Tag Archives: George Crumb

May 2016 – upcoming London classical/experimental gigs – Kammer Klang with Scenatet/Matt Rogers, David Helbich, Benjamin Oliver/Yshani Perinpanayagam (May 2nd); Ensemble in Process presents a showcase of modern American composers (May 15th)

27 Apr

Ensemble In Process: Americuration, 15th May 2017

Ensemble In Process presents:
Ensemble In Process: Americuration (featuring Zubin Kanga, Marsyas Trio, Jonathan Russell, Seth Bedford & Maria Fiore Mazzarini)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Monday 15th May 2017, 7.30pm
information

Formed just under a year and a half ago, Ensemble In Process has progressed from being a small chamber ensemble (formed to compete in Nonclassical‘s annual Battle of the Bands Competition) to being a multiple-direction contemporary music project. Now straddling London and New York – and planning performances, programming and networking across the UK, America, Europe and the wider globe – they have a particular focus on helping contemporary composers without sufficient UK resources to achieve performances of their work within the UK.

Their debut concert as both performers and organizers showcases American composers. Bookended by performances of well-established Steve Reich pieces (from the ‘Counterpoint’ series), it also features works by George Crumb, Michael Gordon, Timo Andres, David Lang, Missy Mazzoli and Jonathan Russell as well as premieres of music by Seth Bedford, Ryan Brown and Ian Dicke, and by EIP’s artistic director Brian Mark.

Participating are the three members of the Marsyas Trio – pianist Zubin Kanga, flautist Helen Vidovich and cellist Valerie Welbanks – and violinist Maria Fiore Mazzarini (plus Seth Bedford and Brian Mark, performing voice and piano respectively on some of their own works and on those of others).

Programme:

Steve Reich – Vermont Counterpoint (for flute & tape)
Timo Andres – At the River (for piano)
David Lang – Killer (for violin & electronics)
Ian Dicke – Get Rich Quick (for piano & fixed media) (UK premiere)
Seth Bedford – Three Cabaret Songs (for piano & voice) (UK premiere)
George Crumb – Vox Balaenae (for electric flute, cello and amplified piano)
Jonathan Russell – Assorted Past (for piano)
Missy Mazzoli – Isabelle Eberhardt Dreams of Pianos (for piano & video installation)
Ryan Brown – Bedside Manner (for flute & cello) (UK premiere)
Brian Mark – Lucid Dreaming (for flute & cello) (world premiere)
Michael Gordon – Light is Calling (for violin)
Steve Reich – Piano Counterpoint (for piano & electronics)

Regarding the future, Brian claims that “Ensemble In Process… will be a rotating vehicle with respect to size, instrumentation, and nature of specific programming. Eventually, it will also feature a special annual transatlantic event, which will become a six-hour concert marathon that will take place between London and select US cities via live streaming. After its debut concert and the first year of operation, Ensemble in Process… will eventually launch into an annual series of multiple diverse concerts and other exciting outreach activities.”

Meanwhile, here are soundclips and video examples for the concert programme (where I could find them…):



 






 
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A little under two weeks previously, there’s another Kammer Klang session at Café Oto, presenting an evening of London loft music on the ground floor again. This time, the concert has a particularly strong theatrical tinge, though not necessarily in a conventional manner.

strong>Kammer Klang presents:
Scenatet performs Matt Rogers + David Helbich + Yshani Perinpanayagam performs Benjamin Oliver + Slips DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 2nd May 2017, 7.30pm
– information here and here

Kammer Klang, 2nd May 2017The Fresh Klang performance this month is a new keyboard duet by Benjamin Oliver ‘Mr. Turquoise Synth’, which “explores how the contrasting sonorities of the piano (acoustic) and synth (low memory electronics) and modes of production (human/computer agency) can be combined and juxtaposed. Initially the duet partners are isolated but gradually become entwined in a playful and dynamic relationship.” It’ll be performed as a solo by pianist/keyboard player Yshani Perinpanayagam (Del Mar Piano Trio, Rambert Dance Company, and ‘Showstopper! The Improvised Musical’) and features both the venue piano and a bespoke one-bit pulse synthesiser designed by chiptune jazzer Blake Troise (Protodome).

