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1: Arne Forsén - piano
2: Ivo Nilsson - trombone
Jörgen Pettersson - alto saxophone
3-5: Boa Pettersson - bass clarinet
Eva Lindal - violin

1: Staffan Larson
3-6: Chrichan Larson
7: Katarina Leyman
8-10: Catharina Backman

1,2&6: Staffan Larson - violin
Nadine Jurdzinski - viola
Chrichan Larson - cello
Johanna Orrje - oboe
Martin Krafft - bassoon
Sören Hermansson - french horn
Jörgen Pettersson - saxophone
Ivo Nilsson - trombone
Margareta Nilsson - harp
Niklas Brommare - percussion

3-5: Johan Söderlund - clarinet
Tora Thorslund - trumpet
Jonny Axelsson - vibraphone
Johan Ullén - piano
Karin Hellqvist - violin
Nadine Jurdzinski - viola
Eric Francett - double bass

7: Peter Fridholm - flute
Jonatan Olofzon - french horn
Amelia Hjorten - trombone 1
Åke Lännerholm - trombone 2
Kalle Elf - tuba
Jonny Axelsson - percussion
Johan Ullén - piano
Eva Lindal - violin
Nadine Jurdzinski - viola
Chrichan Larson - cello

8-10: Fredrik Söhngen - oboe 1
Sara Möller - oboe 2
Johan Söderlund - bass clarinet
Martin Krafft - bassoon
Jörgen Pettersson - alto saxophone 1
Linn Persson - alto saxophone 2
Laura Stephenson - harp 1
Delphine Constantin - harp 2
Sofia Niklasson - soprano voice 1
Elin Skorup - soprano voice 2
Miranda Colchester Ingemarsson - soprano voice 3
Ulla Sjöblom - soprano voice 4

Springkällor (Wellsprings) (Madeleine Isaksson, 2018) was composed for the piano-improviser Arne Forsén as a soloist with seven musicians from KammarensembleN. The project has grown in close cooperation between Madeleine Isaksson and Forsén. Both studied piano at the Royal College of Music in Stockholm in the early 80s, which was a start of a life-long friendship and collaboration.

Thawing, Undulating (Jenny Hettne, 2018) is a piece for alto saxophone, trombone and any six instruments and objects, where the saxophone and trombone parts are intended for professional musicians/teachers and parts 1 to 6 for young performers. Parts 1 to 6 are preferably performed by instruments that are able to sustain long notes, such as strings, woodwinds and brass.

Le Chant des Enfants (The Children's song) (Chrichan Larson, 2012) is inspired by a few lines from the poem A une Raison by the poet Arthur Rimbaud; "'Change our fate, eliminate the plagues, beginning with Time' these children sing to you. 'Breed, no matter where, the substance of our fortunes and wishes' they beg." The piece is a double concerto in which a bass clarinet and a violin hold leading roles, supported by a mixed septet.

Nr.4 (under)vegetation (Jonny Axelsson, 2018) is a work for eight musicians with unspecified instrumentation. The notation should be read graphically, meaning the system of the notation indicates the register of the instrument, where one freely chooses pitches based on that. Phrases and gestures should be derived from the first Viennese School in the classical period. This piece was composed with the opportunity for the musician to explore and pre-settle on his instrument and as a responsive chamber musician, as well as to consider part of music history from a different point of view.

Abandoned Places (Katarina Leyman, 2013) is about locations once steaming with life now abandoned and left to deteriorate - remains that remind of the relentless passage of time. Sensations of energy loss and despair are interpreted in the music by falling seconds and attacks followed by long decays.

Portrait d'un Roi (Portrait of a King) (Catharina Backman, 2014) is in three movements that depicts a king from different angels; in profile as his face on a coin, from the front fully armed on a rearing horse, and from the behind in an angle where it is difficult to tell if the person really is a king or just an ordinary mortal.

1,2&6 recorded at Fylkingen, Stockholm, Sweden on October 14-16, 2018.
3-5, 7-10 recorded at SMI, Stockholm, Sweden on September 22-25, 2019.


Released 2020

by KammarensembleN


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