Anna Eriksson - Ghost Inside Ghost

Anna Eriksson

Ghost Inside Ghost

Lamour Records
VÖ Datum: 26.08.2016
Genre: Folk / Singer-Songwriter
Format: CD
6,75 € 4,99 €
1. Ghost Inside Ghost (part I-III)
2. Elementarpartiklarna
3. Ba
4. Ping and Pong
5. Cirros Stratos
6. Före
7. Pas de deux
8. Psalm - improvisation
9. Sutra (part I)
10. Sutra (part II)
Anna Eriksson - Ghost Inside Ghost


Composer Anna Eriksson from Gothenburg, Sweden, releases her second album with contemporary chamber music. The title track "Ghost Inside Ghost", has given name to both the disc and the ensemble made up of musicians from Gothenburg, profiled in contemporary and experimental music. The cd is released on Gävle based Lamour Records, usually specialized in electronica, art and club music.

On her new album, Anna Eriksson (born 1963) collected some of her former works and processed them for four musicians she collaborated with a lot over the years. The ensemble, named as the album, consists of My Hellgren, cello, Åsa Nordgren, soprano, Anna Svensdotter, flute and Sara Sjödahl, prepared piano and accordion.

The suite "Ghost Ghost Inside" is inspired by a few bars of Beethoven's Piano Trio in D major, the so-called " Ghost Trio". The different parts are meant to be played inside Beethoven's work, but can also stand alone. The piece "Elementary Particles" was included in the concert installation "Between Micro and Macro", with a text reflecting the smallest components in universe. "Ping and Pong" was originally written for piano and soprano recorder, with pingpong balls for added expression. "Cirrus stratus" was included in the theatrical work "En flygvärdinnas sånger" ("Songs by a Flight Attendent"), where the text is made up of Latin words for cloud formations. In the work "Sutra", a line from the Buddhist Diamant Sutra has been processed and broken down.

- There is an underlying root system that binds the various works on the album together, says Anna Eriksson, even though they might sound far appart. Some bars or ideas are often transported from one piece into another. Sometimes I compare my compositional technique with my grandmother's cuisine: her dinners were made of yesterday's leftovers, which in turn was made on the leftovers from the day before. In a way, the same goes for my music.

Anna Eriksson has written comissioned works for a variety of ensembles

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