Beall Center for Art and Technology

To the Beall Center for Art and Technology.

Att. David Familian.
>
> I hereby submit my Cv, reviws etc. according to the guidelines.

As you will learn, I am currently living in Italy, working un my second opera. This work is a visual art installation as well as a large scale piece of music. It combines technology with sound and image, yet avoiding the term "multi-media".

This bio-info suggests, that all my work as a trained composer is now based upon the musical constructions, presented mainly on dvd, filmed and soundrecorded, then synchronized. This is a hugde step away from the traditional Commission/Concert/Cd concept. Instead of letting music be absorbed by vision and vice versa, I see parameters become one division. As I stated through the years of my active career, in newspaper interviews, on radio and television, 'experimental' music of today can only reach a large audience through visual medias. This is still looked upon as ' ignoring the traditional ways' in Skandinavia and it explains the fact, that I´m constantly moving from one place to another, preferring to live abroad.
> My new opera is the first in the genre ever to be premiered by sattelite livetransmission. The singers are "caught" up in Skype, - Cyberspace.
> On stage, the musicians themselves are the language of the work. Their voices and instruments performs every single word from the libretto. Thus, - allmost every language is represented, pointing out, that this piece of music/virtual performance, is a statement of Worldwide communikation and Interlingua.
> Many regards and thank you for tour time
>
> Morten Skovgaard Danielsen, Danish Composer/writer - currently living in Italy.
>
>
>
> Curriculum vitae.
>
> Nota bene! This is a chronological resume, due to the fact, that all all works 1999 and until now, should be seen as a large-scale of endeavor concerning artistic attitudes and approaches.
>
> Morten Skovgaard Danielsen, * 1967, Denmark. Composer, musician, writer and former curator.
>
> 1991-96: Studies in composition at the Royal Danish Academy of Music, Copenhagen.
> 1997: Diploma in composition.
> 1997-99: Turns down a two year training program. Enters the Department of Music Science, University of Copenhagen.
> receiving a number of significant commissions. First collaborations with video artists, - most notably Peter Land, with whom
> he films concerts, events and small theatrical plays. Composes musical loop for the video installation THE STAIRCASE
> (P.L.1997) which is instantly bought by The Pompidou Center in Paris.
> 1999: Receives the prestigious Three Year (Work) Grant, which gives 'promising artists' financial independency for a period of
> three years.
> Fall of 99 scholar (scholarship) in Rome, The Institute for Art and Science, giving lectures on contemporary composition.
> 2000: Returns on yet a scholarship to Italy. Fall spent in Paris.
> 2001: Given a Portrayal Concert by the former organization Musica Nova followed up by first Cd-production release ROADMOVIE
> ACCESSORIES (2000-01). Both events given much notice by the medias, bringing the music to The Cannes Festival / Biennale
> summer of 2001. Honored with The Borresen Prize for 'outstanding achievements in the field of contemporary music.'
> 2002: Appointed curator for several festivals. Head Name on several high profile festivals, both in Skandinavia and overseas.
> Second and third Cd releases: SHOTGUN DIARY (2001-02) a THE KURT COBAIN SONGS (2002).
> 2003: Prizewinner ( woodwind ensemble CARION), The Danish Broadcasting Cooperation's Annual Ensemble Competition.
> Breaks off all involvement with ZENTROPA FILM INDUSTRIES.
> 2003-04: Composition of first Opera 'ABSENCE' , written in less than 21 hour. This highly controversial project attracted much attention
> -later announced as the first Dogma-Opera ever written. Never the less, it made is way unto the stage 2005, given
> 17 performances in a row.
> Poetry, essays and drafts written during 2001-04 published by BORGEN Publishing. Continues writing texts, mostly as
> commissions.
> Travels back to Italy on invitation to compose music for a set of poems by Nordic Art council Award nominee Morten
> Søndergaard.
> 2004: Returns to composition exclusively. Begins working on upcoming Cd release as well as a full scale opera on
> Herman Melville's short story Bartleby. This last project is abandoned by 2005.
> 2005-06: Head name on private sponsored festival CON/DEconstruction with commissioned work CUT. These concerts are shot in
> collaboration with several visual artists. DACAPO recordings (National Music Library) release TRASH is named after one of nine
> movements from the piece NINE WAYS TO WAKE UP featured on this compilation. Living on grants, mainly by The Danish
