Portræt koncert med musik af komponist og pianist My Beautiful Decay 1973 alias Carsten Bo Eriksen. Sammen med cellist Josefine Opsahl og violinist Cæcilie Balling præsenterer My Beautiful Decay 1973 helt nye værker inspireret af døden og livet for klaver, violin og cello og elektroniske projiceringer.
Detaljeret koncertprogram offentligøres når vi kommer tættere på koncertdatoen.
Varighed på koncerten er 30 min.
Herefter er man velkommen til at blive til næste koncert:
Kl.20.15 DJ sæt
Kl.21.30 slutter aftenen.
(man kan også møde ind kl.19.00 og hører portræt koncert af komponisten og pianisten Ejnar Kanding, billetten gælder for begge koncerter)
Billetpris kr.80 per person. Billetter kan købes ved indgangen eller via Billetto.
About My Beautiful Decay 1973:
Carsten Bo Eriksen (alias My Beautiful Decay 1973) is a prize winning and award nominated danish composer. His music incorporates elements and inspiration from post-rock, american minimalism, ambient electro-acoustic/electronic music and field recordings. He’s educated at the Royal Academy of Music as a composer (1997-2003), pupil of Professor Ib Nørholm, Ivar Frounberg and Hans Abrahamsen. As a painter and videoartist he is selftaught. He had his debut from the extended studies program in composition in 2003. Furthermore he has studied at Berklee College of Music, Mass, USA. And has studied the balinese gamelan music in Ubud, Bali, Indonesia, with the musician Pak Tama. In 2004 he was granted by the Danish Arts Foundation with a 3 year working grant. He won the 1st price for best electronic music in 2001 at the Danish Arts Foundation, and same year nominated for a Danish Music Award - Classical, later nominated for best electronic release with "Bloom" at "Gaffa Prisen 2020"
"Introduction to my music"
My minimalist electro-acoustic music, draws on my inspiration from American minimalism, musique concrete, Neo-classical and electronic music, which I without doubt stand on the shoulders of. Repetitive patterns and patchwork, which acts as architectural building blocks and piles, gets filled up with climatic spatial moods and atmospheres. In other selected pieces there is an absence of concrete structures, as I try to create empty pockets of time and airy space. I work with light, temperature and timbre “klangfarben”, a lot like a traditional painting and sculpting artist. In many ways it’s my fascination about working with computermusic, that you’re working directly on the sounding material, at the same time it still fascinates me, how expressive acoustic instruments can be. I’ve wanted to create a more conceptually composed expression where there is an entity present in the “sound” I use and with some clear-defined tonal means. For this I have some specific practices and sound libraries, which I regularly use. I collect audio, as others collect stamps. Another of my practices is that I sample fragments of classical music from audio CDs and rework it to become my own material and record acoustic fragments with various musicians and orchestras, sections from my own compositions and manipulate them into new pieces together with the electronic manipulations. I also make field recordings in good Pierre Schaeffer spirit, and sound processes, recomposes, restructure the material, until I feel that I have the “right”expression. I still compose in a traditional score form, but it is not crucial to me that the pieces must be present in this format anymore. A score is only a communicative possibility among others. The recording has become the finished work. Therefore, I plan to record all my future works and publish them in the coming years, a mindset I have not had before. This shall be done in a new inspirational way together with my paintings, photographs, mixed media and additional videos”.
“I’m surely a strange hybrid between a traditional classical composer and a contemporary electronic musician “
For more information: