Friday 17 – Sunday 26 November 2017 www.hcmf.co.uk

Box Office 01484 430528 www.hcmf.co.uk #hcmf2017 FESTIVAL DIARY

DATE NO EVENT TIME VENUE

Fri 17 CeReNeM Guest Lecture: Christopher Trapani 1.30pm Creative Arts Building, CAM G/05 1 Red Note Ensemble: Dillon 6pm St Paul’s Hall 2 Metal Machine 9pm Bates Mill Blending Shed Aeolian 11.30pm Bates Mill Photographic Studio

Sat 18 Coffee with the : 10.45am Epicure Bar + Kitchen 3 Linda Catlin Smith: 12pm St Paul’s Hall 4 The Otheroom 2pm Huddersfield Town Hall Talk: James Dillon + 3.30pm Creative Arts Building, CAM G/01 5 Michaela Grill / Philip Jeck / Karl Lemieux 5pm Phipps Hall 6 Ensemble Modern + Arditti Quartet: Ferneyhough 7.30pm St Paul’s Hall 7 zeitkratzer perform Kraftwerk 10pm Bates Mill Blending Shed PRES@60: Jacek Sienkiewicz plays Bohdan Mazurek 11.30pm Bates Mill Photographic Studio

Sun 19 Coffee with the Composer: Rolf Hind + Dai Fujikura 10.45am Epicure Bar + Kitchen 8 Linda Catlin Smith: Piano + Strings 12pm St Paul’s Hall The Metal Playground 1pm-3pm Creative Arts Building Atrium 9 Polish Radio Choir 3pm Huddersfield Town Hall 10 Karin Hellqvist 5pm Phipps Hall 11 On what weft are woven the waters 8pm Bates Mill Blending Shed 12 Nik Bärtsch’s MOBILE 10pm St Paul’s Hall

Mon 20 Harmonic Canon 1 11am Creative Arts Building Atrium hcmf// in LEGO 11am-4pm Creative Arts Building Atrium Gilles Grimaître 11.40am St Paul’s Hall LUX:NM 12.20pm Huddersfield Town Hall PRES@60: Małe Instrumenty plays Kartacz 1pm Huddersfield Art Gallery Serge Vuille performs Christopher Fox 2pm Phipps Hall Philip Thomas + edges ensemble 2.40pm Creative Arts Building Atrium Kevin Fairbairn 3.20pm St Paul’s Hall Nik Bärtsch + Trinity Laban CoLab Ensemble 4pm Huddersfield Town Hall No [more] Pussyfooting 5pm Bates Mill Photographic Studio Harmonic Canon 2 6.30pm Creative Arts Building Atrium Passepartout Duo 7.10pm Phipps Hall Bastard Assignments 8pm Bates Mill Blending Shed Phurpa 9.15pm St Thomas’ Church Sukitoa o Namau 11pm Bates Mill Photographic Studio Christian Weber + Joke Lanz 11.30pm Bates Mill Photographic Studio

Tue 21 Curator’s Talk: PRES@60 10.30am Huddersfield Art Gallery 13 Philip Thomas + Quatuor Bozzini 12pm St Paul’s Hall Heavy Metal: An Exploration of bells and metal percussion 2pm-4pm Phipps Hall Talk: Michał Libera + Michał Mendyk 3pm Huddersfield Art Gallery 14 Karkowski: Encumbrance 5pm St Paul’s Hall The blurred line: between drawing and sound 6pm-8pm Heritage Quay 15 Our Ears Felt Like Canyons 8pm Bates Mill Blending Shed 16 Julie Kjær 10pm Bates Mill Photographic Studio

Wed 22 Coffee with the Composer: Hilda Paredes 10.45am Epicure Bar + Kitchen 17 Clara de Asís 1pm Bates Mill Photographic Studio 18 We Spoke 4pm Phipps Hall 19 Sinfonietta + Irvine Arditti 7.30pm St Paul’s Hall 20 GGR Betong 10pm Bates Mill Blending Shed

Thu 23 21 Explore Ensemble 12pm Phipps Hall Why is gender still an issue in music? 2pm Creative Arts Building, CAM G/01 CeReNeM Masterclass: Hilda Paredes 4pm Creative Arts Building, CAM G/01 Music for Young Players 5pm Huddersfield Town Hall 22 Polwechsel + John Butcher + Klaus Lang 7.30pm St Paul’s Hall PRES@60: Thomas Lehn plays Bogusław Schaeffer 9.30pm Bates Mill Photographic Studio 23 Rhodri Davies 10.30pm Bates Mill Blending Shed

Fri 24 PRES@60: TAPE 11am Phipps Hall Talk: Tim Rutherford-Johnson 3pm Creative Arts Building, CAM G/01 24 Archer Spade 5pm Bates Mill Photographic Studio Lauren Sarah Hayes: Improvising Electronics Workshop 5.30pm-7.30pm Creative Arts Building, CAM G/01 25 The Riot Ensemble 7pm St Paul’s Hall 26 Ensemble PHACE + Laura Bowler 10pm Bates Mill Blending Shed PRES@60: Valerio Tricoli plays Bohdan Mazurek 11.30pm Bates Mill Photographic Studio

Sat 25 27 Kit Downes 12pm St Paul’s Hall Pop-Up Art School 12pm-3pm Creative Arts Building Atrium 28 Laura Cannell: FEATHERS UNFURLED 2.30pm Bates Mill Photographic Studio Talk: Pauline Oliveros 4pm Phipps Hall 29 ICE + Distractfold + Fritz Hauser + Anne Bourne + IONE: Oliveros 6pm Huddersfield Town Hall 30 hcmf// mix tape 10pm Bates Mill Blending Shed

Sun 26 Music at Play: Imaginary Communities 10am-11.30am Heritage Quay 31 Ensemble Grizzana 1pm St Paul’s Hall hcmf// SMS 4pm Huddersfield Town Hall 32 + Guests 7pm Lawrence Batley Theatre 33 Nikel: Alexander Schubert 9pm Bates Mill Blending Shed

Funders CONTENTS

Music at Huddersfield Page 06 Director’s welcome FESTIVAL PARTNERS 40 years of shaping the future of new music Page 08 University of Huddersfield Project Funders Page 08 Arts Council England Page 09 Kirklees Council Page 09 BBC Radio 3 Page 09 Adam Mickiewicz Institute Page 10 STIM Page 10 Swiss Arts Council Pro

T Q’ Page 11 Goethe-Institut London A P F H  F E  Trusts and Foundations PROGRAMME Awarded to the University of Huddersfield for four Page 12 Exhibitions decades of “world-leading work to promote, produce Page 14 Talks and present contemporary In partnership with Media Partner Broadcast Partner music to an international Page 16 Friday 17 November audience”. Page 18 Profile: James Dillon Page 24 Saturday 18 November

Festival Partners Page 26 Profile: Linda Catlin Smith Page 29 Profile: Brian Ferneyhough Be at the centre of 21st Century music training. Our outstanding facilities Page 35 Sunday 19 November and international community of offer exciting opportunities for Page 42 Monday 20 November undergraduate and postgraduate study, collaboration and innovation in Page 53 Profile: Bastard Assignments composition, performance, , new media and . Page 54 Learning & Participation The University of Huddersfield has a long-standing reputation as a Page 58 Tuesday 21 November - world leading institution for teaching and research in contemporary music. Page 64 Wednesday 22 November Our internationally recognised staff were awarded over £4m in external Page 72 Thursday 23 November research grants in 2017, and our extensive industry partnerships with top ensembles, record labels, and software companies provide unrivalled Page 76 Profile: Rhodri Davies professional development opportunities for our students. 2011, 2012, 2013, 2015, 2016 Page 79 Friday 24 November Page 84 Profile: Laura Bowler Have a look at our courses, including the new Sonic Arts and Composition Page 88 Saturday 25 November BMus(Hons), a new addition to our diverse portfolio of undergraduate, Master’s, and PhD programmes. Page 92 Profile: Pauline Oliveros Page 96 Sunday 26 November For more information, email us at [email protected]. Page 97 Profile: Magnus Granberg Page 100 Profile: Alexander Schubert

: + Tel 44(0)1484 472003 huddsunimusic Email: [email protected] Web: www.hud.ac.uk/ @HuddsUniMusic The Festival also gratefully acknowledges support from hcmf// Members Professor Mick Peake PATRONS hcmf// would especially like to thank the Sir Ernest Hall OBE DL following for their service and support: hcmf// would like to thank the following Members Sir CBE Barry Hynes, Kitty Porteous, Bob Cryan CBE, for their support: Rachel Cowgill, Jacqui Gedman, Adele BOARD OF MANAGEMENT Poppleton, Kath Davies, Victoria Firth, Karen Benefactors Friends Roz Brown & Colin Rose Mr Nicholas Meredith Professor Mick Peake (Chair) O’Neill, Nigel & Richard Bates, Brendan Hulse, Peter Bamfield Ms Rona Courtney Professor Michael Clarke The Cedar Court Hotel, The Central Lodge Hotel, Mervyn & Karen Dawe Mr & Mrs Vic & Alison Slade Andrew Kurowski The Elm Crest Guest House and The Briar Court Professor Mick Peake Mr Richard Chalmers Professor Liza Lim Hotel. Mr Martin Staniforth Dr Anthony Littlewood Baroness Kath Pinnock Professor Emeritus Richard Steinitz OBE Miss Mary Black Mirjam Zegers HUDDERSFIELD CONTEMPORARY Anonymous Mr Gordon Sykes MUSIC FESTIVAL Mr Graham Moon FESTIVAL TEAM Room CAM1/10 Patrons Mr & Mrs David & Phillida Shipp Graham McKenzie University of Huddersfield Sir Alan Bowness Mr Derrick Archer Artistic Director and Chief Executive West Yorkshire HD1 3DH UK Barnaby & Maria Woodham Dr Margaret Lucy Wilkins Roisin Hughes Tel: +44 (0) 1484 472900 Dr M R Spiers Dr Roger M W Musson Mrs Shirley Bostock Mrs Mavis Green Festival & Development Manager Email: [email protected] Mr John Moffat Mr Bryn Harrison Alexandra Richardson www.hcmf.co.uk Martin Archer Mr Philip Bradley & Ms Geraldine Kelly Learning & Participation Officer Charity registration number 514614 Mr C W Dryburgh David Hanson Lauren Day Graham Hayter & Kevin Leeman Judith Serota OBE Festival Coordinator PROGRAMME BOOK PRODUCTION Dr Colin G Johnson Rob Vincent Robin Smith Abi Bliss Editor Ms Rosemary Johnson Mr David A Lingwood Marketing & Development Assistant Peter Davin Designer Joe Kerrigan & Christine Stead Andy Hamilton Sheralyn Bonner Tom Pitts Cover Image Terence Thorpe Gregory & Norma Summers Marketing Director & Regional Marcus Netherwood Advertising Sales Mr Alex Bozman John Bryan PR Manager (Bonner & Hindley) Muso Communications Ltd Mr Paul Hubert Colin Stoneman James Eaglesfield Tel: + 44 [0] 161 638 5615 Laurence Rose James Saunders Peter John Viggers Dr John Habron Digital & Social Media Manager www.musocommunications.com Ian Partridge Piers Quick (Bonner & Hindley) Printed by Bahson Colour Dr E Anna Claydon James Weeks Faith Wilson Susan Burdell Marie Charnley National PR Manager Liza Lim & Daryl Buckley Lizzie & Dan Hunt Tim Garbutt and Adam Long Jonathan Lissemore John Truss Production Managers Mr Adrian Fry Nikki & James McGavin (Tim Garbutt Events) Dr Richard Fox Dr Anthony Littlewood Miss Harriet Richardson th more than Lou Reed’s Metal Machine Music – instrument within the programme, whether it be Welcome to the 40 edition of widely regarded as a ‘joke’, the result of a grudging Huddersfield debuts for the adventurous Belgian Huddersfield Contemporary contractual obligation on its release in 1975, it group Zwerm, or French guitarist Clara de Asis. It Music Festival! is now acclaimed as a ‘visionary classic’ and a is present also in the commissioning of a new work forerunner of , noise music and from composer James Dillon (himself a contemporary sound art. player), where the electric guitar never seemed far t is an enormous The world is a much-changed place since the from the forefront of the conversation. Iprivilege and inaugural Festival in 1978. The globalisation of The critic Paul Morley described Metal Machine honour to be the art and culture, combined with the advent of low Music as ‘a portal through which you can find a Suffice to say that the 2017 Huddersfield current custodian budget air travel, has significantly increased provocative history of the avant-garde’. Today we Contemporary Music Festival will not be a of Huddersfield audience mobility, enabling many of us to now can clearly see the work as a direct continuum of nostalgic affair. We are rightly proud of the Contemporary get our cultural fix in Berlin, , Copenhagen the mid 1960s drone music of La Monte Young and festival’s past achievements and contributions to Music Festival, and and many other European cities just as regularly Tony Conrad, whereas in 1975 its true value was British new music, but the emphasis as always will especially so this as we do in the UK, while startling developments obscured by our understanding of Reed as a rock be to discover the new and challenge and widen year, which heralds in digital technology allow us to take our seats in icon, sitting somewhere between ‘Mott’ and Bowie. the boundaries and definitions of contemporary the 40th edition auditoriums all over the world from the comfort music practice. © John Bonner of this important of our own homes. Via a plethora of social media, It is also interesting that Metal Machine Music annual celebration of contemporary and new young people now expect to be much closer to the was released in the same week as Brian Eno’s Which brings me back to the question: for a music of the highest international standard. artist, in dialogue with them as equals on a whole ‘ambient’ classic Discreet Music. Perhaps these festival full of first performances and new works, variety of issues and across a range of platforms. two works – polar opposites in volume and as consumers and critics, how will we respond No-one could possibly have envisaged when the The conditions which led to a sense of mystique aesthetic – have cast an influence over modern to what we hear today, and how will that differ 40 inaugural Festival was launched over a weekend about artists in general have been removed, music for the past 40 years or so, in ways that we years down the line? in October 1978 that it would grow into one of the and there is less of a tendency for the artist to are only now beginning to recognise. leading new music festivals in Europe, renowned be elevated to status of ‘idol’ or ‘god’. Instead All of the above is made possible with the support across the world for its quality and innovation; there is more of a sense of the artist and fan Lou Reed didn’t turn to Metal Machine Music of our core partners and funders, and I would that Huddersfield would be host to many of the being part of the same community. For festivals again until March 2002, when he performed like to thank Arts Council England, Kirklees great of the 20th century, including and programmers, therefore, success is less the original on stage at MaerzMusik in Council, and the University of Huddersfield. Stockhausen, Cage, Boulez and Messiaen. defined by a roster of ‘star’ names, but rather by Berlin, with the 10-member group zeitkratzer in The international programme is supported by an organisation’s ability to capacity build, and its a new featuring classical string, the Swiss Arts Council Pro Helvetia, the Adam On behalf of everyone at hcmf//, I would like to effectiveness as a ‘hub’ for that community. wind, piano, and . Reinhold Friedl and Mickiewicz Institute as part of the Polska Music express my admiration for, and say thank you to zeitkratzer continue to champion the work, and Programme, STIM, Export Music Sweden, Kultur i all those who have contributed to this remarkable In contemporary music there may never be here they perform the UK premiere of a new Väst, Musik i Syd, and the Goethe-Institut London. journey, especially to the founder of the Festival, another Stockhausen or Cage, just as in there version scored for strings, horns, and percussion My thanks of course go to all of our partners, Professor Richard Steinitz, for his incredible will never be another Miles Davis, or another Bob with the added forces of Ensemble 2e2m. and full details can be found throughout the vision, to Susanna Eastburn, who succeeded Dylan or Rolling Stones in . This programme. Richard as the Festival Director, and to Tom should not be interpreted as any lessening of The influence of Metal Machine Music can Service, Guest Director in 2005. To all the Board quality or invention in music today, but simply a certainly be seen as a thread running through I look forward to welcoming you to Huddersfield in Members and staff, past and present, to all the shift in context. Levels of creativity and invention this edition of hcmf// – it is evident in Karkowski’s November. wonderful composers and musicians who have remain as high as ever, and I am genuinely excited rarely performed vocal work Encumbrance, in participated over the years, and to all the funders about a whole raft of current composers and Kobe van Cauwenberghe’s deft re-imagining and supporters who have and who continue to practitioners, and where their music might take us of Fripp & Eno’s No (more) Pussyfooting, and generously contribute the resources required to in the coming years. in the culture of Alexander Schubert’s enable the festival to continue to grow, develop and Supramodal Parser, which closes this year’s Graham McKenzie thrive artistically. Most importantly of all, let me How we listen to music and what we hear does Festival. Artistic Director & Chief Executive give special thanks to the wonderful Huddersfield not remain static over a 40-year period either. audience, which each year turns out in ever- Works dismissed or even vilified on first hearing or Contemplating Reed’s ‘symphony’ of electric increasing numbers. release may now be heralded as ground-breaking guitar and distorted feedback has provided a classics years later. Few works exemplify this context with which to give prominence to the 8 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 9

University of Huddersfield doctoral students in music from around the world, Kirklees Council been taking a look back at the Festival’s history and now probably has the largest cohort of PhD and revisiting some of the many recordings Congratulations to hcmf// on 40 years of success. students in Music in the country. We aim to develop Huddersfield is renowned for its innovation; our we’ve broadcast over the last 40 years. It’s been I have been attending the Festival for 35 of those the musical curiosity of all our students and open town’s heritage is built on continually pushing fascinating hearing again some of those key years and it has always been a highlight, always them to the widest range of new music, and what at the boundaries, from leading the industrial recordings from James Dillon, Brian Ferneyhough, exciting and stimulating, and very often surprising. better way to do it than to have Europe’s foremost revolution of textiles to the new technologies and Jonathan Harvey, , Luigi Nono, As Dean of the School of Music, Humanities and contemporary music festival not merely on the advanced manufacturing of today. Claudia Molitor and and Media, I am delighted to affirm the University’s doorstep, but also in our front room. it reminds us of how the Radio 3 / hcmf// continued support for hcmf//. The Festival is one This drive for innovation and exploring new ideas partnership brings new music to listeners across of the high points of the cultural year for both the Professor Michael Clarke also manifests itself in our musical heritage, with the UK and around the world. town and University – it provides an unparalleled Dean of the School of Music, Humanities and hcmf// a shining beacon in this story. For 40 years, opportunity for students, staff and the community Media, University of Huddersfield the Festival has brought to the town the very best At Radio 3, we aim not just to reflect what’s to hear some of the best and most innovative of contemporary music from around the world, happening musically and culturally across the contemporary music not only from Britain but Arts Council England and I am delighted to welcome it back for a very UK, but to work with composers and artists to from around the world. special celebratory year. make new things possible. As the most significant We are proud to have invested in Huddersfield commissioner of new music in the UK, Radio 3 has Over the last 40 years the Festival has grown and Contemporary Music Festival as one of our Kirklees Council are proud to be partners of the also historically been an important commissioner established itself as an independent cultural National Portfolio Organisations from 2015 – 2018. Festival, and we urge everyone to come along and of new music at hcmf//. This year I’m delighted organisation, but its links with the University have I would like to congratulate the team, past and be part of this very special year – and if you have that we’ve been able to co-commission with remained strong, resulting in manifold benefits to present, on reaching the significant milestone never been, do try out some of the free . I hcmf// two new works - Laura Bowler’s FFF and th both organisations in their commitment to what of the 40 Edition and on continuing to be one am sure once you have been you will want to come Dai Fujikura’s Sawazawa. You can hear both of is new, contemporary and cutting edge. The fact of the leaders in contemporary new music. In back again and again! those pieces along with many others from the that the hcmf// team is based in the Creative Arts June 2017, we announced our continued support festival in over 10 hours of programming in our Building alongside Music Department staff and for hcmf// as part of our portfolio over the next We are also proud to be a partner and collaborator new music show, Hear and Now, on Saturday students also strengthens the relationship to the four years. With this in mind, we celebrate the with hcmf// beyond the 10-day festival. By evenings between now and Christmas. mutual benefit of both organisations, resulting successes of previous editions and pay tribute working together and alongside our fellow music in a vibrant and stimulating environment for all to the hard work and dedication of the team, and organisations and festivals we are embarking We also have two live broadcasts from involved, not only for the 10 days of the Festival but look forward to experiencing hcmf//’s future on our journey with big music ambitions for the Huddersfield this year on 18 and 25 November – I throughout the year. Some of the benefits of such a contribution to the development of experimental district. I look forward to being able to share more do hope you can join us for those – and then enjoy partnership – for a modern, progressive university and new music on a national and international with you in the future. tuning into Hear and Now throughout December, and the UK’s leading contemporary music festival scale. This edition also marks the second year or download the shows from the iPlayer Radio app – are perhaps undefinable, or hard to quantify, but of the Festival’s International Showcase funding But for now, I would like to take this opportunity to to listen to at any time and relive the excitement of they are also pervasive and undeniable. from the Arts Council. That funding has enabled extend a warm welcome to new visitors and to let the Festival. new and significant international partnerships you know that as a Premier League Town, we have The School of Music, Humanities and Media and has created fresh opportunities – such as plenty to offer and places to explore! To festival- Alan Davey, seeks to offer all its students ‘space to release co-commissions and touring in new international goers who come back year on year, it is like we are Controller, BBC Radio 3, BBC Proms, your creativity’, and its partnership with hcmf// markets – for artists and composers. This activity becoming good friends, great to see you again. Orchestras and Choirs certainly does this. Our students and staff gain has helped to affirmhcmf/ /’s strong international enormous benefit from listening to or participating reputation as the place to hear the very best in Councillor David Sheard Adam Mickiewicz Institute in events during the Festival and it is the high point new music, as well as a place to do business. On Kirklees Council of our calendar. Contemporary music is a behalf of all my colleagues at the Arts Council, I With a new line-up, Polish music is returning to th major part of our work in Music at Huddersfield, wish hcmf// every success with its 40 Edition and BBC Radio 3 Huddersfield. The 2015 presentation of the Polish including composition, performance, technical beyond. Radio Experimental Studio was enthusiastically and musicological research into new music, Over the decades, BBC Radio 3’s November received by the British audience. Therefore, in with much of this work being recognised as Darren Henley presence in Huddersfield has become one of the collaboration with Graham McKenzie, we decided world-leading. Especially through CeReNeM, the Chief Executive, Arts Council England cornerstones of the station’s year. In the lead up to launch a comprehensive, interdisciplinary Centre for Research in New Music, the University to this 40th edition of hcmf//, BBC Radio 3 has programme devoted to Warsaw’s legendary continues to attract some of the brightest and best 10 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 11

