“…articulated as a tactile, textural drone, gentle but arresting, in a state of continual defocusing and refocusing. Having opened out into a more overtly lyrical language, it subsided back to faint scratches and something akin to a far-off foghorn. Ten minutes of such wonderfully controlled waxing and waning was nowhere near enough.”
– Simon Cummings on “Whispering c(h)ords, quietly falling”
“Jenny Hettne’s While She Was Dreaming for violin and and tape was also an American premiere. Performed with dazzling confidence by Pauline Kim Harris, its combination of glitchy sonics with a violin part that ranged from dense bursts to folkish simplicity added up to a work I would like to hear again – stat. Hopefully this performance will lead to more of this Swedish composer’s work being heard in the city, as it seems to be a fairly rare occurrence.”
– Jeremy Shatan on “While she was dreaming”
“[…] This art music always demands its thoroughbred professionals, and they are the Swedish Music Spring Festival. Like UmeDuo, in other words the sisters Karolina and Erika Öhman on cello and percussion respectively. Unceasingly captivating in Chinese-born Leilei Tian’s metaphorically ”Never-ending journey”, Jenny Hettne’s both surrealistic and groovy ”Bells and Tides” and Ivo Nilsson’s new ”Whereabout 1” where the cello and the percussions exchange shapes.”
— Camilla Lundberg on ”Bells and Tides” (free translation)
“In Jenny Hettnes Gesång, all the percussion instruments on the stage came to use. The stillness and emphasis on the text, in particular the word ‘Lord’, was greater. Sounds of glass and metal picked up where the electronics left off, and the effervescence was picked up by the voice in repeated, ultrarapid ‘Praise the lord’. The attention was heightened by subtle playing on flower pots and gongs, as in an alchemist’s laboratorium, where it burned, crackled and chimed softly, a homely and pleasant mirror image of existences grave mysteries.”
— Camilla Dal on Gesång (free translation)
“Jenny Hettne elaborates on the theme in her Gesång. Here the mezzo soprano Monica Danielson and percussionist Per Sjögren, together Duo ego, tread forth. The music is perhaps more contemplative and the text now in Swedish, the same biblical source, and somewhat clearer now. All manner of percussion comes to use. It is somewhat like seeing into a musical wizards workshop when flower pots, glasses and almost anything is used. Exciting musically, but also functioning musically. Monica Danelson’s voice goes från almost imperceptible to high and clear. The voice sometimes an instrument among others.
Hettnes Gesång really does work as a continuation of Stockhausens work, as an addition even if it has its individual character. The evenings perhaps strongest impression.”
— Lars Westin on Gesång (free translation)
“The music was most charming in Jenny Hettnes ‘Tinkles, clinks and heavenly metal’. With an as poetic as playful touch, an intimate soundscape that felt at once familiar and alien was conjured. The mixture of everyday objects and musical instruments created an evocative mood. It became even more exciting with the singing of Jussi Björling in the background”
— Henrik Halvarson on Tinkles, clinks and heavenly metal (free translation).