Brussels-based philosopher-composer David Helbich (perhaps best known for his ‘Belgian Solutions‘ project, which spots, photographs and documents various frequently absurd-but-human fixings and methods) goes beyond the territory of being a conceptual musician in order to explore and share along the very faultline which separates musical concepts from non-musical concepts. It’s worth noting that David is the kind of composer who chooses to write for air guitar. Having dispensed with instruments, sound and multi-media trappings, what he’s mostly now interested in is the audience, with whom he will be performing one of his “No Music” sessions,

“No Music is no music, but still a musical experience. No music, still for your ears. Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations. I understand the this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances. These interventions are entirely personal and therefore not so much interactive as “inner-active”, self-performative. The reader as the performer as the listener.”

Below is an example from a performance in Brussels.


 

In between, there’s Scenatet – an ensemble working under the remit of “art music theatre in unusual spaces” and generally works with younger Danish composers, creating cross-genre performances involving elements of drama and “happenings” as well as music. Though the ensemble consists of twelve permanent musicians, for this concert, they’ll be down to a trio of Vicky Wright (clarinet), Mina Fred (viola) and My Hellgren (cello) in order to perform the world premiere of Matt Rogers‘ ‘Weep At The Elastic As It Stretches’ The piece is an attempt to “embody the attitudes and spirit” of N.F. Simpson’s 1958 absurdist play ‘A Resounding Tinkle’, which “ask(s) that we rejoice in all manner of unexpected objects, situations and concepts, taking great delight in the most categorical of descriptions and in a complete lack of distinction between the mundane and the exotic.”

This month’s Kammer Klang DJ set is provided by Tom Rose and Laurie Tompkins, the people behind the London/Berlin record label Slip (which specializes in “exploratory work which negotiates the fringes of new instrumental and electronic music” and is heavily involved with site-specific live events from instrumental performances through to club nights).

Programme:

Fresh Klang: Benjamin Oliver – Mr. Turquoise Synth
Matt Rogers – Weep at the Elastic as it Stretches (world premiere)
David Helbich – No Music (a performative rehearsal)
DJs: Slip
 

April 2017 – upcoming classical etc. gigs in London and Dublin – Workers Union Ensemble + SounDKard @ Nonclassical (12th); Quataurus Rex play works for string quartet-plus (13th); Benjamin Dwyer and Darragh Morgan launch albums (28th, 29th)

5 Apr

Three more imminent classical-plus events in London – plus one in Dublin – featuring various ensemble and solo artists (some of whom also compose) stretching the boundaries of form and texture.

* * * * * * * *

Nonclassical presents:
Nonclassical:Workers Union Ensemble + SoundKarD + DJ Ben Vince
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 12th April 2017, 8.00pm
information

Nonclassical, 12th April 2017“Join us in Dalston for performances by Workers Union Ensemble and SounDKarD with DJ sets by Ben Vince. Plus locally sourced craft beers and massive burgers! Includes two world premieres by Paul Whitty and Helen Papaioannou.

Workers Union Ensemble are a talented and exciting New Music ensemble who originally came together in 2008 whilst studying at Guildhall School of Music and Drama. Their line-up is Anna Durance (oboe), Edward Pick (piano), Ellie Steemson (saxophone), Mercedes Carroll (double bass), and Caz Wolfson and Joley Cragg (percussion); all conducted by Ben Oliver.

SounDKarD are Sarah Dacey (soprano), Kate Halsall (piano, keyboards) and Duncan Macleod (electronics, sound design, composing). They have worked together in various guises, including voice and piano, voice and electronics, harpsichord and electronics and as part of Galvanize Ensemble projects Happenstance and Galvanize for Hack the Barbican.

“Both ensembles programme new work alongside existing or flexible repertoire.”

Programme:

– Workers Union Ensemble:

Seán Clancy – Seven Lines of Music Slow Down And Eventually Stop
Jay Capperauld – Dehumanised Shock Absorbers
Laurence Crane – Old Life Was Rubbish
Helen Papaioannou – Backscatter (second premiere)
Nick Morrish Rarity – Junk Space

– SounDKard:

Duncan McLeod – No Man Is An Island
Amber Priestley – Flowers
Kate Halsall (arranger) – Wooden Trees (after John Cage/Laurie Anderson/The Beatles)
Ryoko Akama – Con de Structuring
Iain Chambers – I Became Mermaid
Catherine Lamb – Lineshadow
Paul Whitty – (new work – world premiere)

Helen Papaioannou recently revealed some of the details of her new piece in an interview on the WUE website – “‘Backscatter’ is a sort of mottling of sounds and notes which are bounced, echoed or split between individual players or subgroups. This hangs around short lines and motifs that churn into mechanistic loops, exploring different colours and textures within the ensemble… As in many of my recent works, particularly ‘Splinter’ (2016), the piece is built around hocketing. My fascination with hocketing lies partly in the interpersonal thrill & playfulness of coordinating patterns between two or more people. In recent pieces of mine this interleaves with an exploration of cueing and game strategies.” The full interview is here.

