About the project
From the perspective of the field of classical music, contemporary music is seen not as a natural extension of the classical music heritage, but as a distinct genre. A symptom of this is the fact that we loosely use the term ‘contemporary’ about music to denote works which may be anything up to 100 years old! Contemporary music, conceived of as a genre, ceases to mean the music of our times and, rather, implies music whose aesthetic character and value systems are distinct from the broadly open, accessible and engaging forms of earlier music. We may acknowledge the enormous aesthetic differences between, say, classical and romantic music, but still feel that they broadly occupy the same space in terms of their constituting the mainstream repertoire that is part of our Western musical heritage. By contrast, music from the start of the now-historical period of Modernism right up to the present exists apart, in a specialist niche – analogous, although not identical, to that occupied by medieval and renaissance music. The major educational institutions confirm this stance in the repertoire students are encouraged to work on during their studies, and also through the institution’s compulsory admission requirements. For example, the Norwegian Academy of Music has no contemporary music among its acceptance criteria, which stipulate one work by Bach, one work in the classical Viennese style and one Romantic or Impressionist work, plus one optional work. The implication seems to be that you might choose to perform a work dating from before Bach or after Debussy, but nobody would dream of obliging you to do so. The same message applies to the studies. Courses in contemporary music are offered, but only as an elective course. In all these respects, the Norwegian Academy of Music is typical of general conservatoire practice. By contrast, art schools – and, to a large extent, drama schools – regard contemporary practice as central to their curricula and the skill sets of their graduates.
This means that piano students are being educated primarily with a view to becoming performers of what is mainly old music – the so-called standard repertoire of western music from the early 18th to the (very) early 20th centuries. This repertoire also spans the rise of the distinction between the creative and performative functions of musicians (aided by the corresponding rise of commercial publishing ventures that disseminated music far beyond the circle of direct contact surrounding its composers). For at least the second half of this standard repertoire period, the concept of composers as hierarchically superior to performers, of their works as independently valuable artistic artefacts and of the performers’ role as one of faithful realisation of these works became dominant, and it has continued to cast its shadow over our attitudes to the music that is written today and that which is predominantly performed. According to Mieko Kanno (2012), ‘The prominence of composers in the culture of Western art music remains unassailable: they are perceived to have an immortal status.' Students’ awareness of their role is formed through the music they work with, and the creative role they fill is somewhat similar in each project: they are performing a work of ‘genius’ created by a composer who is now dead. Linda Dusman (1994) points out how we tend to say that we ‘hear Mozart on the radio’ when what we hear is ‘a broadcast of a recording of some orchestral musicians playing on their instruments music composed by a man named Mozart.’ Music is constantly being played on the radio and TV in which the performers are not even named; as performers, we are expected to assume a position of rank below that of the composer and the work.
In my opinion, this creates a lopsided form of creativity and awareness of roles because the approach to making music remains more or less the same on every occasion, with the same music being recycled ad infinitum. Merely by playing old music, we reproduce the same musician role time after time, reconfirming, in turn, the essential nature of this sphere of activity.
The composers of today also belong to the same area in which musicians often are perceived as an ‘instrument’ for the composer. As musicians, we are not supposed to exaggerate our personal presence; the music is supposed to just pass through us. For example, when working with Helmut Lachenmann on his piano concerto Ausklang in 2010, Lachenmann sat down by the piano himself demonstrating what kind of sound I was supposed to make and wanted me to play exactly as he played. In brand new works commissioned by me, such an attitude may give rise to a double bind situation. As a musician commissioning a new work in which I will be the soloist, I am a central constituent of the work. At the same time, the traditional role of the musician compels me to bracket myself as much as possible.
According to the 2011 Norwegian Society of Composer’s report of the Norwegian symphony orchestras’ repertoires, only about one out of a hundred works performed in the period from 2003 to 2007 was a new piece of music. Contemporary music is consigned to the margins of the repertoires of the major concert venues and in the major symphony orchestras’ monthly subscription concerts. Given such a philosophy, efforts are made to tailor and weigh up entirely new compositions against the same criteria as the old, well-known works in the orchestral apparatus. Linda Dusman argues that this is unfair (1994: 40): ‘In the performance of new works an audience member experiences music that she will probably never hear again, and in this way experiences a present that is unfamiliar and anxiety-provoking in a culture identified by reproduction of old music.' New music suffers from being forced into old bottles, and the performances are rarely as good as they might have been.
