cresc... Fadenspiele16 – 25 Feb 2O24

Alexander SchubertAlexander Schubert
Brad LubmanBrad Lubman
Brigitta MuntendorfBrigitta Muntendorf
Christian JaksjøChristian Jaksjø
Cocoon DanceCocoonDance
Ensemble ModernEnsemble Modern
Friederike BrendlerFriederike Brendler
George BenjaminGeorge Benjamin
Gil Monteagudo RuizGil Monteagudo Ruiz
Hendrika EntzianHendrika Entzian
Hermann Kretzschmarhermann Kretzschmar
IEMA Ensemble 2023/24IEMA-Ensemble 2023/24
Jeaduk KimJeaduk Kim
Jim McNeelyJim McNeely
John HollenbeckJohn Hollenbeck
Lawrence PowerLawrence Power
Luke PoeppelLuke Poeppel
Matthias RiekerMatthias Rieker
Megumi KasakawaMegumi Kasakawa
Michael HopeMichael Hope
Niels KleinNiels Klein
Norbert OmmerNorbert Ommer
Po-Chien LiuPo-Chien Liu
Polina KorobkovaPolina Korobkova
Rafaele GiovanolaRafaële Giovanola
Rebecca SaundersRebecca Saunders
Ryoji IkedaRyōji Ikeda
Sofia GubaidulinaSofia Gubaidulina
Stefan AsburyStefan Asbury
Sunghyun LeeSunghyun Lee
Sylvain CambrelingSylvain Cambreling
Tania LeónTania León
Yann RobinYann Robin
Yannik MayaudYannick Mayaud
Yasuhiro ChidaYasuhiro Chida
Żaneta RydzewskaŻaneta Rydzewska
Christian Jaksjø


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cresc... Fadenspiele

Christian Jaksjø

Christian Jaksjø’s musical background includes studies in improvisation, composition and electroacoustic music, a career playing the trombone, euphonium and related instruments, interdisciplinary experimental studies of dynamic form, at the same time as his groundbreaking creative activity as a composer.

In his compositions, among other elements, he uses processual musical transformation in the form of discretely varied, virtual, equally tempered n-tone subdivisions of the octave (›Orthodrom/Loxodrom [Grosszirkelnavigation]‹, 1997–2000). He also works with architecturalized music by composing algorithmically with complex dynamic systems that are based directly upon spatial, architectural structures (›Ungrounded [Zonnestraal]‹, 2002) and with stochastic algorithms and sound synthesis based on mystical texts by David Libeskind (›The Four Texts‹, 2003) or on virtual instrumental resonance, as it exists, for example, in Helmut Lachenmann’s work ›Serynade‹; in the latter case, he combines it with complex instrumental extensions in the form of ring-modulated and electromagnetic feedback (›Ulysses [Encountering the Imaginary]‹, 2010). ›They Will Be Buried by Laughter [Change Ringing]‹ (2011) results from collective and dynamically controlled rule-based decisions guided by ear and ultimately resulting in an open musical space.

A fundamental aspect of Jaksjø’s work – both as a composer and an improviser – is making the inaudible audible; making the underlying forces and structures that are otherwise imperceptible noticeable. Christian Jaksjø lives and works in Oslo, where he was born in 1973, and in Frankfurt am Main, where he has been playing trombone in the Frankfurt Radio Big Band since 2003.