Every Here is such and Every Where
This is a collaborative piece from 2001 by Morten Eide Pedersen and two of his composition students; Berge Osnes and Ruben Sverre Gjertsen. This was first performed at the Salat concert series at Garage, initiated by Ruth Bech. At the premiere, our sound track was played quietly behind a DJ's improvisations. He contributed on top with music like the US national anthem out of an LP player. Our collage was performed separately and more clearly at later concerts.
The very beginning, with transformed Tam-tam sounds, is by Ruben, after this introduction you will recognise the summer from MEP's Vivaldi intermissions. You will find all MEP's material again if you listen to his Vivaldi fragments. In some cases, he used individual sounds from these fragments, not the whole mixes, in order to blend with the other contributions from his students. Clouds of glass sounds, recorders, bowed guitar, tam-tams, with various abstractions, were made by RSG. We were sitting together in his office, contributing files, and MEP was doing the mix. At some points music of all three composers coexisted, and created coincidences which surprised us. Berge's music to Anne Pedersdotter is there (heart beats and noisy speech sounds with abstractions), as well as extensive quotations of Luigi Nono's "Postpreludium per Donau" for tuba and electronics, and a few seconds of Nono's "A Pierre. Dell'azzurro silenzio, inquietum". The piece ends with Nono's tuba unison. We created a two-part Nono canon, where the second version was slightly detuned.
Ruben Sverre Gjertsen