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EARUNIT/Memento Mori – My Beautiful Decay 1973

Memento Mori – My Beautiful Decay 1973

Details

Time: June 03, 2021 19:30
Location: Biblioteket på Rentemestervej
Event Type: Koncert
Organized By: EARUNIT
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About Tour

Portrætkoncert med musik af komponist og pianist My Beautiful Decay 1973 alias Carsten Bo Eriksen. Sammen med cellist Josefine Opsahl og violinist Cæcilie Balling præsenterer My Beautiful Decay 1973 nye værker inspireret af liv og død. Memento Mori (latin: husk, at du skal dø), en klassisk påmindelse om livets korthed. Udsagnet går tilbage til det gamle Rom og anvendes fx af munkeordenen karteuserne. I billedkunsten findes udsagnet sammen med en række allegoriske scener, fx dødedans, timeglas, kranium, vanitas. Memento Mori er en række satser for klaver, violin og cello og elektroniske projiceringer. Musikken vil blive udgivet som album senere på året på Cosmopol Music.
Detaljeret koncertprogram offentligøres, når vi kommer tættere på koncertdatoen.
Varighed på koncerten er 30 min.
Herefter er man velkommen til at blive hængende:
Kl.20.15: DJ sæt
Kl.21.30: aftenen slutter
Man kan også møde ind kl.19.00 og hører en portrætkoncert af komponist og pianist Ejnar Kanding, billetten gælder for begge koncerter.
Billetpris kr.80 per person. Billetter kan købes ved indgangen eller via Billetto.
Med forbehold for adgang til koncerten ved indgangen p.g.a. forsalg og begrænsninger i salen p.g.a. corona.
EarUnit is supported by the Danish Arts Foundation, Koda Kultur, William Demant Fonden, Augustinus Fonden, Knud Højgaards Fond
About My Beautiful Decay 1973:
Carsten Bo Eriksen (alias My Beautiful Decay 1973) is a prize-winning and award-nominated Danish composer. His music incorporates elements and inspiration from post-rock, American minimalism, ambient electro-acoustic/electronic music, and field recordings. He’s educated at the Royal Academy of Music as a composer (1997-2003), a pupil of Professor Ib Nørholm, Ivar Frounberg, and Hans Abrahamsen. As a painter and video artist, he is self-taught. He had his debut from the extended studies program in composition in 2003. Furthermore, he has studied at Berklee College of Music, Mass, USA. And has studied Balinese gamelan music in Ubud, Bali, Indonesia, with the musician Pak Tama. In 2004 he was granted by the Danish Arts Foundation a 3-year working grant. He won the 1st price for best electronic music in 2001 at the Danish Arts Foundation, and same year nominated for a Danish Music Award – Classical, later nominated for best electronic release with “Bloom” at “Gaffa Prisen 2020”
“Introduction to my music”
My minimalist electro-acoustic music, draws on my inspiration from American minimalism, musique concrete, Neo-classical and electronic music, which I without a doubt stand on the shoulders of. Repetitive patterns and patchwork, which act as architectural building blocks and piles, get filled up with climatic spatial moods and atmospheres. In other selected pieces there is an absence of concrete structures, as I try to create empty pockets of time and airy space. I work with light, temperature, and timbre “Klangfarben”, a lot like a traditional painting and sculpting artist. In many ways, it’s my fascination about working with computer music, that you’re working directly on the sounding material, at the same time it still fascinates me, how expressive acoustic instruments can be. I’ve wanted to create a more conceptually composed expression where there is an entity present in the “sound” I use and with some clear-defined tonal means. For this, I have some specific practices and sound libraries, which I regularly use. I collect audio, as others collect stamps. Another of my practices is that I sample fragments of classical music from audio CDs and rework them to become my own material and record acoustic fragments with various musicians and orchestras, sections from my own compositions and manipulate them into new pieces together with the electronic manipulations. I also make field recordings in good Pierre Schaeffer spirit, and sound processes, recomposes, restructure the material until I feel that I have the “right” expression. I still compose in a traditional score form, but it is not crucial to me that the pieces must be present in this format anymore. A score is only a communicative possibility among others. The recording has become the finished work. Therefore, I plan to record all my future works and publish them in the coming years, a mindset I have not had before. This shall be done in a new inspirational way together with my paintings, photographs, mixed media, and additional videos”.
“I’m surely a strange hybrid between a traditional classical composer and a contemporary electronic musician “
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