In collaboration with Danish ensemble Scenatet, Jacob Kirkegaard's two pieces Labyrinthitis and Church are interpreted here using classical instruments. The intention of this transformation into an instrumental score is to explore the musical dimension and potential of the sounds that were used in creating the original works.
Church (from "4 Rooms", Touch, 2006) is originally based on ambient recordings of an abandoned church inside the radioactive zone in Chernobyl. Laybrinthitis (Touch, 2008) is a canon of otoacoustic tones generated by the artist's own ears. Like most of Kirkegaard's sound works, both pieces are characterized by a strong focus on methodology, and by the artist's wish to omit any deliberate emotional or "musical" intention.

In collaboration with Danish ensemble Scenatet, Jacob Kirkegaard's two pieces Labyrinthitis and Church are interpreted here using classical instruments. The intention of this transformation into an instrumental score is to explore the musical dimension and potential of the sounds that were used in creating the original works.
Church (from "4 Rooms", Touch, 2006) is originally based on ambient recordings of an abandoned church inside the radioactive zone in Chernobyl. Laybrinthitis (Touch, 2008) is a canon of otoacoustic tones generated by the artist's own ears. Like most of Kirkegaard's sound works, both pieces are characterized by a strong focus on methodology, and by the artist's wish to omit any deliberate emotional or "musical" intention.