About ... Silent Flute and the flutes
The title Silent Flute originally arises as a consequence of the fact that the first recordings are recorded in my flat with neighbours above, below and to the side. I begin to cultivate the close, still, intense sounds of the flutes and find great inspiration in blowing obliquely, the recorder held out to the side, whereby the sound of the dry air, which whistles past the mouthpiece, brushes the one corner and becomes an important part of the sound picture, the level varying according to the flute's slanting position. In addition to that comes the use of my electronic equipment which the flute is played through. Here, I turn on and off the electronic flute sound using pedals ... live ... so that I can determine at which level the acoustic resonance, effects, echo, harmonizer etc. are to blend with the acoustic sound and colour the final flute sound.
About ... the sound painter
I regard myself more as a sound painter than as a musician in such compositions as are to be found on the cd Silent Flute. Here, the sounds of the flutes and the sound pictures change continuously, as colours on a canvas. My electronic hardware and the sounds are my palette and the flute is my brush.
About ... '- gennem rum'
'- gennem rum' (through spaces) is the subtitle of Silent Flute. In Danish, the word 'rum' contains nuances that I cannot find in one single, English word a merging of physical space and auditory space. '- gennem rum' is dreams, visions, visual images I have had, and which I believe it would be exciting to transform into an auditory universe and then let myself be inspired to enter with my flutes. Thus, Black Marks was inspired by a vision I had when I visited Cola de Caballo, The Horse's Tail, a huge waterfall in North Mexico, and later the sounds of big, black birds in San Felipe which only sing around 4 - 5 o'clock in the morning. I recorded everything on DAT. I had to make the sound of the image of the big, white water surface, which the birds flapped in and out of and apparently left their black marks in the white foam when they stayed hanging for a moment. That became 'Sorte Spor' Black Marks.
Sea Lights is a vision I had during a meditation. Here, I undertake a journey down through the waves of the sea and, after a while, I find myself on a large illuminated place at the bottom of the sea. The sound of the waves has faded away, I only sense the big, black arch which encircles the space I am in. The light is soft, foggy verdigris-green. And in the middle of the place stands a big house. It most resembles a giant barn. Without windows. The silence is great. Here, I rest a while in emptyness. On the journey back through the waves, I hear the same calling sounds as I heard on the journey down.
About ... the composition Silent Flute Silence
The individual pieces in Silent Flute are composed as one long, coherent work, thought out as such, but with clear divisions, for example; Black Marks Silent Flute Sea Lights where the title piece Silent Flute, which consists of 1 minute and 1 second of silence without flute, is the ending of the tremendous cascade of sounds in Black Marks and the beginning of Sea Lights.
About ... instant composing to create in the moment in spaces spaces spaces
Each of the composed pieces is created through a mixture of layer-upon-layer composition and instant composing. That is to say, the spaces I play into are built up around my pictures of sound, ideas and dreams which exist, are recorded unchangeable. When they are played, it will again and again be in new spaces with new parameters such as the sound in the room, the light, the smell, the temperature and, not least, the people who are present. The flute, on the other hand, adjusts itself to complete openness and lets itself be inspired by the changing essence of the moment. Thus, a piece is never quite the same when played again.
About ... the journeys in a magical time
The whole idea for Silent Flute originated on a journey from Århus to Copenhagen. In those days, trains could still be found with small compartments, long, narrow corridors and windows which could open. I sat, surrounded by fellow passengers, and worked very concentratedly with my music. So, when the conductor came by, I asked him if he had an empty compartment where I could sit. He had and took me to an empty carriage and locked the door so I had piece and quiet until we reached Copenhagen. It just happened. In Copenhagen, I picked up my newly restored saxophone. At the beginning of the journey home, on the platform in Copenhagen, I took an interest in a young, southern-looking man who stood with a big briefcase under his arm. We got into the same compartment. I still see the picture of two women, mother and daughter, dressed in black, sitting diagonally opposite, also from a different world. As it turned out, he had chosen a luggage-van, that is, there was a large compartment for bicycles and a single compartment at one end. So, when Roskilde had passed, I went out into the large, empty space and played my saxophone as the landscapes flew by. The young man, Luis Gonzales, came to me, captured by the sound. He was from Guatemala and was about to exhibit his photographs in Århus. He invited me to come and play at the private view. Here, at the exhibition, was where I met the Mexican, the poet, the shaman Andrés King Cobos who became my friend. The first time I visited him, he took me on a journey north through, what is in every way most colourful, Mexico. And this was where the ideas came to me and I recorded the first sounds which inspired my compositions on Silent Flute.