Sand i en vik - Maria Kannegaard

Sand i en vik

Maria Kannegaard

Maria Kannegaard presents "Sand i en vik", a rapid follow-up to the album "Nådeslås". Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard's piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.

The album opening - "1-2-3" - literally crashes in, and then we are met by strong melody, quick-change artistry in time and tempo, extended playing techniques, expressionistic soloing, complex minimalism (but not minimal complexity) and a full array of compositional trickery and sleights of hand across the album's 13 tracks. The other two thirds of her trio, Ole Morten Vågan and Thomas Stronen operate as though sharing a single mind. They are capable of casual looseness or tense inch-perfect interplay, each laden with an armory of techniques they sparingly pepper their playing with, often fulfilling the listener's expectations, but just as frequently defying them with unexpected but always welcome results.

The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point. Plantive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.

Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

Maria Kannegaard's musical personality has always been multifaceted, catching and reflecting the light, even through shadows. "Sand i en vik" is the work of an artist who has taken difficulty and adversity and transmuted it into lavish creativity.
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    1-2-3 0:19
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  2. 2
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    Dere 6:40
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ENGLISH

Maria Kannegaard presents "Sand i en vik", a rapid follow-up to the album "Nådeslås". Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard's piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it. 

The album opening - "1-2-3" - literally crashes in, and then we are met by strong melody, quick-change artistry in time and tempo, extended playing techniques, expressionistic soloing, complex minimalism (but not minimal complexity) and a full array of compositional trickery and sleights of hand across the album's 13 tracks. The other two thirds of her trio, Ole Morten Vågan and Thomas Stronen operate as though sharing a single mind. They are capable of casual looseness or tense inch-perfect interplay, each laden with an armoury of techniques they sparingly pepper their playing with, often fulfilling the listener's expectations, but just as frequently defying them with unexpected but always welcome results. 

The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point. Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture. 

Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios. 

Maria Kannegaard's musical personality has always been multifaceted, catching and reflecting the light, even through shadows. "Sand i en vik" is the work of an artist who has taken difficulty and adversity and transmuted it into lavish creativity.

NORSK

Maria Kannegaard presenterer «Sand i en vik», en rask oppfølger til albumet «Nådeslås». Der det sistnevnte albumet var en eksperimentell og uttrykksfull affære, bringer «Sand i en vik» henne tilbake til mer kjente musikalske jaktmarker, men sett fra en ny vinkel. Kannegaards pianospill er som alltid forbilledlig fokusert, og det er aldri overflødig ornamentert. Spillet hennes formidler alltid den rette stemningen, den perfekt balanserte responsen på komposisjonen.  

Albumåpningen «1-2-3» bokstavelig talt dundrer inn, og deretter blir vi møtt av sterke melodier, raskt skiftende tilnærminger i tid og tempo, utvidede spilleteknikker, ekspresjonistiske soli, kompleks minimalisme og et komplett utvalg av komposisjonsteknikker og instrumentale ferdigheter gjennom albumets 13 spor. 

De to andre tredelene av trioen, Ole Morten Vågan og Thomas Strønen, spiller som om de deler én hjerne. De er i stand til å formidle både uformell løshet og intenst millimetersamspill, og begge er utstyrt med et arsenal av teknikker de krydrer spillet med. Ofte tilfredsstiller de lytterens forventninger, men like ofte trosser de dem med uventede, men alltid velkomne valg. 

Komposisjonene formidler særegne stemninger og unike kvaliteter, noen ganger hjemsøkende, andre ganger overstrømmende, og iblant strekkes følelsene til et bristepunkt. Emosjonelle ballader avløses av riffdrevne rytmiske låter, øyeblikk av abstrakt ekspresjonisme flettes sammen med kantete komposisjoner – uventede harmoniseringer og passasjer som ser ut til å være formløse, før de avslører seg som detaljer i et større, klarere bilde.  

Ofte høres ensemblet ut som noe mye større enn en trio, og albumet er da også mikset og mastret av prisbelønte Stefano Amerio i Artesuono studio.  

Maria Kannegaards musikalske personlighet har alltid vært mangesidig, hun har fanget og reflektert lyset selv i skyggefulle landskap. Også «Sand i en vik» er et kunstverk som forvandler motgang til overdådig kreativitet.