electroacoustic music centre, whose oeuvre only this year it became possible to realise the Graham McKenzie will again feature many an inclusive atmosphere, together enjoying an continues to reverberate in Eastern Europe’s partnership. To be able to announce this at the different aspects of the Swiss music scene. unswervingly exceptional and qualitative superb high and popular culture. The focal point Festival’s 40th edition is quite an honour, especially Composer Stephanie Haensler will be working programme, curated by the Festival’s Artistic of our presentation will be the exhibition at since the celebration promises to not be a with two British ensembles – the Riot Ensemble Director Graham McKenzie since 2006. the Huddersfield Art Gallery, created in co- nostalgic affair, but rather a platform for looking and Red Note Ensemble – while Distractfold operation with Daniel Muzyczyk, curator and into the future. During this year’s Festival, several will be engaging with the Swiss composer and Contemporary, new and is experimental music expert at Muzeum Sztuki w world and UK premieres will take place, displaying percussionist Fritz Hauser. Huddersfield will as much emotionally rewarding as it is thought- Łodzi, one of Poland’s major exhibition venues. a rich variety of Swedish music, composers and also experience Hauser’s grandiose concept provoking. Looking at the history of the Festival we This undertaking most accurately illustrates musicians. Karin Hellqvist (/electronics) and piece Schraffur in a version with the We Spoke also look at the nature of music itself, the role it the behind the Adam Mickiewicz Natasha Barrett (live electronics) will premiere ensemble, who will also be performing a piece plays within in our multi-polarised world. Neither Institute – the promotion of Polish culture through compositions by internationally acclaimed Malin by the sound artist Cathy van Eck. In 2015, Jürg the artists who create and perform the music, nor international artistic relations. A relationship Bång (Siku) and Ylva Lund Bergner (viivii). The Frey made a lasting impression as Composer in the music itself, exist in a vacuum: thoughtfully founded on trust, knowledge and meetings with Swedish noise orchestra GGR Betong will be Residence in Huddersfield; this year, the Festival reflecting the world in its pluralisms, all its joy artistic milieus in Poland. performing an international programme including will feature the world premiere of a large new and hardship, it contemplates and beams back the UK premiere of Anna Eriksson’s Three minutes work that Frey has written for Ensemble Grizzana. contemporary society’s fears and hopes. The exhibition will be accompanied by a cycle of and ten seconds. On the last day of this year’s There will also be a reunion with Joke Lanz and concerts showcasing original Experimental Studio Festival, Ensemble Grizzana will give Magnus Christian Weber, who were in Huddersfield last The Festival also allows composers, musicians compositions and their modern adaptations by Granberg’s How Vain Are All our Frail Delights? its year and were promptly invited back again. Serge and multi-disciplinary artists to congregate and such diverse European artists as the analogue world premiere. Vuille will be performing a solo drum gig; Laurent forge enduring, sustainable relationships with synthesiser virtuoso Thomas Lehn, the brilliant Peter, aka ‘d’incise’, will present his 40-minute each other, which further international cultural improviser Valerio Tricoli, whose work has been Next year, when hcmf// will enter its fifth guitar piece Appalachian Anatolia; young pianist exchange – new ideas are born in Huddersfield inspired by the magnetic tape, the ambitious decade, the Swedish presence in Huddersfield Gilles Grimaître will perform as part of hcmf// as much as they are presented in this distinctly techno composer Jacek Sienkiewicz, or the Polish will continue and grow. We are looking forward shorts; and – last but not least – the celebrated international heart for contemporary music in champions of toy instruments, Małe Instrumenty to exploring the future together with one of the Swiss pianist Nik Bärtsch will plunge into ritual, Europe. ensemble. world’s leading festivals for new and experimental occasionally funky grooves with his group MOBILE. music, and its partners in the UK and abroad. hcmf// could hardly offer a broader, more exciting We are immensely grateful for being able The musical discoveries of hcmf// have resonated selection of the music of today. contribute to this coming together of artists and throughout Europe for years. Thus, it is difficult to Mattias Franzén audience through the support of fellow European, imagine a better venue for the inauguration of an Director of Operations, STIM Council for Andri Hardmeier Germany-based creatives, who with all their international project promoting the phenomenon Promotion of Swedish Music Head of Music, Swiss Arts Council Pro Helvetia international peers devote themselves to inspiring of the Polish Radio Experimental Studio. our senses and intellect alike. Swiss Arts Council Pro Helvetia Goethe-Institut London Ewa Bogusz-Moore We all look forward to enjoying the next 40 years Polska Music Manager, Adam Mickiewicz Institute The journey to autumnal West Yorkshire has long The Goethe-Institut, Germany’s cultural centre of explorative work, which cultural practitioners become a kind of pilgrimage for anyone more in the UK, is delighted to be entering its 10th year embark on for us all, presented at hcmf//! interested in exploring new sounds than getting of collaboration with Huddersfield Contemporary A Swedish Focus at hcmf// dazzled by glamour. When outdoor temperatures Music Festival, a consistent beacon in the Katrin Sohns seem to approach freezing point, Huddersfield contemporary music calendar, delivering an Head of Culture, Goethe-Institut London STIM’s Council for the Promotion of Swedish becomes the place for truly thrilling listening outstanding programme year upon year and this Music, together with Export Music Sweden, experiences. The curatorial policy displayed year celebrating its 40th edition. Kultur i Väst and Musik i Syd, are delighted to by Graham McKenzie over the years has made jointly announce a multi-annual partnership with hcmf// indispensable to the European festival We would first of all like to acknowledge this Huddersfield Contemporary Music Festival and its landscape. It holds up a magnifying glass to tremendous achievement and success, and custodian Graham McKenzie. the most compelling and diverse developments congratulate everyone involved in creating this in contemporary music, and it is precisely this milestone event: the local community joins music This collaboration has been on our wish list for that makes an annual pilgrimage so worthwhile appreciators who find their way from all over several years, but for different reasons it was for listeners as well as musicians. This year, the world into this wonderful Yorkshire town in 12 EXHIBITIONS EXHIBITIONS 13

the transformation of the political system, and PRES@60 despite the fact that the Studio has never been disestablished from a legal perspective, it was Huddersfield Art Gallery certainly in a poor condition after the dismissal Saturday 18 – Saturday 25 November of Józef Patkowski as its director in 1985. Mon, Tue, Wed, Fri + Sat: 11am-4pm Consequently, all of its activities ended at the Thu: 11am-7pm beginning of 2000. Sunday: closed

This exhibition attempts to introduce PRES The Polish Radio Experimental Studio (PRES) was as an institution oriented towards audiovisual founded in Warsaw in 1957. Its establishment is of experimentation, constantly looking forward. a particular symbolical value as it has become a Influenced by visual arts and happenings, artists major tool for the freedom of expression within the and composers managed to establish a new Eastern Bloc. PRES was not devoted exclusively language open to the listener’s interpretation. to the production of independent electroacoustic Therefore, the exhibition contains a series pieces, but was also used to create musical of selected graphic scores, which served the ‘illustrations’ for films, radio and television. In fact, purpose of forming an original, innovative and creating incidental music, as well as what today more liberated approach towards the practice we would call sound design, for different media, of composing and performing. The exhibition was officially one of the Studio’s main tasks. By also includes excerpts from a selection of films these means, the electroacoustic experiments with scores that were prepared at the Studio, undertaken at the PRES headquarters in Warsaw illustrating the full scope of approaches towards influenced not only the development of art music the concepts of audiovisuality and synesthesia. around Europe, but also changes in popular The theme of another part of the display will culture and imagination in the Eastern Bloc. One be the Studio’s involvement in creating sonic of the first films to be scored in the studio wasThe spaces. It will contain the fully functional and Silent Star (Kurt Maetzig, 1959, later entitled First innovative design of the Studio, created by Spaceship on Venus), a science-fiction Socialist visionary architects Oskar and Zofia Hansen, as mega-production based on Stanisław Lem’s novel well as quadrophonic compositions presented The Astronauts (1951). within an individually designed space alongside artist Krzysztof Wodiczko’s famous Personal Unusual abstract sounds were used to emphasise Instrument. the atmosphere of space travel and futuristic technology, a soundtrack that may well have The exhibition is a part of a bigger project been inspired directly by Lem’s own literary of the artist , 1968, courtesy coordinated by the Adam Mickiewicz Institute and descriptions. On the other hand, the Experimental Muzeum Sztuki in Łódź. Studio also inspired a fruitful development within the field of experimental film, creating – Produced by hcmf// organised in collaboration with the amongst others – the music for video art pioneer Adam Mickiewicz Institute operating under the Józef Robakowski’s abstract film,Prostokąt Culture.pl brand within the international cultural Dynamiczny. programme accompanying Poland’s centenary of regaining independence – POLSKA 100. Financed Subsequently, the Studio was expected to by the Ministry of Culture and National Heritage of laboratory Percussion Instrument. develop into an interdisciplinary institute of new the Republic of Poland as part of the Multi-annual media. The members of PRES were constantly Programme ‘Niepodległa’ 2017-2021 attempting to spread and promote new forms of music, organising lectures, producing series of PRES@60 is co-curated by Michał Libera, Michał radio broadcasts, and publishing papers on the

Mendyk and Daniel Muzyczuk and co-financed by the Wodiczko, Krzysztof subject. Nevertheless, their efforts were soon Adam Mickiewicz Institute. interrupted by crisis and martial law, followed by 14 TALKS TALKS 15 hcmf// hosts a series of free keynote Sunday 19 // November Mendyk and Michał Libera will discuss PRES’s as well as strategies to address the current lectures, open workshops, talks, and history, including milestones of Polish electronic inequalities that exist in contemporary music, discussions throughout the Festival Coffee with the Composer: music, achievements in notation, cross-cultural including the particular difficulties posed by with some of the world’s most Rolf Hind + Dai Fujikura exchange and its influence of everyday arts and music technology, and notions of how to break distinguished artists. 10.45am, Epicure Bar + Kitchen culture in Poland. down hierarchies in the production, presentation and education of new/experimental . Friday 17 // November Two composers, two hcmf// commissions. Hind Produced by hcmf// organised in collaboration with the and Fujikura discuss the cultures and traditions Adam Mickiewicz Institute operating under the Produced by hcmf// in partnership with CeReNeM, CeReNeM Guest Lecture: of the East, and how it influences their respective Culture.pl brand within the international cultural Centre for Research in New Music, University of Christopher Trapani approaches to composition. programme accompanying Poland’s centenary of Huddersfield 1.30pm, Creative Arts Building CAM G/05 regaining independence – POLSKA 100. Financed Produced by hcmf// by the Ministry of Culture and National Heritage of Friday 24 // November American composer Christopher Trapani the Republic of Poland as part of the Multi-annual introduces his recent music as part of the guest Tuesday 21 // November Programme ‘Niepodległa’ 2017-2021. Talk: Tim Rutherford-Johnson lecture series of Huddersfield’s Centre for 3pm, Creative Arts Building CAM G/01 Curator’s Talk: PRES@60 Research in New Music (CeReNeM). PRES@60 is co-curated by Michał Libera, Michał 10.30am, Huddersfield Art Gallery Music journalist and critic Tim Rutherford- Mendyk and Daniel Muzyczuk and co-financed by the Produced by hcmf// in partnership with CeReNeM, Johnson discusses his acclaimed book Music Curator Daniel Muzyczuk guides us through the Adam Mickiewicz Institute Centre for Research in New Music, University of After The Fall: Modern Composition and Culture works on display in the PRES@60 exhibition, and Huddersfield. Wednesday 22 // November Since 1989. discusses the studio’s influence on architecture, Saturday 18 // November visual art and film in Eastern Europe. Coffee with the Composer: Produced by hcmf// Hilda Paredes Coffee with the Composer: Produced by hcmf// organised in collaboration with the 10.45am, Epicure Bar + Kitchen Saturday 25 // November Linda Catlin Smith Adam Mickiewicz Institute operating under the 10.45am, Epicure Bar + Kitchen Culture.pl brand within the international cultural Resident in London since 1979, and increasingly Talk: Pauline Oliveros programme accompanying Poland’s centenary of in demand around the world, Paredes is firmly 4pm, Phipps Hall Born in New York, but long-time resident of regaining independence – POLSKA 100. Financed recognised as one of the leading Mexican IONE, former Artistic Director of the Deep Toronto, Linda Smith now heads up a golden by the Ministry of Culture and National Heritage of composers of her generation. While her work Listening institute (formerly The Pauline Oliveros period of new composition coming out of Canada. the Republic of Poland as part of the Multi-annual is rooted in the contemporary European music Foundation), Deep Listening Certification Here Smith discusses the influence of Feldman, Programme ‘Niepodległa’ 2017-2021. tradition, the politics of her Latin American Instructor, author, sound artist, educator and and the primary tension in her work between its homeland are never far away from the surface. dream specialist, speaks about living and equal and simultaneous drive towards abstraction PRES@60 is co-curated by Michał Libera, Michał Paredes speaks here about politics and art working with the iconic American composer and lyricism. Mendyk and Daniel Muzyczuk and co-financed by the ahead of the UK premiere of her acclaimed violin Pauline Oliveros, who died last year. Adam Mickiewicz Institute concerto Señales. Produced by hcmf// Produced by hcmf// Talk: Michał Libera + Michał Mendyk Produced by hcmf// Talk: James Dillon + 3pm, Huddersfield Art Gallery Brian Ferneyhough Thursday 23 // November 3.30pm, Creative Arts Building CAM G/01 The history of the Polish Radio Experimental Studio (PRES) meanders between high Talk: Why is gender still A rare opportunity to hear Dillon and Ferneyhough and popular culture, between the creation an issue in music? discuss together the movement that was labelled of autonomous pieces of avant-garde and 2pm, Creative Arts Building CAM G/01 ‘new complexity’ and its relevance and impact experimental art and their work in sound design today on modern composition, as well as the for theatre, radio and film. This tension led to the Join panellists Patricia Alessandrini, Liz Dobson, enduring legacy that it has created. institution eventually being regarded as a well- Marlo de Lara and Hilda Paredes in a roundtable established creative hub within the Eastern Bloc. discussion on the subject of gender in music Produced by hcmf// Set within the context of the PRES@60 programme through an intersectional lens. The discussion running throughout hcmf// 2017, curators Michał will cover current discourse around these issues, 16 EVENTS Friday 17 // November Friday 17 // November EVENTS 17

Stephanie Haensler (Switzerland, 1986) The secondary meaning of the title also becomes James Dillon (UK, 1950) 1 Red Note Ensemble: ganz nah UK PREMIERE (2013) 12’ evident as the piece progresses: ‘im Begriffe etwas Tanz/haus : triptych 2017 WORLD PREMIERE (2017) 40’ Dillon zu werden (the process of becoming something), Language as expression of what is on the inside, which is always a development on the time axis, ‘die Glieder, welche nichts als Pendel wären, fol- St Paul’s Hall, 6pm as the constant overstepping and overcoming of and a process which crucially must also involve gten, ohne irgend ein Zutun, auf eine mechanis- the boundary between the inner and the outer change’. che Weise von selbst.”; * Über das Marionettent- Tickets £17 (£14 concession / online) – this idea formed the basic impulse for my © Stephanie Haensler; translation by Golda heater : Heinrich von Kleist piece ganz nah, where I mirror such moments of Fischer * After all, the limbs are pendula, echoing Jacqueline Shave violin boundary crossings and their ambivalences and automatically the movement of the centre Romaine Bolinger violin * contrasts. Morton Feldman (USA, 1926) Robert Irvine Possibility of a New Work for Electric Guitar Tanz/haus [lit.; ‘dance house’] ‘Tanz’ (‘dance’) Stephen Gutman piano The composition is an attempt at describing both (reconstruction by Seth Josel) (1966) 3’ from the (old) French ‘dancier’ itself is said to Lora-Evelin Vakova-Tarara piano * metaphorical and real closeness and distance, have derived from an (old) Frisian word ‘dintje’ to Ruth Morley repetition and irreversibility, flow and rigidity, In 1966, Christian Wolff received an electric guitar ‘tremble’ or ‘to quiver’. ‘House’ from Old English Tim Lines speech and silence. © Stephanie Haensler; and an amplifier from his wife, who was impressed ‘hus’ (or low German ‘haus’ ) which simply means Nikita Naumov translation by Golda Fischer by The Beatles. Wolff took the instrument to ‘dwelling’, can be traced back to its Indo-Europe- Tom Hunter percussion Morton Feldman, and asked if he could create a an root ‘hide’ – to hide, to conceal. Ida Løvli Hidle accordion Stephanie Haensler (Switzerland, 1986) piece for it. They sat together for a day, Feldman Im Begriffe UK PREMIERE (2016) 7’ playing chords on his piano and Wolff then trying Co-comissioned by hcmf//, Red Note Ensemble, Sound Geoffrey Paterson conductor them out on the electric guitar and after some Scotland, TRANSIT Festival and November Music Wiek Hijmans electric guitar I understand ‘im Begriffe’ (begreifen: to time a piece of music was created. Unfortunately, comprehend, from Latin comprehendere: to the resulting piece was only performed a couple Produced by hcmf// supported by the Swiss Arts * Stephanie Haensler ganz nah take together, to unite, but also greifen to grab, of times before the only copy of it got stolen (along Council Pro Helvetia, Creative Scotland and the Esmée grasp) in a very physical way. This is because with the guitar) from Wolff’s car and for 40 years Fairbairn Foundation; also supported by hcmf// Stephanie Haensler ganz nah UK PREMIERE ‘comprehension’, although a cognitive process, the piece was presumed to be lost. A few years Benefactor Professor Richard Steinitz Stephanie Haensler Im Begriffe UK PREMIERE when studied at the neurological level, is a haptic after the premiere of Christian Wolff’s composition Morton Feldman Possibility of a New Work for process. The word ‘synapse’ from the Greek σύν Another Possibility, an audio recording of one of Parts of this concert will be Electric Guitar syn (together); Ἅπτειν haptein (grab) refers to the the performances of the original Feldman piece broadcast by BBC Radio 3 on Christian Wolff Another Possibility points of contact between nerve cells and other surfaced and Seth Josel used the recording and Saturday 2 December 2017 James Dillon Tanz/haus : triptych cells, and is essentially where signal transmission the sketch to reconstruct the original. 2017 WORLD PREMIERE takes place. Such haptic transmission processes, © Wiek Hijmans both their source and their action, formed hcmf//’s 40th edition opens with a co-commission the basic impetus for my composition for five Christian Wolff (USA, 1934) from long-time Huddersfield collaborator James instruments, and these ideas unite the piece like a Another Possibility (2004) 6’ Dillon, written for Scotland’s foremost new music kind of central nervous system. ensemble, Red Note. Paired here with the UK In 2004, I asked Christian Wolff to write a piece in premiere of two recent works by young Swiss The composition starts out with five independent memory of the lost Feldman piece. Wolff used his composer Stephanie Haensler and two works performers each circling their particular nuclei on memory and a little sketch that was found to write for solo electric guitar – written almost 40 years their specific orbits. Yet towards the end we see some authentic quotes from the Feldman piece, apart but closely related – by Morton Feldman common paths appear and a sense of connection and developed it further to create a typical Wolff and Christian Wolff, this world premiere of form. What was isolated becomes isorhythmic, work. © Wiek Hijmans Dillon’s latest work is a continuation of his rela- what was separate is now united. I try to explore tionship with Red Note Ensemble following their how these connections happen and what the effect critically acclaimed performance of his New York of the underlying processes are. In the piece, five Trilogy at hcmf// 2013. closed systems undergo synaptic processes; i.e. they experience an opening and an activation of their channels, which in turn enables them to interact with neighboring cells. 18 PROFILE PROFILE 19 James Dillon

