Trond Reinholdtsen

Trond Reinholdtsen

Trond Reinholdtsen (*1972 in Norway) is a composer that at some point, quite a few years ago, decided that his practice involves all the art forms, that music is more than sound, that there are principally no restrictions to what types of material are allowed or relevant. This resulted in an embracement of an aesthetics of Universalgenie-dilettantism. In 2009 he established his own opera house called «The Norwegian Opra» in his own living-room in the slums of Oslo. As the project was an attempt at a radical withdrawal from the standard production modes and working processes of traditional opera and contemporary music (and maybe also because he suffers from mild social anxiety and steadily increasing doomsday paranoia) he decided to not have any audience at his performances except for a few well-meaning insider friends. As a further radicalization of the project, the institution was in 2015 relocated far into the Swedish forests. In this milieu of isolation and concentration the famous operafilm series «Ø» was begun. More at www.thenorwegianopra.no. He has worked closely with superstar musicians like Ellen Ugelvik and Jennifer Torrence for many years, for example in the piano concerto »Theory of the Subject« and the percussion sonata »Institute for Posthuman Performance Practice«.

Jennifer Torrence

Jennifer Torrence

Ellen Ugelvik

Ellen Ugelvik

KEINE IDEEN. KEINE NEUE PERSPEKTIVE

KEINE IDEEN. KEINE NEUE PERSPEKTIVE

I read something quite similar to this once: »[…] what is asked of MUSIC, from the interior of the infinite precariousness of this world, is to take the risk of a determined, foundational music, that is at the same time a music of singularity, a music of truth, a rational music, and a music of the event.« I agree very much to this. It is too much interdisciplinary circus out there. But it is easier said than done:
»Nature is boring
Apocalypse is boring
This piece is just an image copy of the general Wisdom
All artistic radicality is deadly
All artistic radicality is too precarious for today’s concert life
Paralysis is the only position«.
Trond Reinholdtsen

Trond Reinholdtsen

Trond Reinholdtsen (*1972 in Norway) is a composer that at some point, quite a few years ago, decided that his practice involves all the art forms, that music is more than sound, that there are principally no restrictions to what types of material are allowed or relevant. This resulted in an embracement of an aesthetics of Universalgenie-dilettantism. In 2009 he established his own opera house called «The Norwegian Opra» in his own living-room in the slums of Oslo. As the project was an attempt at a radical withdrawal from the standard production modes and working processes of traditional opera and contemporary music (and maybe also because he suffers from mild social anxiety and steadily increasing doomsday paranoia) he decided to not have any audience at his performances except for a few well-meaning insider friends. As a further radicalization of the project, the institution was in 2015 relocated far into the Swedish forests. In this milieu of isolation and concentration the famous operafilm series «Ø» was begun. More at www.thenorwegianopra.no. He has worked closely with superstar musicians like Ellen Ugelvik and Jennifer Torrence for many years, for example in the piano concerto »Theory of the Subject« and the percussion sonata »Institute for Posthuman Performance Practice«.

Performing Precarity II

7
03.02.
22:30
Theaterhaus, T3
Trond Reinholdtsen performance, voice Jennifer Torrence performance, timpani, objects Ellen Ugelvik performance, piano, objects Mitglieder des Philharmonia Chor Stuttgart performance, stage assistance

Trond Reinholdtsen: KEINE IDEEN. KEINE NEUE PERSPEKTIVE

for Ellen, Jennifer, emergency instruments, ghosts, floating instruments, lyrics, rain samples, modernist-nostalgic-neoclassical revival video documentary, the Blob, various degrees of darkness and choir. (2022) ᵁᴬ

Composer Trond Reinholdtsen decided a few years ago that his practice would include all art forms, that music is more than sound, that there should be no restrictions on the type or relevance of materialresulting in an »aesthetic of universal genius-dilettantism.« “I once read something very similar: ‘…what is required of MUSIC is to take the risk, from within the infinite precariousness of this world, of a determined, fundamental music that is at once a music of singularity, a music of truth, a rational music, and a music of the event.’ I couldn’t agree more. There is too much interdisciplinary fuss out there. But that’s easier said than done:

 

«Natur ist langweilig
Apokalypse ist langweilig
Dieses Stück ist nur ein Abbild-Kopie von der general Wisdom
Alle künstlerische Radikalität ist tödlich
Alle künstlerische Radikalität ist zu precarious für heutiges Konzertleben
Paralyse ist die einzige Position»

Das Projekt Performing Precarity I wird finanziert von der Norwegian Academy of Music (NMH) und dem Norwegian Directorate for Higher Education and Skills