Lucky Ringston aka. Jørgen Teller with ensemble: City Size Tone part 2.
The recording is based on a score commissioned by the Wundergrund Festival in Copenhagen 2013 – inside the festival theme New York City. Jørgen created a 3-part suite for the festival that combined his early reflections on what new music could be in 2013, versus what he had thought it could be when he started his career around 1980.
The second part of the suite was performed by a very strong international ensemble with Rhys Chatham and Fast Forward representing the deep New York scene. At the premiere the dancer Wubje Kuindersma joined forces with the ensemble, further expanded with a large video projection.
The piece is based on Jørgen’s solo-project called Lucky Ringston. This is a work that highlights an old-school ringmodulated shortwave/radio/synth/overtone/timbre sculpture and instruments of the ensemble’s timbre attacks in different and ever growing intervals.
The floating drony radio synth is juxtaposed with the sound of the now bald-headed modernism of the 50‘s and some inspiration from Messiaen’s Et Exspecto Resurrectionem Mortuorum pt. V – as a kind of mash-beyond.
Commissioned by Wundergrund Festival 2013, the release received support from Koda’s Cultural Funds.
The recording is based on a score commissioned by the Wundergrund Festival in Copenhagen 2013 – inside the festival theme New York City. Jørgen created a 3-part suite for the festival that combined his early reflections on what new music could be in 2013, versus what he had thought it could be when he started his career around 1980.
The second part of the suite was performed by a very strong international ensemble with Rhys Chatham and Fast Forward representing the deep New York scene. At the premiere the dancer Wubje Kuindersma joined forces with the ensemble, further expanded with a large video projection.
The piece is based on Jørgen’s solo-project called Lucky Ringston. This is a work that highlights an old-school ringmodulated shortwave/radio/synth/overtone/timbre sculpture and instruments of the ensemble’s timbre attacks in different and ever growing intervals.
The floating drony radio synth is juxtaposed with the sound of the now bald-headed modernism of the 50‘s and some inspiration from Messiaen’s Et Exspecto Resurrectionem Mortuorum pt. V – as a kind of mash-beyond.
Commissioned by Wundergrund Festival 2013, the release received support from Koda’s Cultural Funds.
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