> Composers Society, KODA (Gramex) The Art Foundation and worldwide commissions.
> Impulses from other genres (opera buffa, recitative, slapstick) combined with 'Serious Music' and Punk rock are synchronized.
> Fourth Cd SLEEP MY DARLING JUNKIE, sleep (2004-06) is released after considerations whether the music should be
> presented on Cd at all.
> 2006-07: Traveling into Russia and the Baltic's with a second commission for a opera. Begins working with the libretto after having
> received sufficient funding.
> 2007-08: Works exclusively on Opera Project DONALDS, - a contemporary opera buffa. All commissions proposed are accepted on the
> condition, that the commissioned music is 'recycled' into the opera. This way, a regular chamber orchestra is slowly building up.
> Starts collaboration with visual artist Piper McKenzie while staying as a official Composer in Residence at Kongegaarden,
> Denmark. Composes music for video PASSING COMMENT (McKenzie 2007). Solo instrumental work TRENCHES 2006 is filmed
> january 24-25. 2008.
> 2008-09: Currently living in Sweden (Artur Lundkvist Foundation). OTHER TRENCHES 2008 (follow up on 2006) as well as THREE STEPS
> TOWARDS THE POET DYLAN THOMAS (2007/Bass Baritone, piano, staged dialog/electronics) OUGHT (2007/Violin,Doble bass,
> staged dialog,electr.) as well as other commissions, are shot and prouced this year. All material is used in the mentioned opera
> project, as is all compositions execpt those, written on Piper McKenzies request.
> 2008: Ungoing work with applied co/work: as well as opera, recording, filming and syncronizing.
> Researcher i Ascea, Italy on a Wassard Elea scholarship.
> Travelling to the U.S. to work on commission by Bassomoderno, NY. late August.
>
>
>
>
> References / Recommendations
>
> From: [email protected]
> To: [email protected]
>
> To whom it may concern
>
> I have known Morten Skovgaard Danielsen for several years and consider him to be among Scandinavia’s most interesting composers in his generation. Among his finest qualities are a very high intelligence, a great affection for creativity in all its forms and huge musical abilities like in the ‘good old days’. His work consists of more carefully written notes than many colleagues twice his age and a good deal of Denmark’s finest ‘slam’ poetry as well. Fascinating is also the many blends of his person: On one hand he is a deeply professional artist and control freak, on the other he often seeks inspiration in some difficult corners of the mind and the unconscious. On one hand he has an almost legendary knowledge in composers through the last 500 years, on the other his own music only looks forward. He has my warmest recommendations.
>
> Yours sincerely,
>
>
> Søren Schauser
>
>
> Music editor, Ph.D.
>
>
> Berlingske Tidende
>
>
> Phone + 45 33 75 23 16
>
>
> From: Ib Nørholm ([email protected])
> Sent: Thursday, April 03, 2008 9:49:35 AM
> To: Morten Danielsen ([email protected])
>
> To whom it may concern
> Years ago I had the responsability for part of the education of Morten Danielsen at the Royal Danish Academy of Music. I have since followed his development into a very talented og original artist Several recordings prove his comprehensiveness and instrumental imagination. He has received commissions to be performed as well inside the domestic scene as into the international arena
> I will congratulate the institutions who may be allowed to use his worthful capacity
> Ib Nørholm
> Seniorprofessor at The Royal Academy
>
> From: anettemaria slaatto ([email protected])
> Sent: Sunday, April 06, 2008 11:26:09 PM
> To: [email protected]
>
>
> To whom it may concern:
> Over the years I have had the privilege of working with great composers: As an orchestral player, as a chamber musician, as a soloist.
> Some wrote especially for me and we had the possibility of working together, which was always a source of great enjoyment to me.
> But then, som years ago, I met Morten Skovgård Danielsen. To work with him really widened up my understanding of music, and led my musical phantasy into new worlds.
> He is very original, sometimes he wanted me to play in a way that I thought - ' this chap is crazy!' - sometimes he asked me to play 'just as you like, the main thing is to get the idea of the character of the music. '
> It turned out that he was always right, as he always had a very clear idea of how it was going to sound in the end. He is incredibly inspiring, because he goes without compromise down to basics. Not in an authoritarian way, not limititing the creativity of the performer, on the contrary: Morten encourages the musician to find new authentic ways of expressing himself and the music.
> I am happy to know Morten: It is inspiring to work with him, he is always on the way, finds new, unexpected means of expression, he never settels down.
