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Hi all.
I've been working on a solo piano album for quite a while now. And since my upcoming album "The Troll and the Moon" is not happening until early next year (fingers crossed for funding!!) I'd love to get cracking on my piano album.
The idea is to release it as 4 differently themed EP's, with 4 tracks on each.
And since we live in the era of streaming (for better or worse), I will release on track at at time, ending up with 16 tracks on 4 EP's.
Finally, I will release everything as an album..
Will it work? Maybe.. will I get millions of streams?? Maybe... but probably not 😄
But it's worth a shot.
I will make all EP's available for you guys here at Sleeve, so you can listen to everything and don't have to wait for each new track to drop.
But I do need your feedback on my idea for the 4 covers.
I've been quite fascinated by string art for a while, and really think it's quite beautiful.
So I've created the covers based on that, and would deeply appreciate your feedback.
They are different, but obviously connected, and the semi-circle in the corner will become an entire circle once the 4 covers are merged for the final album.
So do let me know what you think. Your help is greatly appreciated 🙂
Thanks,
Jesper
Dear friends.
The day has come! The album is out.
I have released a few over the years by now, but I think this one is among the best I have ever done. It has been a special journey. A thorough investigation of my own family history. The invisible marks that traces through time, which we embed in each other through generations. A process that was initially kicked off by my creative exchange with director and screenwriter Anna Emma Haudal, when she asked me to write the music for the DR drama series Generations. In that process, I had to draw on my own experience and what we all have in common. Being human. With more or less complicated family relationships. The unspoken that can be inherited, which nevertheless shapes us. All of this has helped to form the framework for the songwriting for this album. I hope you will listen and share and that you may be able to see your self reflected in some of the songs and that they will have a continued life with you. I owe the biggest thanks to my darling and closest collaborator Silas Tinglef, with whom I also wrote a few of the songs. We produced the music together and Silas is an inexhaustible source of exuberant and creative energy and plays a myriad of instruments on the record and has also recorded and mixed it all. Everything becomes a little easier with him! In addition, I would like to highlight Maria Jagd who contributes with eminent string arrangements, which have helped to lift the production to a great extent. Furthermore there are beautiful contributions from AC on bass, Anders Trentemøller on synth, the dearest Ned Ferm on saxophone and flute and Lucky Lo on BVs. A big thank you also goes to Brian Batz who has mastered the record and to my fantastic record company for many years now, stunt, Peter and Laura Littaur.
You can stream the album here!
https://orcd.co/kiraskovwhattiesustogether
Love from Kira
I think it was 1965. I was maybe 15. Maybe younger. But I remember the piano.
It was an old upright—Canadian-made, a Heintzman. My parents had bought it for my sister, because girls were suppose to play piano (according to them) but I kind of took it over. I played that thing day and night. My mother called it “banging.” She’d shout from the kitchen, “Stop the banging!” But I couldn’t stop. Couldn’t tear myself away.
It started with trying to learn piano, but the truth is, as soon as I was playing, I was writing. The two things—playing and writing—were the same motion, the same instinct. I’d sit down to do a Bartók exercise and end up, an hour later, with a song instead. I never got far with the Bartók. I guess I had too much to say.
At some point, my father—who, instead of buying things, always wanted to build his own—brought home a stereo tape recorder. Just for a little while. Two small plastic mics, a red button, and suddenly I could hear myself back. That changed everything. I was hooked.
This is the first song I remember recording—just one take, live with the mics sitting near the piano. No editing. In fact there’s some piano leaking into the vocal mic, because it’s all recorded at once. That song came from somewhere deep—maybe loneliness, maybe teenage confusion. We didn’t use words like “mental health” back then. But music? That was the thing that kept me alive.
I grew up in a difficult household, in a time and place that didn’t know what to do with difference. Toronto in the ’60s was still a WASP city. I didn’t look like the other kids. I didn’t sound like them. I didn’t belong. And when you don’t belong, you need something to hold onto. For me, that was music.
My parents were political—left-wing, union people, McCarthy survivors. So I was raised on Odetta, Pete Seeger, Woody Guthrie. Songs with purpose. Protest songs. Music that stood for something. I think that spirit stayed with me. Writing songs wasn’t just a hobby—it was a way of making sense of myself. Of connecting to something bigger. Or maybe, just someone.
Because when I wrote this early song, I didn’t have a girlfriend. I wasn't in a band – that would come later. I was singing it for myself. Maybe to soothe myself. I don’t know for sure. Maybe to imagine safety, connection—being seen, being held. That’s the thing about songwriting: you learn things about yourself you didn’t know were there. The song becomes a mirror.
Eventually, people started showing up to shows. Not a huge crowd—but someone would come once, then again, and again. And you realize: something’s happening here. You’re not so alone anymore.
I never did finish those Bartók etudes. But I wrote a lifetime of songs instead.
And maybe, in a strange way, that was the exercise. So here's close to where it started for me. I wanted to share this early piece with you.
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Pladen rummer 11 originale sange, 2 digte og 1 barokstykke. Blandt dem finder man både et stykke musik for den 3000 år gamle bronzelur og et 300 år gammelt barokstykke for gambe. Samlet set et album der rummer bred omfavnelse, men som også er dybt detaljeorienteret. En fascination af det mikroskopiske sanseindtryk, der kan give os et sus i maven af, hvor stor og utrolig tilværelsen er. Hvordan noget så småt, kan være så stort.
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Watch now the making off …Lente - an unconventional interpretation of Arvo Pärt’s music by Concerto Copenhagen and the Estonian Philharmonic Chamber Choir.
Taking an approach based in historical performance practice, this recording explores how Baroque instruments can bring a new dimension to Pärt’s minimalist and spiritual sound world. "Arvo Pärt’s music calls to be performed on Baroque instruments—so that’s exactly what Concerto Copenhagen and the Estonian Philharmonic Chamber Choir have done." - Nikolaj de Fine Licht ▶ "...Lente" is now available on all music platforms: https://BC.lnk.to/lenteID
1774 – The Year of the Symphony
One year. Four symphonies. Four different worlds.
Sat 24. May 4 pm at The Black Diamond, Denmark
Sun 25. May 7 pm at Musikhuset Aarhus, Denmark
In 1774, the symphony was undergoing a transformation. Once a mere curtain-raiser for operas and oratorios, it was now stepping into the spotlight as a genre in its own right—ambitious, expressive, and full of surprises.
Concerto Copenhagen invites you back to a pivotal year in music history, where four very different composers each offered their own take on what a symphony could be.
From the dazzling elegance of the Mannheim school in Johann Stamitz’s symphony, to the raw drama of Haydn’s Sturm und Drang period. From C.P.E. Bach’s wildly expressive and unpredictable musical language to Mozart’s luminous clarity in his A major symphony—this program reveals how richly diverse the symphonic landscape already was in the mid-18th century.
Four works composed or premiered in the same year. Each one a world of its own. A snapshot of a genre on the rise.
Program:
Carl Stamitz: Symfoni i Es-dur, Op.9 Nr.6
Joseph Haydn: Symfoni nr.52 i c-moll
Pause
Carl Philipp Emanuel Bach: Symfoni i D-dur, Wq.183/1
Wolfgang Amadeus Mozart: Symfoni nr.29 i A-dur, KV.201