nyMusikk | Cikada

nyMusikk is organising a portrait consert of Linda Catlin Smith

Double consert with  Cikada and Sarah-Jane Summers

Kr 250 / 150 (members nyMusikk)

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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.

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