C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Jaksjø, Christian 




It is not always the loudest who are the most interesting let alone the most intelligent to
listen to. Among the ghosts of the past we most certainly find the haunting voices of the
Sirens that Ulysses was exposed to. It is, of course, an aspiring claim to be driven mad by
music. Christian Jaksjø’s Encountering the Imaginary [Ulysses] is an attempt to access
regions of sound that have been withdrawn from the listener (for the sake of his own
safety). Jaksjø preludes the score with a text by Maurice Blanchot, describing the song of
the Sirens as unfulfilling yet being “a sign of where the real sources and real happiness of
song opened”, and the text seems like an antedated description of Jaksjø’s piece, in
which the instrument is engaged in a self-modulating song through an elaborate electroacoustic
exchange between the played piano part and an electronic soundtrack. There is
also a close connection between Jaksjø’s Encountering the Imaginary and Lachenmann's
Serynade, the material of the former having been derived from the latter, exposing those
sounds that Lachenmann only hinted at. But more than being a frottage of
Lachenmann’s piece Jaksjø has tapered the project of listening deeply and beyond,
turning the piano into a guidepost that leads well into the 21st century.
(Björn Gottstein)



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