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With this as a background, I created the project The soloist in contemporary piano concerti. I wanted to investigate my role as a soloist through the commissioning, developing, staging and performing of brand new piano concerti, and explore the possibilities of a progressive way of being in the process. The outcome of the project is divided into three parts: (I) the Artistic results, (II) Reflections and (III) the Toolkits.
Part I, the Artistic results, include the concert performances, recordings, and scores of the five piano concerti that are the core compositions in the project. In addition to the piano concerti, I also include some solo- and chamber works that were crucial parts of the research process in the Artistic results.
In Part II, Reflections, I describe and reflect upon my role in the collective processes involved in the commissioning, developing, staging and performing of the music. I analyse the processes I was part of from a practitioner’s point of view, searching for a deeper understanding of my role and the role’s potential to help to improve the performances of new music. The situations that occurred were as multifaceted and unpredictable as the music itself. The Reflections can be read in any order.
In Part III of the project’s outcomes, the Toolkits, I collect the central findings of the project as a list of specific suggestions and advice that can hopefully be useful to other practitioners of contemporary music, as well as interested students and fellow researchers. Over the course of the project, I have learned that some of the advice can even benefit and be relevant for performers working with old music. The Toolkits can be described, in short, as distilled versions of my most significant learning experiences throughout the project. A relevant Toolkit section is placed after each of the sections in the Reflections part.
Ellen Ugelvik, pianist
Ellen Ugelvik is a pianist and an artist researcher who concentrates on performing new works by contemporary composers. Ugelvik works as a soloist and chamber musician in Europe, USA, and Asia. She has been invited to festivals such as Donaueschinger Musiktage, Internationalen Ferienkurse für Neue Musik Darmstadt, Tasten – Berliner Klaviertage, Huddersfield Contemporary Music Festival, Ultraschall, Kwadrofonik Festival, Other Minds, Monday Evening Concerts, Risør Festival of Chamber Music and Ultima Oslo Contemporary Music Festival.
She collaborates with composers like Helmut Lachenmann, Carola Bauckholdt, George Crumb, Simon Steen-Andersen, Mathias Spahlinger, Claus-Steffen Mahnkopf and Michael Finnissy.
Her commitment to contemporary music is widely recognized. Her recordings are rewarded with the Norwegian Grammy three times. In 2008 she received a state grant for performing artists, one of the most coveted awards in Norway. In 2016 she was acclaimed Performer of the year by the Norwegian Society of Composers.
Ugelvik has performed as a soloist with the most prominent orchestras and ensembles in Norway such as Oslo-Filharmonien, Bergen Filharmoniske Orkester, Kringkastningsorkesteret, Oslo Sinfonietta, Risør Chamber Orchestra, Kristiansand Symfoniorkester and Bodø Sinfonietta. She is a member of the ensembles asamisimasa and Jagerflygel.
© Ellen Kristine Ugelvik | go to top
Project period activities 1.10.2012-15.12.2016 (wp = world premiere):
Part of the research group The reflective musician 2012-2015
Concerts 2012
20.10. Donaueschinger musiktage, Donaueschingen/DE
asamisimasa, Trond Reinholdtsen, Silje Aker Johnsen, soprano
the ugly horse (2012) by Klaus Lang (wp)
Crowd of Ears: the lament of V. Pollard (2012) by Eliav Brand (wp)
Musik (2012) by Trond Reinholdtsen (wp)
after Carroll (Jabberwocky) (2012) by Georg Katzer (wp)
Concerts 2013
23.2. Konzert im Radio, Köln/DE
asamisimasa
Willibald Motor Landscape (2012) by Øyvind Torvund
Dedica (1998) by Aldo Clementi
Selbversuch, die Andern (2012) by Martin Schüttler
Unsichtbare Musik (2009) by Trond Reinholdtsen
21.3. Bodø Kulturhus, Bodø/NO
Bodø Sinfonietta, Magnus Loddgaard, conductor, Jennifer Torrence, percussion, Ellen Ugelvik, piano
Double Concerto (2002) by Unsuk Chin
5.6. Only Connect Festival of Sound Oslo/NO
Eivind Lønning, trumpet, Espen Reinertsen, saxophone, Martin Taxt, tuba, Ellen Ugelvik, piano
Lyriske stykker (2007-12) by Christian Blom (wp)
Forest Catalogue (2013) by Øyvind Torvund
24.8. UNM, Norwegian Academy of Music, Oslo/NO
asamisimasa, Lars Erik ter Jung, conductor, Trond Reinholdtsen, Silje Aker Johnsen, soprano
ES (2011) by Clemens Gadenstätter
Radio 1 (2012) by Max Wainwright
Unsichtbare Musik (2009) by Trond Reinholdtsen
11.10. Musiques d’aujord’hui, Luxenburg Philharmonie/LU
asamisimasa, Lars Erik ter Jung, conductor, Ditte Marie Bræin, soprano
rerendered (2003/2004) by Simon Steen-Andersen
Plastic Waves for piano and ensemble (2013) by Øyvind Torvund (wp)
Clemens Gadenstätter: ES (2011)
23.11. Huddersfield Contemporary Music Festival, Huddersfield/GB
Oslo Sinfonietta, Christian Eggen, conductor, Ellen Ugelvik, piano
Diamond Dust (2012) by Dai Fujikura (wp)
Concerts 2014
16.1. Official opening of NMBU, Ås/NO
Ellen Ugelvik, piano a.o.
