Kari Telstad Sundet – Reticence for solo violin (2020)
(b. March 26th 1987, Kristiansund)
Gimle (Bergen), Borealis Festival for Experimental Music
March 20th 2021
Kari Telstad Sundet lives and works in Kristiansund. She holds a master degree from the Grieg Academy in Bergen, where she studied with the late Morten Eide Pedersen, after whose passing she received further guidance from Trond Lossius and Ricardo Odriozola. She also studied for a year with professor Pawel Lukaszewski in Warsaw.
Sundet’s main focus has long been the visual nature of music and its potential for awakening memories and associations. Her work has a special focus on the electro-acoustic medium, but she has also written purely electronic works in 3D sound. She makes wide use of historic archive material and field recordings. Sundet has also written extensively for string quartet and her works for that instrumental combination have been performed by Odin Quartet, Siggi Quartet and Rosella Quartet. Her music has been performed at festivals such as Borealis, UNM, Bergen Assembly and Sound of Stockholm.
Her work “Spinlock Dreaming” for accordion, guitar and cello was nominated for the category “work of the year” in 2022 by the Norwegian Society of Composers.
The composer writes about Reticence:
The idea for the piece came through reflections around the concept “Aesthetics of
Reticence”. The term is used by Peter Strickland referring to a polar
opposite to romanticism in film music, but is interpreted in my piece both as actual
musical inspiration and as a metaphor for something human.
The term is closely related to the statements of the Russian filmmaker Tarkovsky
when he claims that in art something must always remain secret, and that part of its
indescribability hovers in the “air” that lies between all that is comprehensible.
In the piece “Reticence”, the idea is played out as imaginary parts of a conversation:
the deepest meaning may reside in what is left out or remains secret.
Read full preface / Das ganze Vorwort lesen> HERE