Here are a few preexisting versions of some of the other pieces:



 

 
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Quataurus Rex, 13th April 2017

IKLECTIK Art Lab presents:
Quataurus Rex
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursady 13th April 2017, 7.30pm
– information here and here

Quataurus Rex are a London-based string quartet of colleagues and friends who formed in London – the members are Amy Heggart and Sophie Cameron (violins), Alison D’Souza (viola) and George Hoult (cello). Individually they have performed throughout the UK in venues such as the Royal Albert Hall and Royal Festival Hall with orchestras and artists including the London Philharmonic Orchestra, BBC Symphony Orchestra, Skepta, Lady Leshurr and Laura Mvula.

“This night will feature a range of works for string quartet, electronics and loop machine crossing genres from contemporary classical to folk and electronic.”

Programme:

George Crumb – Black Angels (excerpt)
Sophie Cameron – Afterimage
Daniel Potter – Premiere
Pavel Fischer – Morava

Here’s a quick taste of the Crumb piece, as performed by the Kronos Quartet:


 
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Two concerts at the end of the month reveal and celebrate a pair of releases from the Irish experimental classical label Diatribe Records. The Dublin date features work by both Benjamin Dwyer and Darragh Morgan; the London date features Darragh alone.

  • Benjamin Dwyer/Darragh Morgan – The Complex Dublin, 15 Little Green Street, Dublin, D7, Ireland, Friday 28th April 2017, 8.00pm – information here and here
  • Darragh Morgan – IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Saturday 29th April 2017, 8.00 pminformation

Benjamin Dwyer‘s’s music is forged from an intensive amalgamation of technical, improvisatory and interpretative elements. Experienced at the intersection of performance, gesture and compositional praxis, his music is further enriched through its deep immersion in ritual and symbol. His works have been performed worldwide by renowned musicians and ensembles.

Diatribe event, 28th April 2017As a classical guitarist and a major exponent of contemporary music and free jazz, Dwyer performs worldwide and has appeared as soloist with all the Irish orchestras, the Neubrandenburg Philharmonic (Germany), the Santos Symphony Orchestra (Brazil), the VOX21 new-music ensemble, the Callino Quartet (UK) and the Vogler String Quartet (Germany). He is a member of Barry Guy’s Blue Shroud Band and TIN (the UK-based Transdisciplinary Improvisation Network). Chiefly informed by continental philosophy, and post-colonial and feminist theory, Dwyer has also written extensively on music exploring themes such as Irish art music, the intersections of performance and compositional practice, improvisation, the classical guitar, and music as myth and symbol.

Originally premiered in November 2011, Benjamin’s ‘Umbilical’ is a composition for amplified Baroque violin, double-bass, harpsichord and tape, based on the myth of Oedipus but viewed from the perspective of his lover and mother Jocasta. The work was originally staged as a mixed-media event involving audio-visual content and Japanese Butoh dance. This month’s restaging will be performed by the same three live musicians who’ve been associated with it from the start – Barry Guy (double bass), Maya Homburger (Baroque violin) and David Adams (harpsichord).


 

 

Darragh Morgan has emerged as one of Europe’s leading violinists, having achieved international recognition as both soloist and chamber musician. He has frequently appeared at major international festivals in many of the world’s most prestigious halls.

Darragh Morgan: 'For Violin And Electronics'

Darragh Morgan: ‘For Violin And Electronics’

“As a chamber musician, he has collaborated with artists such as Thomas Ades, Emmanuel Pahud, Joanna MacGregor, Nicholas Daniel and John Tilbury. As a highly active and renowned interpreter of contemporary music, he has worked with and premiered the music of many of the most important composers of our time including Arvo Part, John Tavener, Gavin Bryars, Howard Skempton, Michael Nyman, Gerald Barry and Michael Finnissy. He has led Ensemble Modern, London Sinfonietta, Musik Fabrik, Birmingham Contemporary Music Group and was a member of the acclaimed Smith Quartet from 2005-2011. He is currently the violinist in the Fidelio Trio.

“Darragh’s new release on Diatribe, titled ‘For Violin And Electronics’, features works by leading electroacoustic composers Paul Wilson, Jonty Harrison, Ricardo Climent, Jonathan Nangle, Scott Wilson and Simon Emmerson.”


 


 

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