LIBERTÉ- ÉGALITÉ HUMANITÉ
âTo play correctly is great â to play freely is even greaterâ could be ISKRAâs motto. After almost half a century of free improvisation, the ISKRA musicians feel happy about the musical paths we chose in the beginning. We did not have to wait for the adventure â we created it and let it happen at every concert. It is a powerful feeling to stand before an audience not knowing what will happen. But the longer we played together, the more personal and refined our tools became, allowing us to create music in the moment. We brought along our personalities, personal experiencesÂ and impressions from our lives, and our boundless desire to mould the musical material. In contrast to compositions put down on paper, we experienced the sudden musical reactions of the moment. As
a composer, you can change the music after a performance and create a revised version. As an improviser you create the music in the very moment â every concert, every piece is a new one.
A large part of the music we hear is hierarcally organized. The conductor conducts or the bandleader leads, soloists perform their solos, accompanists accompany. This is the same kind of hierarchical thinking found in the military and in industry that threwÂ improvisation out of Western art music in the middle of the 19th century. ISKRA opposed this on the basis of our anti-authoritarianÂ ideals, which we shared with many in the 60âs and 70âs. âAn archosâ â without leaders â became our method of working, along with many improvisersÂ in the 1960âs and the 70âs all over the world. The initiative for a musical development could come from anyone in the group, with any instrument or sound â a piece of âjunkâ, voice, toys, bass violin, synthesizer â all were of equal value, everyone was a soloist, everyone was an accompanist. This opened up new musical possibilities and a new world of sound for the ensemble.
We were rebels and took the name ISKRA (which means spark) from the early 20th century Russian socialist newspaper. The world had begun to move â jazz music had sprung its fetters, the flower- power movement presented an alternative life- style and the youth of the world protested against wars and injustice. Anti-imperialism, internatio- nal solidarity and demands for social and economic equality drove us to pursue a more humane world, without war and exploitation of people, animals, or nature. The word FRATERNITĂ â brotherhood,Â was heard in the slogan of the French Revolution. Harmonizing with ISKRAâs ideas about music, we use HUMANITĂ as a connection to the ongoing struggle for equal rights for all humans around the world. An egalitarian music can show the way.
The release concert for LibertĂ©, ĂgalitĂ©, HumanitĂ©Â in the Dome in Stockholm, became Sune SpĂ„ngberg's last. Having struggled with MS for many years, his last appearance on stage became a very warm farewell to all his admirers. Sune was 82 when he left the planet a couple of weeks after.Â