This coming Saturday, January 30th, it's Spellemann time again. Morten Qvenild is nominated in two categories: Open Class and TONO's Composer's Award.
/ 25/01/2016 / codexMorten Qvenild has been nominated for two awards for the album "Personal Piano", released on the record label Grappa. But how does he feel about being nominated for TONO's composer award?
– It's a great honor and a great honor. Especially on this record, since I've done everything myself, it's a great honor. I've composed, built instruments, produced, recorded, played, cut and glued. The whole process with "Personal Piano" has been a web of different roles, where no role is what it is without the other. If I hadn't worked with instrument setup, programming and construction, I wouldn't have been able to compose as I have. I think this expansion of the composer's role is very interesting, and it's great that this work is being noticed.
– You have received good reviews in the media for “Personal Piano”, including in Dagens Næringsliv and dieningkast 5 in VG. Would you like to tell us a little about the compositions on the album?
– In recent years, I have worked on developing “The HyPer(sonal) Piano”. I have worked on integrating different types of electronics into the grand piano, and expanding the sonic palette of the instrument. The songs and improvisations on “Personal Piano”, which is my solo debut, are intended to form a stage where a heavily processed sound world and musical expression can unfold. The music is mostly instrumental, but I also sing on several tracks, he says.
– The album is a sum of my personal interests and a wide range of inspirations: the catchy melody, birch, noise, restlessness, snow, James Blake, words, wood, Radiohead, plastic, running, the abrupt, the child, the pine, melancholy, Frode Grytten, traveling, traveling too much, not traveling, traveling to the wrong place, the cabin, ashes, Olivier Messiaen, Hans Børli, not knowing, metal, electrons, euphoria, pondering, skiing, underground, Murakami, kayaking, country, in the country, the dark chords and the shimmering light, he summarizes.
– What do you think about those you are competing with in TONO's composer prize at Spellemann?
– I think everyone has their own voice and is very talented. Insanely high level as you would say on "Idol", and on "Every Time We Meet" you might cry a little.