Tracklist Hide Credits
|1||The Cherry Orchard||05:18|
|2||November, You Humming Mist||07:44|
|5||After Life You Will Hear Voices Of Your Childhood||19:17|
Composed By – Ludwig van Beethoven
© Photo "Home" by Aëla Labbé
The title of this album is taken from the romantic English poet Percy Bysshe Shelley. He wrote an essay on this subject in 1821.
The Cherry Orchard (2010)
The last play by Chekhov has always inspired my mind. Among all Russian literature that I fancied in my youth it stood out as the essence of nostalgic sentiments. I have not yet had the honour to work with the play in whole. As an example i wanted to make a fragmented version. Reading it through i found the character of Ljubov, the mistress of the house so intriguing, that I decided to make a piece with some of her lines from the play. The atmosphere of lost childhood, the beauty of her garden, now in jeopardy of the axe, evokes memories of her life, of lost dreams... It`s melancholic, a feeling I love and know perhaps too well. This is an instrumental version.
November, You Humming Mist (2013)
The title is taken from a rather surrealistic poem I wrote when I was 16 years old in 1969. I always find the month of November the most mysterious, with fog, wind, rain and dark days, especially in Scandinavia where I live. It´s a time for introspection.
Nacht & Morgen (1989)
These two pieces are in close relation to the death of my mother. I was with her the night she died. I composed them as a work of grief.
After Life you will hear Voices of your Childhood (1997)
This piece was first composed for the Dance Performance, O, by Parkerad Rörelse at Röda Sten, Gothenburg. It was also published on a compilation CD, Atalante 2. This version is edited 2014.
Heilige Dankgesang (2009)
In the Aldous Huxley novel Point Counter Point (1928), Spandrell tries to convince Rampion about the existence of – God, the soul, goodness, by playing Beethovens 15th String Quartet, Heilige Dankgesang.. "it´s the only real proof that exists".
"Slowly, slowly, the melody unfolded itself. The archaic Lydian harmonies hung on the air. It was an unimpassioned music, transparent, pure and crystalline, like a tropical sea, an Alpine lake. Water on water, calm sliding over calm; the according of level horizons and waveless expances, a counterpoint of serenities. And everything clear and bright; no mists, no vague twilights. It was the calm of still and rapturous contemplation, not of drowsiness or sleep. It was the serenity of the convalescent who wakes from fever and finds himself born again into a realm of beauty. But the fever was `the fever called living`and the rebirth was not into this world; the beauty was unearthly, the convalescent serenity was the peace of God. The interweaving of Lydian melodies was heaven."
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