MusicWelcome to the webpage of the Swedish composer Patrik Jarlestam.
Concert in Sonorium, Tokyo
The 4444:th day
Tonmakeriet and the Re-Enactor concertTonmakeriet is a composer collective, which works both with their own ensemble and other external ensembles of musicians. We also design light correography for our shows.
Interested in collaborating? Drop us a mail at "tonmakeriet at gmail.com" Check out the video below on Vimeo for a taste of what we do!
The video showcasing the composer collective Tonmakeriet's latest show is up on Vimeo. Thanks go out to the Stockholm Saxophon Quartet and Max Kleijberg!
The composers are:
Patrik Jarlestam (Likes to combinine modern art music, metal, video game inspired music)
Alexandra Nilsson (Jazz background, meditative and soulfoul music)
Victor Lisinski (minimalistic, sometimes with a with a gentle pop sensation)
Lisa Streich(a modern art music edge)
Karzan Mahmoud (composer with Kurdish roots in his music)
Swedish Radio Choir -
I've given this matter some thought
"I have given this matter some thought" is written for mixed choir and was performed in 2011 by the Swedish Radio Choir at the Royal College of Music. The piece is a warning to how it can be to work too much, and a tribute to what you can do instead, and have some fun.
The choir starts surrounding the audicence in a C-shape, behind and to the sides. As the piece progresses, they start to walk towards the stage to join into a single group. This use of having a choir simulate a surround sound system in a concert hall, was inspired by Henrik Strindberg's Puff for wind quintet, and an surround "echo-piece" by composer Ilari Kullervo-Hongisto.
Lyrics: I've given this matter some thought…
I've worked too hard
To fully enjoy the life, the music, the week-ends
It has been too long
Since the clock spun round non measured
I don't want it like this
I cannot find the time to take time
Where is the time that makes time?
I've given this matter some thought
And this is not something I long for.
I don't want it like this
Play a game - read a good book
Take a walk - to go outside
Or just sleep 'til dinner
Make fruit cake - a lot
Find a forest - write poems
Make sculptures - of ice cream
Go to a spa
Take a trip - to go somewhere
Treat your feet right
Try cooking - try a new beer
Get a massage
Relax from work
Do something new
I think I'll take the week-end off.
The Grand Piano of Light
The project named "The Grand Piano of Light" had its premiere concert in 2011. I had built a series of patches in Max/MSP to translate Midi in realtime to Lighting commands in DMX. This was to let the pianist use the grand piano as a way of controlling the light rig, but also to show more of how music could look when translated through light, and if these elements could work together to create a more intense/varied/different concert experience than the music could alone.
I also wrote a piece for this setup called Light/beacon (for piano, electronics and lights) about the protests in Egypt and Libya. Luigi Nono once said that composers should give testimony about their times, and this is mine about the world at the start of 2011.
Quotes from Mubarak and Gadaffi are interspersed with quotes from a protester in Egypt. A revolution is riddled with dualities, from the sadness of having to go through it, the insecurities of what lies ahead to the raw will and feeling of wanting to change your situation and future outsets, the A sections of the piece use the piano as the saddened voice of the people, to the explosive B part where rage and electronica express the pure adrenaline of when revolutionary battles flare up.
Jaroslaw Kaliski plays the piano, Anton Trochez and Magnus Lundin were the lighting technicians and Erik Eklund is the founder of the "Grand Piano of Light" project.
Baroque, old/new counter-point and hard rock
These are some images from my bachelor exam concert in the R1 concert hall in Stockholm.
The piece is entitled "Förstöra.Förgöra.Förändra", which translates as "Destroy, Eradicate, Change" and is written for Baroque ensemble and modern harp. Ever since I had taken a course in early music instrument knowledge, I had become interested in writing for earlier instruments, since they exhibit a sound world which I am not used to, so my music sounds fresh to me even though I have heard it many times. Their instruments are also pitched in 415 hz, which makes them sound one semi-tone below normal. Due to their construction, they sound better in certain keys than others (as few accidentals and flats as possible is good), while I can use the “worse” sounding keys to good effect.
The title comes from a quick mistranslation of the Meshuggah album "Destroy Erase Improve", from which I started to experiment around with different words with similar meaning to the original words(since all the words started on f in Swedish) and this is what came out as a good title. I started working on the piece in Japan, when I was last there, since I wanted to be in the country which inspired me so much, but look at my own music from afar to see what was exotic about it, and which styles and expressions would crop up when I was in a completely different surrounding. In a way, to dig out that which lies hidden in me, by exposing myself to something completely other yet still known to me.
On the subject on the venue, I had been planning for a longer time a larger and longer concert in this nuclear reactor hall. Using a baroque orchestra and a choir to come close to some inner human voice, and at the same time using a place which is 24 meters below ground, cut of from the world and at the same time so completely constructed by man and artificial. This combination of (egenskaper) i thought would suit my idea greatly. Circumstances did not come together to support such an idea, so I could only finish the Baroque part of the plan, but it turned out great.
The piece is available both for sinfonietta, and in a "showreel" version for baroque orchestra (since it's over 19 minutes long) in the audio section.
Below are the musicians in the ensemble, who I give a great many thanks for making this project come together. It was a great and fun experience to work with all of you!
Thomas Schützer: Traverse flute
Kyoko Nakazawa: Baroque oboe
Nina Grigorjeva: Baroque bassoon
Jana-Christine Langenbruch: Alto recorder
My Eklund: Alto recorder
Heidi Rohlin-Westin: Tenor recorder
Antonio Giummarella: Bass recorder
Henrik Eriksson: Baroque trombone
Kristoffer Siggstedt: Baroque bass trombone
Henrik Berg: Harpsichord
Stina Hellberg, Harp
John Martling: Archlute
Catalina Langborn: Baroque violin
Johannes Jakobsson: Baroque violin
Sandra Marteleur: Baroque violin
Andrea Ravandoni: Baroque viola
Jonas Bleckman: Baroque cello