ELLEN UGELVIK, PIANO
ELLEN UGELVIK, PIANO
ELLEN UGELVIK, PIANO
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CHRISTIAN BLOM<br />
Manualenes poesi (2007–11) for piano<br />
HELMUT LACHENMANN<br />
Serynade (1998/2000) for piano<br />
CHRISTIAN JAKSJØ<br />
Encountering the Imaginary [Ulysses] (2009/10)<br />
for ring modulated electromechanically<br />
amplified piano and electronic sound<br />
—<br />
BY BJÖRN GOTTSTEIN<br />
—<br />
When does the piano become a piano? Only when a<br />
great virtuoso performs Chopin's Revolutionary<br />
Etude flawlessly and magnificently on it? What if the<br />
pianist only scrapes his fingernails along the keys,<br />
making a grating sound? How about a pianist who<br />
knocks on the wood of the instrument? Or a pianist<br />
who doesn't play at all?<br />
The certainty with which the piano has been played<br />
and listened to up until the middle of the 20th century<br />
has been upset by the music of the avant-garde. A<br />
composer writing a piece for the piano today has to<br />
deal with the fact that striking a key is only one of<br />
many options. Yet the pianist in Helmut Lachenmann's<br />
piece Serynade is still expected to treat the piano in a<br />
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