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Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

New Music for a 17th-Century Organ

Composed by Marta Lennartsdotter of Stockholm, Sweden

The note is held, and held — and then it is held some more. The note is dense and thick. It is braided with overtones. It sounds like a bag pipe chanting a mantra. It sounds like a ship coming into port in slow motion. It sounds like a car horn stuck in some blissful mid-state — traffic honking turned into reverie, in other words: the annoyance at lack of motion turned into a celebration of stasis.

What it is is Johan Graden and Marcus Pal performing a piece by Marta Lennartsdotter at Tyska Kyrkan, an church in Stockholm, Sweden, where the instrument was installed in the late 1600s. She describes the work as “A piece for two players composed with drawn-out tones interrupted by lack of air,” and herself as “a violinist and a electroacoustic composer. I work in the field of free improvisation and slow, drone based music.”

Track originally posted at soundcloud.com/marta-lennartsdotter. More on her in this brief interview at futurelegendsmalmo.tumblr.com. The live concert was recorded October 3, 2014. Also on the program (see the Facebook.com event) were works by Lo Kristenson and Ellen Arkbro.

By Marc Weidenbaum

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