eeding little introduction to hcmf// polymath hunger of his teens. Born in Scotland think about music in general began to emerge, Such themes resurface in The Gates (2016), N audiences, the presence of James Dillon and growing up in Yorkshire, Dillon explored because I realised that time is a plurality, that it’s premiered by the Ardittis with Sofia Radio in the opening concert of hcmf//’s 40th edition photography, painting and poetry, with music omnidirectional and multi-experiential and, of Symphony Orchestra at Donaueschinger with the first performance ofTanz/haus : triptych only taking on a greater role as he formed a course, music is the art of time in many ways.’ He Musiktage, in which a series of boundaries, 2017 seems entirely apt. Not only representing with friends and immersed himself in the heady adds, ‘So what I decided to do was a combination pauses and edges evoke the symbolism of gates another milestone in an enduring relationship world of late-1960s rock. ‘I was becoming more of that and a carryover from my interest during both as a barrier and a point of transition between between him and the festival that has seen and more interested by the whole relationship the ‘60s in transgression. There’s always a physical and spiritual realms. many premieres and acclaimed performances, between music and subcultures,’ he reflects. transgressive potential in sound. I have been including Stabat Mater dolorosa and Physis in ‘I was always fascinated by that transgressive accused over the years of being engaged with a If such consideration of form has long been at the 2014; Oslo/Triptych in 2011 and his First String moment and the possibility of it. It could have been certain complexity but I think in essence I’m still a roots of Dillon’s work, it comes coupled with an Quartet, performed by longtime collaborators the any of the arts, but music blossomed at that time, pretty instinctive .’ acute awareness that structural sophistication Arditti Quartet in 1983, it also underlines how the not just in popular music but also with people like shouldn’t detract from the thrill of experiencing Festival’s profile and scope has grown in parallel Stockhausen.’ Despite the UK’s tendency to neglect its his music in real time. ‘I think the bottom line is with that of Dillon – whose prize money as winner homegrown composers, Dillon is now the holder of there has to be a sensuality of material where it’s of the Young Composer’s Award at the inaugural Looking to exchange an itinerant musician’s an unprecedented four Royal Philharmonic Society immediate. It doesn’t matter what sophistication hcmf// infamously went to compensate pianist lifestyle for something more disciplined, in his Awards. Each completed work suggests myriad has gone into the organising of the piece, if you’re Keith Swallow for the demands of playing his piece twenties he switched to composition, embarking ways forward for the next. ‘Any single work opens not feeling something, forget it,’ he asserts. Dillug-Kefitsah. on a programme of self-led education that up a new set of thoughts for me, and I will go back ‘The actual ‘erotics of the material’ for me are included Indian music (with Punita Gupta), to something that played upon my mind six works fundamental. It has to have that sensual appeal If, as biographies of Dillon tend to note, his acoustics and mathematics. ‘I became fascinated ago. It might be an acoustic thing or a concept. But for you to get into deeper listening, as then you’re development as a composer has come more from by the sheer number of ways that one can look embedded within works, there are multiple works,’ motivated, or captivated, or enchanted.’ self-driven study than by conventional academic at sound, the ways we can measure it and look at he says. So an interest in rupture and surprise routes, it’s merely a distillation into music of the how sounds interact. From there, the way that I explored playfully in Andromeda (2005) – a piano © Abi Bliss concerto where placing the traditionally climactic cadenza near its start signals a playful approach to the heroic struggles of the form – found full expression in Stabat Mater dolorosa (2014), where the medieval Latin hymn confronted Julia Kristeva’s poststructuralist feminism.

‘I’ve always been interested in discontinuity as a form of continuity. Here I’m less interested in that and more interested in discontinuity for itself,’ he says of the work. ‘Discontinuity as continuity meant for me a continuous multilayering of things where everything is so much out of phase that the experience of discontinuity itself is continuously subsumed; it takes upon more of a statistical, wavelike motion that feels like a kind of flow made of discontinuous microevents. More recently I’ve become more interested in isolating the discontinuity, allowing it to be.’ James Dillon © Peter Quint © Peter James Dillon 20 EVENTS Friday 17 // November Friday 17 // November EVENTS 21

Kasper T Toeplitz (, 1960) 2 Metal Machine Music Agitation / Stagnation UK PREMIERE (2016) 37’ Bates Mill Blending Shed, 9pm The challenge for me was to invent a form without the usual supports of the writing and Tickets £17 (£14 concession / online) the invariance of the audible – a kind of purity in the composition. The raw materials of this Ensemble 2e2m: composition are my own recordings during a Pierre-Stéphane Meugé saxophone previous tour, those of my bass, polyphonic Laurent Bômont trumpet and polytimbral, thanks to live electronic Tancrède Cymerman tuba manipulations. Only manipulating the complex Didier Aschour guitar sounds of my instrument, played with a different Véronique Briel piano purpose, invested with another music, but Vincent Limouzin percussion definitively ‘mine’, would allow me to build a Dorothée Nodé-Langlois violin possible version of Agitation / Stagnation before Benjamin Garnier cello giving it to the set of instrumentalists who will Tanguy Menez double bass extract the form – and the thought – before rebuilding it, with other timbres. © Kasper T zeitkratzer: Toeplitz Frank Gratkowski clarinet Elena Kakaliagou horn Lou Reed (USA, 1942-2013) Hilary Jeffery Metal Machine Music UK PREMIERE (1975) 64’ Reinhold Friedl piano Maurice de Marlin percussion The relentless sound of this live acoustic Biliana Voutchkova violin interpretation of Lou Reed’s noise opus Metal Burkhard Schlothauer Machine Music forces the mind to put aside its Elisabeth Fügemann cello preconceptions about what music is supposed Uli Phillipp double bass to sound, feel, or look like. The brain starts to implode, or explode, or dissolve zen-like into the Pierre Roullier conductor controlled chaos of the performance, discovering a strange exhilaration, accepting an invitation to Andreas Harder lights explore the outer reaches of texture and timbre Benjamin Schultz sound engineer and experience a sonic freedom that’s rare in any art form. © Karlrecords Kasper T Toeplitz Agitation / Stagnation UK PREMIERE Lou Reed Metal Machine Music UK PREMIERE Produced by hcmf// supported by Diaphonique, Franco- British fund for Contemporary Music; also supported by Two ensembles with radically distinct musical Goethe-Institut London approaches join forces to present their interpretation of Lou Reed’s avant-garde classic. Scored for strings, horns and percussion, this hybrid crossing of two traditions offers a new way to experience Reed’s notorious recording, accompanied by a new work from French / Polish composer Kasper Toeplitz. Expect a brutal sonic assault on the senses and an unforgettable foray into controlled chaos. Lou Reed © Chris Felver 22 EVENTS Friday 17 // November Friday 17 // November EVENTS 23

Maja S K Ratkje (Norway) / Kathy Hinde (UK) Aeolian Aeolian WORLD PREMIERE (2017) 30’ Bates Mill Photographic Studio, 11.30pm Aeolian draws its inspiration and title from the Free Event breath of the accordion. Ratkje and Hinde have collaborated closely on creating this unique Red Note Ensemble: piece with accordion soloist Andreas Borregaard, Jacqueline Shave violin placing him and his instrument at the centre of the Rachel Spencer violin work both physically and musically. To this end, the Tom Dunn viola collaborators have designed and built new Aeolian Robert Irvine cello instruments to create a sculptural installation Nikita Naumov double bass which fully integrates with the acoustic ensemble. Joy Smith clarsach These air-activated instruments are sometimes Allan Neave guitar autonomous, and sometimes mechanically Ruth Morley flute activated by the musicians during the piece, Tim Lines clarinet blending the sounds of the Aeolian installation Chris Stearn trombone with the musicians’ conventional instruments in a Tom Hunter percussion composed, breathing entirety. © Maja S K Ratkje & Rhian MacLeod percussion Kathy Hinde Stephen Gutman piano Produced by hcmf// and Red Note Ensemble supported Andreas Borregaard accordion by Creative Scotland and the Esmée Fairbairn Maja S K Ratkje score Foundation Kathy Hinde installation

Norwegian composer Maja S K Ratkje, UK installation artist Kathy Hinde and Danish accordionist Andreas Borregaard have collaborated to create this deeply integrated work, commissioned by Scotland’s Red Note Ensemble, combining newly designed air powered instruments with live musicians to create a new part performance, part kinetic-sculptural work.

© Kathy Hinde & Svava Juliusson © Kathy Hinde & Svava 24 EVENTS Saturday 18 // November Saturday 18 // November EVENTS 25

sense of hidden or implied melody, clothed in the 3 Linda Catlin Smith: surrounding pitches and shadings, though there Piano is one line, one low melody, which is unadorned. The piece is dedicated to Stephen Clarke, who St Paul’s Hall, 12pm commissioned it through the Canada Council for the Arts. © Linda Catlin Smith Tickets £12 (£9 concession / online) Linda Catlin Smith (USA, 1957) Nocturnes and Eve Egoyan piano Chorales UK PREMIERE (2014) 25’

Linda Catlin Smith The Underfolding UK PREMIERE Nocturnes and Chorales is a work for solo piano Linda Catlin Smith Nocturnes and written for Eve Egoyan. It is a series of nine short Chorales UK PREMIERE movements. As I was writing, these movements seemed to be either nocturne-like, or chorale-like Canadian pianist Eve Egoyan’s intuitive musicality in nature. At the heart of the music is the voice and insight are a perfect match for the elegance of the piano, its resonance and character, the and intricacy of composer Linda Catlin Smith’s way inner voices work in a chorale for instance, works for solo piano. Smith’s innate connection or the way melody and arpeggiation can create to the resonance and character of the piano a landscape. Chopin and Satie were in the back results in works of subtle complexity and artful of my mind, as well as , whose multiplicity which shine in Egoyan’s masterful piano music Eve has championed. I would like to hands. At hcmf// 2017, Egoyan presents two works thank Artspring (Saltspring Island) for hosting my from her recent disc of Smith’s piano works, residency with Eve and funding the commission. I Thought and Desire. am deeply grateful to Eve for her input during the residency as well as her artistry and sensitivity, as Linda Catlin Smith (USA, 1957) always, in playing my music. © Linda Catlin Smith The Underfolding UK PREMIERE (2001) 18’ Produced by hcmf// In writing this piece for piano, I wanted to find a way to thicken the texture of my compositional world. Because the piano can sustain, there is an inherent possibility for the layering of sound, like the undertones in painting where many colours can be superimposed, generating an overall hue, or atmosphere. I became interested in working with pitch in a layered way, to create a more ambiguous or diffuse sense of harmony. Through the use of chords and clusters, I worked with what I think of as colourations or shadings of pitch, of harmonic material. There are shadings of rhythm too, through gradations of grace notes and varying rhythmic configurations which create an overlap – a folding of one thing over another; Martin Weinhold an aural impasto. This was my way of approaching © a kind of subtle complexity, which comes not from an attempt at virtuosity, but from a desire to deepen my experience of composition, to wander into the shaded areas. Throughout there is a Linda Catlin Smith 26 PROFILE Saturday 18 // November EVENTS 27

pulse in music can be irregular.’ That said, the and movements serve as physical manifestations Linda Catlin Smith four decades since have seen her compositions 4 The Otheroom of the musicians’ thoughts and interactions. become ‘more melodic, and more complex Huddersfield Town Hall, 2pm harmonically,’ she reflects. ‘I also have become Each musician is seated on a high mobile more interested in interwoven textures. Earlier Tickets £17 (£14 concession / online) ‘pedestal’. The dancers move the musicians’ farmer in Calgary came up to me after my work was more spare and empty. I think I work pedestals around the performance space, ‘A a performance of my piano piece The between these ideas now.’ Rolf Wallin composer / live electronics arranging them in ever new geometric Underfolding,’ Linda Catlin Smith recalls, ‘He said Heine Avdal choreographer / dancer constellations – from far apart to extremely close he didn’t know much about music but the piece Smith’s third , Folkestone, was Yukiko Shinozaki choreographer thus influencing the degree of togetherness, made him think of a particular field on his farm, inspired by a book of paintings by JMW Turner, Eivind Lønning trumpet from totally detached and individual to very close when things are changing in the moments just whose shifting, translucent skies would probably Rolf-Erik Nystrøm saxophone and perfectly together, like in a before dawn.’ strike a chord with that Albertan farmer. ‘Every Henrik Munkeby Nørstebø trombone situation. piece has a different starting point – usually some Martin Taxt tuba That image – a moment of beauty experienced kind of sound image, something quite small,’ Michiel Reynaert dancer The lives of musicians are quite peculiar: they with quiet, solitary awe – captures perfectly she says. ‘It could be a textural thing, or it could Benjamin Vandewalle dancer spend most of their time in solitude, practising Smith’s appeal. American-born but resident in be a sense of harmonic tone. Sometimes I want Krišjānis Sants dancer their instruments and studying intricate parts to Toronto for many years, Smith knows well the to get close to something I’ve seen in nature – a Fabrice Moinet sound technique / programming perfection. Then they join other musicians and are intangible, personal nature of how her listeners tangle of vines, for instance – or sometimes it will Johann Loiseau sound technique all of a sudden expected to respond may experience her music. That ambiguity – those be from painting, like the complex layering in the Hans Meijer technical director hyper-sensitively, almost telepathically, with each fleeting, hard-to-define shades – is the same backgrounds of Turner or Monet or Morandi.’ Matthieu Virot technical assistance other, merging their individuality into a larger unity, subtle, half-lit palette that she draws upon herself greater than the simple sum of its parts. Project when writing. With piano and harpsichord her chosen music originally performed and co-composed by: The Otheroom is – besides being a ritual in its own instruments at university, although Smith’s Marco Blaauw right – celebrating this extraordinary capability. In a paper on composing presented at the compositions span orchestral, opera, vocal pieces Christine Chapham © Rolf Wallin University of Ottawa in 2002 she said, ‘When I and solo instruments ranging from accordion and Bruce Collings don’t know what the piece is, I know I’m on the vibraphone to the hackbrett (a German hammered Melvyn Poore Produced by: fieldworks, Heine Avdal & Ultima Festival right track’, a view she still holds. ‘I think music dulcimer), she feels a particular affinity with a Co-produced by: STUK is multidimensional, and there is no one meaning keyboard stretching out before her. ‘I love the vast Rather than simply witnessing this ritualistic Supported/funded by: Norsk Kulturråd, Vlaamse one should “get” ‘, she elaborates. ‘I love to be in range of the piano – its high and low registers, performance, the audience will become a part of it. overheid, Vlaamse Gemeenschapscommissie, PACT a state of mystery, in my own work or someone its incredible timbral universe – it is such a large In this exciting UK premiere, the musicians are not Zollverein & The Norwegian Composers’ Fund else’s, where I don’t quite understand what is resonating thing! It’s a magic box, an endless bound to the stage, the audience not bound to a happening.’ She continues: ‘I understand what mystery that I can go to again and again,’ she says. chair. In The Otheroom, everything is in motion. the notes are, and the instruments, but what it all means? That is often not clear to me. I often find And, she says, Eve Egoyan and Philip Thomas myself wondering if the work is anything… does it are both impeccable interpreters of her works Rolf Wallin (Norway, 1957) / Heine Avdal (Norway, hold? Does it feel like a piece of music?’ for that instrument. ‘They are both incredibly 1970) / Yukiko Shinozaki (Japan, 1969) deep and sensitive artists. They have a way of The Otheroom UK PREMIERE (2016) 60’ With its delicacy, restraint and considered disappearing into the music, and allowing the stillness, it’s little surprise to find the influence of music to speak. I think they both trust the score In project The Otheroom the audience is, rather Japanese musical forms in Smith’s work, with her and try to understand it rigorously.’ She concludes: than attending a concert, entering a ritual, the studies with Jō Kondō at the University of Victoria, ‘They both have “touch” – that ineffable quality of purpose of which is unknown to them, but clearly British Columbia, having proved pivotal. ‘Jō bringing out tone – but they each have it in their of the utmost importance to those involved. Kondō’s class on traditional Japanese music made own way.’ a huge impression on me, particularly Gagaku,’ In project The Otheroom everything moves. she remembers. ‘The sound of that music – its © Abi Bliss The musicians have no fixed spot. There are no transparency, its irregular rhythmic life – was very chairs, the audience is free to move or be moved. formative for me. I was attracted to the idea that Elements of the room become part of the ritual, 28 EVENTS Saturday 18 // November PROFILE 29

Michaela Grill (Austria, 1971) / Philip Jeck (UK, 5 Michaela Grill / Philip 1952) / Karl Lemieux (Canada, 1980) Brian Ferneyhough Jeck / Karl Lemieux Improvisation WORLD PREMIERE composer who has spent almost his entire do, of course, with pitch contours and instrumental Phipps Hall, 5pm The main focus of our audiovisual performance is A adult life abroad, Ferneyhough was born techniques on the edge of the achievable, but it is the investigation of the analogue-digital interface. in 1943 in Coventry, where he began dreaming perhaps largely a question of dynamised time, the Tickets £12 (£9 concession / online) Images and sounds are produced digitally and up music as a boy. Having graduated from the quality implied by his frequent use of such terms in analogue and are interlinked via several Birmingham School of Music and the RAM, he as ‘energy’ and ‘vector’. His music moves through Michaela Grill computer interfaces. Both visualists have access to their own left Britain in 1968 to study with Ton de Leeuw in time – zooms, struggles, loops, but always moves, Philip Jeck turntables material as well as to common moving images Amsterdam, and went on the next year to Klaus and usually in two or more directions and speeds Karl Lemieux 16mm projectors which they manipulate live. The results of the Huber in Freiburg. at once – in ways foreign to, or only sporadic in, different treatments are projected onto a screen such totem ancestors as Kontra- or Le Michaela Grill / Philip Jeck / Karl Lemieux and merge into one projection with the different Emerging at a time when the post-1945 avant- Marteau sans maître. Improvisation WORLD PREMIERE qualities of the analogue and digital images still garde endeavour was faltering, he set about intact. Additionally, the sound signal is used to discovering further possibilities in the language Continuing his work as a composition teacher, Austrian video artist Michaela Grill, Canadian generate or manipulate certain aspects of the of early Boulez and Stockhausen, bringing to their he moved to San Diego in 1986 and Stanford in filmmaker Karl Lemieux and British turntablist images. The musician interacts with the moving exploded material a concept of driving, colliding 1999. His notation had long since relaxed from Philip Jeck present a unique and improvised images connecting all three artists on several musical pressures. Startling works resulted, the extremities of the mid-1970s, when his scores audiovisual performance in which image and levels and producing an atmospherically dense including his Sonatas for string quartet (1967) and were dense with hemidemisemiquavers and sound, analogue and digital elements are amalgam of images and sounds during this live Cassandra’s Dream for unaccompanied flute layered with verbal instructions, and the move to synergistically interwoven. improvisation. © Michaela Grill (1970), both instancing favourite media. However, California may have brought out a more convivial his work remained little known until the mid- and even sometimes playful character in his Please note: This performance may contain Produced by hcmf// 1970s, when Harry Halbreich programmed these music. Fearsome virtuosity, however, remains a flashing lights pieces and others at the Royan Festival. necessity, the sense of music lived on the knife- edge of danger. Hence his continuing concern with Encouraged by this exposure, and by the the instrumental soloist, with the string quartet commissions he began receiving, he pushed to as an ensemble of furious expertise (six full-scale the limit his demands on performers, notably in quartets so far) and with the concerto. His opera a second flute piece,Unity Capsule (1975-6), and Shadowtime, which had its première in Munich in Time and Motion Study II for cello and electronics 2004, has a solo for pianist and a guitar concerto (1973-6). Meanwhile he remained in Freiburg, now as two of its seven scenes. teaching, and became the leading force at the Darmstadt summer school. His music, too, had Soon after this, and among a continuing its home in Germany, which provided most of his succession of larger works, came a sequence of opportunities – notably the first performance, at short pieces stimulated by 16th-century English the 1986 , of his Carceri instrumental polyphony, these now brought d’invenzione cycle, comprising seven works with a together in this festival’s Umbrations. Nor is total duration of an hour and a half. this by any means the first time Huddersfield is giving Ferneyhough a home in his native country. Royan, Darmstadt, Donaueschingen: Ferneyhough The complete Carceri d’invensione cycle had its was being welcomed at the sites Boulez and first British performance at the 1985 Festival, Stockhausen had vacated – being taken, indeed, and in 2013 Schatten aus Wasser und Stein, for as a standardbearer for a continuing modernist quarter-tone and string quartet, brought the thrust. Yet this was only half the story. His work composer his first world premiere in the UK in could also be understood as postmodernist, partly more than 30 years. in reconvening aspects of style from the past (even if only a decade or two in the past), more so in © Paul Griffiths

