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Victoria Nunes Finstad: Lamenting the soil (2026 - world premiere)
Jorge Gómez Elizondo: Clarinet without Organs II – Pulpesque (2026 - world premiere)
Kristine Tjøgersen: We Carry the Sun (2026 - world premiere)
Across my tongue, my words and others’ words… is a multifunctional piece inspired by poetry and action performance. The piece consists of clarinet, fixed electronics and lights, while the performer follows specific stage actions. However, different versions and combinations of media are possible. Previous performances have included the whole set up in B flat clarinet and in bass clarinet, B flat clarinet and electronics, solo B flat clarinet, and B flat clarinet and lights. For this occasion Elena Perales Andreu will premiere a version for solo bass clarinet and action performance.
Victoria Nunes Finstad is a Norwegian-Brazilian composer who writes contemporary art music for solo instruments, chamber ensembles and orchestra, and works with an interdisciplinary art practice, often in collaboration with other composers and artists. Her music is influenced by phenomena in daily life and nature, with an interest in how the sonorities in our surroundings can be put into a musical context.
In her piece Lamenting the Soil, she takes the living soil as a point of departure. The soil is full of life we rearly hear. Crackles, crawls, rumbles. Lamenting the Soil brings forth sounds from the soil and the sorrow of the silence that comes when the worm, the beatle, the ant and the animals can no longer exist in it.
Jorge Gómez Elizondo‘s works are often situated at the intersection of musical composition, sound art, and performance involving theatrical and scenic elements. His pieces interweave the random, the planned, and the improvised with a multiplicity of meanings and a recontextualization of space and sound.
In the cycle of pieces Clarinet without Organs, the clarinet is approached through various preparations and the reassembly of its parts. The second piece of the cycle, dedicated to Elena Perales Andreu, consists of a clarinet mouth piece, a double-reed sounding device taken from a squeaking toy, five hoses of different lengths, and a brass manifold to connect all of the hoses—a breathing bricolage bio-mechanical being.
The title comes from Antonin Artaud: “When you have made him a body without organs, / then you will have delivered him from all his automatic reactions / and restored him to his true freedom.”
The concept of the Body without Organs (BwO) in the philosophy of Gilles Deleuze and Félix Guattari, influenced by Artaud, can be understood as a non-organizational or anti-structural body. It represents a state of pure potentiality, a body stripped of its conventional functions and hierarchies. Thus, I imagine the clarinet without organs as a body subjected to a reorganization and reconstruction of itself in order to find different modes of expression.
Kristine Tjøgersen is a Norwegian composer whose compositional practice is characterized by curiosity, imagination, humor and precision. Through her work, she creates unexpected auditory situations through playing with tradition. She has a special interest in the interplay between the visual and the auditory and how they affect each other. For Only Connect Oslo she has composed a piece for the unique musicians in araia, named We Carry the Sun.