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Juliana Hodkinson
Angel View |
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Crash 1873, boom 1990+ |
01:08 |
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Achtung, Stufe! |
03:39 |
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Toys |
03:07 |
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A Storm is blowing |
02:51 |
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Spuren |
01:27 |
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Not for sale |
01:58 |
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Mauerspechte |
01:27 |
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Trapped wings |
01:47 |
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As himself |
01:52 |
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Large transactions |
00:41 |
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Betteln und Hausieren verboten! |
00:58 |
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No. 113 Dining room |
02:04 |
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Come back all is forgiven |
00:07 |
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All messages deleted |
01:56 |
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Travel souvenir |
01:37 |
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Kaiserpanorama |
04:41 |
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Siren |
00:40 |
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Sprung aus den Wolken |
01:30 |
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Carousel |
01:53 |
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 HD wav |
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Angel View |
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9,99 € | download |
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| About Angel View |
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Angel View is an assemblage of urban and musical debris, somewhere between a wordless live radio play, enacted film soundtrack and instrumental theatre, composed by Juliana Hodkinson.
Chiseling cement, falling debris, scraping cutlery, breaking glass, criss-crossing cables, squealing tram-wheels, an upturned bicycle, a travel souvenir, a shop window, a revolving carousel, a brace of monkeys, a wall under siege, a dining table laid for an ancestral dinner – it is a sonic bazaar. Made up of many parts, each designed to overlap, the work’s architecture is full of non-sequiturs and arbitrary cross-relations between imagined streets intersecting and running parallel, reflecting the surrealism of everyday life described in Walter Benjamin’s Einbahnstrasse and still present in the contemporary dilemmas and opportunities of Berlin today.
All this is heard as if from an aerial perspective - perhaps the Victory Column where angels sit in Wings of Desire - from where Berlin below is observed as a series of tragedies, as witnessed by Benjamin’s angel of history.
Comissioned by: Scenatet
With the support of:
Danish Arts Foundation
SPOR Festival
Berliner Festspiele/MaerzMusik
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| About Juliana Hodkinson |
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Juliana Hodkinson’s composition practice ranges over hybrid formats involving acoustic, instrumental and electronic music, extra-musical sounds and objects, and visual and spatial elements. Her works are composed in an interplay between abstract concepts and social relations, with sonic material arising through a mix of encounter and invention. Rituals of performance, the peripheral area surrounding artistic acts, and details of everyday interactions are integrated as objects of sensory and critical reflection.
Juliana Hodkinson has received major accolades such as the Carl Nielsen Prize and the Stuttgart Composition Prize, and she has been composer-in-residence with l’Orchestre Royal de Chambre de Mons and Odense Symphony Orchestra. She has received commissions from ensembles, festivals and arts organisations worldwide including the BBC Scottish Symphony Orchestra, Darmstädter Ferienkurse, Louisiana Museum of Modern Art, Chamber Made Opera, Interfilm Festival, Konzerthaus Berlin, Den Anden Opera, Speak Percussion, Spor Festival, Borealis Festival, Esbjerg Ensemble, Ensemble KNM, Südwestdeutsche Rundfunk, Westdeutsche Rundfunk, Odense Symphony Orchestra, l’Orchestre Royal de Chambre de Mons, Zinc & Copper Works, Haus der Kulturen der Welt and Phønix16.
selected works:
ALL AROUND for orchestra, distributed musicians and surround audio (2019), 15’
TURBULENCE, a chamber opera for soprano, actor and electronics with a libretto by Cynthia Troup (2013), 40’
CAN MODIFY COMPLETELY… for solo electric guitar and orchestra (2015), 12’
I GREET YOU A THOUSAND TIMES for amplified orchestra and samples, developed with film by Joachim Koester (2005), 30’
LIGHTNESS a percussion trio work for amplified matches (2015), 12’ |
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| About SCENATET |
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SCENATET was founded in 2008 by artistic director Anna Berit Asp Christensen and is regarded as one of most innovative European new music ensembles. The ensemble works in an interdisciplinary field of music, performance, and video towards a yet undefined genre. They aim to create conceptual art work, where music is one component in a larger whole. Scenatet’s work spans from classic music productions through artistically unique productions to music theatre.
Scenatet consists of a base group of musicians and a group of artists, including composers, directors, visual artists, light designers, and filmmakers that they continuously collaborate with. The ensemble mainly works with a younger generation of composers from the International avant-garde scene, a.o. Peter Ablinger, George Aperghis, Joanna Bailie, Kaj Duncan David, Jagoda Szmytka, Christian Winther Christensen, Juliana Hodkinson, Simon Løffler, Jessie Marino, Sarah Nemtsov, Marianthi Papalexandri-Alexandri, Niels Rønsholdt, Francois Sarhan, Salvatore Sciarrino, Simon Steen-Andersen, Bent Sørensen, Manos Tsangaris, and Jennifer Walshe.
Scenatet is prominent on the International art scene and has toured most of the world, often with premieres at renowned concert halls. Scenatet is also to be found in unexpected places such as parks, libraries, backyards, and private homes in site-specific concerts that aim to establish a special, close contact with the audience. Furthermore, Scenatet has been invited to play at a number of renowned festivals such as Ultima (NO), Transit Festival (BE), Huddersfield Contemporary Music Festival (UK), Klang Festival (DK), Borealis (NO), November Musik (NL), Shanghai New Music Week (CHN), SPOR festival (DK), MATA Festival (US), Maerz Musik (DE), Bergen Festspillene (NO), Warsaw Autumn (PL), and Darmstadt Summer Course (DE).
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| About Anna Berit Asp Christensen |
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Anna Berit Asp Christensen is an artist and curator with strong roots in both classical and new music. Her activities are partly based on her past as a practicing, classically trained musician, and partly related to comprehensive work on the theory and dissemination of music. Her practice is characterized by a constant investigation of the potential of experimental art music as well as its range and position on the contemporary art scene. Christensen’s work has displayed an impressive breadth in its knowledge of repertoire – also within various art forms ranging from art music and sound art to performance art, modern dance, and concept art. This finds expression in her works, which mainly seek to link up with other art forms in order to place music in new perspectives. Significant is her ability to orchestrate meetings between musical genres as well as unify music with other art disciplines.
Since 2007, Anna Berit Asp Christensen has been the artistic director of SPOR festival in Aarhus. In 2011, she received a six-month residency in Berlin, granted by The Danish Arts Council, she is a board member of Danish Dance Theatre and SNYK - The Danish National Centre of Contemporary and Experimental Music and Sound Art. In 2020, she received a work grant from The Danish Arts Council.
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1CD | Instrumental | Ensemble | III Edition | Contemporary |
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