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Inversion Ensemble and Density512 present
The Björk Songbook
Inversion Ensemble and Density512 present The Björk Songbook
Friday October 27, 2023 at 7:30 PM
Saturday October 28, 2023 at 7:30 PM
First Unitarian Universalist Church of Austin
4700 Grover Ave, Austin, TX 78756
The Björk Songbook is a special collaboration between Inversion and Density512. This special collaboration between Inversion Ensemble and Density512 pays tribute to legendary Icelandic singer Björk with freshly reimagined versions of her most beloved songs including Venus As a Boy, Hidden Place, It’s Oh So Quiet, Human Behaviour and more – all set for voices and chamber orchestra by local Austin composers. The two performances will be held at the First Unitarian Universalist Church of Austin. Get your tickets now! (🎶 “Do it now… do it now…” 🎶)
Thank you for attending The Björk Songbook! Please join Inversion in supporting
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Program
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Human Behaviour by Björk, arr. by James Tabata (world premiere)
Soloist — Alicia Villarreal
Text
If you ever get close to a human
And human behaviour
Be ready, be ready to get confused
And me and my hereafter
There's definitely, definitely, definitely no logic
To human behaviour
But yet so, yet so irresistible
And me and my fear cannot
And there is no map uncertain
They're terribly, terribly, terribly moody
Of human behaviour
Then all of a sudden turn happy
And they and my here after
But, oh, to get involved in the exchange
Of human emotions Is ever so, ever so satisfying
And they and my hero
And there is no map uncertain
There's definitely, definitely, definitely no logic
Human
Program note — Human Behaviour is a colorful song with an extremely wide vocal range, bitonal harmony, and energy for explosive orchestral sounds. It describes the nonsensical, contradicting, yet alluring nature of relationships. This arrangement does not drift far from the original recording, but it does include original vocal harmonies and instrumental techniques that I think complement the character of the song. Audiences may find the layering of voices interesting throughout the song. One of the biggest challenges of this song was to not write too much. Björk already has so much interesting material to work with, so I don't want to get in the way of it. My arrangement tries to amplify the virtuosity and sounds of the performers while staying true to the character of the song.
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Mycelia by Björk, arranged by Adrienne Inglis (ASCAP) (world premiere)
SATB, flute, oboe, clarinet, bassoon
Text — sound syllables that imitate Björk’s song
Program note —Commissioned for Density512 and Inversion’s The Björk Songbook concert, this arrangement of Icelandic singer/producer Björk’s song Mycelia from her 2022 album Fossora is all about fungus. The original song has no lyrics, just syllables of Björk’s singing chopped up and combined to simulate mushroom communication. Mycelia are the branching interwoven filaments of fungus in the soil. This arrangement has voices singing the syllables, accompanied by flute, oboe, clarinet, and bassoon for a rich, colorful texture. Björk brings attention to mycelia to encourage collaborations between humans and mushrooms. This arrangement brings attention to the fact that fungal networks enrich biodiversity and mitigate climate change by capturing and storing vast amounts of carbon.
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Aurora by Björk, arr. by Benjamin Dia (world premiere)
Soloist — Katrina Saporsantos
Text
Treading
The glacier head
Looking hard for
Moments of shine
From twilight
To twilight
Utter mundane
Aurora
Goddess sparkle
Shoot me
Beyond this suffer
The need
Is great
Aurora
Utter mundane
Aurora
Goddess sparkle
A mountain shade
Suggests your shape
I tumbled down
On my knees
Fill the mouth
With snow
The way it melts
I wish
To melt
Into you
Aurora
Utter mundane
Spark the sun off
Spark the sun off
Spark the sun off
Spark the sun off
Program note — Written for Inversion Ensemble and Density 512's "The Björk Songbook" concert.
