I Ching recording online!

This one has been in my archives for four years already. Finally I feel like sharing it.

I hope you will enjoy this piece of music and my interpretation – piece of work I did back in Copenhagen in 2014 as a Soloist Postgraduate student of the Royal Danish Academy of Music. All that does not really matter. What matter is that it’s:

Per Nørgård – I Ching, mvt. 4 – Towards Completion, Fire over Water.

One of the most wonderful works for percussion solo, written back in 1982 for my main teacher Gert Mortensen with his great contribution to the score and instrumentation, and of course to the performing practice of such music.

No more words, eventhough the ideas behind the piece are amazing and it’s exciting to explore them.
Best 🙂

Recorded at the Concert Hall of the Royal Danish Academy of Music, Copenhagen 2014
Sound engineer: Franziska Wackerhagen !

1              2

Gert Mortensen’s Anniversary Concert


I am happy to join Gert Mortensen, my mentor and professor for a couple of years, at his 60th Anniversary Concert. [LINK]

Being back in Copenhagen after a few years also means to join my percussion mates there and other graduates, under the name of Percurama Percussion Ensemble yet again!

Date: Monday, the 26. February 2018

Time: 19:30 – 21:30

Place: Konservatoriets Koncertsal, Julius Thomsens Gade 1


Lou Harrison: Concerto for Organ and Percussion Orchestra (1972)
Iannis Xenakis: Metaux from Pleiades (1978)
Franco Donatoni: Mari for 4 marimba (1992)
Askell Masson: Concertpiece for Snare Drum and Percussion Ensemble
Edgard Varèse: Ionisation for 13 percussionists (1929-31)
Chiung-Ying Chang: Solar Myth for marimba solo and 3 performers (2009)
Zhang Xuru: Arouse & Booming for 30 percussionists on Asian drums og træstammer (2008)

Conductor: Thomas Søndergård and Gert Mortensen
PERCURAMA Percussion Ensemble
Solists: Richard Moore, Hsiao-Tung Yuan (Taiwan), Gert Mortensen, guests


No. 11 Refrain

Stockhausen’s music is in the area of my interest for a long time. My practical approach was started by Gert Mortensen who convinced me to work on “Zyklus”. It was on my 2nd Master. Well, “Zyklus” is in my repertoir for over 3 years now and I have performed it frequently for varied audience. There were other pieces by this great genius that I was playing or wanted to play. Eventually, when it came to scetching my Debut Concert’s program, “Zyklus” was there due to many factors. It came naturally, that “Refrain”, a chamber music piece, being very close to the solo Stockhausen’s piece, is the one to be in my program as well. They are very different from each other, but both were composed during the “Kontakte” period in 1959.

I am not saying that’s the only reason. “Refrain” is beautiful, and it’s so interesting to play together. With its colours, layers, timing and relationships between three parts it is absolutely marvelous music. It is suspended somewhere beyond reality. And the score…this is something extraordinary to work with.

Perhaps, I could just mention that reading from an enormous format (something like A1, or bigger), with a trasparent strip that moves all the time despite our beseech, was a challenge like no other 🙂

For all those reasons mentioned before, it was a perfect piece to perform just before “Zyklus”…and much shorter than “Kontakte” 🙂

Here I should say, I got an opportunity to work on “Refrain” together with two great pianists. I had a chance to play contemporary music with both of them before, but this time was different. Probably because of special kind of communication that is required, and a very open mind to create all that, what Stockhasuen had put into this masterpiece.

Many, many great thanks to Kristoffer Nyholm Hyldig (piano) and Manuel Esperilla (celesta).

A couple of words from my printed program:

In many respects, “Refrain” may be considered a female complement to “Zyklus”. They are both composed in the same period, along with “Kontakte”. The title refers to recurrent disturbances that ruffle the ringing tranquility of the chordal music. These are engraved on a transparent strip, which is movable on its axis, so the music can be disturbed at number of places, varying performance. That is left to the musicians to decide. Further principles determine the sound layer of this trio composition. Nearly static chords dissolve into melodies. There is some kind of peace inside this sounding space.