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Integra 2011 Festival Programme

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Integra 2011 Festival Programme PROGRAMME 2 INTRODUCTION CONTENTS 3 INTRODUCTION CONTENTS Can human expression be enriched by electronic Understandably, this bridge-building business is Page 2: Introduction technology? Can new technologies make contem- not always easy, and on a few occasions the col- porary music more relevant for our time? These laborations have faced signifi cant challenges. The Page 3: Contents are the kind of questions we have tried to address ultimate goal, however, has been well worth the over the past six years. This week in Copenhagen, e ort: a new software tool for musicians to design Page 4-5: Leroux/Lanza, Athelas Sinfonietta, IEM, Malmö the Integra Festival will give you some of the an- live interactions between instruments and com- Academy of Music, 27 September swers, in the form of four new large works for en- puters – interactions that are easy to create and, semble, live electronics and assorted media per- most importantly, make musical sense. This tool, Page 6-7: Inclined Spaces, Performers from Court-Circuit, formed by three leading Nordic music ensembles. the Integra Live software, has been used exten- Grup Instrumental de València, Royal Danish sively in the production of the new works present- Academy of Music, 28 September This Festival represents the culmination of Inte- ed at the Festival. It is our hope that the example gra – Fusing Music and Technology, an EU-funded of our pioneering composers will be followed, and Page 8: Integra Live Workshop & On The Verge, Students project led by Birmingham Conservatoire in the Integra Live will be adopted by a growing number from Birmingham Conservatoire, Malmö UK. Integra started in 2005 as a way of realising of musicians excited by its possibilities. Academy of Music, Royal Danish Academy of the dream of two Italian composers, Luca Franc- Music, 29 September esconi and myself, to create user-friendly live The Integra Festival celebrates the invaluable electronic technologies that musicians could un- contribution that Nordic music ensembles and Page 9-11: Curran, Ars Nova Ensemble, Muzyka Centrum, derstand and use. It was a tough challenge. Six research centres have brought to the Integra 29 September years later Integra has become a bold and wildly project. Athelas Sinfonietta, BIT20 Ensemble, En- ambitious experiment in music creation. For the semble Ars Nova, NOTAM and Malmö Academy of Page 12: Confl uences And Escapes, Students from fi rst time, musicians played an active role in the Music have all played a pivotal role, leading in the Birmingham Conservatoire, Malmö Academy development of new software to compose and artistic and scientifi c activities of the project and of Music, Royal Danish Academy of Music, perform live electronic music. As an ideal bridge actively promoting live electronic music in Nordic 30 September spanning all the way from the lab to the concert countries and beyond. We are grateful to Nordisk hall, Integra has brought together researchers, Kulturfond and Kulturkontakt Nord for helping to Page 13-15: ter Schiphorst, BIT20 Ensemble, NOTAM, developers, composers and performers, helping make this Festival possible, and we are equally 01 October them understand each other across their di er- delighted by our collaboration with the Royal Dan- ent expectations, languages and cultures. ish Academy of Music, which gives us the oppor- Page 16-17: New Music Ensembles tunity to promote Integra and its philosophy to the next generation of musicians. Page 18-20: Research Centres (Lamberto Coccioli) Page 21-28: Composers and Artists Page 29: Conductors Page 30-33: Soloists and Performers Page 34: The Integra Project Page 35: Project Team, Project Partners, Festival Team, Supporters 4 27 SEPT · ATHELAS ATHELAS · 27 SEPT 5 TUESDAY 27 SEPTEMBER, 20:30 musical events came from the knows its laws is the engineer STUDIO HALL, 80 DKK calligraphic shape of the let- who establishes the weight of ATHELAS SINFONIETTA, IEM, MALMÖ ACADEMY OF MUSIC ters of the poems by Lin Delpi- the wind, who counts the clouds erre, in Extended Apocalypsis the in the sky and apportions the PHILIPPE LEROUX: Extended Apocalypsis shape of the letters determines water by measure. And these MAURO LANZA: Le nubi non scoppiano per il peso melodic profi les and the move- laws seem to have no consider- (Danish Premiere) ments of the sounds. The letters ation for man; there is no pun- return constantly, at a struc- ishment or compensation for Conductor: Pierre-André Valade tural, musical and even visual his behaviour. Rain falls in the Live Electronics (Leroux): Peter Plessas (IEM) level: the position of the per- Philippe Leroux Mauro Lanza desert too, on a land that no- Live Electronics (Lanza): Kent Olofsson and Johan Nordström formers on stage describes the recordings, their analysis and The live electronics, devel- body