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Thunderbolt by Björk, arr. by Carol Brown (world premiere)
Soloists — Holt Skinner, Marjorie Halloran, Bethany Ammon
Text by Björk Gudmundsdottir and Oddný Eir Ævarsdóttir
stirring at waters edge
cold froth on my twig
my mind in whirls
wanders around desire
may i, can i or have i too often
craving miracles
may i, can i or have i too often now
craving miracles
craving miracles
no one imagines the light shock I need
and i’ll never know
from whose hands deeply humble
dangerous gifts as such to mine come
may i, should i or have i too often
craving miracles
may i, can i or have i too often
craving miracles
craving miracles
my romantic gene is dominant
and it hungers for union
universal intimacy
all embracing
may i, should i or have i too often
craved miracles
may i, can i or have i too often
craved miracles
crave
waves irregularly striking
wind stern in my face
thunderstorm come
scrape these barnacles off me!
may i, may i or should i too often
crave miracles
may i or should i or have i too often
all my body parts are one
as lightning hits my spine
sparkling
prime runs through me
revive my wish
i am inviolable
may i, can i or have i too often
craving miracles
may i, can i, should I or have I too often
craving miracles
Program note — “Thunderbolt,” from Björk’s 2012 project Biophilia, represents the nature of lightning, articulated through leaping arpeggios in the bass line, which were originally created using a Tesla coil and a sophisticated touchscreen app. In this arrangement, the mechanical sound of the bass line is recreated by the bassoon, using audio distortion to change the instrument's natural sound. The synth (organ) and voices, while adapted, still follow closely to the harmonic structure Björk started with. In traditional Björk fashion, lots of space is created in the harmonies with open fourths and fifths. I chose to add a string trio which brings in a very different texture to the entire piece. Since almost every sound Björk created for this was originally done through some sort of electronic or digital program, I saw this as a challenge to "deconstruct" the studio recording and it's specifically curated technology to make it basically the opposite of its origin; all live, mostly acoustic instruments with only a little bit of help from some pedals, plugs and amps.
-
Crystalline by Björk, arr. by Jordan Walsh (world premiere)
Soloist — Carol Brown
Text
Underneath our feet
Crystals grow like plants
Listen how they grow
I'm blinded by the lights
Listen how they grow
In the core of the earth
Listen how they glow
Crystalline
Internal Nebula
Crystalline
Rocks growing slow-mo
Crystalline
I conquer claustrophobia
Crystalline
And demand the light
We mimic the openness
Of the ones we love
Dovetail our generosity
Equalize the flow
With our hearts
We chisel quartz
To reach love
Crystalline
Internal Nebula
Crystalline
Rocks growing slow-mo
Crystalline
I conquer claustrophobia
Crystalline
And demand the light
Octagon, polygon
Pipes up an organ
Sonic branches
Murmuring drone
Crystallizing galaxies
Spread out like my fingers
Crystalline
Internal Nebula
Crystalline
Rocks growing slow-mo
Crystalline
I conquer claustrophobia
Crystalline
And demand the light
Program note — This project is an interesting one for me because I went in almost totally blind. I knew very little of Bjork's music before agreeing to arrange a song, so to start work I listened to her discography blind and on shuffle looking for something that caught my attention. "Crystalline" grabbed the drummer in me immediately: the sense of groove and rhythmic drive flies in the face of the disorienting rhythms of her voice and the absolutely bonkers time signature. And it ends with an Amen Break quote; how could I resist? Making full use of Density's and Inversion's combined forces was a challenge. Crystalline's original arrangement is actually quite straightforward in terms of timbre, so making full use of the colors on hand took a lot of trial and error. The song is incessant with very few moments of reprieve, so finding ways to open up the ensemble's palette mostly happens in these little moments.