Lyriske stykker (excerpts) (2007-12) by Christian Blom
24.1.2014 Ultraschall, Berlin/DE
asamisimasa
Plastic Waves for piano and ensemble (2013) by Øyvind Torvund
Selbstversuch, die Andern (2012) by Martin Schüttler (wp)
Radio 1 (2012) by Max Wainwright
27.2. A Keen Ear, Vinterlydfestivalen, Oslo/NO
Tanja Orning, cello, Kristine Tjøgersen, clarinet, Ellen Ugelvik, piano
Klarinettentrio (1993) by Carola Bauckholdt
24.4. Akademie für Tonkunst, Darmstadt/DE
asamisimasa
Selbstversuch, die Andern (2012) by Martin Schüttler (wp)
Allegro Sostenuto (1986-88, rev. 1989) by Helmut Lachenmann
Thirteen Music Theatre Pieces (2008) by Trond Reinholdtsen
30.4. Klassisk Festaften, The reflective musician, Bærum Kulturhus/NO
Håkon Austbø, piano, Kjell Tore Innervik, percussion, Hans Kristian Kjos-Sørensen, percussion, Ellen Ugelvik, piano
Sonata for Two Pianos and Percussion (1937) by Béla Bartók
27.5. Angelica Festival, Teatro San Leonardo, Bologna/IT
asamisimasa
Allegro Sostenuto (1986-88, rev. 1989) by Helmut Lachenmann
Willbald Motor Landscape (2012) by Øyvind Torvund
6.6. Den norske musikkfest 2014, Gamle Logen, Oslo/NO
Ellen Ugelvik, piano a.o.
Herbarium II (excerpts) (1974/2002) by Magne Hegdal
16.9. The Norwegian Academy of Music, Oslo/NO
18 bachelor students in a project conducted by Ellen Ugelvik
Makrokosmos I & II (1972-73) by George Crumb
Concerts 2015
28.1. Klassisk nærkontakt NRK Store Studio, Oslo/NO
Kringkastningsorkesteret, Bjarte Engeset, conductor, Ellen Ugelvik, piano
Konsertstykke i tre deler / Concert Piece in three sections (2013) by Magne Hegdal (wp)
16.4. The reflective musician festival, Universitetets Aula, Oslo/NO
Ensemble Allegria, Berit Cardas, leader, Ellen Ugelvik, piano
at the tips of my fingers / at the tip of my tongue (2014-15) by Bente Leiknes Thorsen (wp)
25.5. Hardanger Musikkfest, closing concert, Ullensvang/NO
Ellen Ugelvik, piano a.o.
Serynade (1997-98, rev. 2000) by Helmut Lachenmann
20.7. Tzlil Meudcan Festival, Tel Aviv/IL
asamisimasa
rerendered (2004) by Simon Steen-Andersen
Supercentenarians (2015) by Bnaya Halperin (wp)
NAGUG (2015) by Esaias Järnegard (wp)
John White in Berlin (2003) by Laurence Crane
29.8. Hanna Ryggen – konsertserie, Nasjonalmuseet, Oslo/NO
asamisimasa
Klarinettentrio (1993) by Carola Bauckholdt
6.9. Festival Kwadrofonik, Warzawa/PL
asamisimasa
rerendered (2002-2003) by Simon Steen-Andersen
Popular Contexts #7 (2014) by Matthew Shlomowitz
John White in Berlin (2003) by Laurence Crane
Plastic Waves (2013) by Øyvind Torvund
14.9. Ultima Contemporary Music Festival, Oslo/NO
asamisimasa
nachtstück mit sonne (2015) by Mathias Spahlinger (wp)
Plastic Waves (2013) by Øyvind Torvund
25.9. Nordic Music Days, Den sorte diamant, Copenhagen/DK
asamisimasa
Ellen Ugelvik, solo
Encountering the Imaginary [Ulysses] (2011) by Christian Jaksjø
Willibald Motor Landscape (2012) by Øyvind Torvund
Trå (2015) by Jon Øyvind Ness (wp)
29.9. Kammer Klang, London/GB
asamisimasa
Willibald Motor Landscape (2012) by Øyvind Torvund
John White in Berlin (2003) by Laurence Crane
23.10. Lindeman price winner concert, The Norwegian Academy of Music, Oslo/NO
Eir Inderhaug, soprano, Ellen Ugelvik, piano a.o.
