Recorded and broadcasted live from the world premiere of Godai
on May 15 with Marc Soustrot and Malmö Symphony Orchestra.


I wanted for a long time to write music that is danceable and can in many ways be physically received when listening to it. Godai means " the five great elements " in Japanese and has a background in Japanese philosophy about martial arts and is a Buddhist term with some influences from Hinduism. The Buddhist philosophy is perhaps best known in the West for their use by the samurai Miyamoto Musashi's famous text, The Book of Five Rings, which he explains different aspects of swordsmanship and martial arts by assigning every aspect of each element. The different properties are interconnected. The five elements are formed on the basis of the well-known basic elements: earth, water, fire , air, and the fifth element is a shadow , ie . the sum of all elements into one unit . From a musical perspective, I have used the orchestra as one large body of sound with both soli and tutti passages exchanged during the course of the work. In the instrumentation included except triple woodwind, brass, strings, harp, celesta, piano and percussion, bass drum, snare drum, cymbals, glockenspiel, tubular bells, gong, xylophone, marimba for more Asian instruments opera-gongs , java gongs , wattles , china cymbal , temple bowls and crotales (antique cymbals).
The work is divided into four movements, performed without interruption with clear leading notes/chords that binds each it together and are described as follows:

1 ) Earth. Introduction: stubbornness , stability, physicality that gives substance. The first movement opens with a grand opening of horns and trumpets along with vibraphone and bells , and later temple bowls with a five pitched motive (pentachord) (AC- C-sharp H -Ess ) as the basis for the entire work that gradually shifting to a flashy orchestral tutti . The music fades down to a pretty danceable and comic sections , much like watching " Kabouki - theater " and later show of martial arts.

2) Water. Aria: sentiment, conducted caution , adaptation , flexibility, keeping together things . The second movement is quiet and reflective. A string sound is like a rippling sea where boats pass by on the horizon (high woodwinds) and clock sounds from celesta and glockenspiel that gives rise to meditation (solos from instruments that is wandering along the orchestra like a small channel) the music goes softly. The fine moment is interrupted and then you are into defense and battle.

3) Fire. Intermezzo: passion , aggression, energy , heat that warms and transforms itself . A brief interlude that takes material from previous batches and turning into lava - like movements in the orchestra. It leads up to a climax and fades gradually into the thin air.

4) Air/Shadow. Finale: will, volatility, wisdom alternated with power, creativity , spontaneity , forming a nuclear reaction. The fourth and final movement has a volatile nature where abrupt changes are evident and where all the elements presented are shown again in the transformed shape and ultimately formed a shadow where the character turns into more intensive end where it says in the score " techno mayhem! " ( techno hell !) . Everything leads to total chaos and then an abrupt and sudden end on the note D as the work begins.

Godai was commissioned by the MSO under Music in the South within the project Musik i Syd ”Tonsatt Continued” and is dedicated to MSOs Chief Conductor Maestro Marc Soustrot .

Godai; De Fem Elementen Live från uruppförandet 15 maj 2014

Benjamin Staern (b. 1978) started his musical experience with studies in cello, piano and percussion in his youth. Studies in musicology at Lund University and subsequently studied composition at the Malmö Academy of Music during 1998-2005 with Rolf Martinsson, Hans Gefors and Luca Francesconi, and made an early breakthrough, while still a student at the Malmö Academy of Music, with the symphonic work The Threat of War (1999). 

From this point on, Staern has developed a deeply personal style with an output including orchestral and chamber works, solo pieces and electroacoustic music. An interesting aspect of his work as a composer is his unusual ability to associate tones and timbres with different colours and tints. This is a variant of a phenomenon called synaesthesia which is fundamental in his perception and the creation of his music, and which is reflected in his sound world as well as in many of his work titles (Yellow Skies, Colour Wandering etc.) 

Today Staern receives commissions on a regular basis. Looking into the near future, he is commissioned to write a major work for Malmö Symphony Orchestra and song cycle for alto Anna Larsson and Helsingborg Symphony Orchestra. From September 2010 he is composer-in-residence with New European Ensemble for them he composed works from this collaboration such as Tranströmersånger (selected poems from the Sad Gondola - collection by Nobel-prize author and poet Tomas Tranströmer) and Bells and Waves (Chamber Symphony), winner of the SMFF Award 2011 in the category ”most important work in chamber music/smaller ensemble”.

Works by Benjamin Staern is today performed not only by all the major Swedish orchestras but also internationally by orchestras such as the MDR Sinfonieorchester, Tokyo Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, Iceland Symphony Orchestra, Staatsorchester Rheinische Philharmonie and the BBC Scottish Symphony Orchestra. Staern has collaborated with ensembles including New European Ensemble, Sonanza Chamber Ensemble, Ensemble Aspekte and Stockholm Chamber Brass. Soloists include Håkan Hardenberger, Anna Larsson, Johannes Möller, Karin Dornbusch, Carina Vinke, Gitta-Maria Sjöberg, Philippe Cassard and conductors Michael Christie, Daniel Raiskin, Christian Karlsen, Mats Rondin, Mika Eichenholz and Stefan Solyom.

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Benjamin Staern Composer

Benjamin Staern Composer

Benjamin Staern Composer

Benjamin Staern Composer

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