|Maja S. K. Ratkje — Crepuscular Hour|
Maja S. K. Ratkje — Crepuscular Hour (March 18, 2016) –♦– The concert was beautifully filmed and directed by Kathy Hinde and can be found on the DVD that comes with both the CD and 2LP editions. This also includes a 5.1 surround sound option.
–♦– “Form is too me the most important aspect of composition, and the sole reason I consider myself mainly a composer. Form must be carefully planned to avoid the obvious, and each piece has its own logic.” — Maja
–♦– “Music is communicated through interpretation, and the performers as well as the listeners are active in the process. Along with that come the circumstances like the room and the situation the music is performed in. The whole context becomes a part of the interpretation.” — Maja
–♦– “Ratkje brings a feral disregard for conventional form, combined with an extravagant imagination, linking it all to a fascination with the human voice and its communicative possibilities. Her works are dramatic, engaging and wildly diverse.” — Financial Times
Born: 29 December 1973 in Trondheim, Norway,
Location: Oslo, Norway
Name: Maja Solveig Kjelstrup Ratkje
Occupation: Composer / performer
Bands/Projects: Solo voice and electronics / SPUNK / BRAK RUG / Kapital & Moral / composed works
Labels: Rune Grammofon / Tzadik / Important Records and many more
Musical Recommendations: I want to recommend some young instrumentalists who are not afraid of technology or conventions. Norwegian trumpeter Hilde Holsen last year on ASK. She has a very clear mind and a directness in her music that will reach far / Heida Karine Johannesdottir Mobeck and Anja Lauvdal, two emerging musicians using tuba, keyboards and electronics in the noise duo Skrap, in the pop–band Broen and creating radical and highly listenable inventions for larger groups such as Skadedyr and a concert to come with Trondheim Jazz Orchestra.
Album release: March 18, 2016
Genre: Electronic, Classical
Style: Experimental, Modern Classical
Record Label: Rune Grammofon
1 Crepuscular Hour 56:49
2 Crepuscular Hour 61:07
–♦– Recorded at — Huddersfield Town Hall
–♦– Recorded at — Huddersfield Contemporary Music Festival
–♦– Filmed at — Huddersfield Town Hall
–♦– Filmed at — Huddersfield Contemporary Music Festival
–♦– Filmed at — The Big Act, Bristol
–♦– Mixed at — NOTAM
–♦– Mastered at — Store Studio
–♦– Cameraman [Town Hall Performace Filmed by] — Kai Miedendorp (tracks: DVD–1), Kathy Hinde (tracks: DVD–1)
–♦– Composed by — Maja Solveig Kjelstrup Ratkje*
–♦– Conductor [Conducted by] — James Weeks
–♦– Design — Kim Hiorthøy
–♦– Edited by [Film Edited by] — Kathy Hinde (tracks: DVD–1)
–♦– Engineer [Live Sound at Town Hall by] — Alex Fiennes
–♦– Film Director [Film by], Film Director [Additional Footage Made by] — Kathy Hinde (tracks: DVD–1)
–♦– Lighting [Installation Lighting by] — Aideen Malone (tracks: DVD–1)
–♦– Lighting [Lights At Town Hall by] — Johnny Marshall (tracks: DVD–1)
–♦– Liner Notes [English] — Maja S. K. Ratkje
–♦– Mastered by — Håvard Christensen
–♦– Mixed by [Sound Mix by] — Maja S. K. Ratkje
–♦– Performer [Performed by] — Antoine Chessex, Hild Sofie Tafjord, Lasse Marhaug, Mark Durgan, Nils Henrik Asheim, Phil Julian, RNCM Chamber Choir, Stian Westerhus, The 24, University Of Huddersfield Chamber Choir
–♦– Producer [DVD Production by] — Carsten Aniksdal (tracks: DVD–1)
–♦– Recorded by [Town Hall Live Recording by] — BBC*, Thomas Hukkelberg
–♦– With texts from the Nag Hammadi Library
–♦– Live performance at Town Hall, Huddersfield, 20th November 10pm Huddersfield Contemporary Music Festival 2012
–♦– Sound Mix at Notam, Oslo, Norway
–♦– Additional footage made in Bristol, UK
–♦– Installation footage shot at The Big Act, Bristol, UK
–♦– Mastered at Store Studio, Bodø, Norway
–♦– The special vinyl edition comes with an embossed, golden foil spot on the sleeve. Only 70 hand numbered copies were printed, making it a rare thing of beauty. We will sell 50 of this through our webshop, and it might very soon be the most desirable item in our catalogue. Max one item pr. customer.
–♦– The ordinary vinyl edition is limited to 430 copies.
–♦– Both vinyl editions come with an etching on Side D.
–♦– All three editions come with the DVD.