PhilipJeck © Dave Knapik PhilipJeck © Dave reinjecting music with expressive force. This has to 30 EVENTS Saturday 18 // November Saturday 18 // November EVENTS 31

Christopher Trapani (USA, 1980) Brian Ferneyhough (UK, 1943) movements selected as models through the 6 Ensemble Modern PolychROME UK PREMIERE (2017) 15’ Umbrations UK PREMIERE (2017) 45’ application of different forms of mapping and + Arditti Quartet: filtering procedures designed to allow, in each Ferneyhough Rome is a saturated city, overflowing with ornate In Nomine a 3 case, only a narrow range of salient features of detail. Like the gaudy interiors of its Baroque Dum Transisset I the original to make their presence felt – akin, St Paul’s Hall, 7.30pm churches, there is a visceral sensory overload, Dum Transisset II perhaps, to ecclesiastical brass rubbings made too much to take in. But from a perch up on the Lawdes Deo by the application of a wide range of sometimes Tickets £22 (£19 concession / online) Janiculum, distance collapses that clamor into In Nomine resistant or otherwise imperfect materials. languor. Spread out below, the city’s subtle colour O Lux Ensemble Modern: palette shifts slowly under its distinctive diffuse Christus Resurgens After examining viol consort pieces by several Jana Machalett piccolo / bass flute light. Throughout eight episodes, PolychROME In Nomine a 5 composers, I settled on Christopher Tye’s Christian Hommel oboe embraces an unapologetically ambitious level Dum Transisset III remarkable array of stylistically homogenous Jaan Bossier clarinet / bass clarinet of colouristic nuance: microtonal shadings, Dum Transisset IV works as ideal for my project, since I had quite Saar Berger french horn / woodblocks multiphonics, several types of mutes and In Nomine a 12 soon determined that the realisation of my vision Uwe Dierksen trombone preparations, polyrhythmic lattices. There are implied the availability of a more substantial Hermann Kretzschmar piano / electric organ sunbeams and gold-leaf angels spilling out Before being asked by the members of ensemble body of work than the initial request for a short Rainer Römer percussion of high windows, busy geometric patterns of recherche to contribute to their then rapidly ‘occasional’ piece might have been thought to Jagdish Mistry violin marble and colored glass in Cosmati mosaics, growing collection of short works utilising, in some require. At that early stage I did not consider Ulrike Stortz violin the screeches of neon-green parrots – an invasive manner, the well-known In Nomine plainchant, assembling the results of my encounter into a Andra Darzins viola species, imported from North Africa – whose cries so widely used as the basis of instrumental larger scale multi-movement work: the coming Michael M Kasper cello punctuated work in my garden studio, and found consort music in the 16th century, I had never together of various stages of exposure to the Paul Cannon double bass their way into the fifth section of the piece. seriously considered employing material from compositional challenges involved, spread as earlier periods of occidental . they were over more than 10 years of sporadic Arditti Quartet: The piece’s meandering form broadly follows the Whilst the immediate post-war generation of focus, should not, therefore, be understood as a Irvine Arditti violin arc of Geoff Dyer’s Decline and Fall, stalling as British composers chose to work intensively with definitive, formally balanced ‘cycle’ but rather as Ashot Sarkissjan violin the vibrant city is gradually slowed to a state of Medieval and Renaissance models as a way of an almost open-ended collection of encounters, Ralf Ehlers viola paralysis by the stifling summer heat. Everything developing a uniquely national approach to late the order of which was not determined by Lucas Fels cello ends up as spotlit and exposed as sunlight on hard 20th century form and technique, I identified far date of composition but by considerations stone; sonorities calcify as all forward motion too strongly with key Central European Modernist of instrumentation and degrees of affinity or Brad Lubman conductor evaporates. Like a cinematic fade to white, the aesthetic tenets to seek a historical connection contrast. © Brian Ferneyhough piece dissolves into to a blinding, unforgiving glare. with the far past. In any case, not coming from Christopher Trapani PolychROME UK PREMIERE © Christopher Trapani a musical background I had no practical access Co-commissioned by hcmf//, Westdeutscher Rundfunk, Carola Bauckholt Laufwerk UK PREMIERE to, or emotional identity with, the cathedral choir Ensemble Modern, Festival d’Automne à Paris with Brian Ferneyhough Umbrations UK PREMIERE Carola Bauckholt (Germany, 1959) schools which nurtured many English composers support from Ernst von Siemens Foundation for Music, Laufwerk UK PREMIERE (2011) 12’ in significant ways. and Wien Modern Appearing at hcmf// for the first time in over a decade, contemporary music powerhouse I became enchanted with sounds that I produced However, as soon as I began to occupy myself Produced by hcmf// supported by Goethe-Institut Ensemble Modern comes together with the Arditti when I was alone, for example: rubbing a heavy with this unlikely task, I distinguished a number London; also supported by hcmf// Benefactor Martin Quartet – one of the world’s most acclaimed pair of scissors on a wooden box back and forth, of ways in which one might approach a ‘foreign Staniforth string quartets – to showcase a programme of UK in an oval or in a figure eight pattern, punctuated body’ of whatever sort of unfamiliar material. premiere performances. Marking the Festival’s by different accents, or the repetitive seesawing In particular, I was determined to avoid any Parts of this concert will be broadcast 40th edition, hcmf// has co-commissioned Brian motion of thin metal rods on a wooden box. I suggestion of parasitism in which objects of by BBC Radio 3 on Saturday 2 Ferneyhough to write five new movements for his imagined these idiosyncratic rhythms working regard are sucked dry by an all-too-literal variative December 2017 and Saturday 9 cycle Umbrations, performed here in full alongside their way into the ensemble like loops. The consumption of their substance. I thus settled December 2017 recent works by Christopher Trapani and Carola samples form the core and the point of departure on a tentative and fragile ‘cohabitation’ in which Bauckholt. for the ensemble’s sonic vocabulary, but in the end neither the underlying chant entity itself nor the the samples become almost completely absorbed specifics of individual pieces would be permitted by the live instruments. © Carola Bauckholt to predominate in my speculatively ‘shadowed’ realisations. Rather, I approached each of the 32 EVENTS Saturday 18 // November Saturday 18 // November EVENTS 33

7 zeitkratzer perform Spule 4 UK PREMIERE 6’ Kraftwerk A smooth song based on naïve delays and simple reverb, realised acoustically by zeitkratzer. As the Bates Mill Blending Shed, 10pm solo cello takes over the lazy guitar part, it sounds like Tom Waits-meets-Kraftwerk. Tickets £17 (£14 concession / online) Strom UK PREMIERE 7‘ zeitkratzer: Frank Gratkowski flute / The introduction sounds like sophisticated noise Elena Kakaliagou french horn music, before a dirty melody shows up, flowing to Hilary Jeffery trombone another laidback drone-based soundscape. Reinhold Friedl harmonium / piano Didier Ascour guitar Atem UK PREMIERE 4’ Maurice de Martin drums Lisa Marie Landgraf violin Exactly what the title says: very defined and Burkhard Schlothauer violin diversified breathing – precisely transcribed by Elisabeth Coudoux cello Hilary Jeffery. This piece shows most clearly Ulrich Phillipp double bass the contemporary music origins of Kraftwerk’s members, some of whom were musically educated Kraftwerk: in the context of the Cologne avant-garde. Ruckzuck UK PREMIERE Spule 4 UK PREMIERE Klingklang UK PREMIERE 15’ Strom UK PREMIERE Atem UK PREMIERE Another sample of Kraftwerk’s charming early Klingklang UK PREMIERE music – sonic landscapes leading to strange Megaherz UK PREMIERE grooves and electronic manipulations. Here, a simple speed change of the final master tape Following the release of their critically acclaimed causes slightly absurd half-tone transpositions, album zeitkratzer performs from showing what became Kraftwerk’s new quality: ‘Kraftwerk’ and ‘Kraftwerk 2’ in 2016, the arch- long, minimalistic music avoiding expressivity. experimentalists continue their exploration of this Simple sound flows. Superficiality as an aesthetic iconic band, this time in a live setting. Bringing quality. Take time: listen. a vital new perspective to Kraftwerk’s formative years, zeitkratzer’s approach reveals a stripped Megaherz UK PREMIERE 10’ back, psychedelic lightness to these early tracks, including improvisation and looping grooves. Based on a deep drone sound, and realised here with the help of a harmonium. Kraftwerk obviously Please note: As this concert will be broadcast used an early synthesiser with a ‘harmonium’ live on BBC Radio 3, audience members must be sound. The rest of the piece is more a pastoral seated by 9.45pm symphony than a pop song.

Ruckzuck UK PREMIERE 8’ Produced by hcmf// supported by Goethe-Institut London A classical early Kraftwerk piece that anticipates the ability of the group to be minimalistic and This concert will be broadcast live artificial. But this music also has a funny side: an by BBC Radio 3 absurd flute part, short noise eruptions, always © Johan Coudoux zeitkratzer coming back to a melodic-rhythmical pattern. 34 EVENTS Saturday 18 // November Sunday 19 // November EVENTS 35

Linda Catlin Smith (USA, 1957) PRES@60: Jacek 8 Linda Catlin Smith: Piano Quintet (2014) 14’ Sienkiewicz plays Piano + Strings Bohdan Mazurek In this Piano Quintet, the piano and the strings St Paul’s Hall, 12pm seem to inhabit different musical worlds. The Bates Mill Photographic Studio, 11.30pm strings start off in a mesh or haze of independent Tickets £17 (£14 concession / online) lines, while the piano offers quiet, solid chords, Free Event like sparse figures appearing in a fog. Just when Quatuor Bozzini: the piano gradually pulls the strings into its Clemens Merkel violin Jacek Sienkiewicz electronics chordal world, it abandons chords for a sparse Stéphanie Bozzini viola single note line, as though finding a new language; Isabelle Bozzini cello Jacek Sienkiewicz plays Bohdan Mazurek the piano and strings never quite meet exactly, but Alissa Cheung violin WORLD PREMIERE (2017) 30’ coexist independently. The work is a continuation of my deep interest in exploring harmony. Philip Thomas piano For Jacek Sienkiewicz, Polish pioneer and master © Linda Catlin Smith of minimal techno, Bohdan Mazurek remains Linda Catlin Smith Gondola UK PREMIERE the most fascinating and inspiring Polish Radio Linda Catlin Smith (USA, 1957) Linda Catlin Smith Piano Quintet Experimental Studio composer. In fact, most of Folkestone UK PREMIERE (1999) 33’ Linda Catlin Smith Folkestone UK PREMIERE Mazurek’s compositions are characterised not only by very sophisticated synthesised sound A number of years ago, in a second hand Montréal-based Quatuor Bozzini return to aesthetics but also by distinct anticipations of bookstore, I found a book of watercolour paintings Huddersfield to perform a programme celebrating more popular genres, such as by the English painter J M W Turner, called The the work of Toronto-based composer Linda ambient or intelligent dance music. Sienkiewicz Ideas of Folkestone Sketchbook 1845. This Catlin Smith. Joined by pianist Philip Thomas, decides not to simply revitalise works by the old book contains 24 watercolour paintings, all the Quartet will perform the UK premiere of two master by means of sampling and remixing – variants of the view of the cliffs, sea and sky at pieces – Gondola and Folkestone – alongside instead, he recreates Mazurek’s original sound Folkestone. Turner returned again and again to Piano Quintet in what promises to be a meticulous world in his own compositions and thereby bridges this same spot, reconsidering and rediscovering and sensuous exploration of Smith’s music by different definitions, eras and generations of the landscape. My string quartet Folkestone is world class musicians. electronic music. inspired by this process, though the piece is not an attempt to musically recreate his book. Instead, I Linda Catlin Smith (USA, 1957) Co-commissioned by hcmf// and the Adam Mickiewicz have created my own sketchbook, viewing again Gondola UK PREMIERE (2007) 16’ Institute and again the landscape of the string quartet, observing and discovering its terrain. The piece Gondola is my fourth string quartet. In this work I Produced by hcmf// organised in collaboration with the is in 24 sections, or panels, with space between was drawn to the not-quite-unison melody – the Adam Mickiewicz Institute operating under the them, like the turning of a page in a book. This slightly unravelled line – and to quietly rocking Culture.pl brand within the international cultural string quartet, my third, was premiered by the chords. The title loosely refers to its slight programme accompanying Poland’s centenary of Penderecki Quartet, and was composed with the undulation or floating qualities – a subtle motion regaining independence – POLSKA 100. Financed assistance of a Canada Council Long Term Grant. or disturbance of the surface, like trailing the hand by the Ministry of Culture and National Heritage of © Linda Catlin Smith in water. This piece was commissioned by the Del the Republic of Poland as part of the Multi-annual Sol String Quartet, through the Canada Council for Programme ‘Niepodległa’ 2017-2021. Produced by hcmf// supported by Conseil des arts et the Arts, and is recorded on Another Timbre by the des lettres du Québec, Canada Council for the Arts and Quatuor Bozzini. © Linda Catlin Smith PRES@60 is co-curated by Michał Libera, Michał Culture et Communications Quebec Mendyk and Daniel Muzyczuk and co-financed by the Adam Mickiewicz Institute Jacek Sienkiewicz Jacek 36 EVENTS Sunday 19 // November Sunday 19 // November EVENTS 37

More importantly, you have to teach her ‘Dai’s memory of how he explained the sawasawa = rustling 9 Polish Radio Choir onomatopoeia because that’s the most unique onomatopoeia zawazawa is ever so slightly korokoro = (small) rolling, tumbling Huddersfield Town Hall, 3pm thing in the Japanese language’. I remember this different to our actual conversation. Yes ‘things go hyu = Swift movement for something cutting the conversation, and when I was writing for this choir zawazawa’ was his first attempt at an explanation. air Tickets £17 (£14 concession / online) piece years later, I decided to write music using Then he started talking about the wind rustling in su = cool sensation from passing air Japanese onomatopoeia. trees. I obviously still looked a little blank since sa = rustling wind Polish Radio Choir he further clarified: ‘You know on Hilly Fields (a sarasara = smooth, light, dry, flowing water Maria Piotrowska-Bogalecka conductor Japanese onomatopoeia is serious. There park in south London we both know) when it’s a Ria Ideta marimba are Haiku and other poems written only using Sunday afternoon, and it’s windy, and the trees Co-commissioned by hcmf//, The Philharmonic Choir of Harry Ross poet onomatopoeia. Apparently at the doctor’s in rustle, and things don’t feel quite right? That’s Tokyo and BBC Radio 3 Japan, a Japanese GP can diagnose many patients also zawazawa.’ For some reason I started Dai Fujikura Zawazawa UK PREMIERE quickly, because patients can describe their pain thinking about Die Wetterfahne by Müller (No 2 in Wojtek Blecharz (Poland, 1981) UK PREMIERE Dai Fujikura Sawasawa WORLD PREMIERE with onomatopoeia, which are a precise and Schubert’s Winterreise) and based my text on my Ahimsa (2010) 10’ Wojtek Blecharz Ahimsa UK PREMIERE unique linguistic form. own thoughts about the poem in the cycle. ‘ Agata Zubel Madrigals UK PREMIERE Ahimsa was one of the first pieces I composed So I picked several Japanese onomatopoeia, and Dai adds: ‘Whilst writing Zawazawa, we tried a new after graduating from the Frederic Chopin Prized for the rich sound and vibrancy of its started composing. As usual with my vocal works, technique. Half of the choir is crescendo while the Academy of Music and one of the first pieces I quietly ecstatic performances, the Polish Radio the English text is written by Harry Ross, my other half is diminuendo. When one part of choir composed fully ‘on my own’ and for my personal Choir makes its hcmf// debut with a programme collaborator of 20 years. When we work together, sings ‘east’ and other will sing ‘feel’, because (non-academic) needs. Ahimsa in the Hindu, of premieres, including two new works by Dai we compose and write text simultaneously, in the of the crescendo and diminuendo together, we Buddhist, and Jainist tradition means respect for Fujikura. Co-commissioned by hcmf//, Sawasawa same room. However, this was the first time we should hear the word ‘feast’ (feel+east) and one all living things and avoidance of violence towards is a continuation of Zawazawa, Fujikura’s 2016 tried combining Japanese onomatopoeia with part sings ‘eyes’ and the other sings ‘why’ and others. © Wojtek Blecharz piece for the Philharmonic Chorus of Tokyo, English texts to create a narrative. Obviously, I we should hear ‘wise’. I wanted to do something written in collaboration with poet Harry Ross and needed to explain to him what ‘Zawazawa’ (the like this that the word we had emerges out of two Agata Zubel (Poland, 1978) combining Japanese onomatopoeia with English first onomatopoeia I chose) meant. This was words and actual words we hear actually none of Madrigals UK PREMIERE (2015) 10’ text. Works by Wojtek Blecharz and Agata Zubel hard. To me zawazawa means…well, things go the singers have sung.’ – two of the most exciting composers to have zawazawa! ‘Can’t you feel it? no?’. It was odd that Madrigal – an important genre of vocal chamber emerged from the Polish music scene in recent this sort of sense of feeling doesn’t translate ‘Zawazawa’- Onomatopoeia dictionary: music, for internal drama, as a mirror for years – complete the programme. well. (I read somewhere that onomatopoeia is the zawazawa = noisy; murmuring (great) emotions, for sorrow and passion, for hardest thing to learn in the Japanese language, sutto = quickly, all of sudden satto = suddenly compositional differentiation and individuality, Dai Fujikura (Japan, 1977) as it is hard to understand nuance of each sotto = softly; gently reacting very intimately to , translating words Zawazawa UK PREMIERE (2016) 15’ onomatopoeia.) kosokoso = sneakily; secretly to chamber music, of course without necessarily Sawasawa WORLD PREMIERE (2017) 15’ kasakasa = rustle; dry quoting historical music. © Harry Vogt So here I am in the studio explaining to Harry that potsupotsu = a trifle, a bit This is the first piece I have written as a ‘resident zawazawa means noisy; murmuring, sawasawa tekuteku = trudgingly; going long way at steady Produced by hcmf// supported by hcmf// Benefactors artist’ of Philharmonic Chorus of Tokyo, where my means rustling etc. Zawazawa is 15 minutes long, pace tobotobo = weakly, totteringly Mr & Mrs Mervyn & Karen Dawe; organised in dear friend Kazuki Yamada is the music director. It and straight after the world premiere of this piece, sekaseka = fidget, restlessness, fidgetiness collaboration with the Adam Mickiewicz Institute is also my first co-commission from The Crossing Graham Mckenzie sent me a message on Twitter mesomeso = sobbingly, tearfully operating under the Culture.pl brand within the in Philadelphia, USA. saying that he wants to hear it (which was nice, tokotoko = briskly with small steps; trotting international cultural programme accompanying since it shows people do actually read my tweets). bochibochi = bit by bit, step by step, gradually Poland’s centenary of regaining independence – When Kazuki asked me to write this piece, I sent a link to the recording. 15 minutes later, he kachikachi = stubborn, unregenerate, obstinate POLSKA 100. Financed by the Ministry of Culture and I remembered a conversation we had a few replied ‘I want to commission a sequel, can you do hokuhoku = steaming-hot National Heritage of the Republic of Poland as part of years back in Prague. I was visiting with my it?’. So this became Zawazawa Part 1 and Harry bachibachi = spark the Multi-annual Programme ‘Niepodległa’ 2017-2021. family to hear Kazuki give the Czech premiere and I are currently working on Part 2. The narrative soyosoyo = breeze (sound representing a soft wind) of my orchestral work Rare Gravity. Kazuki was of Zawazawa (Parts 1 and 2), in which the text is gasagasa = harshness, roughness, rustle Parts of this concert will be broadcast looking at my then 3 year old daughter when we inspired by my music (according to Harry) and my barabara = scattered, disperse, loose by BBC Radio 3 on Saturday 9 all had lunch together before the concert. ‘Dai, choice of onomatopoeia, is best left to Harry, who pitapita = tightly, pasty, pastelike December 2017 you have to teach Japanese to your daughter. writes: ‘Sawasawa’- Onomatopoeia dictionary: 38 EVENTS Sunday 19 // November Sunday 19 // November EVENTS 39

Ylva Lund Bergner (Sweden / Denmark, 1981) 10 Karin Hellqvist viivii WORLD PREMIERE (2017) 15’ Phipps Hall, 5pm The title viivii has two contrasting meanings of Tickets £12 (£9 concession / online) purity and corruption, or in other words, clean and impure. In the piece I look for what’s in between; Karin Hellqvist violin / electronics the small details. I try to find the humane, not Natasha Barrett live electronics focusing on what is black or white. This search for balance creates some turbulence and conflict. Malin Bang Siku WORLD PREMIERE Each time the music goes too far in one direction Ylva Lund Bergner viivii WORLD PREMIERE or another, it has musical consequences such Natasha Barrett Sagittarius A* UK PREMIERE as the violinist closing her eyes while playing or blowing heavily onto the instrument. Everything Swedish violinist Karin Hellqvist continues her to find equilibrium again. The search provokes a collaboration with composers Malin Bang, Ylva nervousness in the musician, whose behaviour Lund Bergner and Natasha Barrett, presenting becomes more and more troubled and desperate. brand new works exploring the lurking fear of The details of the music once again give balance, where our current geological age (Anthropocene) not only in the music but also in the violinist. will eventually lead us; the contrasting meanings © Ylva Lund Bergner of purity and corruption; and a sonic, spatial- musical indulgence orbiting the super-massive Natasha Barrett (UK / Norway, 1972) black hole Sagittarius A* in the centre of the Milky Sagittarius A* UK PREMIERE (2017) 32’ Way. Sagittarius A* (Sagittarius A-star) is a bright Malin Bang (Sweden, 1974) Siku WORLD PREMIERE and compact astronomical radio source at the (2017) 11’ centre of the Milky Way, and is thought to be the location of a super-massive black hole. Although There are many reasons to fear our current black holes let out no detectable matter, they are geological age, Anthropocene. Instead of apparent through the effect on their surroundings. influencing the living conditions on earth by Ultimately, what is experienced is not the black scientifically brilliant activities, it seems we are hole itself, but observations that are consistent ruining climate, ecosystems and atmosphere, only if there is a black hole nearby. Inspired by and in the end causing a destructive future for both the scientific and romantic mystery of this ourselves. The four musical materials in the phenomena, in Sagittarius A* the violin journeys piece are influenced by the four elements – fire, from inside a real Norwegian forest. Sounds and earth, water and air – and how they react during themes become focused, entangled and energised Anthropocene. Both how they appear in our as they are pulled away. Rather than annihilation, current conditions, and how they might gradually much of the music escapes in a sonic, spatial- develop and intertwine in future scenarios. Today musical indulgence. © Natasha Barrett earth and air have very stable positions, but gradually both water and fire will dramatically All pieces commissioned by and composed for violinist increase in strength and challenge this Karin Hellqvist with support from the Norwegian equilibrium. © Malin Bang Composers’ Fund and the Swedish Arts Grants Committee.

