Here are participating musician's comments, from the booklet:

I remember (and re-hear) the Svendborg concert as a surprising mixture of poetic and rather static elements (coming from some of the music therapists) with dramatic, more sudden sounds (coming from Hans and others) - and a creative fight between these elements which goes through many interesting stages and which has a subtle and funny conclusion! Also, it was so impressive to have a public of maybe 50 people, most of them listening very concentratedly, who, l'm sure, had expected something much more "normal" in this old baroque and middle age church.
Carl Bergstroem-Nielsen (French Hörn)

We did make the concert without rehearsals before, but had the main idea to listen closely to the silence of the church room. -And from that position let the improvisation create itself, -Dlfferent nationalities were meeting each other in that unique coordination of sound and silence. -The impression of the performance gained partly a stage of a surrealistic rote play.
Henrik Ehland Rasmussen (Voice, piano, flutes and other small Instruments) + Helene Jerg (Violoncello)

Improvisations - to make music with foreign people - mysterious sounds -beautiful actions and paintings from Tytte - eating big pizza before concert - beautiful place - tension on stage, between the musicians, between musicians and the audience.
Hans Schüttler

Since 1989, l have done music paintings (to live music). At the concert on this cd, there was no time to bring painting materials into the church - so l did "body and sound". Theoretically, l believe very strongly that, if you could crack the code, there is no difference between any kind of art expression. ßut your expressions at your own "Instrument" will always be more nuanced than on other Instruments. Kumi proved my beliefs in a session 00, where she jumped into my plastic and started painting. Afterwards it was very easy for me to see how limited her expression was compared to mlne. That is, how much more l can express with paintings. That was how Kumi also made me see - how "poor" my sound expression is. Kumi and l will never spoil a performance (her with painting, me with sound) because we both are very good at "intuitive" expression but these expressions will be more simplistic than if we were trained.

My very strong personal opinion is: To express yourself intuitively !s not art itself. To create art asks for much more. l use the "intuitive" äs a tool, in art and any work, and as much in life.
Tytte Buus

My experience of the concert was much of a "total-theater" with fun events in an intense atmosphere. I was surprised that we musicians and the audience could keep the attention so concentrated for that long time. It was much a "here-and-now" experience to me. The togetherness freshness and surprise were important elements I think.
Lene Ravn (Accordeon, Piano, Percussion, Flute)

The concert was held at the first night we met. I found that the music that we made was very different comparing with DIMC concert 1999 and 1998, both of which l participated. Only one thing is the same that we didn* t talk each other about what to play. I remember that we played very soft just like throwing small stones into water in 98 and 99. So, at that night, during the concert, l was very excited to hear some big noises like bang! bang! or bong! l couldn' t see what happened because l was playing the violin. But the sounds tell that someone was performing with dragging a chair, piling up it, and toppling them. After the concert, the churchman who had been watching us during our play, began to play the tune like Bach or something with piano. He continued to play it so long.
Kumi Wakao (violin)

I enjoyed the concert because of its internationality and the lack of rules. Some people who did not know each other and an audience that was shocked and fascinated. Are they joking or fs it high art they seemed to think. I was piaying a lot of Instruments. Accordion, guitar, chairs and different percussion Instruments.
Bent Jensen

Dialogues arose and were of varied intensity and length. I especially enjoyed an intense communication between voice and the violin. I had the experience of my voice being played by the violin and the music being created by some force larger than any of us, the musicians.
Karin Schou (voice, piano, cow bells, vlbraphone, plastic tubes)


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