Kalopsia //

Musicians: 
Album label: 
Release date: 
15/02/2019
Recording location: 
Sentralen/Nesodden Kirke/K16
Recording date: 
Monday, May 14, 2018
Artwork design: 
Jonas Sjøvaag
Artwork design: 
Sarah-Jane Summers
Mastering engineer: 
Helge Sten
Mixing engineer: 
Juhani Silvola
Producer: 
Juhani Silvola
Recording engineer: 
Juhani Silvola
  • 1. Lypophrenia (04:53)
  • 2. Scintilla (01:45)
  • 3. Oneirataxia (02:36)
  • 4. Widdendream (03:09)
  • 5. Petrichor (02:22)
  • 6. Susurrus (01:02)
  • 7. Meraki (02:24)
  • 8. Hiraeth (02:57)
  • 9. Reveille (03:03)
  • 10. Sciamachy (02:42)
  • 11. Phosphenes (03:12)
  • 12. Kenopsia (03:15)
  • 13. Lethophobia (03:58)
  • 14. Tacenda (01:58)

Sara Jane Summers - viola, Hardanger fiddle and violin

Kalopsia - The delusion of things being more beautiful than they are.

The outer reaches of the sonic and emotional potential of the viola, Hardanger fiddle and violin are explored by Sarah-Jane Summers on her new album, Kalopsia. The album follows on from VIRR, Fiona Talkington’s Album of the Year 2017 on Late Junction, BBC Radio 3.

“a howling gale, brilliantly evoked” (The Wire)

The music utilises a vast range of contemporary and extended violin techniques, inspired especially by composers such as Sciarrino, Lachenmann and Scelsi, and creates a portrait of a truly unique and independent artist with a deep passion for sound in and of itself.

Sarah-Jane is fascinated by the point where sound feels like it is starting to disintegrate, where conventional notes transform either into abrasive noise or disappear into almost total silence.

Despite her music often being highly abstract, her deep background as a traditional musician is always present, something that gives her a unique voice in the world of improvised music.

"dazzling folk virtuoso" (The Strad)

Kalopsia was recorded, mixed and produced by Finnish sound- artist, Juhani Silvola. In addition to classic stereo recordings, the album features highly experimental recording techniques employed to gain a new perspective on the sound of the viola. On tracks 1, 3, 6, 12, & 13, the viola was placed on a table, permitting both unusual bowing techniques & an extremely close placement of multiple microphones, allowing the listener to almost hear the insides of the instrument, and creating a polyphonic complexity with an otherworldly intimacy out of a single performance.