Project: immortal...

It doesn't hurt to be modest, but I just have to tell it: The originals of my composition "Finnischer Tango" for soprano and grand piano, is now a part of the Cassube Collection in tne Landesbibliothek Mecklenburg-Vorpommern. I couldn't resist to publish it. Dietrich Cassube is a friend of mine, who is an art collector and deals with gemstones. He has given the Landesbibliothek a huge collection of art. "Finnischer Tango" is dedicated to him.

Synchronicity

Today I got an E-Mail concerning the score and parts for the Brass Band piece Translucence from Tertnes Brass, which is going to be performed by them in September. Simultaneously I got an E-Mail from my colleague and friend Jukka Koskinen (he lives in Helsinki) with a PDF of a new composition "Sivu 2"for clarinet and string quartette, he is finishing. He writes a dens music, very often moving within a small register, so I tried out my version of his thinking. And he liked the piece. My composition Translucence is dedicated to Jukka. I don't believe in random, I truly believe in synchronicity. So I think two streams of occurrence met.

About work(s) in progress

Jan Stigmer want me to write a violine concerto for him. And I told him that I've got some sketches for a violine concerto. In 1998 it was ment to be a bassoon concerto, but I changed my mind, and started to plan it as a violine concerto. Now 10 years after I started planning the concerto, it will now happen. And that's the way I work or method I use; my music need time to grow. The title is Melancholia. The music (rhythm, "melody" and harmony is generated from a poem by Hansjürgen Wille. I haven't decided yet if the poem should be in the printed program. I've got loads of sketches for pieces to write, and all the time I have new ideas that I bring to paper. And it also happen that I'm not able to finish a commision right in time, because the material needs to be developed more; give it time to grow. In other words: Give me the chance to mature. It often happens that I let the material that I don't use in one composition, are used in another. I have the tendency to put to many ideas in one composition. But I think turning 44 this summer, that I can open up and trust my own musicality. Jan and I were talking about this. That we actually have used 37 years ( Jan is 44) of our lives to open up; and it is a process that will go on until we die.

Lucifer Was: The Crown of Creation

On tuesday and wednesday the great violinist Jan Stigmer was in Freddy Linquist's studio to record the solo parts I've written for him. So that means that I've finished my part of bringing gemstones to the crown. Jan is a tremendeous violinist, and he allowed me to play on his Stradivarius from 1724. I myself play the viola, but in stead of a Strad, I've got a Werner Barth from 1979.

The nice thing about withdrawel of compositions

As a composer I can after the performance of a new piece if I'm not happy with it revise or withdraw it (the latter is also a great way of getting less bad music out there). For a novelist that is impossible. When the book has hit the marked he or she cannot change anything. I mean; he or she can if they want to get a lot of money out of their readers, get some more cash out of them. As the collectors they will need to buy all the new prints. But dear novelist. Be nice to us: Publish the books as ring binders. If you feel to change or expand your novel, just send out the new pages, and the reader just have to exchange the pages. The German Music Lexicon "Komponisten der Gegenwart" makes it that way, as my colleges have a tendency to die, you know. And when they die, there are two options: They get more ignored as they lived, or more famous. Most likely the latter.