–♦– Maja Solveig Kjelstrup Ratkje (1973) is quite a remarkable musician, singer, improviser and composer and Crepuscular Hour is quite an extraordinary piece of music, written as it is for the unusual line–up of three choirs, three pairs of noise musicians and church organ. It´s a one hour piece to be performed in a cathedral or similar with musicians surrounding the audience. The room will be filled with sound in an intense and dramatic, but also hypnotic and meditative hour, where the voices blend with the distortion, the noise sometimes taking over, and the organ eventually hoisting the music to a new dramaturgic level. The piece is inspired by the phenomena ‘crepuscular rays’, which is when rays of sunlight stream from one point through gaps in clouds or other obstacles. The visual design of this concert is a play on the phenomena, with the light being filtered by the obstacles and musicians in the room. All texts are from the Nag Hammadi Library, a collection of thirteen ancient books with over 50 texts that were discovered in upper Egypt in 1945. These texts have provided a major re–evaluation of early Christian history. Crepuscular Hour was premiered at the Ultima Festival in Oslo in 2010, and the next realisation of the piece was at the Huddersfield Contemporary Music Festival in 2012, where this recording was done.
–♦– The concert was beautifully filmed and directed by Kathy Hinde and can be found on the DVD that comes with both the CD and 2LP editions. This also includes a 5.1 surround sound option.
–♦– Maja S.K. Ratkje er vanskelig å møte med likegyldighet. Hun formidler alvor gjennom ukonvensjonell form og vekker interesse gjennom det særegne. De gangene jeg har se henne på scenen, har musikken hatt et dramatisk tilsnitt som har utfordret måten jeg lytter på. Man går ikke til Ratkje for å bli underholdt. Hun beveger seg under overflaten, på dypt vann, der de store temaene trives best. Ratkje er bli omtalt som en av verdens ledende moderne komponister og som en komplett musikalsk personlighet. Det er store ord, men størrelsen på dem, gjenspeiler den anerkjennelsen hun nyter internasjonalt. Overraskende kontraster og dynamikk setter glød i stoffet. Kvinnelige og mannlige stemmer går i dialog, Nils Henrik Asheims orgelspill fyller rommet og Hild Sofie Tafjords horn stikker seg forsiktig frem, men selve hovedpoenget gir seg til kjenne i det omskiftelige, kollektive uttrykket som skapes. Dette er ikke solisters sted. Under konserten i Huddersfield sto støymusikerne på scenen, mens korene var plassert på balkonger og gulv. Publikum kunne bevege seg fritt i rommet og fellesskapet. Jeg får noen assosiasjoner til György Ligeti og Arvo Pärt når jeg lytter til Crepuscular Hour, men det forstyrrer ikke. Ratkjes musikk rommer sin egen verden, og den krever at jeg vender tilbake. Det er slik jeg vil ha det, bortenfor det lettvinte, opplagte og sleipe. — 4/5 Aftenposten (NO)
–♦– Det är både film och skiva, Maja Ratkjes verk för tre körer, kyrkorgel och noisemusiker, inspelad i en konsertlokal i Huddersfield. Texten är baserad på antika, gnostiska texter, i Ratkjes tolkning ord som rör sig mellan mänsklighetens gryningstimma och dagens konflikter. Jag häpnar, dras in i musiken, men filmen lägger till flera dimensioner, en kombination av ljus och ljud, röster, musiker, publik. Körerna är mäktiga, mystiska, röster som liksom hänger i luften och samtalar med klangerna skapade av Lasse Marhaug, Hild Sofie Tafjord, Stian Westerhus m.m. Det är som att lyssna på jordens födelse. Kaos är granne med gud. — 4/5 Göteborgsposten (SE)
–♦– Declarations such as "l am war", "I am peace", "Hear!" and "Be on your guard" make contradictory allusions that honour both chaos and consolidation, telling of a female divinity from the beginning of time, enraged by the imbalance of darkness and war in the world. Blending vocals and electronic instrumentation, Ratkje delivers sliding, melodic phrases that might typically be attributed to violin. Shrieking and groaning accompanies traditional harmonisation and the range of the singers is fully extended and explored. The choral style of the piece might borrow from hymnal traditions, but the foreboding drama of Ratkje's harmonic structures evokes something deeper, darker, more primal, akin to the work of Eastern European composers such as Gyorgy Ligeti and Veljo Tormis, rather than the likes of Bach or Handel. Listening to Crepuscular Hour's like hovering on the brink of a sonic precipice. It has occasional moments of quiet respite, but the listener is for the most part detained under a curtain of sound and tension, taken on a musical journey that never leads home. Filtered and twisted, screeching and fluttering, the instruments blend seamlessly with the organ and choir, leaving the senses reeling in rising layers that embody suffering and chaos. The composition builds to an overwhelming tension in its final minutes, which ring and echo with the sound of everything and nothingness. — The Wire (UK)
|Maja S. K. Ratkje — Crepuscular Hour|