-
Future Forever by Björk, arr. by Suzette Emberton (ASCAP) (world premiere)
Soloists — Juli Orlandini, Nathaniel Fomby
SSAATTBB Choir, Electric Guitar, Synthesizer, Singing Bowls
Text
Imagine a future and be in it
Feel this incredible nurture, soak it in
Your past is on a loop, turn it off
See this possible future and be in itHold fort, for love, forever
We're just momentary vessels
We're just carryingTrust your head around
Guide your stare elsewhere
Your love is already waiting
You're already in itHold fort for love, forever
Watch me form new nests
Weave a matriarchal dome
Build a musical scaffolding
Between sleep and awake
Night and dayYou say I mirror peoples' missions at them
Now you mirror at me who I used to be
What I gave to the world, you're giving back at me
Hold fort for love, forever.Program note — Future Forever is a meditation. I personally experience this piece of music as a work art that exists in a meditative soundscape, rather than as a pop song. Most of my other compositions are focused on storytelling - from the formation of the universe to epic battles - but this one is not that. Rather, it is an opportunity for the performers and listeners to simply BE, to exist in the space of sound, looking inward and centering themselves for a bit, holding space for self, others, love, and life.
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Venus as a Boy by Björk, arr. by Marjorie Halloran (world premiere)
SATB Choir, Piano, String Quartet, Bass, Percussion
Text
His wicked sense of humour
Suggests exciting sex
His fingers, they focus on her
Touches, he's Venus as a boy
He believes in beauty
He's Venus as a boy
He believes in beauty
He believes in beauty
He's Venus as a boy
He believes in beauty
He's exploring the taste of her
Arousal, so accurate
He sets off the beauty in her
He's Venus, Venus as a boy
He believes in beauty
He's Venus as a boy
He believes in beauty
He believes in beauty
He's Venus as a boy
He believes in beauty
He believes in beauty
He's Venus as a boy
He believes in beauty
He believes in beauty
He's Venus as a boy
He believes in beauty
Program note — I was initially drawn to "Venus as a Boy" because of how beautiful a song it is. Björk's use of major 7th chords and the leading tone in the melody give this lovely uplifting feeling to the song, and even though the subject matter might feel a little adult to some, it's also a very pure expression of a loving and intimate relationship. I wanted to keep Björk's original sultry-yet-tender vibe, but I also wanted to expand upon her harmonies a bit, which is most evident in the beginning and ending chorale sections. Björk also used a lot of Bollywood-inspired instrumentation in the single release of "Venus", which I really loved and wanted to keep, and I encourage the audience to listen for that influence in the string parts. I had fun with incorporating gibberish in the arrangement as well, which Björk describes as "sounds that feel good to sing", so if the audience can’t figure out what the choir is saying— it’s on purpose!
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Pagan Poetry by Björk, arr. by François Minaux (world premiere)
Alto Sax, Trombone, Percussion, Choir, Celesta, Marimba, Electric Bass
Text
Swirling black lilies totally ripe
I love him, I love him
She loves him, she loves him
Program note — Pagan Poetry reminds us of how fatal and devastating love can be. There is this dual emotional state she is dealing with in this song where deep pain is intertwined with sheer abandon to a person. It is really hard to have the courage to commit to a relationship after being deeply hurt. She is on the fence of either withdrawing herself or handing herself over. Twenty years later, the underlying emotional distress of this song echoes some Orwellian overtones where our lives don’t allow room anymore for such emotional excess. Unless it’s socially regulated or is a consequence of the consumerism society we depend on to feel or not to feel. The challenge in arranging Pagan poetry for choir was to respect its inherent intimate, private, personal and introverted qualities. I took the risk to not give the verses to the choir. The alto saxophone solo is in charge of carrying the emotional discourse of the grieving person whereas the choir act as a witness. This arrangement is also true in the original song and I wanted to keep that intact and translate the words’ emotional content into the expression range of the saxophone. The rest of the arrangement is trying to transcribe Bjork’s electronic sounds into an arrangement suited for Density512’s electro-acoustic classical ensemble.
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Victimhood by Björk, arr. by Nick Montopoli (world premiere)
Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, Percussion, SATB Choir, Viola, Cello, Bass
Text
Victimhood,
I heed the call
To step out of
Victimhood
Has a saintly glow,
holier than thou
It erased my shadow, shadow
Only bird's-eye view
Can help me transcend this archetype
Can help me transgress
To transgress us beyond our tragedy
Victimhood,
I heed the call
Program note — I always enjoy digging into an established artist's most recent work — in this case, Bjork's album "Fossora," which heavily features low reedy sounds (clarinets primarily) and dark, heavy textures. Could be the metalhead in me, but Victimhood immediately captured my attention: low synth "power chords" throughout, very sparse arrangements, and choral stacked vocals made for an exciting challenge to arrange for live ensemble!
