The first encounter with a piece of new music is always exciting. To put the sound into words – the impression you have there and then – is not easy. Seldom does one see the whole intention; often one hovers on the surface of an opinion. The encounter seems indirect. You have this short time to experience what others have taken weeks, months and perhaps years to say.
Soundscape as a whole
In her stipendium project, Ugelvik is concerned with a performer not only being able to, but also having the responsibility to demand a dialogue – with the music and with the composer’s intentions. There is a conflict here, between the score and what the pianist wants to do with the sound. When Ugelvik put into words to her choices around Hegdal’s work, it is to make one factor clear. She wants to phrase, give the music colour, life and breath – more than the composer himself has asked for. There is a deep understanding between Hegdal and Ugelvik. Here is a long-standing and throroughly prepared study, a knowledge of the intention and the attitude that lies behind it – and not least a practical knowledge: before the premier of the Concert Piece she and Hegdal had played it together, getting to know the work as a whole.
Anton Reicha (1770-1836)
With his origin in a theoretical framework, composer Anton Reicha works strangely and radically. Hegdal is inspired by Reicha, both by his look at sonata form and further as a theoretician and composer. Reicha’s radicalism and accessibility is what Hegdal embraces, and so Reicha is heard with him on the whole of this record. In Concert Piece we find him in the form of small quotations; in the continuation of the cycle to Songs and Flowers, by number three having the title Praktische Beispiele (1999).
Hegdal and Ugelvik
In 2014, Hegdal was awarded Arne Nordheim’s composer award for his throughly reflective material, prepared with great circumspection in the binding compositional work, and were nominated for the Nordic Council Music Prize twice. Ugelvik has won three Norwegian Grammy’s in contemporary music and were nominated for Kritikerprisen for the performance of Hegdal’s Herbarium at Risør Chamber Music Festival in 2012. The jury stated that she is a listening, very dedicated musician who gives an expressive depth to the music, whether it is a simple or complex starting point.