Mysterie of the Macabre (1974-77/1992) by György Ligeti
30.10. Willibald Motor Landscape, The Norwegian Academy of Music, Oslo/NO
asamisimasa
Willibald Motor Landscape (2012) by Øyvind Torvund
Trå (2015) by Jon Øyvind Ness
Week Music Strong Questions (2014) by Christian Blom (wp)
23.11 SALuT FüR HELMuT, Norwegian Academy of Norway, Oslo/NO
asamisimasa
Allegro Sostenuto (1986-88, rev. 1989) by Helmut Lachenmann
Concerts 2016
22.1. RAW, Norwegian Academy of Music, Oslo/NO
Tanja Orning, cello, Kristine Tjøgersen, clarinet, Ellen Ugelvik, piano
Allegro Sostenuto (1986-88, rev. 1989) by Helmut Lachenmann
24.1. Klimafestivalen, Oslo/NO
Håkon Austbø, piano, Ellen Ugelvik, piano, Guri Egge, soprano a.o.
Lyriske stykker (2007-12) by Christian Blom
Six Epigraphes Antiques I-III (1914-15) by Claude Debussy
Apparition (1979) by George Crumb
16.2. Serynade, Norwegian Academy of Music, Oslo/NO
Lyriske stykker (2007-12) by Christian Blom
Songs and Flowers (2004) by Magne Hegdal
Serynade (1997-98, rev. 2000) by Helmut Lachenmann
5.3. Ny Musikks komponistgruppe, Oslo/NO
asamisimasa
Shapes, Book II (2015) by Jonas Skaarud (wp)
wuthering heights (résilience 1), oder laufende verhandlungen über die ewigkeit (2015) by Martin Rane Bauck (wp)
Byen (2015) by Tine Surel (wp)
Nouveau-né (2016) by Ansgar Beste (wp)
12.3. Borealis, Bergen/NO
asamisimasa
a (2011), (.._.._....) (2010/2011), d (2013) by Simon Løffler
13.3. Borealis, Bergen/NO
asamisimasa
Shapes, Book II (2015) by Jonas Skaarud
wuthering heights (résilience 1), oder laufende verhandlungen über die ewigkeit (2015) by Martin Rane Bauck
Byen (2015) by Tine Surel
9.4. Göteborgs Konsthall/SE
asamisimasa
NAGUG (2015) by Esaias Järnegard
Nachtstück mit Sonne (2015) by Mathias Spahlinger
Radio 1 (2012) by Max Wainwright
17.4. ppIANISSIMO festival, Sofia/BG
Lyriske stykker (2007-12) by Christian Blom
Songs and Flowers (2004) by Magne Hegdal
With my ear to the ground (at the tips of my fingers) (2016) by Bente Leiknes Thorsen (wp)
Encountering the Imaginary [Ulysses] (2011) by Christian Jaksjø
18.4. Five pianos, Norwegian Academy of Music, Oslo/NO
Ioanna Mixha, Daniel Reith, Marina Kan Selvik, Ayumi Tanaka, Ellen Ugelvik, pianos
Herbarium II (excerpt) (1974/2002) by Magne Hegdal
Five pianos (1972) by Morton Feldman
2.5. Grunnsteinnedleggelse, National Museum Oslo/NO
Ellen Ugelvik, piano a.o.
