What does “dancing to music” really mean? And how do you create music for dance? In this duet, Ingrid Berger Myhre and Lasse Passage playfully examine the relationships between dance and music, using scores as tools to uphold structure over skill, method over indulgence.
The title of their duet alludes to the contrast between the wet and the dry: Panflutes, on the one hand, are playful and passionate, Paperwork, on the other, refers to notation and sounds bureaucratic. The tensions between these states play well with tired conventions in the famous choreographer-composer constellation. With both tools at hand, Ingrid and Lasse invent games that re-negotiate their rule.Performance: Ingrid Berger Myhre and Lasse Passage
Commission for Tøyen Fil og Klafferi, September 2022. 1 min video teaser from the premiere at Ultima x By:larm.
EN: Electroacoustic composer Lasse Passage Nøsted’s piece for flute, clarinet, violin and cello turns the members of Oslo ensemble Tøyen Fil og Klafferi into physical representations of their instruments via MIDI. The work plays with the idea of what we think of as originals/copies, simulation/authenticity.
NO: Lasse Passage Nøsted er en elektroakustisk komponist som har skrevet et stykke for fløyte, klarinett, fiolin og cello. I “Quadratisch. Practisch. Gut.”, blir Tøyen Fil og Klafferi de fysiske representantene for sine hovedinstrumenter gjennom dataprotokollen MIDI. Gjennom en elektroakustisk lesning av instrumentalmusikken leker stykket med hva vi tenker på som orginal/kopi, simulering/autentisk. Med minimalistiske og noen ganger banale strøk, ligger det en oppriktig invitatsjon till å trenge inn under overflaten til noe som kan virke demonstrativt middelmådig.
Durata: 12-15 min
Commission for Sanae Yoshida, January 2020
Lieder für Nicht-Sänger und mikrotonales Klavier» is three songs commissioned by, and written especially for Sanae Yoshida. In the same manner as the timbral qualities of the piano is extended with microtonality, the voice and the performer is also pushing her boundaries and comfort zone - in the sense that it’s written for an untrained singer. This way, the two instruments find a common ground, not due to their excellence, but to their complimentary imperfections. With lyrics in Japanese, another foreign landscape is explored - this time for the composer, who navigates by writing for the language as if it were music, and making music in a language he doesn’t understand.
I. Naze Pepir
III. Himitsu nado
Durata: 12-15 min
Commission for SISU percussion ensemble, spring 2018.
By treating the keyboard as a tactile and percussive surface, the discrepancy between physical effort and digital output is highlighted in a game between which sounds we tend to ignore and which ones we perceive as musical objects.Instrumentation:
Electroacoustic commission from NMK in 2016.
“Hei!” is an electroacoustic piece disguised as a hörspiel. The work unfolds on a meta-level between the process of making the piece and the piece itself. With post-electroacoustic irony, this fictional radio documentary gives us a glimpse of the trauma that can hit those that are getting too close to the real electroacoustic secrets.
Performed at New York International Electroacoustic Music Festival in 2017. Durata: 24 min.
Commission for Alpaca Ensemble, winter 2018. Durata: 20 min.
Five Stones Pretending To Be Songs explores the possibilities for merging folk with contemporary music. The work is arranged for microtonal organ, violin, cello, piano, percussion, electronics and myself as a performer with guitar and voice.
Premiere at Teaterhuset Avantgarden in Trondheim. An excerpt was also performed at Only Connect in Oslo May 2018.
Commission for "Kitchen Orchestra", autumn 2017. Durata: 20 min.
A performative text-work that is exploring and challenging the expectations for improvised music and the conventions surrounding the genre. In a series of choreographed movement material, various spoken scenarios give us a glimpse into the range of possibilities of what could exist - addressing potentiality, self-reflection and doubt.
Written for and in collaboration with Marius Munthe-Kaas, Dag Egil Njaa, Olav Stener Olsen, Didrik Ingvaldsen, Johan Egdetveit og Dominique Brackeva.
Piece for classical guitar and cassette-player. Commission for Ole Martin Huser-Olsen in 2016.
Piece for clainet and two physical-spatialised loudspeakers. Commission for Kristine Tjøgersen, 2014.
Commision for E7B piano, clarinet and flute and loudspeakers. Picture is from the WP in Durham, England - spring 2016.