Produced by hcmf// supported by STIM’s Council for the Promotion of Swedish Music, Export Music Sweden,

Kultur i Väst & Musik i Syd Suzuki © Yusuke Karin Hellqvist 40 EVENTS Sunday 19 // November Sunday 19 // November EVENTS 41

Rolf Hind (UK, 1964) On what weft are woven the Despite the tightly organised compositional 11 On what weft are waters WORLD PREMIERE (2017) 70’ 12 Nik Bärtsch’s construction, improvisation plays an important woven the waters MOBILE role in our music. On the one hand, accentuation, an empty clearing, a stick scratching marks in the ghost notes, and variations within a composition Bates Mill Blending Shed, 8pm earth St Paul’s Hall, 10pm are tossed back and forth between the musicians; 21 formulas on the other hand, a particular voice within a Tickets £17 (£14 concession / online) the stolen cows, the imprisoned oceans, the lost Tickets £12 (£9 concession / online) composition might have more freedom than soma. the others. In doing so, that voice forms an Rolf Hind piano the unbridled running of the horse MOBILE: independent module that can interact with Loré Lixenberg voice the paths of the knife (piano duet) Nik Bärtsch piano the strictly notated interlocking patterns in Richard Uttley piano a frame evokes a centre Kaspar Rast drums / percussion continuously changing ways. Groove-habitats George Barton percussion funeral fire - introduction, hymn, processional. Sha clarinets or void musical space of raw poetry emerge. My Sam Wilson percussion the island of the rose apple Nicholas Stocker drums / tuned percussion thinking and music are based on the tradition of Elsa Bradley percussion You’re It (gamelan and piano) urban space. They are not distilled from a national Anne Denholm harp As If In the face of a multiplicity of influences, Nik or stylistic tradition but from the universal sound Lucy Wakeford harp the interruption of a sleep Bärtsch’s music always manages to possess a of cities. The city in its roaring diversity requires an David Alberman violin/viola Syllabary (solo voice) strong individuality, incorporating elements of ability to focus and concentrate on the essential: Zoe Martlew cello The fullness that lacks nothing disparate musical worlds. Full of surprising turns to measure one’s actions, to remain silent at the Rob Campion gamelan and bold combinations, from funk to new classical right place. This music draws its energy from the Isabelle Carré gamelan On what weft are woven the waters is a piece in 13 music and elements of Japanese ritual music, tension between compositional precision and Nick Cowling gamelan sections for an assortment of singers and players, MOBILE creates a sound world of raw poetry, at the self-circumvention of improvisation. From Sophie Ransby gamelan in different configurations. Its main inspiration times ambient and relaxed, at times dramatically self-implied restriction stems freedom. Ecstasy Scott Lygate clarinet is the writing of the Italian polymath Roberto charged, propelled by obsessive motion. through asceticism. © Nik Bärtsch Calasso in his book KA, which explores the Frederic Wake-Walker direction stories and themes of Hindu mythology and Vedic Produced by hcmf// supported by the Swiss Arts ritual, rewriting them as a dazzling prose-poem. Council Pro Helvetia The vast, poetic, drug-induced Vedas - the writings Epigraphs from Calasso’s writings are used as of early Hindu civilisation - were, and are, kept starting points to investigate and illustrate these alive by human memories and repetition, where ideas musically, in all their mystery, violence, no earthly traces survive of the culture they subtlety and arcana. © Rolf Hind sprang from. On what weft are woven the waters is a piece about memory, ritual, sacrifice, and the Commissioned by hcmf// with funds from the Nicholas constant remaking of the oldest things through Berwin Charitable Trust the magical symbolism of sound. A monumental new work from composer/performer Rolf Hind, Produced by hcmf//; co-produced by the Mahogany commissioned by hcmf// for the vast spaces of Opera Group supported by hcmf// Benefactors Roz Bates Mill Blending Shed. Brown and Colin Rose MOBILE © Christian Senti MOBILE © Christian 42 FREE EVENTS Monday 20 // November Monday 20 // November FREE EVENTS 43

Formed in 2010, Berlin-based LUX:NM have Gilles Grimaître rapidly become an internationally sought-after St Paul’s Hall, 11.40am ensemble, dedicated to initiating the creation of new works through intensive ensemble work and Gilles Grimaître piano close collaborations with composers. True to form, they make their hcmf// debut with a programme Gilles Grimaître is a Swiss pianist, improviser of works written especially for them by formidable and performer. Very active in the contemporary German composers Sarah Nemtsov and Gordon music field, he plays regularly with Ensemble Kampe, their recording of which was awarded the Contrechamps, Ensemble Modern and Ensemble 2017 German Record Critics’ Prize. Proton. Here, performing in Huddersfield for the first time, he presents the world premiere of Sarah Nemtsov (Germany, 1980) Raphaël Languillat’s La Flagellation du Christ Journal UK PREMIERE (2015) 10’ (d’après Le Caravage), in which performer, public and piano are physically, spatially and In her piece Journal, Sarah Nemtsov works with psychologically unified. material taken from newspapers, news broadcasts and diaries with most of the instruments of Raphaël Languillat (Morocco, 1989) La the ensemble (baritone saxophone, trombone, Flagellation du Christ (d’après Le Caravage) accordion and cello) individually amplified. The UK PREMIERE (2016) 15’ sounds of these four instruments are distorted and interwoven with those played by the keyboard: In Caravaggio’s Flagellation of Christ, light falls clips from news broadcasts, drones (here warped, on the movements of the persecutors, producing a layered deep sinus tones), noise and other warped kinetic effect that gives Christ, seen as a denuded electronic sounds. In her own unmistakable way, athlete, a physical presence. Here, performer, Sarah has written a quintet so voluminous that it piano and public are unified physically, spatially is positively bursting with sonic aggression. The musical structure is hammered out with relentless

Harmonic Canon © Dominic Murcott and psychologically with the piano as a resonant body. © Raphaël Languillat intensity. Dominic Murcott (UK, 1965) Gordon Kampe (Germany, 1976) Harmonic Canon 1 Harmonic Canon 1 WORLD PREMIERE (2016-2017) 21’ Produced by hcmf// supported by the Swiss Arts Füchse/Messer UK PREMIERE (2014) 11’ Creative Arts Building Atrium, 11am Council Pro Helvetia The Harmonic Canon is a computer-designed With Füchse/Messer, Gordon Kampe has half-ton double-bell that is both an instrument arx duo: LUX:NM composed a chamber music work based on the and a piece of public art. It was built by Marcus Mari Yoshinaga harmonic canon / auxiliary metal first episode in the filmYume by the Japanese Vergette especially for this composition and is Huddersfield Town Hall, 12.20pm percussion director Akira Kurosawa. The short film is the story being premiered by virtuosic percussionists arx Garrett Arney harmonic canon / auxiliary metal of a boy who witnesses a marriage procession of duo. Split into two 21-minute movements, both LUX:NM: percussion foxes, something strictly forbidden. The animals sections explore sounds that emerge from the bell Ruth Velten saxophones discover him watching them. When he returns and blend into an array of familiar and unfamiliar Florian Juncker trombone Built by Marcus Vergette especially for Dominic home, his mother is waiting for him with a dagger metal percussion. Part I follows the strikes of the Silke Lange accordion Murcott’s two-part composition, the Harmonic that was left for him by the foxes, signifying that bell as they gradually get closer together until Malgorzata Walentynowicz piano Canon – an extraordinary half-ton double-bell – is he should commit suicide. His mother slams they become the piece itself. Part II takes a more Lucy Railton cello not only an instrument but a piece of public art, the door, and the boy sets off to beg the foxes for meditative approach with a single tone that evolves Martin Offik sound engineer augmented here with an array of exotic metal forgiveness. percussion. through complex sonic interference patterns. Sarah Nemtsov Journal UK PREMIERE The rawness of the film very much impressed Produced by hcmf// Gordon Kampe Füchse/Messer UK PREMIERE Gordon. In his composition, he uses elements 44 FREE EVENTS Monday 20 // November Monday 20 // November FREE EVENTS 45 extracted from the film, making use of the electronic instruments, here it is performed live Christopher Fox (UK, 1955) met Cornelius Cardew, and several years before soundtrack, thickening rhythms – for example, on toy and homemade instruments by Polish untouch-touch WORLD PREMIERE (2016-2017) 16’ the two of them, alongside Howard Skempton and those of the procession – into beats, and explorers / constructors Małe Instrumenty. others, formed the Scratch Orchestra. It reflects translating the boy’s glimpses of the procession untouch-touch was written for Serge Vuille, in a serialist influence, especially that of Anton into melodies. In view of the composer’s inclination Study on One Cymbal Stroke was the first response both to his musicianship and to an Webern, but at the same time an individualised to ‘amalgamate everything that is within hands’ autonomous music piece of music ever recorded aspect of his stage presence, a capacity for a feeling for balance and metre. reach’ (Gordon Kampe) while working on a new at PRES. It is also the starting point for Małe sort of charged stillness. The work is, as its title composition, it is not surprising that, according Instrumenty’s exploration of the Studio’s aesthetic. suggests, in two parts, the performer moving Michael Parsons (UK, 1938) Jive (1996) 3’ to his own account, rhythms of Schönberg’s Today, the score of Włodzimierz Kotoński’s through the same sequence of gestures in each Klavierstück Op. 33a have slipped into Füchse/ composition seems almost pedagogical in part, first to trigger sine-tones, then to strike Jive, composed more than 30 years later, is Messer. shedding light on the mysterious possibilities of gongs. Six gongs, six sets of sine-tones, each set dedicated to the composer Michael Finnissy, the unknown and mostly inaccessible electronics made up of the six strongest partials of each of the and like the music of the younger composer, Programme notes © Ruth Velten; translations by of its era. Małe Instrumenty use the very same gongs: ‘untouch’ as an abstraction of ‘touch’. references elements of popular music (here, a sort Taryn Knerr score – together with PRES-inspired new © Christopher Fox of off-kilter swing) whilst retaining the composer’s compositions by Paweł Romańczuk – to reveal aesthetic of restraint. Produced by hcmf// supported by Goethe-Institut the avant-garde sonic potential of some of the Produced by hcmf// supported by the Swiss Arts London most mundane items possible; kids’ toys and Council Pro Helvetia Michael Parsons (UK, 1938) September 2001 homemade instruments built out of everyday (2001) 4’ PRES@60: Małe objects. Philip Thomas + edges September 2001 is one of a set of pieces begun in Instrumenty play Produced by hcmf// organised in collaboration with the ensemble the year 2000 in which rhythm and duration are Adam Mickiewicz Institute operating under the indeterminate and the music is read in a space- Kartacz Creative Arts Building Atrium, 2.40pm Culture.pl brand within the international cultural time continuum. The two parts are here performed Huddersfield Art Gallery, 1pm programme accompanying Poland’s centenary of concurrently, with the composer joining Thomas in Philip Thomas regaining independence – POLSKA 100. Financed piano a version for two . Małe Instrumenty: by the Ministry of Culture and National Heritage of Michael Parsons piano edges ensemble Paweł Romańczuk various instruments the Republic of Poland as part of the Multi-annual Michael Parsons (UK, 1938) Walk (1969) 10’ Marcin Ożóg various instruments Programme ‘Niepodległa’ 2017-2021. Michael Parsons: Tomasz Orszulak various instruments Parsons is well-known for his involvement in Piano Piece 1962 Jędrek Kuziela various instruments PRES@60 is co-curated by Michał Libera, Michał the now-legendary Scratch Orchestra (1969- Jive Maciek Bączyk various instruments Mendyk and Daniel Muzyczuk and co-financed by the ca.1974). His Walk, from 1969, reflects the opening Adam Mickiewicz Institute September 2001 out of activity beyond the simply musical that Włodzimierz Kotoński Study on One Cymbal Walk characterised much of the Scratch Orchestra’s Stroke (live variation) UK PREMIERE (2013) 3’ work. Written for ‘any number of people walking Serge Vuille performs Performed by Philip Thomas, Michael Parsons Paweł Romańczuk Kartacz UK PREMIERE (2013) 6’ in a large open space’, it nevertheless requires a and members of the University of Huddersfield’s Paweł Romańczuk Inops Ventilex UK PREMIERE Christopher Fox coordinated effort and is a perfect illustration of (2013) 7’ edges ensemble, the four piano pieces featured the balance between discipline and freedom which Phipps Hall, 2pm in this programme reflect very different aspects Paweł Romańczuk 5-4-5 UK PREMIERE (2013) 6’ characterises Parsons’ work even today. Paweł Romańczuk Casio Concerto UK PREMIERE of Parsons’ compositional activity and yet they Serge Vuille percussion (2013) 4’ are clearly by the same composer, his innate This concert marks the release of the first major Christopher Fox electronics Paweł Romańczuk Trójwarstwy sensitivity to pitch, harmony and musical structure survey of Parsons’ chamber and instrumental underpinning his music with clarity and rigour. UK PREMIERE (2013) 14’ music, performed by Apartment House on Composer Christopher Fox joins Swiss Huddersfield Contemporary Records. percussionist Serge Vuille to perform his untouch- The most legendary piece of Polish electronic Michael Parsons (UK, 1938) Piano Piece 1962 touch, a close collaboration between composer music, Study on One Cymbal Stroke by (1962) 3’ All programme notes © Philip Thomas and performer written specifically for Vuille. Włodzimierz Kotoński, in an upside-down version. Piano Piece 1962 dates from Parsons’ student Realised for the first time at the Polish Radio Produced by hcmf// Experimental Studio in 1957, using then-enigmatic years at the , before he had 46 FREE EVENTS Monday 20 // November Monday 20 // November FREE EVENTS 47

blurring registrable boundaries. Through the Nik Bärtsch (Switzerland, 1971) Urban Groove Kevin Fairbairn piece, the material is subjected to what can be (2017) 30’ No [more] Pussyfooting St Paul’s Hall, 3.20pm thought of as varying degrees of formal gravity, Bates Mill Photographic Studio, 5pm which then affect the solidity, density and rate of Urban Groove is a project developed together Kevin Fairbairn trombone the sound. The flow of sound is constant, heavy, with the Trinity Laban Conservatoire of music and Kobe Van Cauwenberghe guitar / tape-recorders multi-directional and pressurised. The sound is dance in their annual Co-Lab week. The modular Malcolm Legrice background projection Richard Barrett basalt not within a space; it is the space. composition technique of my music offers (Berlin Horse) Timothy McCormack HEAVY MATTER UK PREMIERE © Tim McCormack an exploration of the triangle of composition, Sehyung Kim Sijo_241015 UK PREMIERE interpretation and improvisation to the musicians. Brian Eno / Robert Fripp The Heavenly Music Sehyung Kim (Kazakhstan, 1987) Sijo_241015 Although the music has a coherent form and Corporation (No Pussyfooting) Kevin Fairbairn performs on a trombone of his UK PREMIERE (2015) 4’ dramaturgy, a lot of freedom and space for Brian Eno / Robert Fripp An Index of Metals own design and construction and is committed collective reaction to it is possible and desirable. A (Evening Star) to exploring new techniques and media in solo, Sijo_241015 is a type of a map in which, during team of musicians with various backgrounds lies multimedia, and improvisational settings. In this the piece, no matter which route the performer in the integrative nature of this music. This nature No [more] Pussyfooting is a unique, live programme, he presents three works for the chooses, they come to the same place. Each time, and the string rhythmic energy of the music is the arrangement of the classic studio (No physically polyphonic trombonist, demonstrating the musician makes his own new route using a touching point for combining it with dance. The Pussyfooting) and Evening Star by Brian Eno the fascinating aural dimensions made possible different preparation. © Sehyung Kim result is a modular ritual for a group organism. and Robert Fripp. Integrating contemporary by a radical re-imagination of instrumental © Nik Bärtsch technology and the original ‘frippertronics’ technique. Produced by hcmf// set-up of two reel-to-reel tape-recorders, Kobe Produced by hcmf// supported by the Swiss Arts Van Cauwenberghe restores these gems of Richard Barrett (UK, 1959) basalt (1990-1991) 8’ Nik Bärtsch + Trinity Council Pro Helvetia experimental repertoire to the stage, exploring the rich sonic textures of the electric guitar in The material of basalt is, as it were, ‘sculpted’ Laban CoLaB Ensemble combination with tape-loops. from the instrument. The constituent elements Huddersfield Town Hall, 4pm of sound-production and modulation (breathing, embouchure, slide movement, vocalisation, use CoLAB Ensemble: of transposing valve and so on) are split away Alan Mofti keyboard from one another and reassembled into new Ellie Argente oboe configurations. The elements disintegrate, as Emily Brown voice if straining towards an elusive articulacy, which Ethan Landin trumpet remains elusive even when the player’s voice Hanna Mbuya tuba is finally heard separately from the trombone, Maddy Hamilton cello uttering disconnected syllables from a poem by Rebecca Speller flute Paul Celan which ends ‘mir wächst das Fell übers Will Cleasby drums gewittrigem Mund’ (my storm-weathered mouth Hannah Aebi dance grows over with hide). basalt is also a component Nina Richard dance of the ensemble composition negatives. It was first Sophie Page dance performed as a solo piece by Barrie Webb in 1995. Rebecca Piersanti dance © Richard Barrett Nik Bärtsch piano Geneviève Grady choreographer Timothy McCormack (USA, 1984) HEAVY MATTER UK PREMIERE (2012) 8’ Trinity Laban’s CoLab Ensemble performs under the leadership of Nik Bärtsch and choreographer HEAVY MATTER is comprised of molten sound: Geneviève Grady. The result is a hypnotic and dense sound with weight and mass, sound which edgy show in which Swiss precision meets urban churns itself through unsettled, shifting forms, London groove, a multi-layered exploration sound which is between states of matter. The of detailed polyrhythm, improvisation and Kobe Van Cauwenberghe © Camille Blake © Camille Cauwenberghe Kobe Van gestures are solid enough to retain the semblance contemporary dance. of shape while constantly altering forms and 48 FREE EVENTS Monday 20 // November Monday 20 // November FREE EVENTS 49

