{"id":109,"date":"2026-03-23T17:19:14","date_gmt":"2026-03-23T16:19:14","guid":{"rendered":"https:\/\/www.assaggio.se\/?page_id=109"},"modified":"2026-03-24T02:26:12","modified_gmt":"2026-03-24T01:26:12","slug":"2-the-2024-kalv-festival","status":"publish","type":"page","link":"https:\/\/www.assaggio.se\/?page_id=109","title":{"rendered":"2. integration in the 2024 kalv festival"},"content":{"rendered":"\n

The integration of the project in the 2024 Kalv festival De vandrande klangerna i Kalv<\/em><\/a> \/ The Wandering Sounds of Kalv<\/a> can be seen in Swedish and English respectively on the two linked websites.<\/p>\n\n\n\n

The detailed programme booklet for the 2024 Kalv Festival (in Swedish) can be downloaded here<\/a>. <\/p>\n\n\n\n

This page describes the project’s eight concerts in detail and weaves together the various threads that the audience could pick up as they listened to the music and reflected on the words in the programme booklet.<\/p>\n\n\n\n

Could we superimpose Christ\u2019s\u00a0via dolorosa<\/em>\u00a0on the pilgrim paths in Kalv, walking on earth that will soon be enveloped in a new crisis?<\/p>\n\n\n\n

Could we see that crisis as a turning point that could usher in a time a new creativity?\u00a0<\/p>\n\n\n\n

As we remembered the past, we walked in the present, and looked to the future.<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

Carrying the cross of creation: on the earth\u2019s final journey <\/strong><\/p>\n\n\n\n

Josef Haydn (1732-1809): Musica instrumentale sopra le sette ultime Parole del nostro Redentore in Croce (1786) <\/strong><\/p>\n\n\n\n

As well as seven last words, there are seven pilgrim virtues and seven elements, and so I decided to place each of the musical meditations within a framework of three words. I tr\u00eded to respond to these words in my performances of the Haydn sonatas; festival musicians responded to the sonatas through improvising over the three words; the audience then reflected on the experience of listening to the music. <\/p>\n\n\n\n

Together we became the wandering sounds of Kalv.<\/p>\n\n\n\n

The introductory movement was played at a separate initial event, which set the scene for the series of meditations. I hoped that it would give rise to questions about pilgrimage, and what it might mean to carry the cross of creation. The earthquake followed on immediately from the seventh meditation at the final concert.<\/p>\n\n\n\n

I am enormously grateful to the Kalv Festival for enabling me to present Haydn\u2019s Seven Last Words in this way.<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

1. THURSDAY 19.45 | F\u00f6rsamlingshemmet<\/strong><\/p>\n\n\n\n

THE SEVEN WORDS AND THE SEVEN HAYDNS<\/p>\n\n\n\n

Mark Tatlow | Introduction to the sounding pilgrimage at Kalv 2024<\/p>\n\n\n\n

Mark Tatlow plays the dramatic Introduzione <\/em><\/strong>(marked Maestoso. Adagio<\/em><\/strong>) to the Haydn, without any prior comment. This gives rise to questions about the relationship between wandering about as a [lost] pilgrim during the Kalv Festival, playing the Haydn pieces, and \u201ccarrying the cross of creation\u201d. What exactly does that mean, and \u2014 why improvise afterwards? \u2026 <\/p>\n\n\n\n

The Haydn sonatas and the meaning of adding cadenzas<\/strong><\/p>\n\n\n\n

Music, without text; expectation without content, except what Haydn had dreamt and what I re-dream. I hope you will hear what I re-dream.<\/p>\n\n\n\n

A cadenza does something to time: it closes, or semi-closes. Or it questions. It prepares for what is to come. A cadenza is ex tempore <\/em>(outside time): an experience of the inexplicable in suspension. (Inside) time usually re-starts after a cadenza.<\/p>\n\n\n\n

When a cadenza happens, it is in response to the room; it emerges either from a moment of certainty or from one of uncertainty. A certainty that something will return (a moment of preparation) or an uncertainty (a moment of questioning).<\/p>\n\n\n\n

