nyMusikk | Cikada
Wed, 23 Mar
|Cafeteatret
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)
Program
Linda Catlin Smith : Far from Shore (2010)
Cikada
Sarah-Jane Summers: Phosphenes II
Sarah-Jane Summers
Linda Catlin Smith : Among the Tarnished Stars (1998)
Cikada
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’.
Sarah-Jane Summers:
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.