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Hidden Place by Björk, arr. by Sophie Mathieu (world premiere)
SATB, Flute, Oboe, Clarinet, Alto Sax, Two Percussion, Piano, Strings
Text
Through the warmest cord of care
Your love was sent to me
I'm not sure what to do with it
Or where to put it
I'm so close to tears
And so close to
Simply calling you up
I'm simply suggesting
We go to the hidden place
That we go to the hidden place
We go to the hidden place
We go to a hidden place
Now I have been slightly shy
And I can smell a pinch of hope
To almost have allowed
Once fingers to stroke
The fingers I was given to touch with
But careful, careful
There lies my passion, hidden
There lies my love
I'll hide it under a blanket
Lull it to sleep
I'll keep it in a hidden place
I'll keep it in a hidden place
Keep it in a hidden place
Keep it in a hidden place
He's the beautifulest
Fragilest still strong
Dark and divine
And the littleness of his movements
Hides himself Invents a charm
That makes him invisible
Hides in the air
Can I hide there too
Hide in the air of him
Seek solace
Sanctuary
In the hidden place
In a hidden place
In a hidden place
We'll stay in a hidden place
Oh, in a hidden place
We'll live in a hidden place
We'll be in a hidden place
In a hidden place
Program note — Hidden Place explores the secret world of passionate new love. It is the opening song from Björk’s 2001 album, Vespertine, and, when I was approached about arranging a Björk tune for this performance, it immediately stood out because of how many beautiful choral textures already exist in the original track. I chose to keep my arrangement pretty faithful to the original, but definitely leaned into a more orchestral vibe than Björk’s version.
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It's Oh So Quiet by Björk, arr. by Trevor Shaw (ASCAP) (world premiere)
Soloist — Rick Gabrillo
Text
Shhhh, Shhhh
It's, oh, so quiet
It's, oh, so still
You're all alone
And so peaceful until...
You fall in love
Zing boom
The sky up above
Zing boom
Is caving in
Wow bam
You've never been so nuts about a guy
You wanna laugh you wanna cry
You cross your heart and hope to die
'Til it's over and then...
It's nice and quiet
But soon again
Starts another big riot
You blow a fuse
Zing boom
The devil cuts loose
Zing boom
So what's the use
Wow bam
Of falling in love?
It's, oh, so quiet
It's, oh, so still
You're all alone
And so peaceful until...
You ring the bell
Bim bam
You shout and you yell
Hi ho ho
You broke the spell
Gee, this is swell you almost have a fit
This guy is "gorge" and I got hit
There's no mistake this is it
'Til it's over and then...
It's nice and quiet
But soon again
Starts another big riot
You blow a fuse
Zing boom
The devil cuts loose
Zing boom
So What's the use
Wow bam
Of falling in love?
The sky caves in
The devil cuts loose
You blow blow blow blow blow your fuse
Aaaaah!
When you fall in love...
Ssshhhhhh…
Program note — Written by a pair of Austrian writers in the late 1940s, the song "Und jetzt ist es still" went on create a legacy few could have predicted. It was translated into English by songwriter Bert Reisfeld, so it could be recorded, complete with the backing of a big band, by singer and movie star, Betty Hutton in 1951. The song, then renamed "It's Oh So Quiet" was merely a B-side, and faded into relative obscurity for over forty years. In 1995, Björk resurrected the song for her album "Post". Shockingly, for such a wildly creative artist, her cover recording was a note-for-note remake of the Betty Hutton version. It remains Björk's biggest commercial hit of all-time. My arrangement for "The Björk Songbook" concerts reimagines the verses in the ECM jazz style (Keith Jarrett, Jan Garbarek, etc.), in both feel and harmonic texture. The dancing refrains, however, struck me as simply too much fun in their original form to be replaced, so I kept the swing beat and harmonic language mostly faithful. "It's Oh So Quiet" may give us less insights into the mind of a genius than Björk's many original compositions, but it's irresistibly catchy.
