Resonance, our unique collaboration with the Netherlands Institute for Sound and Vision’s RE:VIVE initiative, we have invited Stockholm-based minimalist composer Kali Malone to present original pieces on the Stevenskerk’s monumental 18th century König organ. Tiny Mixtapes caught up with her to discuss her first encounter with the organ, tuning and herrule-based methodology for playing this incredibleinstrument.
“I went for a 10-minute interview with [the organ tuner Jan Börjeson], which turned into us tuning the organ for eight hours, and now I’m his apprentice. So, I actually started playing the organ through tuning it.”
“My approach to the organ right now is generally very restrained. When I go to the organ to freely improvise, I usually just create static drones. Because there’s no dynamic range with the organ, it’s difficult for me to embrace movement. I’m just entrenched in stasis, and I want to stay there forever. So to sort of combat my immediate desire for stasis, when I sit down to play the organ, I have very rule-based methods.”
Malone’s work explores the interplay of synthetic and acoustic instrumentation, most notably the pipe organ, as heard on her current album, ‘The Sacrificial Code’, recorded on three different organs at the Royal College of Music of Stockholm, the Studio Acusticum concert hall in Piteå and the Haga Church in Gothenburg, Sweden.
“Like some of the most affecting drone music, ‘The Sacrificial Code’ is imbued with almost magical, time-stretching properties,” wroteLewis Gordon in his review for Resident Advisor.
Malone will perform together with film soundtrack composer Erik Enocksson atthe Stevenskerk’s on Saturday 30 November as part of Resonance.
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