Christina Campanella



Christina Campanellla works with music and sound across disciplines. Her original pieces for theater, film, installation and fixed media blend songwriting and composition with aural design, weaving found sounds and ambient textures into cinematic soundscapes and deconstructed art songs.

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    All Things From Zero   Concert-installation for The Great Learning Orchestra

    Presented in a gallery with 4-channel sound, the piece is a 45-min electronic score looped 4 times with live interactions performed in real time by the GLO. Performers were given a graphic score representative of the recorded soundscape—a time-coded roadmap with which to navigate the piece—and a document of performance notes that outline a structure for their individual  improvisations.

    2019 - Royal Academy of Fine Arts, Stockholm

    Commissioned by The Great Learning Orchestra for their 20-year anniversary season with funds from Kulturrådet

    Artist’s  Note:
    Everything you hear in the electronic score was originally played live by the GLO and recorded by me during individual meetings in June 2019. I engaged each player in conversation and asked them to demonstrate their instrument using three musical notes (D, E and G#) as the tonal locus for an improvisation. Each note and musical phrase was conceived without any knowledge of a whole. Over the next 6 months, I composed the piece out of snippets taken from 9-hours of recorded material, compositing them into an interlocking tapestry of music wherein the content dictates the form. I then created a visual rendering of the electronic score—a roadmap for live performance in which players engage in real time with recorded versions of themselves.

    The Great Learning Orchestra is a group of roughly 100 improvising musicians, visual artists and other soundmakers based in Stockholm, Sweden. Inspired by Cornelius Cardew’s Scratch Orchestra and named after his most famous work, the GLO sees ensemble music as an opportunity to perform in a kind of pure present and is fully committed to the philosophy of active listening and improvisation. They work mainly with graphic scores. Many play traditional orchestral instruments, some play amplified or homemade ones, some electronics. Many play professionally, some are teachers, some have returned to music in their retirement. Backgrounds range from classical to free jazz to visual arts and everything in between. The number of participants and what instruments they play is always changing, so these elements in scores created for them must be indeterminate.

    Teckning av
    Pontus Dahlström

    Vi firar 20 årsjubileum sedan första konserten med "In C"  av kompositören Terry Riley på Klubb Sekt på Nalen 1999.

    Vi har bjudit in tre fantastiska kvinnliga kompositörer:
    Leah Asher, Christina Campanella och Ida Lundén ska specialskriva var sitt verk till oss.
    Som inspiration har vi bett dem att välja något från vår repertoar genom åren och komponera något nytt för oss. Konserterna kommer att ges under hösten 2019.

    Leah, Christina och Ida kommer alla till oss under året och håller workshops och seminarier.
    Dessutom har vi bjudit in några speciella vänner för att leda varsin workshop:

    21/2 kom kompositören Sten Sandell på besök. Det blev samtal om improvisation och tolkning av grafiska partitur med fokus på själva lyssnandet och spelandet.

    21/3 kom operasångerskan och pedagogen Elisabeth Wärnfeldt  och höll en uppskattad workshop i hur att använda sin röst. Elisabeth gjorde en strålande insats som sångerska med oss i början av året i installationen DROM i Slaktkyrkan.

    4-5/5 kom Leah Asher för att workshoppa och förbereda den komposition vi ska göra av henne under hösten.

    15-16/6 kommer Christina Campanella för att hålla intervjuer och workshop inför hennes verk för oss.
    Ida Lundéns workshop hålls i slutet av sommaren.

    Projektet med Leah Asher, Christina Campanella och Ida Lundén görs med stöd av Kulturrådet.