M i k a e l - M a l i k s
Compositions
As a composer, I try to expand the possibilities of composition as much as possible, through an ever increasing span of different instruments and styles. The fact that I am self taught before being accepted at the conservatory, from a primarily unmusical enviroment, gives me a rather unusual perspective, without any judgements towards pop, classical, jazz, avant-garde, folk or anything in between. Most often my compositions draw from the most varied influences outside the musical world, like art and poetry (including my own), religions, ecosystems, infrastructures, architecture and even infinitesimal pond splashes.
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I also have a predilection towards pedagogical music, and incorporate as many compositions and improvisations as much as possible for teaching others in form, counterpoint, harmony, keyboard technique instrumentation and orchestration. Please get in touch if you are interested in hearing more about my music or performing any of the compositions, or if you want to talk about commissioning new music for you or your ensembles. Almost all of my pieces are published by Nasjonalbiblioteket (NB).
Making music traditionally ...
There are many times still where pen and ink serve the music making process way more efficiently than our most advanced digital programs could ever do today. This manner also has a certain physiology, that in itself leads to an authenticity not attained by more modern means. The more avant-garde pieces like the duo elegy "Buen" ("The Bow") from 2023 or the solo glissando etude for piano "O Chartreuse Borealis" from 2022 were originally written with this method.
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... and digitally
At the same time, music programs like Musescore 4, Sibelius and Dorico have also proved invaluable for increasing the efficiency of repetitive, more tonally conventional pieces. Most of my pieces are therefore still made with these softwares.
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At the same time programs like LogicProX and FL Studio have both proved immensly useful for creating more electronic sounds outside the written score, and shown me combinatory possibilities and soundscapes beyond what I could imagine. Compositions such as the rather improvisatory "Nautilus" from 2023 and the Dystreskumring trilogy (2017-20) couldn't exist without them.
Part of my mission as a composer is also to experiment with different boundaries of expectable performance sizes and lengths. For instance the symphonic poem "Bendik og Årolilja", begun over at the Basel Conservatory in October 2022 calls for an orchestra comprising piccolo, 3 flutes (3rd doubling 2nd piccolo), 3 oboes (3rd doubling 2nd English horn), English horn, E flat clarinet, 3 clarinets in B flat and A (3rd doubling 2nd bass clarinet), bass clarinet in B flat, 3 bassoons, contrabassoon, 6 horns in F, 3 trumpets in C, 3 tenor trombones, 1 bass trombone, tuba, timpani (2 players), triangle, cymbals, tam-tam, large tenor drum, bass drum, glockenspiel, 2 harps, 16 first violins, 16 second violins, 12 violas, 12 cellos, and 8 double basses, expected to last about 1 hour and 10 minutes). Compare this to, say, "Three Gregorian Chants and a Fugue" for handbell ensemble, where each part barely lasts two minutes.
Dystreskumring (2017-20)
Natteskumringen (2017)
"Der Weib" (The Woman)
by Alfred Kubin
Bitrefrosten (2019)
"Winterhaus" (Winter House)
by Fritz Schwimbeck
Vollgraven (2020)
"Geist auf der Treppe" (Ghost on the Stairs)
by Fritz Schwimbeck
This album trilogy is entirely based on the micro genre known as "Dungeon Synth", emphasizing dark atmospheres like how one would hear them from a computer game from the 90s. Despite that, these FL Studio forged albums emit sounds rarely heard in the genre, such as augmented and diminished chords, octatonic and whole tone scales, and 12-tone passages. These albums were meant to both fuel what I can only describe as "morbid curiosity", and serve listeners with different forms of ambient escapism. All the tracks are at the same time supposed to be as varied as possible while still keeping to the melancolic esthetic, in every conceivable key and time signature. The Symbolist, early German Expressionist album cover also proved quite influencal in my own artistic ventures a few years later. These are all avalible on Bandcamp.
Olavshymnen (2022)
Comissioned by Nordal-Aurdal kirkelige fellesråd
Description "Olavshymnen" was first composed as part of a comission by cantor Monika Korsli Korsberg 1st of November 2022. Saint Olav is her presented through an augmented version of "Prædicasti", a Gregorian melody with the original text by poet Erik Eggen (1877-1957). The dotted rythm section in 3/4 is reminiscent of the local Valdres "springer" dance. Parallel fourths, fifths and octaves, and the lack of modulation emphasizes a medieval style. The handbell section isn't required to switch bells throughout the piece, and as such, can freely roam around the performance space. The atmosphere is of course a tribute to the saintly figure, but can also be used meditatively. It was first performed 29th of July (Olsok) at Slidredomen, 2023.
CG13 (2022)
Description "CG13" was originally composed for the lute forum recitals at NTNU, 21-30. of October 2022, for lutenist Christine Gebs, to whom the work is also dedicated. Numerologically, 13 reflects both the amount of strings on the seven chord instrument. and the aleatoric process of getting the notes in the rather "unfortunate" serial tone rows.
For solo lute
O Chartreuse Borealis (2023)
For solo piano
Description "O Chartreuse Borealis" This composition has, as its main purpose, the discovery of hitherto unattempted clusters and gestures, in relation to recreating the impression of polar light. This does not, however, imply any direct "impression" of the natural pehomenon as such, but rather, inspiring listeners to the awe-inspiring wonder of all ancient people's first meeting with aurora borealis, in the form of a sonic experience. Technically speaking, the piece could best be understood as a glissando study. The piece was first performed in Orgelsalsen at Olavshallen, 20th of April, 2023 by pianist Ivar Skyberg.
Buen (2023)
For organ and cello
Description "Buen" has its main title from the name of King David's elegy for all the israelites who had fallen after the battle with the amalekites. The atonal language and the slow tempo shows the holy monarch's melancholia as he plucks his harp. This piece was composed the 14th of December 2023 in an attempt to inspire other organ students to perform new repertoire at the forums in Nidaros cathedral at NTNU. Still, the composition can be performed for other occasions, such as the Eucharist during service.
Oftentimes, spontaneous improvisations paves the way for new works.
. . . w r i t i n g !
. . . j u s tÂ
. . . Â k e e p