Brain Eno (UK, 1948) / Robert Fripp (UK, 1946) Lansing McLoskey (USA, 1964) This Will Not Be Caitlin Rowley (Australia, 1973) Community of The Heavenly Music Corporation (No Pussyfooting) Harmonic Canon 2 Loud and Relentless WORLD PREMIERE (2017) 8’ Objects (2017) 10’ (1972) 22’ Creative Arts Building Atrium, 6.30pm Lansing McLoskey’s newly commissioned work Crumpling, tearing, smoothing, folding. The The Heavenly Music Corporation is the first arx duo: seeks to develop the idea of a struggle between sounds of Community of Objects are chiefly the piece Eno and Fripp recorded together using two Mari Yoshinaga harmonic canon / auxiliary metal the performers, explicated through the hitting of quiet, dry sounds of paper-handling. A piece which reel-to-reel tape recorders as a primitive looping percussion muted instruments; the great physicality required explores the private side of public performance, system. Inspired by the earlier experiments of Garrett Arney harmonic canon / auxiliary metal by the writing contrasts with the amount of sound the audience is drawn into the performer’s Terry Riley and Pauline Oliveros, this method later percussion produced. This dichotomy becomes a source experience through tiny sounds, half-hidden on came to be known as ‘frippertronics’. They of narrative and a conversation between the discoveries and moments of sharing. The piece’s recorded The Heavenly Music Corporation at Eno’s Dominic Murcott (UK, 1965) Harmonic instrumentalists. score is also its principal instruments — a home studio in 1972 in just two takes: the first to Canon 2 WORLD PREMIERE (2016-2017) 21’ collection of handmade paper boxes which are create the backing loop, while the second provided Produced by hcmf// handled with gloves and bare hands, and destroyed Fripp with the opportunity to add additional soloing Please see Harmonic Canon 1 (Page 42) during the performance. The paper sounds are on top. Originally Fripp wanted The Heavenly Music Bastard Assignments interspersed with sounds and actions prompted Corporation to be entitled The Transcendental Produced by hcmf// by the contents of the boxes, discovered by the Music Corporation, but Eno was afraid people Bates Mill Blending Shed, 8pm performers over the course of the piece. would think they were serious. © Caitlin Rowley © Kobe Van Cauwenberghe Passepartout Duo Bastard Assignments: Timothy Cape (Ireland, 1991) Phipps Hall, 7.10pm Timothy Cape objects Wildflower (2017) 8’ Brain Eno (UK, 1948) / Robert Fripp (UK, 1946) An Edward Henderson piano / objects Index of Metals (Evening Star) (1975) 28’ Wildflower comes from my experience of walking Passepartout Duo: Caitlin Rowley objects on the beaches of Donegal, Ireland when home Nicoletta Favari piano Josh Spear piano / objects An Index of Metals, not to be confused with Fausto for Christmas. Winter storms and high tides bring Christopher Salvito percussion / piano Romitelli’s video opera, takes up the entire B-side Edward Henderson Hold rubbish in from its ‘home’ in large floating ocean of Eno and Fripp’s 1975 album Evening Star. It garbage patches for a brief winter beach visit, Mayke Nas DiGiT # 2 Caitlin Rowley Community of Objects has an overall more refined and less harsh sound before the next high tide brings them out again. Lansing McLoskey This Will Not Be Loud and Timothy Cape Wildflower than No Pussyfooting, leaning further towards The brightly coloured plastic dotted around the Relentless WORLD PREMIERE Josh Spear Eno’s later ambient albums. In this track they landscape gives the effect of turning the beach into take ‘frippertronics’ to another level, or as critic a surreal blooming spring meadow. I harvested Passepartout Duo present a programme of works Formed at Trinity Laban Conservatoire of Ted Mills wrote in a review at the time, ‘An Index of some of this seasonal produce, brought it home, highlighting their interest in the relationship Music and Dance in 2011, South London-based Metals,’ keeps Evening Star from being a purely washed it and used it to make wind chimes which I between visuality and sound in performance. composers collective Bastard Assignments have background listen as the loops this time contain then put back onto the beach. © Timothy Cape While Lansing McLoskey’s This Will Not Be Loud curated projects featuring Alwynne Pritchard, a series of guitar distortions layered to the nth and Relentless sees the performers struggle to Neil Luck, Andrew Hamilton and Neele Hülcker, degree, Frippertronics as pure dissonance.’ Josh Spear (UK, 1990) Extended Play (2017) 11’ be heard, performing on instruments muted by as well as performing their own works across © Kobe Van Cauwenberghe towels, DiGiT#2, by Mayke Nas, embodies this Europe. At hcmf// 2017, members of the collective Extended Play takes its name from the idea and struggle via a complicated game with a surprise simultaneously occupy the role of composer and Produced by hcmf// supported by Flemish Community, original structure of an EP, a record containing twist. performer with a programme of their own brand Artesis Plantijn Hogeschool Antwerpen and new works. a few songs but not enough for an album. Genre ChampdAction. changes, entertainment tropes, and cuts between Mayke Nas (Netherlands, 1972) DiGiT # 2 (2002) 6’ Edward Henderson (UK, 1989) Hold (2017) 12’ material drive the piece. Lipsync and movement heavy, this piece is chiefly concerned with the Mayke Nas’ DiGiT#2 is a kind of highbrow symbiosis of movement and sound. © Josh Spear hambone, a rhythmic fantasy growing out of In this piece I have created four non- children’s hand-patting and clapping games developmental musical states characterised by between the two performers at the piano. The tone incessant repetition and constant change. Produced by hcmf// clusters seem to promise a very static musical © Edward Henderson piece, but a surprise awaits around the corner... 50 FREE EVENTS Monday 20 // November Monday 20 // November FREE EVENTS 51 Phurpa Sukitoa o Namau Christian Weber + Joke St Thomas’s Church, 9.15pm Bates Mill Photographic Studio, 11pm Lanz

Alexey Tegin, a founding member and leader of Bates Mill Photographic Studio, 11.30pm Phurpa: Sukitoa o Namau electronics the group, started exploring and experimenting Alexey Tegin with traditional and ritual music in the middle of Christian Weber double bass Pavel Selchukov Sukitoa o Namau is a Moroccan experimental the 1990s, at the legendary Cardinal Art Factory in Joke Lanz turntables Daniil Zotov sound artist rooted in contemporary dance, Moscow. Phurpa was formed in 2003, and named performance and visual arts. Using field after Phurpa Drugse Chempa (phur pa ‘brug Over the past summer, Joke Lanz explored Before Buddhism reached Tibet, practices recordings and processed sounds, Sukitoa delves gsas chem pa), one of the five tutelary deities the social soundscapes of Japan and Taiwan, involving shamanic rites derived from various into concepts and processes such as fascination, of the Father Tantra in the Bon tradition (this while Christian Weber focused on touring and ancestral cults became known as ‘Bon’. Phurpa, hypnosis, aura, and trance. unique deity has a lower part of his body shaped researching the double bass. Riled up from a led by contemporary artist Alexey Tegin, is a in a form of phurpa, or kīla, a three-edged peg/ spectacularly eventful few months, they return to Moscow group based in this tradition. Making Please note: This performance may contain knife, widely used in tantric Buddhist rituals). Huddersfield with an all new set-up, replacing the its eagerly awaited UK debut at hcmf// 2017, the flashing lights The trademark style of the band is based on a microphone and electric bass with double bass cult band’s trademark style is a specific kind of special type of tantric overtone singing/chanting, and turntables. Their 20 years of sound will be overtone chanting, based on the principle of the Sukitoa o Namau (Morocco, 1984) Nari II called gyukye (rgyud skad), from the Tibetan put on the table and stirred in the moment – the singer’s transmogrification during the chanting UK PREMIERE (2017) 20’ words ‘rgyud’ (tantra) and ‘skad’ (sound of the resulting plat du jour shall speak for itself. meditation. voice). This singing is based on the principle of the Through the act of field recording and processing practitioner’s transmogrification achieved through Produced by hcmf// supported by the Swiss Arts Please note: Incense will be used during this the sounds gathered during my journey in an extensive training, including both meditation Council Pro Helvetia performance Morocco, I invoke the incorporeal presence of what and physical, breathing and vocal exercises. has been captured and I draw it to reveal or reflect Parts of this concert will be broadcast images, experiences and questions that are at the Produced by hcmf// by BBC Radio 3 on Saturday 9 centre of my research. December 2017

Why does the sound of a rattlesnake’s tail petrify us when our primal reflex should be fight or flight? Is fascination similar to an emotional paroxysm (fear, uncontrollable laughter, orgasm, fits of violent anger)? Is fascination a tool of domination? © Sukitoa o Namau

Produced by hcmf// Phurpa © Elena Pinaeva Phurpa © Elena 52

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Bastard Assignments © Bridie O’Sullivan says. In his early BAworks. ‘Iwasplayingwithpeople,’ he Henderson acknowledges anup-yours qualityto a punkmomentinLondon’s new musicscene. Writer RobertBarryargues thatBAexemplify says Henderson. music inhabitsaquite personal psychic space,’ collides withtheconfessional. ‘Even our notational body givingchase.Through itall,theconceptual ideas through time,mediaandspace, mindand aphorisms; TimCapeandJoshSpearexplode Rowley tend to reduce material down to zingy Facebook generation. Henderson andCaitlin the London-basedfoursome are Fluxusfor the Personal, fidgety, thrillingly odd,the works of really don’tsoundmuchlike theestablishment. BBC andAldeburgh have come knocking.Yet they points out,meetingatTrinity Laban.Andboththe They allstudied at‘super-elite music colleges’, he insists there isno‘anti-establishment narrative’. one memberoftheintrepid composer-collective, an electric guitar withastrap-on. EdHenderson, assembly ofajamsandwichorsomeonestroking might includecadenzas dedicated to thestudied Unnerve. Recondition. Muchlike themusic,which gimmick. It’s adeliberate attempt to unbalance. Further… further…’Thisuseofspace isnota asylum/disused safehouse/empty tunnelshaft. park. That’s right,into thatabandonedmental to theirdeaths.‘It’s straight through thatunlit BA isone ofseveral encouragingly bolshie new confrontational, less aggressive,’ Henderson says. ‘I’m tryingto give abitmore now. Beabitless money back,shouting,‘You’re taking thepiss!’ all pretending to smoke, someonedemanded their During music.’ daring people to saythatIwaslazyoritwasn’t Cambridge, where hewasanundergrad. ‘Iwas one hypernotated score’ thatwasencouraged at the ‘intellectualism andartistry, allworked outin audience, hewastryingto getasfar awayfrom D Bastard Assignments gig can feel abitlike you’re guidingthem irecting someoneto aBastard Assignments Blow Suck Blow Tape Piece Tape , whichendswiththeBAteam , whichinvolved Sellotaping the the London Contemporary MusicFestival Igor Toronyi-Lalic istheco-founder and director of © IgorToronyi-Lalic unsee it.It’s suchanawkward, gnarly thing’. written down, itfelt totally right.Because you can’t name,’ saysHenderson, ‘butwhenwe first sawit for college works. ‘We triedto thinkofabetter started thegroup inthefirst place: to find anoutlet It’s just avery literal descriptionofwhyCape And theirname?It’s notascombative asitsounds. diversity istheiraimfor thenext series. are growing. Becoming industry leaders on the momentthingsare looking good.Audiences useful to us,asartists, we’ll continue,’ hesays.At Henderson isunsentimental. ‘For aslong asit’s they most resemble, lasted 8years. BAisfour. Festival, theelusive, trailblazing American that Composer-collectives don’tlast long. TheONCE results. them to write quickly, apiece amonth.Vitality you trieditupsidedown?’ Theirmonthly gigsforce immediately. ‘Have you trieditononefoot? Have influence, encouraging them to ‘realise material comes naturally. Jennifer Walshe wasabig Henderson says,tryingthingsout,usingwhatever material asagroup’. They’re more like dancers, on pieces, collaborating, critiquing,‘contributing me like a‘young composer’. BAwork together me parameters or–whatIreally resented –treat room thanwrite for anensemble thatwould give more to dostuff withcheapmaterials inmyown do ityourself,’ heexplains. ‘And itinterested me there’s goingto benothingfor you unless you of theDIYscene. ‘There wasthefeeling that he says.Recession, heclaims,wasthemother lot andhave two jobs…Itsharpensyour focus,’ hardship wasaspur. ‘It’s beneficial to work a to sustain alivingin.Butfor Henderson the to bedead.Oratleast dying.Too expensive It’s notmeantto belike this.London’s meant 2010s aspartofareenergised Londonscene. art, soundandmusic,whoallsprungupinthe work inthatliminalground between performance collectives (Topophobia, Weisslich, ddmmyy)that

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54 LEARNING & PARTICIPATION LEARNING & PARTICIPATION 55

The Metal Playground Heavy Metal: An exploration The blurred line: between Music for Young Players Sunday 19 November of bells and metal drawing and sound Thursday 23 November Creative Arts Building Atrium, 1pm-3pm Tuesday 21 November Huddersfield Town Hall, 5pm Free Event (booking required) percussion Free Event Tuesday 21 November Heritage Quay, 6pm-8pm Free Event (booking required) Led by Dominic Murcott and percussionist wizards Phipps Hall, 2pm-4pm Join us for a fantastic performance by pupils arx duo, the Metal Playground is a space where Free Event (booking required) from six Kirklees primary schools who have Developed by Manchester based artists Aliyah children and their parents can explore a range of participated in our Music for Young Players Hussain and John Powell-Jones, this ongoing rare instruments including the Harmonic Canon Join Dominic Murcott and arx duo for a workshop project, a partnership with Sound and Music and collaborative project explores the relationship – a large, custom-made double bell that sounds involving rare and unusual tuned percussion the British Music Collection at The University of between sound and visuals using traditional print like no other. Children will have the opportunity to to include the aluphone, almglocken (tuned Huddersfield’s archives, Heritage Quay. Local techniques, drawing, amplification and sound play these instruments themselves and discover cowbells), vibraphone and pedalled glockenspiel, composers Julian Brooks, Eleanor Cully and Tom manipulation. a hidden sound world. This collaborative music- and a new custom-built instrument called the Lawrence have run composition workshops in making session will involve listening, exploring, Harmonic Canon – a computer-designed, half-ton schools over a six week period, taking inspiration The act of mark-making becomes the instrument creating and storytelling. double-bell. In this workshop you will explore the and starting points from a set of scores from the and the physical gesture is integral to the creation science and spectral aspect behind the bells, the 1960s and 1970s called Music for Young Players. of the sound. Using contact microphones, For ages 7-12 (older siblings welcome). creative opportunities and problems involving bells participants will learn techniques to manipulate and the technical intricacies of writing for unusual Come and hear some of the scores performed, and loop these sounds to form the basis of Produced by hcmf// tuned percussion. alongside new companion pieces composed by a soundscape through the physical action of the pupils themselves during the workshops. drawing/mono-printing, leading to a dynamic For composers, percussionists & sonic artists The performance will also feature one of the hcmf// in Lego approach to performing live, where both drawing original scores performed by all the school groups Monday 20 November and sound are equally considered at the same Produced by hcmf// together, directed by composer Duncan Chapman. Creative Arts Building Atrium, 11am-4pm time. Free Event Featuring work from: Produced by hcmf//

Join us and re-create iconic moments from Fieldhead Primary Academy hcmf//’s first 39 editions in Lego form! Music of the Now Howard Park Community School Heritage Quay John Curwen Cooperative Primary Academy Produced by hcmf// in partnership with Heritage Quay Mon-Fri: 8am-8pm Oak CoE Primary School Sat: 9am – 5pm Reinwood Juniors hcmf// shorts Sun: 10am – 4pm St Thomas CoE School Monday 20 November Various Venues This autumn, two landmarks in British Produced by hcmf// in partnership with Sound and Free Events contemporary are featured at Music and the British Music Collection at Heritage Quay Heritage Quay. This exhibition celebrates the Five artists and ensembles have been selected 50th anniversary of the British Music Information for this year’s hcmf// shorts, a series of short Centre (BMIC) and the 40th edition of hcmf//, concerts providing an opportunity for talented drawing on the amazing archive collections held up-and-coming performers and composers to at the University – including the original scores showcase their work alongside performances featured in our Music For Young Players project. from some of the finest musicians working in contemporary music today. The programme includes an eclectic mix of solo performances, experimental compositions and audiovisual work. Please see pages 42-51 for full details. The blurred line: between drawing and sound drawing line: between The blurred

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CeReNeM Masterclass: for improvising using these new creations – as well as learning ways of augmenting them Hilda Paredes digitally. Using techniques derived from embodied Thursday 23 November interaction, somatic practices, Deep Listening, and Creative Arts Building CAM G0/1, 4pm-6pm established improvisational exercises, the group Free Event will work together to playfully explore collaborative music making. A public composition masterclass with composer Hilda Paredes and four emerging female- For female identifying participants only; no identifying composers, selected from an open call. experience necessary.

Produced by hcmf// in partnership with CeReNeM, Produced by hcmf// Centre for Research in New Music, University of Huddersfield Pop-Up Art School Saturday 25 November

Lauren Sarah Hayes: Creative Arts Building Atrium, 12pm-3pm Art School Pop-Up Free Event Improvising Electronics Music at Play: Karen Gourlay, as well as working with Swiss Workshop composer and percussionist Fritz Hauser to This exciting and temporary event will ‘pop up’ Imaginary Communities realise their own creations. The young musicians Friday 24 November to celebrate the work of Pauline Oliveros and Sunday 26 November have improvised, composed and collaborated to Creative Arts Building CAM G/01, complement the performances of her work at the Heritage Quay, 10am-11.30am create this new work you hear today. 5.30pm–7.30pm festival. Come and take part in fantastic creative Free Event (booking required) Free Event (booking required) art, craft, media, music and sound experiences Produced by hcmf// in partnership with Leeds College facilitated by creative specialists and PGCE Chol Theatre and hcmf// practitioners will take of Music; supported by the Michael Tippet Foundation teachers from the University. All ages and abilities In this workshop we will demystify some of you on a journey into the world of imaginations, welcome – no experience is necessary. the processes surrounding live electronic using drama and music to create characters and To book workshop places or discuss your visit music making. Led by electronic musician and discover stories. Come play, create and share further, please contact Alexandra Richardson on Produced by hcmf// in partnership with The University sound artist Lauren Sarah Hayes, participants your ideas as together we make our very own 01484 471116 or email [email protected] of Huddersfield. will be guided through building low-cost, DIY atmospheric storytelling adventure. electronic instruments, and explore strategies We continue to develop our Learning & For under 5s and their parents / carers. Participation programme throughout the year, so please check our website and social media for Produced by hcmf//in partnership with Chol Theatre updates.