Lyriske stykker (excerpts) (2007-12) by Christian Blom
14.5. Spor festival Århus/DK
asamisimasa
Music as Emotion (2007/2016) by Trond Reinholdtsen
Radio 1 (2012) by Max Wainwright
Selbstversuch, die Andern (2012) by Martin Schüttler
20.5. Only Connect Festival of Sound Oslo/NO
asamisimasa
Old Life Was Rubbish (1998) by Laurence Crane
John White in Berlin (2003) by Laurence Crane
26.5. Bergen International Festival, Music with the Real, Bergen/NO
asamisimasa
Popular Contexts # 7 (2014) by Matthew Shlomowitz
Instrument of Speech (2016) by Henrik Hellstenius (wp)
Oh, I see (201516) by Carola Bauckholdt (wp)
12.8. Internationale ferienkurse für Neue Musik Darmstadt/DE
asamisimasa
faux faux faux bourdon (2016) (wp) and Nachtstück mit Sonne (2015) by Mathias Spahlinger
Things have never been as much like they are now ever before (2016) by Bryn Harrison (wp)
15.9. Ultima Contemporary Music Festival, Sentralen, Oslo/NO
Oslo-filharmonien, Cathrine Winnes, conductor, Ellen Ugelvik, piano, Trond Reinholdtsen, Tobias Schülke
Theory of the Subject (2016) by Trond Reinholdtsen (wp)
19.9. Munch 1916 Musikk 2016 Universitetes Aula, Oslo/NO
Eir Inderhaug and A. Voje, soprano, Ellen Ugelvik, piano a.o.
Harvesting Women (2016) by Marcus Paus (wp)
New Rays (2016) by Bjørn Kruse (wp)
Men turned towards the sun (2016) by Therese Birkelund Ulvo (wp)
29.10. Cycle festival, Reykjavik/IS
asamisimasa
Music as Emotion (2007) by Trond Reinholdtsen
Allegro Sostenuto (1986-88, rev. 1989) by Helmut Lachenmann
5.12. Leicht über Linz, Exchange Basel – Ljubljana - Wien, Linz/AT
asamisimasa
Wednesday Morning, 3AM (2016) by Eleni Ralli (wp)
Your Idea? (2016) by Constant Goddard
we should get to know each other (2016) by Kristine Tjøgersen
5.12. Leicht über Linz, Antrittskonzert, Music with the Real, Linz/AT
asamisimasa
Ellen Ugelvik, solo piano
Oh I see (2015-16), Klarinettentrioby Carola Bauckholdt
…Nahen – Weiten (2011) by Volkmar Klien
asamisimasa:
Anders Førisdal, guitar
Tanja Orning, cello
Håkon Stene, percussion
Kristine Tjøgersen, clarinet
Ellen Ugelvik, piano
Recordings
Gamelan Terrains (2012). Aurora records. ACD5078
Hommage à Frank Cox. NEOS (in print)
Lyriske Stykker (2013). MERE records. 010
Selbstversuch, die Andern. NEOS (in print)
asamisimasa plays the music of Øyvind Torvund: Neon forest space (2014). Aurora records. ACD5078
Sound of Horse (2015). Hubro records. LC49093
Ellen Ugelvik plays Magne Hegdal and Anton Reicha (2016). Aurora records. ACD5089
Darmstadt Aural Documents Box 4 Pianists. (2016) NEOS. NEOS11630
Pena: Caffeine (2016) Wergo. WER64162
Next to Beside Besides #7. Deutscher Musikrat edition zeitgenössische musik (in print)
Presentations
22.-24.10.2012 Autumn Forum, Norwegian Artistic Research Programme, Bergen/NO
21.-23.10.2013 Autumn Forum, Norwegian Artistic Research Programme, Trondheim/NO
20.11.2013 Open rehearsal Diamond Dust, Riksscenen, Oslo/NO
21.11.2013 Open Dialogue meeting Diamond Dust, Norwegian Academy of Music, Oslo/NO
3.3.2014 Klaverdager, Norwegian Academy of Music, Oslo/NO
25.-26.3.2014 Spring Forum, Norwegian Artistic Research Programme, Oslo/NO
3.4. 2014 Open rehearsal Sonata for Two Pianos and Percussion, Norwegian Academy of Music, Oslo/NO
17.-19.11.2015 Unfolding the Process, Norwegian Academy of Music, Oslo/NO
24.-25.2.2016 Performance, Subjectivity and Experimentation in Artistic Research, Ghent/BE
15.-16.3.2016 Spring Forum, Norwegian Artistic Research Programme, Oslo/NO
14.4.2015 The reflective musician symposium, Norwegian Academy of Music, Oslo/NO
15.4.2015 Open rehearsal, Norwegian Academy of Music, Oslo/NO
