Sunday August 15, 12:00
(admission / ticket sales 11:00)

Kalv Church

Gageego! | From Kinna to Tibet

Giacinto Scelsi – Ko Lho (for flute and clarinet)

Anders Eliasson – Disegno (for solo flute)

Henrik Denerin – Fluchtlinien D (for flute and percussion)

Vladimir Gorlinsky – Bramputapsel #2 (for bass flute and bass clarinet)

Madeleine Jonsson-Gille – Skulptur [world premiere] (for percussion)

Henrik Denerin – Totenkopf (for piccolo och Eb clarinet)


The Kalv Festival 2021 ends in the church by the Gothenburg-based ensemble Gageego! in a program that brings together a music that in miniature summarizes what we have received during this year’s festival: the local sounds in the Kinna composer Henrik Denerin’s two works, the archaic in Giacinto Scelsi’s theosophically inspired universe, the nature romantic in Anders Eliasson’s music, the complex, friction-dense frenzy in Vladimir Gorlinsky’s sounds and finally Madeleine Jonsson-Gilles’ musically interpreted sculpture. Participating from the ensemble Gageego! today is the flutist Anders Jonhäll, the clarinetist Ragnar Arnberg and the percussionist Jonas Larsson.


Fluchtlinien D – ”With this concept Deleuze and Guattari points at possible alternatives to the dominating approach. One example is how the music sends out lines of flight (fluchtlinien) when it multiplies and spreads like a diverse weed of sound. Fluchtlininen thus indicates the potential for something different to take shape, for example, the opportunity of re-thinking. 
Every form of life – a body, a social group, an organism or even a concept – consists of links and connections. Genes come together to form cells; cells are collected to form tribes. The term ‘human being’ is an example of such an interconnection of reason, a certain type of body (white, male), speech, and so on. But every connection also allows a fluchtlinie; there is always the potential for genetic mutation. The definition of man as rational also enables a dispute about what constitutes humanity: e.g., is it rational to put up a stock of nuclear weapons? Thus, every definition wears, every territorialisationtorium or body, the opportunities that opens up for a fluchtlinie that could turn it into something else.

– Henrik Denerin 

Bramputapsel #2 Since several years, Gorlinsky’s music has become more and more situation-oriented. Musicians are often given different tasks or placements from which a musical material emerges – musical theater in a progressive sense grows ever stronger in Gorlinsky’s poetics. Tonight’s Bramputapsel #2 belongs to an earlier phase of his music, but one where the improvisation as a basis is still strong. Gorlinsky himself writes about the duo that it is like a “[…] memory of the summer of 2011…. Improvisations with my friends in several strange places in Moscow”. The title itself – Bramputapsel – you do not have to think much about. It is merely an onomatopoeic supplement. The listener may hear the sound in the work, but its meaning remains in sound.  

Totenkopf – “Whereas in the symbol destruction is idealized and the transfigured face of nature is fleetingly revealed in the light of redemption, in allegory the observer is confronted with the facies hippocratica (totenkopf) of history as a petrified primordial landscape. Everything about history that from the very beginning has been untimely, sorrowful, unsuccessful, is expressed in a face – or rather in a death’s head.” (W. Benjamin) 

This piece started off as what could perhaps be labelled a ‘transit piece’ in the context of the cycle einbahnstraße. This is even (somewhat naively) represented in the work by the transitions in register in the 2 instruments: the piccolo beginning with its very lowest note and always aiming upwards; and the other instrument’s opposite route. But this allegorical transit is constantly unsuccessful; other material breaking through and piling themselves up and what could be simple becomes complex and fragmented.  


About Gageego! 

Gageego! was founded in 1995 and works to explore and make contemporary music more accessible. As one of the most important actors in the contemporary Swedish musical life, the ensemble is appreciated for interpreting today’s music at the highest technical and artistic level in a curious way. Gageego! is a regular guest at Gothenburg Concert Hall, where they have been collaborating for many years on a concert series for contemporary art music and have played all over Sweden as well as internationally.  

When Gageego! once formed, a short allegory was written about their origin (and not least the choice of ensemble name). Even though the story has nothing to do with the Kalv Festival, there are still intersections that motivates its inclusion in this program book  

The first word 

A long time ago, in ancient, prehistoric time, there was no language. Human vocalizations consisted of grunts, laughter, sneezes, and hiccups. 

In this age, a deeply spiritual and sensitive man lived his life in great frustration. One day, he felt the urge to undertake a long journey. He started to wander and walked for weeks without any specific destination, but not once did he hesitate in his choice of roads or in his determination. After walking a long time, he came to a mountain, a crown among the world’s mountains. It felt like a majestic revelation for him. 

All the difficulties he had encountered during his trip fizzled at the sight of this mammoth-like topographic phenomenon. He began to climb this mountain, without any supply of food and water, defying the worst possible weather conditions. Still, his road to the top was a slow, terrible experience. 

In the end, with a deep breath and with his absolute last powers, he pulled himself up on top of the highest point. There, perched on a small cliff, he collapsed. Laying there, unconscious, he balanced between life and death for several days. 

Eventually, he woke up from his stupor. When he opened his eyes and slowly lifted his head, the most amazing sight greeted him. In every direction there was a cornucopia of pure beauty. Gently rolling hills with playful meandering streams as far as his eyes could reach. Colourful leaves in endless patterns decorated the view. He saw lakes, clear as crystal, rugged mountain ranges and green pastures. All this made him feel cleansed and refreshed in both body and mind, in the greatest and deepest way. In this historic moment he opened his mouth, and in a moment of total freedom and fulfillment he shouted, completely unparalleled, uninhibited, out over the world:

Far below, a boy passed by, peered up curiously and said:
– What? 

He had pronounced the second word. 

Photo © Gageego!

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