hcmf// SMS Sunday 26 November Huddersfield Town Hall, 4pm Free Event

Students from Leeds College of Music’s Saturday perform their own brand new work, marking an exciting new collaboration between hcmf// and Junior LCoM! This project aims to engage and inspire young people, whilst developing their skills. Students have taken part Lauren Sarah Hayes Sarah Lauren in composition workshops led by Ben Gaunt and 58 EVENTS Tuesday 21 // November Tuesday 21 // November EVENTS 59

it, and it explores sounds travelling with changing Krzysztof Knittel (Poland, 1947) Norcet II 13 Philip Thomas + velocity and direction. For much of the piece 14 Karkowski: UK PREMIERE (1980)17’ Quatuor Bozzini sounds are suspended and floating in the upper Encumbrance registers, whilst at other times they descend I spent the spring and the summer of 1978 in St Paul’s Hall, 12pm rapidly, remaining grounded before travelling St Paul’s Hall, 5pm Buffalo. It was always very quiet in the house and upwards again. Throughout, the quintet moves a little bit eerie. I often used to sit upstairs by the Tickets £12 (£9 concession / online) as one body of sound, emitting a sense of space, Tickets £12 (£9 concession / online) open window and listen to the sounds coming distance and speed as it moves through different in from the street – trees whispered softly in the Quatuor Bozzini: forms and states. © Mary Bellamy Gęba Vocal Ensemble breeze, sometimes a car was passing or a wail Clemens Merkel violin Thomas Lehn analogue synthesiser of ambulances could be heard from afar. The Stéphanie Bozzini viola Bryn Harrison (UK, 1969) old collapsible table creaked. In such moments Isabelle Bozzini cello Piano Quintet UK PREMIERE (2017) 55’ Baskak Delightful Buzz WORLD PREMIERE I caught myself murmuring something, a low Alissa Cheung violin Krzysztof Knittel Norcet II UK PREMIERE humming tone... one day I decided to record that The late American composer and theorist Zbigniew Karkowski Encumbrance UK PREMIERE ringing silence and feed it into a computer. Philip Thomas piano Jonathan Kramer said that the present is not © Krzysztof Knittel simply the place where perception happens In 2009, the Polish / Swedish / Japanese noise Mary Bellamy beneath an ocean of air UK PREMIERE but ‘also the meeting ground for memory and maverick Zbigniew Karkowski composed a Zbigniew Karkowski (Poland, 1958) Encumbrance Bryn Harrison Piano Quintet UK PREMIERE anticipation, both of which colour our perception.’ monumental vocal-electronic piece for the Gęba UK PREMIERE (2009) 40’ My piece draws on a world of vanishings, Vocal Ensemble, a unique mark within the genre Continuing the ongoing relationship between recollections, apprehensions and remembrances receiving its UK premiere at hcmf// 2017. Sonically The score for Encumbrance is graphic- Quatuor Bozzini and Philip Thomas, this concert through the pervasive use of cyclical repetition. related pieces from Polish Radio Experimental approximative. It consists of several patterns features two world premiere performances of Memory is presented here not as a sight for Studio’s Krzysztof Knittel and Gęba Vocal / models for vocalists. It’s a rather open set of works by UK composers Bryn Harrison and Mary nostalgia but as a vehicle for issuing forth what is Ensemble’s director, Baskak (Antoni Beskiak), will rules which can subsequently be modulated, Bellamy. The glorious combination of piano to become. The piece was commissioned and first supplement the darkness. transformed, deviated and pulsated by means of and string quartet offers the composers rich performed by Philip Thomas and Quatuor Bozzini. various variation techniques (for instance ‘phase possibilities to explore themes of time and light, The project was made possible through generous Baskak (Poland, 1972) Delightful Buzz shifting’ which can create out of phase patterns using resonance and colour in nuanced ways funds provided by the University of Huddersfield. WORLD PREMIERE (2017) 7’ between individual singers), electronics, through throughout the concert. © Bryn Harrison use of tone generators (static tones and sweeps), The words rozkoszny szmerek (delightful buzz) and a computer (real time filtering and modulation Mary Bellamy (UK, 1971) beneath an ocean of air Produced by hcmf// supported by Conseil des arts et come from a pre-war song Ta mała jest wstawiona using dedicated software solutions). The vocal UK PREMIERE (2017) 20’ des lettres du Québec, Canada Council for the Arts and by Polish-Jewish lyricist Andrzej Włast and techniques are a result of the collective work of the Culture et Communications Quebec composer Artur Gold about a tipsy lady and her vocalists and the composer. beneath an ocean of air was inspired by the all-embracing attitude. © Zbigniew Karkowski beautiful skyspace artworks of James Turrell in which viewers can sit and observe the sky through In 2006 I started an extended vocal techniques Produced by hcmf// organised in collaboration with the framed apertures in the ceilings of buildings. festival in Warsaw. Its name, Gębofon, comes Adam Mickiewicz Institute operating under the Culture. Turrell describes these works as an attempt to from gramophone, with gęba meaning mouth, pl brand within the international cultural programme ‘bring the sky down to the top of the space you’re gob, or mug, as in peasant’s mug. It’s a common accompanying Poland’s centenary of regaining in so that you really feel to be at the bottom of the neologism for imitating requisite sounds with your independence – POLSKA 100. Financed by the Ministry ocean of air’. Visiting the Deer Shelter Skyspace voice. In Polish culture, it’s also connected with of Culture and National Heritage of the Republic at the Yorkshire Sculpture Park I was able to Witold Gombrowicz’s concept of gęba: ‘To give of Poland as part of the Multi-annual Programme experience this extended perception of light and somebody a face is to enforce a condition of shape ‘Niepodległa’ 2017-2021. air and was struck by the way light becomes – effectively, to efface’. © Baskak something that can be felt, something physical, when viewed in this way. The speed of air travelling and how rapidly the light changed were both enhanced. In many ways this piece attempts to evoke similar sensations: movement is central to 60 EVENTS Tuesday 21 // November Tuesday 21 // November EVENTS 61

Joanna Bailie (UK, 1973) Last Song from Charleroi 15 Our Ears Felt Like UK PREMIERE (2017) 16’ Canyons Last Song from Charleroi is based on field Bates Mill Blending Shed, 8pm recordings made in the Belgian city of Charleroi in 2013. The city has been in a state of post-industrial Tickets £12 (£9 concession / online) decline for many decades, and the scrap metal works that I recorded is one of the few remaining Zwerm: sites still in operation. In some ways the piece Toon Callier electric guitar is the companion to Symphony street souvenir, Johannes Westendorp electric guitar a work from 2010 concerned with the slowing Bruno Nelissen electric guitar down of recorded sound and all the sadness and Kobe van Cauwenberghe electric guitar disintegration of materials that this entails. Last Song from Charleroi does the opposite – over its Lucas Van Haesbroeck scenography 16-minute span the field recording is sped up, the Johan Vandermaelen sound engineer complex spectrum of the factory drone rises three octaves, and the identity of the recorded location Christopher Trapani Shotgun Schoegaze gradually comes into view. The sound of the UK PREMIERE upwards glissandi that dominate the piece is also Joanna Bailie Last Song from Charleroi the sound of a machine turning on, of anticipation UK PREMIERE and suspense, and as such a strange counterpoint Alexander Schubert Wavelet A Societies / is formed between musical effect and concrete Sciences UK PREMIERE subject matter. © Joanna Bailie

Appearing at hcmf// for the first time, Europe’s Alexander Schubert (Germany, 1979) premiere guitar quartet Zwerm perform a Wavelet A Societies / Sciences UK PREMIERE (2017) three-sonic tableaux by Christopher Trapani, 20’ Joanna Bailie and Alexander Schubert in which the electric create complex sounds with This piece contains passages of Gordon Krieger’s little movement, acting as a sort of ‘pythagorean Sonatas for Mac Voice. curtain’. The performers are stripped of ijjjjjjjjjjjijjjjjjjjjj. most of the visual theatrics that go with a live ggiigggggggggggigij gggiiggggggggggiggg. performance, shifting the action more towards the pull, pull, pull. ear and the act of listening. The ear is the centre, ...... vision is obscured, and immersion is the key word. pull, pull, pull. igggggggggggiiggggggggggiggggggggij Christopher Trapani (USA, 1980) Shotgun gggiiggggggggggiggg. Schoegaze UK PREMIERE (2017) 20’ pull, pull, pull. igggggggaggggiigggggagggggigegiiggggggeggggg Shotgun Shoegaze brings together the expressive © Alexander Schubert bottleneck slides of the Delta with the swirling, distortion-drenched soundscape of Produced by hcmf// supported by the Flemish Art shoegaze bands. Distant swells, strums, and solo Decree, Transit Festival, Ruhrtriennale and the Ernst lines intertwine to create dense layered textures Von Siemens Stiftung. whose shape and tuning are constantly twisted by the Loopsculptor, a custom-built flexible delay. Sound travels viscerally in space, circling the audience, its trajectories, colors, and pulsations Zwerm © Mous Lambarat Zwerm gradually coalescing into one swarming, shifting mass... © Christopher Trapani 62

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Tuesday 21 // November

Julie Kjaer © Bartosz Dzidowski the stages oftransformation. exploration oftheprocess ofmetamorphosis and Julie Kjær Tickets £12 Bates MillPhotographic Studio,10pm 16 Danish saxophonist JulieKj Mark Sanders Samuel Stoll John Edwards Alice Eldridge Mandhira DeSaram scene, musicians from theEuropean experimental music with ahandpicked ensemble ofadventurous newest festival, ((Go))ngTomorrow. Performing commissioned by with anewly composed concert-length work, held. Here of herwork, andthehighregard inwhichsheis and ‘Leafcutter’ Johndemonstrate thebreadth as Paal Nilssen-Love, Dave Douglas,Mira Calix Previous collaborations withartists asdiverse sound, shepushesherinstruments to thelimits. experimenting withextended techniques and between composition andfree improvisation, evident around Europe –inhabitingtheground thoughtful playinghasbecome increasingly JulieKj THIS IS WHERE YOU SEE ME SEE YOU WHERE IS THIS Kjær bass clarinet/ /alto sax (£9concession /online) french horn cello percussion double bass makes herHuddersfield debut hcmf// violin æ andCopenhagen’s r æ r’s edgyand isamusical Tuesday 21 especially for © JulieKjær passion for different kindsoffolk music. jazz, themusictakes inspiration from Kjær’s big as usingelements from jazzandexperimental experiments withextended techniques. Aswell the acoustic soundoftheinstruments through a chambermusiclineupinorder to explore improvisation. Shehaschosento compose for work withintegrating composition andfree The piece isbasedoncomposer JulieKjær’s explores thisfascinating process. SEE ME THIS IS WHERE YOU SEE ME SEE YOU WHERE IS THIS Julie Kj Produced by Co-commissioned by being. one stage to thenext inthelife history ofaliving Metamorphosis –aprofound changeinform from æ UK PREMIERE r (Denmark,1978) hcmf// // hcmf//

November hcmf// (2017)50’ and G((o))ngTomorrow and((Go))ngTomorrow THISISWHEREYOU ,composed

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64 EVENTS Wednesday 22 // November Wednesday 22 // November EVENTS 65 17 Clara de Asís Bates Mill Photographic Studio, 1pm

Tickets £12 (£9 concession / online)

Clara de Asís guitar

Spanish composer and guitarist Clara de Asís has a longstanding interest in minimalist frameworks, special auscultation and temporal suspension, making her the perfect interpreter for Appalachian Anatolia (14th century), a 40 minute solo piece for modified guitar by Swiss composer d’incise (aka Laurent Peter). A drifting musician with no particular instrument, d’incise’s influences range from dub sound systems to experimental electronic music, using software, recordings and objects (amongst other things) to explore sound. d’incise (Switzerland, 1983) Appalachian Anatolia (14th century) (2016) 40’

Perhaps more than a strict composition, this piece is a conjunction of a technical frame, a conceptual input, and the player’s own vision.

It works on tuning and detuning, a different set-up of the strings, on harmonics and pitch frictions and on the influences of music from very varied origins and the transposition of gestures inside a reduced field of possibilities. It might develop as a form of raga, of perpetual variations of determined material, but it remains a guitar alone, its strings resonating, nothing else. © d’incise

Produced by hcmf// supported by the Swiss Arts Council Pro Helvetia Clara de Asis ©Simone Petracchi Clara 66 EVENTS Wednesday 22 // November Wednesday 22 // November EVENTS 67 18 We Spoke Simon Loeffler (Denmark, 1981) B (2011) 7’ Phipps Hall, 4pm In B, three musicians play with two parameters: guitar pedals connected to modulate each other, Tickets £12 (£9 concession / online) and fluorescent lamps whose static electricity the musicians pass on to each other by touching. My We Spoke: intention was to make one single instrumental Julien Annoni percussion / objects / performance body in which the musicians connect through the Julien Mégroz percussion / objects / performance simplest of body movements (hands and feet). Olivier Membrez percussion / objects / © Simon Loeffler performance Gwenaelle Rouger percussion / objects / Cathy van Eck (Belgium / Netherlands, 1979) performance Wings UK PREMIERE (2007) 9’ Serge Vuille percussion / objects / performance Fritz Hauser gong One loudspeaker and three microphones are Robert Torche electronics / sound placed opposite each other. The volume is turned high, and feedback occurs. Three performers Simon Loeffler H WORLD PREMIERE manipulate the feedback by shifting foam-board Hanna Hartman Shadow Box UK PREMIERE panels around, creating new spaces with every Simon Loeffler B movement and therefore also changing the space Cathy van Eck Wings UK PREMIERE in which the feedback can resonate. Depending on Fritz Hauser Schraffur UK PREMIERE the placement of the shields and the pitches of the feedback, the sound is processed by the computer. Swiss-UK contemporary music company © Cathy van Eck We Spoke are joined by Swiss maestro Fritz Hauser to present a programme of post- Fritz Hauser (Switzerland, 1953) Schraffur percussion music. From simply acoustic to purely UK PREMIERE (2009) 20’ electric, the performers shape sound with their bare hands (and a few accessories), caressing As a child I was fascinated with crayon drawings, and scratching textured objects, tuning forks, where we first painted coloured fields on a piece of instruments and microphones in five paper, then covered everything with a black crayon. sculptural works. After that we used an old pen to scratch forms that then were coloured coincidentally. I also loved Simon Loeffler (Denmark, 1981) H WORLD PREMIERE tracing. Cover an object (coin, stone..) with a thin (2017) 9’ piece of paper and make the surface visible with a pencil. Both activities feature the same noise: a H is written for 20 tuning forks, four singing bowls scratching, scraping, polishing, chopping sound and one rebuilt alarm clock. The piece seeks to that with different material and tempo can produce explore the expressive potential of a back and forth an immense variety of overtones and harmonics. mechanism of a self-built machine. The machine © Fritz Hauser not only serves to strike all sounding objects, but is also a kind of hypnotic pendulum in its own right. Produced by hcmf// supported by the Swiss Arts © Simon Loeffler Council Pro Helvetia; also supported by STIM’s Council for the Promotion of Swedish Music, Export Music Hanna Hartman (Sweden, 1961) Shadow Box Sweden, Kultur i Väst & Musik i Syd UK PREMIERE (2011-2013) 12’

Hanna Hartman: Shadow Box Hanna Hartman: Shadow ‘Float like a butterfly, sting like a bee’ © Hanna Hartmann 68 EVENTS Wednesday 22 // November Wednesday 22 // November EVENTS 69

duo for first violin and piano. 19 London Sinfonietta + © Colin Matthews Irvine Arditti Co-commissioned by hcmf// and the London Sinfonietta St Paul’s Hall, 7.30pm Iannis Xenakis (Greece, 1922-2001) Thallein Tickets £17 (£14 concession / online) (1984) 17’

London Sinfonietta This work was written for the London Sinfonietta Martyn Brabbins conductor and in it Xenakis exploits a distinctive kind of Irvine Arditti violin collective virtuosity.

Colin Matthews Contraflow Xenakis’s handling of the raw material of his Iannis Xenakis Thallein music became ever more assured and naturally Sir Harrison Birtwistle Silbury Air expressive, so the outlines of his words became Hilda Paredes Señales UK PREMIERE simpler: structures are less refractory, points of reference carefully positioned. Rhythmic profiles An explosive combination, Britain’s foremost have become more sharply etched; Xenakis’s contemporary music ensemble the London heritage as a Greek patriot has never loomed Sinfonietta joins forces with world renowned larger in his music. The big tune (not too strong violinist Irvine Arditti to present the UK premiere a description) that comes to dominate Thallein of Hilda Paredes’s acclaimed seems like a folk melody torn out of one context Señales alongside some of its most iconic and placed with total naturalness in another, commissions. From the architectural principles without the slightest suggestion that the effect is that guide Xenakis’s Thallein, to the richness of at all anecdotal. Birtwistle’s Silbury Air, inspired by the mystery of the prehistoric Silbury Hill in Wiltshire, and The marvellously smooth tempo changes in Colin Matthews’ Contraflow, co-commissioned Thallein lend a convincing cohesiveness to the with hcmf// in 1992, these landmark pieces score, leaving the impression of an organism give a sense of the musical journey the London that throws out tendrils of material as it gathers th Iturbide © Graciela Hilda Paredes Sinfonietta has taken in its 50 anniversary year. momentum until it is surrounded by a skein of interlaced instrumental lines. In classical Greek The music of the Air is not in any way meant to be a Hilda Paredes (Mexico, 1957) Señales UK PREMIERE Colin Matthews (UK, 1946) Contraflow (1992) 12’ the title indeed means ‘to sprout’, and though romantic reflection of the hill’s enigmatic location (2012) 20’ Xenakis probably attaches it to the processes that – nor a parallel with any of its evident geometry. Contraflow might be compared to a journey lie behind the work, the way in which his musical Seen from a distance the hill presents itself as an This 20-minute piece is a rush of señales (signals), in which the return half is seen in a different system can generate new material from itself, it artificial but organic intruder on the landscape. projected by and to the dashing solo violin, to perspective. Formally the work consists of a seems a perfectly apt name for such a vital and I have often alluded to my music of landscape and from the supporting mixed nonet. There is a scherzo and trio, where the expected reprise ebullient score. © London Sinfonietta turns into a slow movement in which the scherzo presenting musical ideas through the juxtaposition slow introduction ending in quarter-tone scales and repetition of ‘static blocks’ of, preferable for announcing the soloist, who speeds the music is recapitulated in reverse, with seemingly little Sir Harrison Birtwistle (UK, 1934) Silbury Air my terminology, objects. These objects themselves up and lifts it into a new register. From here, resemblance to the original. Within this overall (1977) 15’ framework there is another process at work – a being subjected to a vigorous invented logic via everything is dialogue, recall and excitement, modes of juxtaposition, modes of repetition, with some reminiscences of the Fourth Quartet of sequence of tiny concertinos for each member Silbury Air is named after Silbury Hill, a prehistoric modes of change. The sum total of these Jonathan Harvey, a composer Paredes admired for of the ensemble, beginning halfway through the mound in Wiltshire, the biggest artificial mound processes is a compound artificial landscape or his ‘honesty and highly spiritual music.’ scherzo with second violin, trombone and oboe; in Europe, being 125 feet high and covering ‘imaginary’ landscape, to use Paul Klee’s title. © Paul Griffiths then flute, trumpet and viola; in the trio, clarinet, more than five acres. Its use and purpose, after © Sir Harrison Birtwistle horn and cello; and in the slow movement, centuries of speculation, still remain a mystery. contrabassoon, percussion and bass, with finally a Produced by hcmf// supported by the hcmf// Friends 70 EVENTS Wednesday 22 // November Wednesday 22 // November EVENTS 71

filters, and series of tape machines set up in long 20 GGR Betong delay lines. The piece was transcribed by GGR Bates Mill Blending Shed, 10pm Betong in 2014 and in our version we have tried to maintain Pauline’s obvious joy for the noise Tickets £12 (£9 concession / online) machines. Sadly, Pauline left us before she could hear this record, but she was as baffled as she was GGR Betong: stoked about our interpretation. Her blessing of Louise Magnusson saw blades our endeavours still reverberates. Sven Rånlund modular synthesiser Åsa Nordgren soprano Tetsuo Furudate (Japan,1958) Below The Pelle Bolander electric violin / effect modules Demarcation UK PREMIERE (2003-5) 8’ Barrie James Sutcliffe unstable electronic system Tomas Hulenvik metal zone pedals Tetsuo from Japan has been active as a performer Michael Idehall synthesiser and composer of experimental music since Tony Blomdahl oil barrel and spring reverbs the early 1980s. With Zbigniew Karkowski, he composed the suite World As Will, released Fredric Bergström conductor on four separate albums between 1998–2011. Linus Andersson sound projection Below The Demarcation is a slow and creepy composition, performed on the album World As Pauline Oliveros Bottoms Up 1_RMX UK PREMIERE Will III by zeitkratzer. Since our ensemble is short GGRBetong © Dan Johansson GGRBetong Tetsuo Furudate Below The on acoustic instruments, the rusty and piercing Demarcation UK PREMIERE sounds came about through the use and misuse of Anna Eriksson Three minutes and ten bleeding electronics. version is also a kind of remix, based not on the not to strictly instruct about the musical material. seconds UK PREMIERE score or the original sound files but interpreted The musical material is a choice of collaborative Anna Eriksson (Sweden, 1963) Zbigniew Karkowski Doing By Not Three minutes and through our chosen graphical concept. For GGR group decision.’ UK PREMIERE Doing UK PREMIERE ten seconds (2015) 3’10’ Betong, this Karkowski-Xenakis double axis is Ruta Vitkauskaite Kragraga UK PREMIERE central: Karkowski, because the ensemble started Lasse Marhaug (Norway, 1974) The Great Anna is a composer and sound artist from Lasse Marhaug The Great Silence UK PREMIERE in 2014 as a celebration of this forgotten dark Silence UK PREMIERE (2003) 9’ Gothenburg, Sweden. We commissioned her prince of Gothenburg; Xenakis, well, because of GGR Betong formed in 2014 as a tribute orchestra to write Three minutes and ten seconds for a everything music. The Great Silence (released on the record of the to the late noise musician Zbigniew Karkowski concert in 2016, performed in a smithy, with same name in 2007) was recorded live in Bergen in who, during the 1980s, lived and made everlasting flames and sparks as the literal hot backdrop for Ruta Vitkauskaite (Lithuania, 1984) 2003, with equipment like guitars, amps, pedals, the ensemble. Anna’s instructions stated that marks on the streets and venues of Gothenburg. Kragraga UK PREMIERE (2016) 5’ and other kinds of noise boxes. To compete The idea was to do a one-off concert, performing each musician was free to choose one ticking or with the sheer miasma of Lasse’s emblematic a particular piece of heavy noise music by pulsating sound, but that any overall dynamics The composition Kragraga was commissioned sound would be in vain, so our interpretation Karkowski, and then move on. Instead, the should be avoided. The title for the text sung by the by GGR Betong with support from the city of is more about separation of frequencies and orchestra continues to play and has gradually built soprano is Numerals: times and dates, apparently Gothenburg in 2016 and was first performed at transportation of decibels. Also, we added a repertoire of noise works, a selection of which in sync with Anna’s interest in arithmetic. the festival GEIGER X in Gothenburg in October vuvuzela… not one, but a lot. will be performed at hcmf// 2017. 2016. With the composition, Ruta wishes to open Zbigniew Karkowski (Poland, 1958-2013) Doing the field of collaborative imagination between the All programme notes © Emine Gray UK PREMIERE Pauline Oliveros (USA, 1932-2016) Bottoms Up By Not Doing (2002) 15’ composer, and the group of musicians among 1_RMX UK PREMIERE (1966) 5’ themselves, to pass this imaginative world onto Produced by hcmf// supported by STIM’s Council for Doing By Not Doing was part of a remix project the audience. the Promotion of Swedish Music, Export Music Sweden, Pauline was an American composer, accordionist, dedicated to Iannis Xenakis’s visionary electro- Kultur i Väst & Musik i Syd; also supported by the acoustic work Persepolis from 1971. Initiated by and one of the boldest of early experimental In Ruta’s own words: ‘The score is being timed but Adam Mickiewicz Institute as part of the Polska Music Karkowski and supervised by Xenakis, the project electronic pioneers. Bottoms Up 1 is a live has very little instructions. In this way, my input Programme composition made up of an array of oscillators, resulted in a double album released in 2002. Our into composition is to inspire the performer, but 72 EVENTS Thursday 23 // November Thursday 23 // November EVENTS 73