FINGERS: <\/strong>full of love and compassion<\/p>\n\n\n\n

CADENZAS: <\/strong>three possible moments: #1 is a moment to recentre, and catch your breath; #2 is a harbinger of the seeming certainty of return; #3 is a lingering uncertainty, or perhaps a longing for something unknown.<\/p>\n\n\n\n

The story, The Earth\u2019s final journey<\/strong>, begins. (The festival\u2019s opening concert later this evening could be considered as a possible response to Haydn\u2019s introductory music \u2026 from a totally different tradition of pilgrimage\u2026 kaih\u014dgy\u014d<\/strong> (circling the mountain) \u56de\u5cf0\u884c<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

2. THURSDAY 22.30 | Kalvs kyrka<\/strong><\/p>\n\n\n\n

I \u2013 FORGIVENESS, SIMPLICITY, NATURE<\/p>\n\n\n\n

Concert | Mark Tatlow<\/a>, Per-Anders Nilsson<\/a> & Johannes Landgren<\/a><\/p>\n\n\n\n

Josef Haydn: Sonata I. <\/strong>Largo.<\/em><\/strong><\/p>\n\n\n\n

Meditation for organ, saxophone and elektronics \u2013 suite in seven parts<\/strong><\/p>\n\n\n\n

The festival\u2019s first pilgrim virtue, simplicity<\/em>, is reflected in Haydn\u2019s music:<\/p>\n\n\n\n

The earth speaks to her creator: <\/em><\/p>\n\n\n\n

\u201cForgive humankind: they do not understand what they are doing to me.\u201d <\/em><\/p>\n\n\n\n

\u2014 a compassionate message of profound simplicity, voiced by whom we often refer to as \u201cMother Nature\u201d.  Do we hear this Word? <\/em><\/p>\n\n\n\n

How does knowing that she is not punishing us change our relationship to the earth?<\/em> <\/p>\n\n\n\n

The music leads to a late night improvisation, with Johannes Landgren\u2019s organ music and Per-Anders Nilsson\u2019s saxophone and electronics creating a concert full of the notion of pilgrimage.<\/p>\n\n\n\n

FINGERS:<\/strong> persuasive and with tears (cf. Arvo P\u00e4rt\u2019s silouans song)<\/em><\/p>\n\n\n\n

CADENZAS:<\/strong> no cadenzas<\/p>\n\n\n\n

\u00b7 forgiveness<\/strong> (self-emptying) \u00b7 <\/p>\n\n\n\n

\u00b7 that which in simplicity<\/strong> must exist \u00b7 <\/p>\n\n\n\n

\u00b7 in order to realise the meaning of nature<\/strong> \u00b7  the context \u00b7<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

3. FRIDAY 16.00 | Kalvs bygdeg\u00e5rd<\/strong><\/p>\n\n\n\n

II \u2013 COMFORT, FREEDOM, LIGHT<\/p>\n\n\n\n

Discussion \u2013 dinner | Martin Lindman, Max K\u00e4ck, Mark Tatlow & Chris du Preez<\/a> <\/p>\n\n\n\n

During dinner guests discuss the 20 years of the Kalv Festival. The second pilgrim virtue, freedom<\/em>, concludes the meal interpreted by Mark Tatlow and Chris du Preez. We then walk together to Kalvs Kyrka.<\/p>\n\n\n\n

Josef Haydn: Sonata II. <\/strong>Grave e cantabile<\/em><\/strong>. <\/strong><\/p>\n\n\n\n

The earth speaks to humankind: <\/em><\/p>\n\n\n\n

\u201cBe comforted: on the other side of the climate crisis there is nothing other than Paradise.\u201d <\/em><\/p>\n\n\n\n

\u2014 an unexpected message of freedom and eternal light, but first we are asked to endure the crisis. <\/em><\/p>\n\n\n\n

Do we sense this Word? <\/em><\/p>\n\n\n\n

How does it change our attitude to today and its bad news? <\/em><\/p>\n\n\n\n

How does it change our attitude to the future? <\/em><\/p>\n\n\n\n

FINGERS: <\/strong>comforting: yes, but playful too \u2014 as children are<\/p>\n\n\n\n

CADENZAS:<\/strong> three possible and (on the page, but only on the page) identical cadenzas<\/p>\n\n\n\n

