… the journeys in a magical time

The whole idea for Silent Flute originated
on a journey from Århus to Copenhagen.

In those days,
trains could still be found
with small compartments,
long, narrow corridors
and windows
which could open.

I sat,
surrounded by fellow passengers,
and worked
very concentratedly with my music.

So,
when the conductor came by,
I asked him,
if he had an empty compartment
where I could sit and work in silence space.

He had
and took me to an empty carriage
and locked the door
so I had peace and quiet
until we reached Copenhagen.
It just happened.

In Copenhagen,
I picked up
my newly restored
saxophone.

At the beginning of the journey home,
on the platform in Copenhagen,
I took an interest
in a young, southern-looking man
who stood
with a big briefcase under his arm.

We got into the same compartment.
I still see the picture of two women,
mother and daughter,
dressed in black,
sitting diagonally opposite,
also from a different world.

As it turned out,
he had chosen a luggage-van,
that is,
there was a large compartment for bicycles
and a single compartment
at one end.

So,
when Roskilde had passed,
I went out into the large, empty space
and played my saxophone
as the landscapes
flew by.

The young man,
Luis Gonzales,
came to me,
captured by the sound.

He was from Guatemala
and was about to exhibit his photographs
in Århus.
He invited me to come
and play at the private view.

Here,
at the exhibition,
was where
I met the Mexican,
the poet
the shaman
Andrés King Cobos
who became my friend.

The first time I visited him,
he took me on a journey north through,
what is
in every way
most colourful, Mexico.

This was
where the ideas came to me
and
I recorded the first sounds
which inspired my compositions
on Silent Flute.


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