Johannes Nästesjö – Kontrabas. Göteborg Mars 2021

Arrangör: Levande Musik
Datum 27 Mars 2021
Artist: Johannes Östersjö
Plats: Atalante, Göteborg

Johannes Nästesjö har sedan 20 år varit aktiv inom scenerna för modern jazz, impro och nutida klassisk musik och har turnerat flitigt i Europa, Amerika, Afrika och Asien och medverkat på 38 skivor. Just solospel, främst inom improvisationsmusiken, är Johannes hjärteprojekt. Hans första soloskiva Rooftop Promenade släpptes 2016 och uppföljaren Bier Bass utkommer i år. Han bedriver även konstnärlig forskning (Advanced Post Graduate Diploma) på Rytmiske Musikkonservatorium i Köpenhamn.

1. seals IV (Henrik Denerin)
2. improvisation

Since 20 years Johannes has been working within the genres of modern jazz, improvised and contemporary music. He has toured frequently in Europe, America, Africa and Asia and appeared on 38 recordings. Solo performances, especially within the impro genre, have become the pet project for Johannes and his specialty. His first solo recording Rooftop Promenade was released in 2016 and his second album Bier Bass will be released this year. He also conducts artistic research (Advanced Post Graduate Diploma) at the Rhythmic Music Conservatory in Copenhagen. improvisation I wanted to reach extremes. I wanted to express the full spectrum of musical dynamics. I wanted to evoke a unique experience found between a detuned E (C) string and the highest harmonics. I wanted to reach the Sultastos as well as the Ponticellos. I wanted to elicit the wind with my fingertips, and evoke a sonoros depth in the body of my bass and in myself behind the instrument, similar to the depth found in a musician and his djembe. I wanted to play with a crackled bow pressure and with flying flautandos. I wanted to simultaneously mix and create musical cocktails. Shake and stir, and see what that concoction appears. To not only seek a safe haven but to also dare to relish the fragility, and the intensity, of the music. To inhale and exhale, and allow a silence after the musical intensity. seals IV – solo version The title of this work, seals, comes from the Italian philosopher, mathematician, poet, Dominican friar and astrologer Giordano Bruno (1548 – 1600). Although not widely recognized he is celebrated for his cosmological theories, which went even further than the then-novel Copernican model. Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Because of his, at the time, radical thinking Bruno was forced to leave Italy in 1576. In 1591, in a time when the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. In 1592 he was arrested by the Venetian Inquisition, sent to Rome and charged of blasphemy and heresy. After 7 years of trial the Inquisition found him guilty, and in 1600 Bruno was burned at stake in Rome’s Campo de’ Fiori. Bruno’s case is still considered a landmark in the history of free thought and the future of the emerging sciences.

In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles and it is these writings that the title of my piece refers to. Early in 1583, soon after his arrival in England, Bruno published the massive volume on memory which is referred to as Seals, though it really consists of four items, as follows: Ars reminiscendi Triginta sigilli Explanatio triginta sigillorum Sigillus sigillorum So, 30 seals and the seal of seals. What then are these seals? The art of mnemonics tradition, e.g. Fra Agostino del Riccio’s work Arte delle memoria locale uses the idea of presenting the principles and various techniques of the art through little symbolic pictures, with titles. This is exactly what the Seals are, statements of the principles and techniques of the art – but, magicised, complicated with Lullism and Cabbalism, blown up into inscrutable mysteries. The seals are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries. In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organisation of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognised in Seal after Seal, though now presented as occult mysteries. If we drop the word ‘magical’ and think of the efforts of an occult memory artist as directed towards drawing out of the psyche combinations of ‘archetypal’ images we come within range of some major trends of modern psychological thought. There is something, to my mind, profound in the Seals, as though in its inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential, Giordano Bruno, the memory artist, were introducing us to the core of the creative act, the inner act which precedes the outer expression.

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