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Niels Rønsholdt
Concert Friday at 22:00, Granhøj Dans
External link: www.nielsroensholdt.dk
Niels Rønsholdt
Composer (DK), 1978
“Each work is like a person; it has its own story to tell and does it in its own way. My artistic practice is therefore predominantly about disclosing and maturing the expression, discovering what side of reality – what side of me – that it represents.”

Niels Rønsholdt studied at the Royal Academy of Music, Aarhus, where he was a student of Karl Aage Rasmussen and Bent Sørensen, and in Berlin of Helmut Oehring a.o. Rønsholdt’s works include experimental opera, installation and concert music. He has been commissioned by a string of record companies, ensembles and festivals, such as Akademie der Künste (D), Sound Around Biennale (DK/SE), Edition Wilhelm Hansen, TRANSIT Festival (B) and The Royal Danish Theater’s Opera. His music has been performed by Kammerensemble Neue Musik Berlin (D), Ensemble Intégrales (D), NING (N), BIT20 (N), Figura (DK), Athelas (DK), Reflexion K (D), Champ d’Action (B) and Ensemble Offspring (AU) a.o. He was the recipient of the Danish Arts Council’s 3-year grant in 2009 and of bursaries from the Danish Arts Association and Akademie Der Künste, Germany.

Three questions to Rønsholdt

Which possibilities, qualities or restrictions do you feel characterize sound as an artistic material?

“For me, sound is a means; it is the salt core around by which ideas can condense. The ideas themselves often lie beyond concrete sound or music, being situations or meanings. But there is an interaction. An idea is only relevant if its musical incarnation matches up to it and at some point takes over. Otherwise both the idea and the music collapse. The Helmut Newton saying: "‘Good taste is the worst thing that can happen to a creative person’ describes quite well the kind of forbidden attraction towards material seemingly from outside of what I consider tasteful. At the same time, I often have a perfectionist’s approach to my work and so my music becomes ‘tasteful’ in its own way. If my works are at all interesting, it is because they are conceived in the field of tension between the tasteless and the aim for the perfect."

What does silence represent to you?

"A beautiful moment is the silence before a piece of music begins. In that moment, everything is possible. The potential in itself holds a fundamental beauty, and silence is somehow the ultimate potential, like darkness. The silence before the music is just as full of life as the empty moment after the music ends. The light is on, the darkness filled out, and one is left with the disappointment over the lost potential or the longing for that which is gone."

How do you work with the relation between sound and context?

"For me, sound and context are intrinsically linked. I am very fond of works in which a significant feedback occurs, and where the music gives rise to associations that initially point away from the sonorous, but end up back in the music – giving it colour, blowing life into it and unfolding new associations.”

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