Performance of Untitled Landscape by ensemble Nordic Affect at Mengi, Reykavik 2023-10-25
The parts in the piece are ordered with the mathematical logic of Wittgenstein’s Tractatus, which is also reflected in Gjessing’s poetical comment Philosophico-Poeticus, and in addition takes some inspiration from the sequential logics of the seven main propositions of W. When re-reading some of the propositions by W there seems to sometimes exist a closer connection then at first recognized. Even if more sensually based propositions are scarce in Tractatus it includes propositions that point towards more relational than strictly functional properties. In a letter he writes: "Objects also include relations; a proposition is not two things connected by a relation. 'Thing' and 'relation' are on the same level." This could be seen as a kind of background to what he writes in Tractatus’ 3.1432: ”Instead of, ‘The complex sign “aRb” says that a stands to b in the relation R’, we ought to put, ‘That “a” stands to “b” in a certain relation says that aRb’.” It's not far away to think of musical structures where frequencies and rhythms define each other in iterating hierarchical loops. All the time, through its mere coming to being, searching for what is not possible to say (in words). The ‘propositions’ of the piece builds on basic, or conventional, musical tropes that through their relative relations try to instigate a meta-comment, a Poeticus–Sonans, in the vicinity of the thematic of the two books; What is, and what is possible. The internal gestural topography could be seen as having a formal progression going from material soundings to wider and wider musical movements/gestures to hierarchical structures: e.g., from toneless brushing (on strings and instrumental bodies) – long notes (sounds) – large finger vibrato – ¼ note (up-down) – glissandi – singing bowl wobbling (within harpsichord) – trills – arpeggios – minimalistic (mordent) figures – musical gestures (heterophonic aggregations) – to phrasing – complex rhythms – and contrapuntal structures. 35 sections in the piece following the form of Tractatus in having seven basic propositions with comments, and comments on the comments.
Composer: | Anders Hultqvist |
Instrumentation: | Violin, Viola, Cello, Harpsichord Japanese singing bowl, Glass rods (ø ≈ 4-5mm), Plectrum |
Durata: | 37' |
Commission: | Commissioned by ensemble Nordic Affect |