Wed, 23 Mar|
nyMusikk | Cikada
Cikada / Linda Catlin Smith + Sarah-Jane Summers
Time & Location
23 Mar 2022, 20:00
Cafeteatret, Hollendergata 8, 0190 Oslo, Norway
About the Event
nyMusikk is organising a portrait consert of Linda Catlin Smith
Double consert with Cikada and Sarah-Jane Summers
Kr 250 / 150 (members nyMusikk)
Linda Catlin Smith : Far from Shore (2010)
Sarah-Jane Summers: Phosphenes II
Linda Catlin Smith : Among the Tarnished Stars (1998)
About the concert
Get to know the beautiful sound colours of Linda Catlin Smith’s music in concert with Cikada, and Sarah-Jane Summers sound exploration.
Linda Catlin Smith:
Far from Shore (2010) I composed this piece at the request of Trio Fibonacci. In this work, the violin and cello are often closely partnered, supported gently by the piano. I am fascinated with melodic lines that float; the piece has a languid and drifting quality, exploring small and subtle changes, like staring at the calm sea as the light dims towards evening.
Among the Tarnished Stars (1998) was composed for a short-lived but marvelous ensemble in Toronto called The Burdocks, commissioned through the Ontario Arts Council. The work traverses a variety of terrains, usually through the variation, or re-translation, or reconsideration of simple things – harmonies, melodies, intervals. I was especially interested in seeing what I could do with the various sound colours of these instruments, sometimes looking for blend, sometimes for independent pure lines. I am fascinated with small changes, subtle gradations and shadings. I like how these things contribute to something we might almost call ‘mood’.
Phosphenes II The phenomenon of seeing light without light actually entering the eye, i.e. the shapes and colours you see when you rub your eyes. From Greek phōs (light) + phainein (to show).
At the age of 13, I used to cry due to the limitations of the tradition I grew up immersed in. I dearly loved the tradition – and still very much do – but music also encompassed so much more to me. I naturally turned towards sound exploration, guided only by intuition, disregarding conventional pitches or melodies, and focusing on accessing the subconscious through pure sound. Hearing Stanley Robertson (singer/piper from Scotland’s travelling folk) talk about music as ‘elemental’ resonated deeply with me, and my music can be understood as relating both to weather outside and the internal ‘weather-patterns’ of the mind.
This work explores this sound world I discovered latent inside me, also containing echoes of my traditional language.