\u00b7 the light<\/strong> that is promised is eternal and offers freedom <\/strong>\u00b7<\/p>\n\n\n\n

\u00b7 it can even be sensed in the midst of a crisis \u00b7<\/p>\n\n\n\n

\u00b7 to look at an end and see a beginning \u00b7 this is comfort \u00b7<\/strong><\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

FRIDAY 23.00 | Kalvs kyrka<\/strong><\/p>\n\n\n\n

III \u2013 RELATIONSHIP, SHARING, WIND<\/p>\n\n\n\n

Concert | Mark Tatlow & Ragnar Arnberg<\/a><\/p>\n\n\n\n

Josef Haydn: Sonata III. <\/strong>Grave<\/em><\/strong>. <\/strong><\/p>\n\n\n\n

The earth speaks to Gaia: <\/em><\/p>\n\n\n\n

\u201cDon\u2019t worry, Mother: I have entrusted you to those who believe me, one day they will rescue both of us.\u201d <\/em><\/p>\n\n\n\n

This is a message of deep relationship, of relatedness \u2014 a message of sharing and togetherness, carried by the wind. <\/em><\/p>\n\n\n\n

Do we feel this word? <\/em><\/p>\n\n\n\n

Are we sensitive to its gentle touch? <\/em><\/p>\n\n\n\n

In the late Kalv night Mark Tatlow meets the clarinettist Ragnar Arnberg playing music by Emil Nilsson<\/strong><\/p>\n\n\n\n

FINGERS:<\/strong> heartrendingness \/ my fingers are part of my body, they have arisen in the loins of my ancestors \/ generational intimacy<\/p>\n\n\n\n

CADENZAS:<\/strong> one possible cadenza<\/p>\n\n\n\n

\u00b7 in relationship<\/strong> we are one \u00b7 <\/p>\n\n\n\n

\u00b7 in sharing<\/strong> we become one \u00b7 <\/p>\n\n\n\n

\u00b7 and the wind<\/strong> of the spirit spreads the word \u2014 unpredictably\u00b7<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

SATURDAY 13.30 | Kalvs skolhus, Gymnastiksalen<\/strong><\/p>\n\n\n\n

IV \u2013 ABANDONMENT, SPIRITUALITY, FIRE<\/p>\n\n\n\n

Meditation | Mark Tatlow & Anders Jonh\u00e4ll<\/a>
We meet at Kalvs skoljus and weather permitting we walk together into the countryside. Focus is on the pilgrim\u2019s fourth virtue, spirituality. <\/p>\n\n\n\n

Josef Haydn: Sonata IV. <\/strong>Grave<\/em><\/strong>. <\/strong><\/p>\n\n\n\n

The earth calls out to her creator: <\/em><\/p>\n\n\n\n

\u201cWhy have you abandoned me?\u201d <\/em><\/p>\n\n\n\n

\u2014 a spirit message brought in the midst of the scorching fire of destruction, and the fear of total dereliction. <\/em><\/p>\n\n\n\n

Do we hear this word in our hearts, and realise its urgency? <\/em><\/p>\n\n\n\n

How can we prepare for its coming? <\/em><\/p>\n\n\n\n

Haydn is paired with Anders Jonh\u00e4ll\u2019s performance of Marcus Lundberg\u2019<\/strong>s delicate flute sounds in Sn\u00f6, sken, minne<\/strong>.<\/p>\n\n\n\n

FINGERS:<\/strong> feel anguish and hurt<\/p>\n\n\n\n

CADENZAS: <\/strong>two quasi-cadenzas are built in to the music<\/p>\n\n\n\n

\u00b7 while the earth is abandoned <\/strong>\u00b7 <\/p>\n\n\n\n

\u00b7 fire<\/strong> cleanses \u00b7 <\/p>\n\n\n\n

\u00b7 but the spirit<\/strong> remains \u00b7<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

SATURDAY 16.00 | Kalvs Kyrka<\/strong><\/p>\n\n\n\n

V \u2013 NEED, UNHURRIEDNESS, WATER<\/p>\n\n\n\n

Concert | Linda Jankowska<\/a>, Mark Tatlow, & Nina De Heney<\/a><\/p>\n\n\n\n

Violinist Linda Jankowska plays Esaias J\u00e4rnegard\u2019<\/strong>s Insula. Pharos.<\/strong> A premier that leads into a meditation on the pilgrim\u2019s fifth virtue: unhurriedness.<\/p>\n\n\n\n

