Resonating Rooms is a “school” for contemporary music. But, not a school in the modern sense. It’s not built out of bricks or filled with students and teachers, following a set schedule or curriculum. It’s a school in the original sense of the word, namely “leisure” – a place where art and culture can be scrutinized and explored, regardless of whether it’s financially viable or can be used for something specific or not. A space, where contemporary music has a formative effect on the listeners.

Based on innovative musical works and interdisciplinary collaborations, Resonating Rooms wishes to create a platform for relatable, artistic experiences that resonate with the public, while at the same time creating a school for the way in which we perceive, use and organize art and cultural institutions today.

Resonating Rooms strives to create new musical works and formats that make contemporary music people-pertinent and relevant to a wider and more diverse audience.

When works are people-pertinent they get as close to the public – the people – as possible. In a concrete and a figurative sense. They are relatable, familiar and close to people’s hearts.

By making the interaction with the works accessible to the audience and suitably insistent, and by also adding an element of physical interaction – for example by adding sound to the stage floor or spectator rows, transforming the room into a sonorous space – Resonating Rooms hereby facilitates spaces, where people are able to meet, explore and experience contemporary music of the utmost artistic quality.

Resonating Rooms creates musical experiences that resonate with the public.

When we talk about musical experiences resonating, we mean that they are amplified in some way or another. It can be emotional; the music awakens and reinforces something in the audience. It can be purely physical; the experience resonates when certain objects are made to vibrate in the room. It is the notion of the music magnifying or expanding something within the individual and, at the same time, out in the world; that with the help of the sounds’ vibrations, new contexts and layers open up for the audience to be immersed in.

By creating resonating experiences and processes, where the audience can step into a work and connect with it, Resonating Rooms aims to create a free space – like pressing the pause button – where the audience is taken out of their expected function, and where a formative interaction with contemporary music occurs.

Resonating Rooms was selected to be a “special ensemble” in 2021 by the Danish Arts Foundation. Each year, its project committee for music chooses a small handful of ensembles, which they believe to be leading lights within their genres. Resonating Rooms is among the first three rhythmic “special ensembles” ever to be named in Denmark.

As a “special ensemble”, Resonating Rooms has a number of obligations to fulfil in relation to sharing its music in Denmark, and Danish music abroad. Resonating Rooms must, among other things, entertain and enrich the public, and serve as inspiration for the musical food chain, and the music world in general.

“We already have a rich array of special ensembles and regular ensembles in the classical musical field, and with the new special ensembles they must together ensure high artistic quality, and act as inspiration and beacons for a rich musical life in Denmark. We are sure that the new ensembles will also be widely present all over the country, and contribute to developing collaborations in new formats.”
(Danish Arts Foundation)

Resonating Rooms’ status as a special ensemble initially runs from 2021-2023. The award covers running costs for 3 years.

Resonating Rooms wishes to facilitate collaborations with diverse cultural institutions and players across the board that can contribute to developing, implementing and consolidating a common vision for contemporary music and cultural institutions in the future.

As a nomadic institution that doesn’t have a firm geographic location, Resonating Rooms shapes and is shaped by the collaborations and the environments it is part of.

By continuously searching for opportunities and moving accordingly, and by orchestrating and putting together crews from project to project, Resonating Rooms is able to create a dynamic, curious and improvisational cultural institution, which appeals to the individual and creates resonance in the world.

Read more in this Q&A

Læs mere om visionen og tankerne i artiklen “Vil danne skole for moderne samtidsmusik”

Hanne Boel, composer and singer (Chairperson)

Bjørn Albinus, former director (Vice chairperson)

Lene Tranberg, architect

Bibi Mundbjerg, local politician in Holstebro municipality

The first three members have been selected by Resonating Rooms, of which one member is elected annually. The fourth member has been appointed by Holstebro municipality’s Culture and Leisure administration.

Resonating Rooms was founded by Lars Greve, who is currently the artistic director of this independent institution.

As a reed player, composer and project innovator, Greve is recognised for his innovative and experimental works and projects. His vision is to develop and cultivate broad popular communities through inclusive, uncompromising and contemporary cultural projects. Resonating Rooms is an extension of this vision, which unfolds through a series of cross-aesthetic collaborations. Among other projects, he has created the user involvement and hometown portrait “Solhverv” (Solstice), in collaboration with artist and photographer Fryd Frydendahl, and ran the “Folkegaven” (Gift for the people) in Holstebro municipality, where the multi-instrumentalist Krest Osgood and Greve performed improvised music for citizens in old people’s homes, barracks, prisons and care homes. He has also released music with groups in Brazil and Greenland, and a single, which was transmitted via a municipal citizen service help line, as well as a solo album “Dødedans” (Death dance), with a three-kilo aluminium cover, in collaboration with sculptor Ingvar Cronhammar.

Greve has performed all over the world, with a wide range of Danish and international artists, ranging from the indie band Bon Iver, and the improvisational harpist Zeena Parkins to the hybrid band Girls in Airports and “Videbæk Harmonikaklub” (Videbæk Harmonica club). He has received a number of awards for his music, including releases, films, theatre and dance performances, and he has worked at several conservatories as a tutor, censor and researcher.

The institution’s chairperson says this about the artistic director:

“There is a great breadth to Lars Greve’s work, and he has a rare eye for inter-disciplinary collaborations. And, his execution is on the highest level. He’s uncompromising with his art, but at the same time is open to dialogue in his approach – he is preoccupied with creating something that makes a difference – not just for a few people, but for many. This means that one can never really know what the outcome will be – other than that you can be sure that it is of the highest artistic quality. He is the natural choice to develop and realise comprehensive and visionary assignments, which contribute to making Resonating Rooms a leading institution within contemporary music.”
(Chairperson of the management board, Hanne Boel)

Click here to visit Lars Greves webpage