harvests. Disgrace befalls (Malmö Academy of Music) graphic shape of an “e”. their treatment while Movement oped in the IEM studios in Graz on the righteous and the un- Soloists (Leroux): Raphaële Kennedy and Valérie Philippin IV presents musically the clas- by Peter Plessas as part of the righteous alike. (soprano), Francine Vis (mezzo-soprano), Romain Bischo Extended Apocalypsis is in seven sifi cation of the chords and the Integra project, allow the tech- The long, sco£ ng reply that (baritone) movements and six intermezzi sounds obtained through the nical and semantic possibilities God gives to Job’s relentless Soloist (Lanza): Loré Lixenburg (soprano) based on the sonic landscape of recordings, analysis and treat- of both voices and instruments existential questions (a short Video Element (Leroux): Jacob F Schokking the di erent places where the ment from the previous move- to be extended further. excerpt is sung in the piece) Rain Machine (Lanza): Simon Cacheux music was composed: Rome, ment. Movement V is the long- (Philippe Leroux) is itself composed of ques- Paris, Aulnay-sous-bois, Mon- est one, weaving in a formal tions, almost suggesting that, PRE-CONCERT TALK: 19:30 treal, Heiligenstein, Bois-Aubry braid the spatial trajectories of LE NUBI NON SCOPPIANO as Wittgenstein wrote: “when and London. During each inter- the sounds from Voi(rex) that be- PER IL PESO the answer cannot be put into mezzo the baritone announc- come melodic movements, the Le nubi non scoppiano per il peso words, neither can the question.” EXTENDED APOCALYPSIS cused on the di erent compo- es the name of the place and changed ordering of the letters (Clouds do not burst under their Le nubi non scoppiano per il Extended Apocalypsis is a work sitional stages of the fi rst piece the date of composition. These of Voi(rex) to generate a new lit- own weight), is scored for so- peso deals with heaviness and for four singers, sixteen instru- from a conceptual and formal movements are all intersect- erary meaning, the mutual imi- prano, nine musicians, compu- fall, and with measuring what ments, live electronics and vid- perspective, but also in terms ed by an inexorable upward tations among voices, instru- ter-controlled water drops and seems to have no measure. The eo, commissioned by Athelas of the musical material and the pulse in the form of clicking ments and electronics, the ver- electronics. piece is dedicated to my parents. Sinfonietta and Integra. As of- technological tools employed. sounds produced by the sing- tical application of a nested The text is taken from the “An altar begins where the ten happens in my music, it is a Voi(rex) and Apocalypsis were ers’ tongues, evoking the won- form that in Voi(rex) was used Bible, chapter 38 of the Book sense of measure ends. Being a work rooted in earlier works, in part of a joint IRCAM/CNRS re- der and interrogation associat- only horizontally, together with of Job: saint means losing control, giv- this case Voi(rex), written in 2002, search project on the analysis ed with the act of creation. the composition of what could ing up weight, and weight is or- and Apocalypsis (2006). The of the compositional process. Through reminiscences of have been the sixth, seventh and Who cuts a channel for the ganizing one’s own dimension” main idea of Apocalypsis was Many elements of this research earlier vocal works Movement eighth movements of Voi(Rex) torrents of rain, Carmelo Bene, Our Lady of to start from a fi nished piece - end up in Extended Apocalyp- I explores the moment when but were abandoned at the time. and a path for the thunder- the Turks Voi(rex) - and to “stage” its com- sis. The text, for example, was nothing exists yet, when every- Movement VI stages the rehears- storm, This work was commis- positional genesis through the composed at the same time as thing is possible and the only al of the work by the performers, to water a land where no one sioned by Ensemble Court-Cir- music. In turn, Extended Apoca- the music, but comes from se- tangible manifestation is the de- but also the perception of this lives, cuit and by Integra. The live lypsis projects Apocalypsis to its lected fragments of interviews sire to create, inlaid with memo- rehearsal from the composer’s an uninhabited desert, electronics were realised at extreme limits through expand- between the composer and re- ries of pieces past. An unwaver- perspective: how the composer to satisfy a desolate waste- Malmö Academy of Music by ed duration, amplifi ed compo- searchers in musicology and ing list of all the “ideas” noted discerns little by little the music land Mauro Lanza and Kent Olofsson. sitional concepts, and the in- anthropology. The text evokes during a fi rst phase of work on that he has contributed to cre- and make it sprout with The dripping device is inspired clusion of the video realised by in a poetic form the di erent Voi(rex) scrolls by in Movement ate.
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