Josef Haydn: Sonata V. <\/strong>Adagio<\/em><\/strong>. <\/strong><\/p>\n\n\n\n

The earth is parched: she cries \u201cI THIRST!\u201d <\/em><\/p>\n\n\n\n

After the fire there arises an unquenchable desire for water. And thirst has come to stay: it is all there will be. The need is unfathomable: there is no use in struggling or hurrying. <\/em><\/p>\n\n\n\n

Do we hear this word with its terrible foreboding? <\/em><\/p>\n\n\n\n

There is no escape: so how do we imagine we will take care of each other, and of ourselves? <\/em><\/p>\n\n\n\n

Nina De Heney\u2019s double bass takes over from Haydn.\u202f<\/p>\n\n\n\n

FINGERS:<\/strong> when self-control breaks in two and reveals inner turmoil, in the midst of which grace is received (in\/through the fingers \u2014 think Qi Gong)<\/p>\n\n\n\n

CADENZAS:<\/strong> one in the very first bar. But how (in the name of heaven) can this emerge from Insula. Pharos<\/strong>.?<\/p>\n\n\n\n

\u00b7 the unbearable unhurriedness<\/strong> \u00b7 <\/p>\n\n\n\n

\u00b7 the constant presence of one of life\u2019s deepest needs: water<\/strong><\/p>\n\n\n\n

(are the comforting moments in the music hallucinatory? or do they belong to those who fight the coming catastrophe?)<\/em><\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/em><\/p>\n\n\n\n

SATURDAY 23.00 | Kalvs skolhus, Gymnastiksalen<\/strong><\/p>\n\n\n\n

VI \u2013 FULFILMENT, QUIETNESS, DARKNESS
Concert | Linda Jankowska<\/a>, Mark Tatlow<\/a><\/p>\n\n\n\n

Josef Haydn: Sonat VI. <\/strong>Lento<\/em><\/strong>. <\/strong><\/p>\n\n\n\n

The earth whispers: \u201cIt\u2019s all over.\u201d <\/em><\/p>\n\n\n\n

Darkness has descended: quietness reigns. But the nagging inner dialogue continues\u2026 <\/em><\/p>\n\n\n\n

Do we hear it: \u201cIt\u2019s all over, but will it end?\u201d <\/em><\/p>\n\n\n\n

Do we catch a note of hope, between the tones? <\/em><\/p>\n\n\n\n

The sixth pilgrim virtue is framed by\u00a0Linda Jankowska<\/strong>‘s piece\u00a0Parable of the Prize of Heaven<\/strong>.<\/p>\n\n\n\n

FINGERS:<\/strong> from pain, discipline and desolation come peace and release<\/p>\n\n\n\n

CADENZAS:<\/strong> one possible cadenza<\/p>\n\n\n\n

\u00b7 when there is fulfilment<\/strong> there is ending \u00b7 <\/p>\n\n\n\n

\u00b7 and quietness \u00b7 <\/strong><\/p>\n\n\n\n

\u00b7 <\/strong>and blinding darkness<\/strong> \u00b7<\/p>\n\n\n\n

\u2014\u2014\u2014\u2014\u2014<\/p>\n\n\n\n

SUNDAY 12.00 | Kalvs kyrka<\/strong><\/p>\n\n\n\n

VII \u2014 REUNION, LIGHTHEARTEDNESS, THUNDER
Concert | Gageego!<\/a>, ensemble mosaik<\/a>, Mark Tatlow, Elena Gabbrielli<\/a>, Klaus Lang<\/a>, Chris du Preez<\/a> och Kalvk\u00f6ren<\/p>\n\n\n\n


Music of Klaus Lang, Thomas Tallis, Arvo P\u00e4rt, Sofia Gubaidulina, Luigi Nono and Joseph Haydn.<\/strong>A musical pilgrimage and a festival conclude. The 20th anniversary year is over and we listen to music that echoes across the centuries..<\/strong><\/p>\n\n\n\n