Many Thanks to our Sponsors!
INVERSION
Trevor F. Shaw, Artistic Director and Principal Conductor
Benjamin Dia, Piano and Synthesizer
SOPRANO
Carol Brown
Christa Tumlinson
Jenny Houghton
Juli Orlandini
Marjorie Halloran
Maureen Broy Papovich
ALTO
Alicia Villarreal
Bethany Ammon
Katrina Saporsantos
Melody Chang
Rosa Mondragón Harris
Wravan Godsoe
TENOR
Guillermo Delgado
Holt Skinner
James Tecuatl-Lee
Jeffrey Jones-Ragona
Jonathan Riemer
Nathaniel Fomby
BASS
Anthony Ashley
Gregory Hilliard Jr.
Noah Reinhuber
Rich Spainhour
Rick Gabrillo
Steven Young
DENSITY 512
Jacob Schnitzer, Artistic Director
STAFF
Aurel Garza Tucker, Executive Director
Nicholas Perry Clark, Artistic Curator
Jordan Walsh, Collective Personnel Manager
Kenzie Slottow, Senior Producer
Ciyadh Wells, Grant Writer
Tyler Ehrlich, Producer
Caroline Ferguson, Production and Development Fellow
Davey Hiester, Producer
Sophie Mathieu, Communications Director and Producer
MUSICIANS
François Minaux, flute
David Blackwell, oboe
Ryan Stockhausen, clarinet, bass clarinet
Jonathon Nickell, alto saxophone, tenor saxophone, baritone saxophone, clarinet, bassoon
Kenken Gorder, trumpet, percussion
Michael Dorato, trombone
Kyle Stocking, electric guitar
Yujung Um, piano
Jordan Walsh, percussion
Luis Cueva, violin
Daniela Láncara de Espinoza, violin
Karli Leal, viola
Matt Armbruster, cello
James Takashi Tabata, bass
THE BJÖRK SONGBOOK PRODUCTION STAFF
Patrick Schaider, A/V and Lighting design
Hannah Neuhauser, Stage Manager
Catherine Spainhour, Videography
Áine Spainhour, Projectionist
Melanie Lewis, Volunteer Coordinator
Abigail Lewis, Intern
Many thanks to our volunteers for all their help!
INVERSION STAFF AND BOARD OF DIRECTORS
STAFF
Trevor F. Shaw, Artistic Director and Principal Conductor
Katrina Saporsantos, Administrative Director and Associate Conductor
Adrienne Inglis, Outreach and Artist Manager
Carol Brown, Production Manager
Catherine Spainhour, Grant Writer
Abigail Lewis, Intern
BOARD OF DIRECTORS
Kim Vitray, president
Lissa Anderson, secretary
Cathie Parsley, treasurer
Ann Hume Wilson
Guillermo Delgado
Jonathan Riemer
Kathy Leighton
Meredith Morrow
DONORS
Many thanks to our individual, business, and sustaining donors going into our seventh season! For a current list of donors, visit the donation page on our website. Inversion Ensemble was supported by New Music USA’s Organization Fund in 2023-24
Thank you for coming!
Upcoming Inversion Concerts
Upcoming Density512 Concerts
MoonFall — world premiere coming Spring of 2024
MoonFall is a new immersive, full-length ballet that explores desire, climate change, and our relationship with the cosmos. In an adaptation of the ancient Greek myth Selene and Endymion, MoonFall chronicles the Moon’s seduction of a mortal, and the resulting Earth-scorching fallout of a jealous Sun’s rage.
Inversion is a collection of vocal ensembles dedicated to commissioning and performing timely new works by living composers. Inversion presents themed concerts on myriad topics including LGBTQIA+ rights, racial justice, immigration, climate change, and democratic rights, as well as space exploration, philosophy, natural science, and the ancient elements. Inversion advocates for inclusion through outreach with local public schools, college partners, and annual emerging composer contests.