Göteborgs Konserthus Gageego! 30 years

Madeleine Isaksson (b 1953) Rooms Three tempi run simultaneously. Each instrument follows a series in one of the piece's three basic tempos. Series and tempo can be interchanged between the instruments, but the three different tempi, in original, divided or augmented, are running in parallel throughout the composition. When the three different tempi periods land on one and the same pulse, a new "room" has been opened. Room is built on the basis of two series of numbers, 3 1 4 2 5 and 2 1 4 3 5, in mirrored and retrograde variants. These series have been applied to the overall form, divided into five according to the series 3 1 4 2 5, and to the division of rhythm within a period of fifteen pulsations (the sum of series).

Simon Løffler (f 1981) b (2012) for three musicians Simon Løffler is one of the leading Danish composers of a young generation where innovation in both the aesthetic and technical sense comes to the fore. Løffler's "letter suite" is perhaps one of its prime examples. The six works expand and above all invent new conditions for sound - or, perhaps rather, our experience of sound. Just as the sound is important, several of the works are independent of their visual presentation. In "b (2012)" we meet three musicians, six effects pedals, three neon tubes and a loose mono cable that investigates and portrays static electricity and amplification of the human body. The body's natural tension is eased into an "open circuit" of electricity, which manifests itself in disjointed, static sounds and a flickering fluorescent lamplight, while the musicians' feet - in interconnected effect pedals - contribute an additional electronic discharge, the clearest sonorous result of which is the shift in pitch. Esaias Järnegard

Esaias Järnegard (b. 1983) Tunnlar. Diken. Gravar (premiere) “Tunnels. Ditches. Graves is a composition that is as much mine as the memory of Gageego! A collection of phrases from meetings with these musicians since 2014. In the center moves a viola solo that carries excerpts and concert memories from the time when Johanna Persson in several of my works and other composers' music taught me how strings can sound. In the periphery, the woodwind parts of Ragnar Arnberg and Anders Jonhäll move like elusive shadows of both voices and lines. The hands mark the constant presence of the percussion. The rasping, down-tuned string is Johan Stern's thoughtful string movement. Surrounding all this is an echo of the past year's life. Nothing in Tunnlar. Diken. Gravar is really a homage, but the way I built the 7 interwoven sets bears traces that point in several directions. In a note quite late in the composition process it says 23, 29, 21, 7 and 41. The numbers mean little to the listening, but also mean everything. Thank you Gageego!” Esaias Järnegard

Joakim Sandgren (b. 1965) endroits susceptibles Since 2003, a significant part of Joakim Sandgren's music has been based on a sonogram, where various analyzes of the sonorous content of a short recording from the streets of Paris have formed a seemingly unimaginable source of creative achievements. Several works have been written for Gageego!, such as tonight's piece, which in 2013 was awarded Sweden's largest chamber music prize, the Järnåker scholarship. Sandgren writes: "I wrote endroits susceptible for several periods from 2010 to 2012. It was extremely difficult. Many decisions that were difficult to make. I eventually learned that it was the periods that made it good. Or rather the pauses. Afresh ear and mind can see structures and shape more clearly after a break of several months. At the premiere we played with congas. Later there was an occasion where I needed to replace the conga with a piano (!) and that version was so successful that it is the one that has been played ever since. Gageego are absolutely fantastic and the piece is what it is and has become thanks to them.”

The ensemble was formed in 1995 and wants to explore and make contemporary chamber music more accessible. As one of the most important actors in Music Sweden, the ensemble is appreciated for interpreting today's music at the highest technical and artistic level in a joyful and curious way. The group collaborates regularly with Swedish and international guests such as Peter Eötvös, H K Gruber and Pierre-André Valade. In addition to concerts in Sweden, the ensemble has toured in Russia and Denmark, among other places, and played as a guest at Lange Nacht der Neuen Klänge in Vienna's concert hall. The members come from Gothenburg Symphony Orchestra, Norrbotten Neo and Gothenburg Opera, among others. The latest album release is called Infiltrations (2024) and collects music by Madeleine Isaksson.

Tuula Fleivik is co-principal for the violas in the Gothenburg Symphony Orchestra. She studied violin at the Helsinki Conservatory and viola at the Sibelius Academy and the Guildhall School of Music and Drama. In 2000-2001 she was a member of the Verbier Festival Youth Orchestra. She has worked as principal in Sinfonia Lahti, Oulu Symphony Orchestra, Orquestra de la Comunitat Valenciana (Palau de les Arts) and Helsinki City Orchestra. Tuula Fleivik also has a great interest in contemporary music and has played with ensembles such as Gageego! and the Zagros Ensemble.

Fredrik Burstedt has worked with many professional orchestras in Sweden and throughout the Nordics, including Trondheim Symphony Orchestra, Norwegian Radio Orchestra, Kristiansand Symphony Orchestra, Odense Symphony Orchestra and Aalborg Symphony Orchestra. He has also conducted the Staatskapelle Weimar, Nürnberg Sinfoniker and I Pomeriggi Musicali in Milan. In opera, Fredrik Burstedt has conducted Janaçeck's The Cunning Little Vixen at the Gothenburg Opera, Bizet's Carmen and Martinu's The Greek Passion at the Värmland Opera, Lehar's The Merry Widow and Rossini's La Cenerentola at the Royal Opera and Kirke Mechem's Tartuffe at the Norrland Opera. He has led premieres of, among others, Jonas Bolin's Tristessa at the Royal Opera in Stockholm, which was named one of the five most important opera events in the world, as well as The Silver Bird by Mats Larsson-Gothe, The War of Love by Paula by Malmborg-Ward and The Norrmalmstorg Drama by Albert Schnelzer. Fredrik Burstedt is a former concertmaster and violinist and began his conducting studies with Jorma Panula. He received additional tuition from Daniel Harding, Stefan Solyom and Jukka-Pekka Saraste. He was awarded the Royal Opera's Sixten Ehrling Prize for young conductors and the Royal Academy of Music's prestigious Herbert Blomstedt Scholarship. In 2017, he was awarded a Grammy for his portrait album of the composer Mats Larsson Gothe, in which he conducted the Västerås Sinfonietta and Helsingborg Symphony Orchestra.