Exploring the Sound World of Øyvind Torvund

Miller Theatre commissioned writer Lara Pellegrinelli to create the program notes for the Composer Portraits in the 2022-23 season as well as a series of Q&As with Executive Director Melissa Smey. Here is the fourth installment, centering around our next Portrait featuring the music of Øyvind Torvund.

Q. What can you tell us about Øyvind Torvund?

A. Øyvind Torvund is Norwegian, he lives on an island near Bergen, and he's in his mid-forties. Russell Greenberg from Yarn/Wire has been pitching Øyvind’s music to me for a few years now. Jay Campbell, the cellist of the JACK Quartet, is also a huge fan of Øyvind’s music. So these two musicians I respect and trust have been important, New York City-based advocates for his music.

The beauty and the unique value proposition of a Composer Portrait concert is the chance to hear a whole evening of music by one composer. And to have it interpreted by musicians who know them, who have a relationship with the work, means they are able to bring something very special to it.

The idea that we could have both Yarn/Wire, a quartet with two pianists and two percussionists, and a string quartet together in a program was interesting to me. There’s something compelling about that combination of instruments; these ensembles were able to work together once before on the Enno Poppe Portrait in the 2012-13 season. And they collaborated very nicely.

Q. What pieces will be featured on the program?

A. Untitled School, Mud Jam, Campfire Tunes is a piece that Øyvind wrote for Yarn/Wire in 2014. It has projections that synchronize with the rhythms of the music and consist of well-known paintings by artists like Rousseau, colored squares, and traditional embroidery. We have to lose six feet of stage in order to make it happen. And the fixed position of Miller’s projection screen means there are some logistical challenges, but with Russell triggering the projections from the stage, I have great confidence the results will be compelling.

We’ll also be giving the world premiere of Plans for Future Ensemble Pieces, which has projections as well. This piece is part of an ongoing series that started with Plans for Future Operas. The “plans” resemble the conversations that happen between ensembles and composers when they’re trying to figure out the terms for how they will work together.

Then there will also be a brand new work with instrumentation that combines both ensembles.

Q. What are you most looking forward to in your work with Øyvind?

A. We haven’t gotten to meet each other in person yet. And I’m looking forward to exploring his sound world along with our audience. Working with composers for the first time can be risky. I want to be able to create an environment that enables them to have their work shown to the very best that it can be. This Portrait is possible because of the depth of the rapport I have with the musicians of Yarn/Wire and JACK. We’ve collaborated with for years—and we’ve done a lot of unique, crazy, and beautiful projects. I can’t wait to experience what will happen next.