> It would be a great challenge for any musicians to experience Morten´s creativity and his way of working with the music as a story,as a documentary, a happening, as powerful event, full of poetry.
> We can all improve as musicians by getting acquainted with Morten.
>
>
> Anette Slaatto, viola-player
>
>
> Extracts of reviews by various editors and critics on all four Cd productions by Morten Skovgaard Danielsen.
> >
> > On ROADMOVIE ACCESSORIES:
> 'Often, the experience of this music is marked by the strange feelings of a pathfinders musical mind, his authensity and intimacy. In these works, we find precise effect and virtuosity.'
> (Critic Jørgen Lekfelt, Magazine of Contemporary Danish Music (DMT, 2001 )
> >
> ' Let this be known: This is where it happens in 'new music'. It is rare, that the listener finds him. or herself returning with curiosity to a Cd with contemporary art music. Skovgaard Danielsen´s Cd is an exception. The music is totally innovative! This vibrating and intense music consisting of a variety of different works, MUST be able to find an audience on the outside of the fences of new music. Recommendation!'
> (Editor and critic Anders Beyer, Information, 2001)
> >
> ' A smashing blend of electronic music, aggressive instrumental soli - Jimmy Hendrix would not feel bad about doing the violin solo 'D-TOX' -
> and tender, examining details. But foremost, it is the attitude one surrenders to; a daring, curious horizon of variation in sound which all together makes the music able to penetrate once head and body. If Skovgaard Danielsen can keep up this attitude, new and visionary times can be written into the chapter of young Danish music. And that is about time!'
> (Critic Jakob Levinsen, Politics, 2001)
> >
> ' Emblematic for an entire generation of composers.'
> (Editor and critic Søren Hallundbæk Schauser, 'Portrait of the composer.', 2001)
> >
> On SHOTGUN DIARY:
> >
> ' Conscious of his deliberate anti-virtuosity, this Cd escapes all categorization. He screams and shouts and plays the guitar on poor sounding DAT-machines. Okay - so everything is bull, okay. But isn´t it time to stop and say something like ' Yeah! I am joke!'??
> > Not on my account. I still haven´t finished listening to this Cd. It is all okay after all.'
> > (Critic Casper Cordes, DMT, 2002)
> >
> > ' A physical poetry which reminds me of the music by Cage. Weird.'
> > (Critic and composer Jexper Holmen, DMT 2002)
> >
> > ' This is not pleasant to listen to. Not at all. Skovgaard Danielsen reaches the point of no return, - traveling into the symbiosis of serious music and punk rock. But it is fascinating. Fascinating because he does so with the utmost confidence in himself. He, the romantic artist, breaths the air of spleen with a capitol a in Art.'
> > (Critic Thomas Michelsen, Politics, 2002)
> >
> On THE KURT COBAIN SONGS:
> >
> 'We did not see that one come. Shortly after the disturbed Cd SHOTGUN DIARY, Skovgaard Danielsen gives us thirteen songs of elegance. Not any near Nirvana´s violent In Utero. If anybody, he reminds me of the german composer Robert Schumann. and yet, we know even less about Skovgaard Danielsen, this strange, strange artist A master in chess. A punk poet.'
> (Editor and critic Søren Hallundbæk Scahuser, Berlingske, 2002)
> >
> On SLEEP MY DARLING JUNKIE, sleep
> >
> ' He is one of the fearless amongst younger Danish composers, stretching over a wide aspect of serious music, electronica to punk rock.
> > He provides demanding but very attractive results. The 16 track album, consists mainly of short works but never the less, as a unity they create a well organized entity. And it is most of all Skovgaard Danielsen´s greatest power, that even when the music is at it´s strongest, it contains a delicate transparency, while in episodes of stillness, manages to hold on to the attention of the audience.'
> (Editor and critic Jakob Levinsen, Jyllands Posten, 2006)
> >
> ' Here we find symphonic sounds with engines that never stops. Here is the gift to let each individual instrument sound in all sort of ways. With life, humor and drama. Here we find raw energy and passages of almost complete silence, sudden changes in style and insinuations from the Baroque Era and Punk rock. Here we find comedy and episodes of the grotesque, a composer, who is a master in letting the substantiel unite with the absurd on a arttistic meaningful course. It is a marvelous Cd!'
> (Critic Jørgen Lekfelt, DMT, 2007)
> >
> These quotations can of course be varifyed by the critics thenselfs, the newspaper or magazines themselves, by The Royal Danish Library and the Danish Composers Society.
>

>
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