We arrive at the old church, perhaps bringing tokens of hope, collected from \u201cNature\u201d or other debris. As we begin to place them around the church the organ plays ancient music. <\/em><\/p>\n\n\n\n

Klaus Lang (b. 1971): <\/strong>klirrende fahnen<\/em><\/strong> f\u00f6r violin och orgel. <\/strong><\/p>\n\n\n\n

A choir sings a desperate hymn: \u201cIs there any hope anywhere for anyone?\u201d  <\/em><\/p>\n\n\n\n

Thomas Tallis (c. 1505-1585): Hymn. \u201cWhy fum\u2019th in sight\u201d (1567) <\/strong><\/p>\n\n\n\n

The Earth\u2019s final journey is almost over, or is it just beginning? <\/em><\/p>\n\n\n\n

            t h e  t u r n i n g   p o i n t<\/em><\/p>\n\n\n\n

Josef Haydn (1732-1809): Sonata VII. <\/strong>Largo<\/em><\/strong> (1786).<\/strong><\/p>\n\n\n\n

The earth gives up: <\/em><\/p>\n\n\n\n

\u201cMy spirit is returning to my creator.\u201d <\/em><\/p>\n\n\n\n

We are assembling for a final reunion as we receive this word. In a strange way we are relieved, light-hearted even, but then comes the thunder\u2026. <\/em><\/p>\n\n\n\n

\u2026 and all hell breaks loose\u2026 <\/em><\/p>\n\n\n\n

Haydn: Terremoto (Earthquake). <\/strong>Presto e con tutta la forza<\/em><\/strong>.  <\/strong><\/p>\n\n\n\n

Afterwards there is silence, deep lament, but also hope\u2026<\/em><\/p>\n\n\n\n

Luigi Nono (1924-1990): \u2026. sofferte onde serene \u2026 (1977) <\/strong><\/p>\n\n\n\n

Someone strikes up <\/em>an old plainchant<\/em><\/strong>. <\/em><\/p>\n\n\n\n

\u201cDa pacem Domine i diebus nostris, quia non est alius qui pugnet pro nobis, nisi tu Deus noster.\u201d Slowly, everyone joins in; it\u2019s a song for peace, the peace that humankind is incapable of creating among themselves, let alone with the earth and its many more-than-human created beings. <\/em><\/p>\n\n\n\n

Arvo P\u00e4rt (b. 1935): \u201cDa pacem Domine\u201d (2004) <\/strong><\/p>\n\n\n\n

There is more silence, then some magical music:<\/em><\/p>\n\n\n\n

Sofia Gubaidulina (b. 1931): Sonatina f\u00f6r solo fl\u00f6jt (1978)  <\/strong><\/p>\n\n\n\n

and at first quietly, a song about a morning star\u2026<\/em><\/p>\n\n\n\n

P\u00e4rt: Morning Star (2007)<\/strong><\/p>\n\n\n\n

\u2014 silence<\/em><\/p>\n\n\n\n

FINGERS: <\/strong>in #VII they exhibit total abandon and joy, at a time when they (as the extremities of the body) have no strength left<\/p>\n\n\n\n

CADENZAS:\u00a0<\/strong>one\u00a0\u2014\u00a0<\/strong>during the orchestral Earthquake<\/p>\n\n\n\n

forward to the next page<\/a><\/p>\n\n\n\n

back to the main project page<\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The integration of the project in the 2024 Kalv festival De vandrande klangerna i Kalv \/ The Wandering Sounds of Kalv can be seen in Swedish and English respectively on the two linked websites. The detailed programme booklet for the 2024 Kalv Festival (in Swedish) can be downloaded here.  This page describes the project’s eight concerts in detail and weaves… Continue reading 2. integration in the 2024 kalv festival<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":98,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-109","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/pages\/109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.assaggio.se\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=109"}],"version-history":[{"count":13,"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/pages\/109\/revisions"}],"predecessor-version":[{"id":178,"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/pages\/109\/revisions\/178"}],"up":[{"embeddable":true,"href":"https:\/\/www.assaggio.se\/index.php?rest_route=\/wp\/v2\/pages\/98"}],"wp:attachment":[{"href":"https:\/\/www.assaggio.se\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}