<\/p>\n
To speak in tounges<\/p>\n
\u201cGlossolalia\u201d is the first-ever solo album by the innovative musician Sigbj\u00f8rn Apeland, a courageous and challenging recording of improvised music for the harmonium.<\/p>\n
The term \u2018glossolalia\u2019 comes from the Greek \u2018glossa\u2019 meaning \u2018tongue\u2019, and \u2018lalia\u2019, meaning \u2018to speak\u2019. To speak in tongues is to talk in unintelligible sounds in a state of religious ecstasy. The title of the album is a play on the instrument\u2019s association with low-church traditions, that the music \u2018came to\u2019 Apeland in an inspired moment, and that the harmonium, unlike the church organ, has metal tongues instead of pipes.<\/p>\n
The harmonium had its heyday between 1880 and 1960; its technical limitations resist all types of virtuosic performance. \u201cMost harmoniums are old and poorly maintained, and often out of tune \u2013 and sometimes they are more or less defect,\u201d says Apeland. \u201cAlthough this is a problem for trained musicians, I have instead attempted to exploit the potential of these defects to create a new and previously unheard kind of music.\u201d<\/p>\n
\u201cI grew up with the instrument, but changed to piano and organ \u2013 right up until I rediscovered the harmonium as a very versatile instrument in my collaborations with Norwegian folk musicians. I gradually began to discover the potential of the instrument in improvised and experimental music settings.\u201d Apeland describes the music on the album as his \u201cattempt to create a form of ambient acoustic music.\u201d<\/p>\n
Sigbj\u00f8rn Apeland (born 1966) is a Norwegian record producer, musician (organ, harmonium) and the only Norwegian to have obtained a doctorate in ethnomusicology. He is known for his distinctive mix of folk music, church music and improvised music. He works as an organist, and specialized in free jazz with the legendary British drummer John Stevens; he has contributed to numerous recordings with Nils \u00d8kland and Sigrid Moldestad, folk singers \u00c5sne Valland Nordli, Berit Opheim Versto and Agnes Buen Garn\u00e5s, jazz musicians \u00d8yvind<\/p>\n
<\/p>\n
\u201cGlossolalia\u201d is the first-ever solo album by the innovative musician Sigbj\u00f8rn Apeland, a courageous and challenging recording of improvised music for the harmonium.<\/p>\n
The harmonium had its heyday between 1880 and 1960; its technical limitations resist all types of virtuosic performance. \u201cMost harmoniums are old and poorly maintained, and often out of tune \u2013 and sometimes they are more or less defect,\u201d says Apeland. \u201cAlthough this is a problem for trained musicians, I have instead attempted to exploit the potential of these defects to create a new and previously unheard kind of music.\u201d<\/p>\n
\u201cI grew up with the instrument, but changed to piano and organ \u2013 right up until I rediscovered the harmonium as a very versatile instrument in my collaborations with Norwegian folk musicians. I gradually began to discover the potential of the instrument in improvised and experimental music settings.\u201d Apeland describes the music on the album as his \u201cattempt to create a form of ambient acoustic music.\u201d<\/p>\n
Sigbj\u00f8rn Apeland (born 1966) is a Norwegian record producer, musician (organ, harmonium) and the only Norwegian to have obtained a doctorate in ethnomusicology. He is known for his distinctive mix of folk music, church music and improvised music. He works as an organist, and specialized in free jazz with the legendary British drummer John Stevens; he has contributed to numerous recordings with Nils \u00d8kland and Sigrid Moldestad, folk singers \u00c5sne Valland Nordli, Berit Opheim Versto and Agnes Buen Garn\u00e5s, jazz musicians \u00d8yvind Skarb\u00f8, Per J\u00f8rgensen and Bj\u00f8rn Kjellemyr, electronica innovators Alog and noise duo Golden Serenades, in addition to many others.<\/p>\n
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