Tonsättarweekend – Francesca by Various, su 14 huhti 2024, Alkaen (2024/2024), Musiikinjohto Christian Karlsen, Konserthuset (Stockholm Concert Hall), Stockholm, Sweden

Lisa Streich's fascination with motorized instruments is expressed in the finale at Composer Weekend 2024. Here we hear KammarsensembleN under the direction of Christian Karlsen. But it begins as in a dream, quietly and carefully, with Klara Hellqvist's lone violin in the work Falter. The dance of the fingers over the fretboard produces mostly brittle sound tracks. Zucker and Safran are both works with motorized elements. "Motors are my vice," says Lisa Streich. "Just like other people go wild on loose candy, I like to 'consume' a pinch of engines. Human versus machine. Contrary to the common perception, especially during the 20th century, one can now get the impression that the machine is more human than the person," says Streich. In both Zucker and Safran, small motors are mounted on the instruments, for example with strips beating against strings. What passed through the ears of Saint Francis in 15th century Rome? That was the starting point for Lisa Streich in Francesca. "Perhaps we have an idea of ​​what a choir of cherubim sounded like. Many times it is something idealized, heavenly and beautiful. When I saw Antoniazzo Romano's frescoes of Saint Francis in the Tor de' Specchi monastery in Rome, I wanted to hear what she herself heard on her deathbed and later.” The result sounds distorted and perhaps not exactly heavenly according to some kind of general idea, but with a wonderful beauty of its own.