Ltd, UK (commissioned by The Norwegian Academy of Music) 2005; Point (for Solo Violin) 2005 (Commissioned by the artist Hilde Aagaard); Explicit Duality (for Flute and Horn) 2005; A ga inn (for Wind Instruments and Percussion) 2005 (Written with a grant from Komponistenes Vederlagsfond); Etyde for computer (for Tape) 2006; Tilbakeblikk (for concert band) (Commissioned by Kampen Skoles Musikkorps supported by Det Norske Komponistfond) 2006; Variations for String Quartet (for String Quartet) 2006; In progress (for Bass-Clarinet, Cello and Piano) 2006/2007; WAR (for Solo Piano and Sinfonietta) 2006/2007 (Written with a grant from Komponistenes Vederlagsfond); Format Transform (for tape) 2007 (commissioned by Treffpunkt with support from Det Norske Komponistfond); Paix (for orchestra) 2006/2007. See also Interview Arnt Haakon Aanesen. Mailto: arntie(@)gmail.com. |
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