Henning Christiansen - The Executioner

First in a series of two releases unveiling the previously unissued soundtracks made for the films of Ursula Reuter Christiansen by her partner and collaborator Henning Christiansen.

The Executioner (Skarpretteren) is Ursula’s first film from 1971 and is now considered one of the most important works of early Danish feminist art. A highly praised recent show at the Statens Museum for Kunst in Copenhagen highlighted the pertinent themes and ongoing urgency which lies within this bold symbolic work.

The exquisite score is one of the key neo-romantic works in Henning’s far reaching output. A deeply melancholic set of vocal based works which place the listener deep within the tension and despair of Ursula’s themes. This unique vinyl presentation also features nature sounds recorded for the film on the island of Moen along with surprising works that defy anything else in Henning’s output.

Available as 320kbp MP3 or 24bit FLAC 

Tracklisting:

1. The Walnut Tree Waves In The Wind 03:30
2. Woman, You Are Pregnant (Woman One) - 02:06
3. The Eternal Soldier - Help Him! - 01:39
4. Field Recording - 00:47
5. In The Spring Night, Hoarfrost Falls - 03:36
6. Child’s Play - 01:49
7. The Marble Picture - 03:27
8. Addamaria - 02:41
9. Compiege Soldier - 01:42
10. Confessions Of A Hallow - 04:26
11. The Execution - 00:33
12. The Next Moment In History Belongs To Us - 01:27

Henning Christiansen

Henning Christiansen (May 28, 1932, Copenhagen – December 10, 2008) was a Danish composer and an active member of the Fluxus-movement. He worked with artists such as Joseph Beuys, Nam June Paik, Bazon Brock and Wolf Vostell as well as with his wife Ursula Reuter Christiansen. Other collaborators include Bjørn Nørgaard, Carlo Quartucci, Carla Tato, Ernst Kretzer, Ben Patterson, David Moss, Ute Wassermann, Andreas Oldörp, Christophe Charles, Bernd Jasper, Henrik Kiel, Vilem Wagner, Vladimir Tarasov, Niko Tenten, and many others.

His overall goal was to work collaboratively and to trespass conventional boundaries. He resented the idea of an isolated artistic genius and his entire production can be seen as a subsequent and vibrant example of praxis in a constant flux. He believed in the need to trespass conventional boundaries between artistic disciplines. This is visible from his engagement in Fluxus, over numerous collaborative performances to his position as a professor at the Art Academy in Hamburg (Hochschule für Bildende Künste).

Christiansen lived almost 40 years on the Danish Island Møn. He presented a retrospective exhibition in Copenhagen and participated in the music festival Wundergrund shortly before his death. (wikipedia)