system becomes an almost uncontrolled shrieking Steven Daverson (UK, 1985) Elusive Tangibility II: two concepts from psychoacoustic spectral fusion 21 Explore Ensemble or erroneous sound. Firelife (2008) UK PREMIERE 8’ and the creation of auditory images, and digital Phipps Hall, 12pm sound synthesis, I’ve tried to create a perspective The interplay between stabilisation, disturbance At the beginning of Firelife there is a dense of volumes in time, by creating the illusion of Tickets £12 (£9 concession / online) and resolution dominates the piece for most of network of silent or near silent movements by the spatial depth between musical objects. Objects its duration. In the Intermezzo, the centre of the instruments: key noises, wiping movements or col evolve in the space of transition between harmony Explore Ensemble: work, a one-bar pattern is built, then charged legno techniques create, as it were, hollow moulds and timbre, between figure and gesture. Timbral Taylor Maclennan flute with additions until it transforms into something of sound. As the piece progresses these are filled structures are related to the perceptual fusion of Alex Roberts clarinet else, which can be heard as chaos (the opposite to with resonances, eventually culminating in the components into single entities (spectra). Chord Emmanuelle Fleurot piano the stable pattern) but equally as a recapitulation central passage of the piece with a large clarinet structures are related to parsing processes David Lopez violin of the opening. A little bit later, the Eb-clarinet line, marked ‘bell-like’ and accompanied by broad which allow each component to be recognised Bryony Gibson-Cornish viola melody (inspired by an Azerbaijani model) is also string chords. Following this process of increasing (structure of intervals). When in the articulation Deni Teo cello repeated and exaggerated before eventually acoustic presence there appears a second of an auditory image, an analytic perception of Nicholas Moroz electronics vanishing. contrary one, whereby the material reduces the elements is possible, we have a figure; if not, Patricia Alessandrini electronics and becomes more homogenous. Finally, the we have a texture. An object may at one moment These processes also take place on a formal diverse movements from the beginning reappear, be an element of focus for the listener yet at Enno Poppe Gelöschte Lieder level. Initially, a two-part thematic complex is transformed into a series of static homophonous another an element ‘collected into a composite Steven Daverson Elusive Tangibility II: repeated as a whole and varied, exposing a cyclic chords. In this manner, the way in which the music image, wherein the ‘object’ loses its identity but Firelife UK PREMIERE formal disposition. The inner structural details comes to sound corresponds to the decomposition contributes to the quality of the more embracing Patricia Alessandrini Tracer la lune d’un are organised through so called L-systems. These of its forms. © Markus Böggemann image’ (McAdams). doigt WORLD PREMIERE models describe the growth of plants and lead to Fausto Romitelli La sabbia del tempo a process-like, developmental character. Initially, Patricia Alessandrini (France/USA, 1970) Many factors are involved in fusion and parsing the tree-like structure of the L-systems dissolves Tracer la lune d’un doigt WORLD PREMIERE (2017) 15’ phenomena: harmonicity, tone onset synchrony, Following their sensational debut at the 2016 the repetitive character of the work’s beginning coordinated amplitude and frequency modulation, Festival as part of hcmf// shorts, Artistic Director through its plentiful ramifications. Over the course Most of my works consist of ‘interpretations’ of spectral density, etc. The perception of depth Graham McKenzie immediately extended an of the piece, however, remnants of the beginning existing repertoire. For this piece, I decided to between musical objects results from ambiguities invitation to this young and exciting ensemble linger like excrescences. The dialectic relationship ‘interpret’ the Adagio movements of J S Bach’s as to their source: when an object has equivocal to return to Huddersfield in 2017, committing to between development and repetition, process violin concertos, to try to understand something attributes and its components seem to belong support the commissioning of a new composition and cycle determine the formal shape until the about their expressivity in relation to style and together in a single image but, at the same time, specifically for the group. The resulting work is end. The song as a metaphor for a cyclic shape is convention. The instrumentalists’ expressive they seem to belong to different sources placed Patricia Alessandrini’s Tracer la lune d’un doigt, constantly subjected to dissolution and extinction. possibilities are limited to a restricted vocabulary at different points in space, we have the illusion for sextet and live electronics, presented here The new version, written for Klangforum Wien of techniques, connected up through a system of of a single object dispersed in the space and alongside a UK premiere from Steven Daverson, in 1997, goes one step further by varying the old electronics which ‘performs’ them itself through moving to the listener from different distances: an early virtuosic chamber work by Enno Poppe, piece as a whole once more. devices which cause the instruments to vibrate, we ‘feel’ different surfaces of the same object, we and Fausto Romitelli’s iconic and sculptural La in particular by ‘playing’ the strings of the piano. perceive a volume. In La sabbia del tempo I have sabbia del tempo. This work owes significant incitation to José The title evokes the act of attempting to apprehend utilised the concept of perspective being created Lezama Lima’s novel Paradiso, because of its an abstract beauty: a distant, cool and pale yet by the distortion of volumes in space to create a Enno Poppe (Germany, 1969) Gelöschte Lieder destructive rank growth of detail, and Denis luminous object. © Patricia Alessandrini trajectory of musical objects in time. (1996-1999) 20’ Diderot’s Jacques le fataliste et son maître, due to © Fausto Romitelli its prevailing clarity despite its nesting structures. Co-commissioned by hcmf// and Explore Ensemble In Gelöschte Lieder (Erased Songs), two strands Translated and edited from an original note © with support from Arts Council England National Lottery Produced by hcmf// supported by an anonymous hcmf// of material cross each other over long stretches Enno Poppe Funding and the PRS Foundation Open Fund Benefactor of time: on one hand, there is a rather stable harmonic content; on the other, the harmony loses Fausto Romitelli (Italy, 1963-2004) La sabbia del Parts of this concert will be broadcast its importance as exact intonation and precise tempo (1991) 13’ by BBC Radio 3 on Saturday 9 realisation become increasingly impossible. We . December 2017 and Saturday 16 constantly pass the threshold where the harmonic La sabbia del tempo has been strongly influenced December 2017 by my studies in computer music at IRCAM. Using 74 EVENTS Thursday 23 // November Thursday 23 // November EVENTS 75

Werner Dafeldecker (Austria, 1964) Bogusław Schaeffer (Poland, 1929) 22 Polwechsel + John Small Worlds WORLD PREMIERE (2004-2017) 21’ PRES@60: Thomas Symphony UK PREMIERE (1964) 18’ Butcher + Klaus Lang Lehn plays Bogusław The new version of Small Worlds (originally Schaeffer Bogusław Schaeffer’s Symphony is a landmark St Paul’s Hall, 7.30pm scored in 2004) creates a set of conditions for the of Polish experimental music, not only because performers which concern their relationship to Bates Mill Photographic Studio, 9.30pm of its then gigantic scale, but also because of its Tickets £17 (£14 concession / online) the other members of ensemble. The musicians, ambivalent nature. Its title and sophisticated score divided into two trios, are periodically shifting Free Event suggest an appreciation of electronic music and its Polwechsel: both their dynamic and their listening focus, alignment to instrumental concert music. At the Burkhard Beins percussion articulating a kind of glacial and subtle pulse Thomas Lehn analogue synthesiser / computer same time, Symphony has never been meant to Martin Brandlmayr percussion or breath through the piece as players attend to be performed, not least on stage. It was dedicated Werner Dafeldecker double bass one another in different ways. Notably, pauses In addition to performing his own electronic music to Bohdan Mazurek, who took over a year in the Michael Moser cello in this work are always shared: two or more and leading ensembles such as ensemble studio to prepare its rendition. 50 years later, players may become linked for a moment in the ]h[iatus, in recent years Thomas Lehn has become synthesiser virtuoso Thomas Lehn accepted an John Butcher saxophone act of becoming listeners together. © Werner increasingly active as a synthesiser interpreter of invitation to prepare a first ever solo live version of Klaus Lang organ Dafeldecker electronic compositions. His renowned realisation the piece, with only parts of it being pre-recorded. of Schaeffer’s Symphony (electronic music for Klaus Lang a (tryptichon for organ) UK PREMIERE Klaus Lang (Austria, 1971) Tehran tape), first performed in 2010 and regarded as Produced by hcmf// organised in collaboration with the Improvisation I dust UK PREMIERE (2013) 10’ a classic ever since, is documented to critical Adam Mickiewicz Institute operating under the Werner Dafeldecker Small Worlds WORLD PREMIERE acclaim on the recording PRES Scores, released Culture.pl brand within the international cultural Improvisation II ‘To be traditional, does it mean to copy the by Polish label Bolt/Monotype. This is its only programme accompanying Poland’s centenary of Klaus Lang Tehran dust UK PREMIERE form or to keep the spirit alive and find a new planned UK performance. regaining independence – POLSKA 100 (financed Improvisation III contemporary form for the same spirit?’ © Klaus by the Ministry of Culture and National Heritage of Polweschsel UNX UK PREMIERE Lang the Republic of Poland as part of the Multi-annual Improvisation IIII Programme ‘Niepodległa’ 2017-2021); also supported Klaus Lang d (tryptichon for organ) UK PREMIERE Polwechsel UNX UK PREMIERE (2015) 18’ by Goethe-Institut London

For over 20 years Polwechsel have been operating UNX is a collective compositional tool Polwechsel PRES@60 is co-curated by Michał Libera, Michał at the interface between improvised music and has worked with since 2011. It defines interactive Mendyk and Daniel Muzyczuk and co-financed by the contemporary composition, characterised by quiet fields using which the musicians interlock and Adam Mickiewicz Institute volume, sustained drones and slowly developing revolve around drifting gravitational points. Thus structures. For this rare performance in the UK, the music does not unfold in a linear or narrative they are reunited with saxophonist and former way, but traverses various states of density and member John Butcher, joined by composer Klaus dynamics. Polwechsel has presented UNX many Lang on church organ. times along their more composed work, but they will for the first time perform this conceptual piece Klaus Lang (Austria, 1971) a (tryptichon for together with former long-term member John organ) UK PREMIERE (1995) 4’ Butcher. © Werner Dafeldecker Klaus Lang is an Austrian composer, concert organist and improviser. In Lang’s universe, Klaus Lang (Austria, 1971) d (tryptichon for music is seen as a free and standalone acoustic organ) UK PREMIERE (1995) 4’ object. In his view, musical material is time perceived through sound, the object of music is the Produced by hcmf// experience of time through listening. Music is time made audible. Parts of this concert will be broadcast by BBC Radio 3 on Saturday 2

December 2017 and Saturday 16 Monti Thomas Lehn © Ariele December 2017 76 PROFILE PROFILE 77

Knot, as well as adding to the contemporary harp Rhodri Davies repertoire through work with Christian Wolff, Phill Niblock, Ben Patterson, Alison Knowles, Mieko omewhere on an alternate timeline exists Shiomi and Yasunao Tone. S a world in which Rhodri Davies became a successful horologist. ‘My grandfather had a A particular highlight has been his contribution to jewellers shop, selling and repairing watches,’ Éliane Radigue’s OCCAM series, helping realise he says, recalling his youth in Aberystwyth. ‘Then the synthesiser pioneer’s late-life switch to my father took over the business. And I didn’t, and acoustic work. ‘What I like about Éliane’s music is neither did my sister,’ he laughs. that it starts from nothing but it feels as though it’s always been there, and then goes back to nothing, Instead, the siblings – his sister is the violinist but as if it’s just further away and is still happening Angharad Davies – became two of contemporary somewhere in the world.’ music’s most celebrated improvisers. Yet although those lost piles of watches ticking away At the other sonic extreme comes works such unsynchronised seconds provide inspiration for as his solo Wound Response – the hcmf// Transversal Time, Rhodri Davies’ work for eight performance which Davies dedicates to former musicians that premieres at hcmf// 2017, it’s collaborator Gustav Metzger, famed for his ‘auto- tempting to divine some deeper, more lasting destructive’ art – where he breaks the harp strings connection between the intricate mechanisms through over-articulation. ‘The challenge is that pored over and Davies’ relationship with the harp, I don’t know which strings are going to snap, in which has yielded more than two decades of which order,’ he says. ‘Sometimes I’m left with five exploration, deconstruction and rebuilding. or six notes.’ Similar abrasive sounds can be found in his guest spots on albums by the avant-folk Although classically trained on the orchestral singer Richard Dawson and in the pair’s project pedal harp, Davies’ interest has long reached Hen Ogledd (since expanded to a trio with Dawn beyond the conventions of that instrument. He has Bothwell), born out of a friendship nurtured when played harps from a range of cultures; modified Davies lived for several years in Gateshead. their sounds with bowing, preparations and amplification; built ones played by the elements; Now back in Wales, Davies is as busy as ever, created fragmented harp installations and including a role as Associate Artist at Cardiff’s destroyed many strings, and sometimes more, in Chapter Arts Centre and bringing the likes of Evan performance. Parker and Philip Corner to Swansea as part of the NAWR concert series. There’s another harp With such an expansive approach it’s ironic on the horizon, too – Wales’s earliest recorded that Davies came to prominence through the example, the Telyn Rawn. ‘That’s been something London-based improvisation scene often known I’ve wanted to do since I heard about it when I was as ‘reductionist’, finding an alternative to what he a teenager, this mythical harp that nobody knew characterises as ‘often a male, heroic spectacle’ anything about,’ Davies says. Funded by Creative through intense focus on smaller, microtonal Wales, he has commissioned a recreation of the sounds, subtle timbral changes and room horse-hair strung instrument, which also had a ambience. ‘I find a lot of that other music exciting horseskin soundboard. ‘The last one to be made as well but there was a need to do it because there in Wales was about 300 years ago, so the exact was a kind of uniformity at one point; improvisation details of what they looked like aren’t clear.’ And had become easily identifiable,’ he says. as for what the Telyn Rawn sounds like… the only certainty is that, in Davies’ hands, it will be no In the years since, Davies has found many kindred museum piece. spirits, including a duo with John Butcher, Rhodri Davies © Kuba Ryniewicz membership of Apartment House, his long- © Abi Bliss running groups Common Objects and The Sealed 78 EVENTS Thursday 23 // November Friday 24 // November EVENTS 79

used here are to over-articulate the strings (which by the Great Absentees of Central and Eastern 23 Rhodri Davies harpists are taught not to do) and to attack the PRES@60: TAPE Europe, cocooned with studio ambience and Bates Mill Blending Shed, 10.30pm strings with a plectrum, forcing the tuning into Phipps Hall, 11am trickery. new relationships until the strings eventually snap. Tickets £17 (£14 concession / online) © Rhodri Davies Free Event Krzysztof Knittel (Poland, 1947) The Worm Conqueror (1976) 15’ Rhodri Davies (UK, 1971) Transversal Time Rhodri Davies harp Eugeniusz Rudnik Ready Made Ryoko Akama electronics WORLD PREMIERE (2016) 40’ Krzysztof Knittel The Worm Conqueror Krzysztof Knittel is a representative of the second Sarah Hughes zither Bohdan Mazurek Daisy Story generation of the Polish Radio Experimental Catherine Lamb viola My grandfather repaired and sold watches, as Tomasz Sikorski Solitude of Sounds Studio artists. To Knittel, whose debut as Stine Janvin Motland vocals does my father, and as a child I was surrounded composer and sound engineer came in the 1970s, Pia Palme contrabass recorder by watches and clocks all stating different times. For the Polish Radio Experimental Studio, the the world of electroacoustic music was no longer Pat Thomas piano / electronics This piece utilises different clocks which adhere second half of the 1970s was not only the time an experimental terra incognita, but more of a Dafne Vicente Sandoval to different time systems. When improvising, time of quadraphonic sound but also the twilight of genre, tradition and history. From the outset, Adam Partkinson programming can sometimes feel stretched, or compacted. the Studio’s golden age. Analogue technology Knittel was looking for his own path, attempting In this piece, I will explore different conceptions culminated in Rudnik’s catchy collages of sound to overcome the paradigm of ‘tape music’ by Rhodri Davies Wound Response of time, such as waiting, meditating, clock time, waste; Mazurek’s synthesised, pop-infused engaging in performative activity (within the frame Rhodri Davies Transversal Time WORLD PREMIERE boredom, and how an individual’s unique time symphonies; Knittel’s brutalist poems; and of the KEW Composers Group, a pioneer of Polish transverses with others. © Rhodri Davies Sikorski’s radical minimalist gestures. As if in live electronics), as well as improvisation and Drawn from across the musical spectrum, Davies a counterpunch against foregone experimental intermedia ventures. has put together an exceptional international line- Co-commissioned by hcmf//, Counterflows & Chapter dogmas and the arrival of sweeping digital up to perform his most ambitious creation technology, Warsaw saw the birth of decadent The tapes deposited by Knittel in the Polish to date, Transversal Time. Inspired by Davies’ Produced by hcmf// supported by PRS Foundation jewels. Radio Experimental Studio archives in the childhood spent surrounded by watches and Beyond Borders 1970s are mostly comprised of brutalist noise clocks, this hcmf// co-commission takes as Eugeniusz Rudnik (Poland, 1932-2016) Ready material. Although such sounds figure in The its starting point different time systems and Made 8’ (1977) 77’ Worm Conqueror, Knittel’s early composition draws upon the writings of Francois Jullien. introduces him as a consummate sonic player, Accompanying this world premiere, Davies Ready Made is a title that accurately summarises brilliant storyteller, ironist, and illusionist rather will perform material from his solo LP Wound most pieces by Eugeniusz Rudnik. This brilliant, than a noise radical. The listener struggles to Response. self-taught son of a peasant had no formal guess whether they are communing with an musical education, creating works outside of electroacoustic fantasy on Edgar Allan Poe’s Rhodri Davies (UK, 1971) the modernist or postmodernist conventions eponymous poem of the same name; a naturalistic Wound Response (2011) 25’ and working instead within the bounds of sound poem; or a spectacular etude for improvisation, spontaneous experiments, and instruments and synthetic sound. ‘The question that I am facing in recent years is frivolous musical, literary, and visual associations. this: to what extent are human beings part of this These collage-like streams of consciousness Bohdan Mazurek (Poland, 1937-2014) ceaseless chain of destruction? Do we absorb it; – suspended between electroacoustic music, Daisy Story (1977-1979) 19’ does it impinge on us; is the chemical, biological experimental radio play, and radio reportage – entity that is the human being penetrated by contain countless tales filled with more or less Apart from Eugeniusz Rudnik, it was Bohdan that which is so overwhelmingly the stuff of life?’ legible references to Rudnik’s biography and the Mazurek who became the most prolific Gustav Metzger cruel and paradoxical history of the 20th century. composer and producer affiliated with the Polish The 1977 version of Ready Made (which was Radio Experimental Studio; his tendency for Wound Response forms an attempt to find fluid chronologically the second of Rudnik’s pieces meticulously developed synthesised sound, pitch and rhythmic relationships: to work with bearing this title) resonates with shreds of folk surrealistic aura, and near-pop ostinato has led to multiple voicings that don’t settle into a groove but and chamber music, unrelenting echoes of war many comparisons between his oeuvre and that stay around long enough to tumble into another and explosions of military parades, and – last but of Morton Subotnick. In the case of Daisy Story, set of compound parts. The two main techniques not least – the recordings and memories of songs associations with Silver Apples of the Moon – the 80 EVENTS Friday 24 // November Friday 24 // November EVENTS 81 first American electronic music hit – seem only Tomasz Sikorski (Poland, 1939-1988) Chikako Morishita (Japan, 1981) natural. Solitude of Sounds (1975) 22’ 24 Archer Spade One Arm 1 WORLD PREMIERE (2014-2017) 8’ Bates Mill Photographic Studio, 5pm Still, this composition’s sonic universe is marked One of the most mysterious tapes in the Polish ‘I don’t suppose you’ll try to change it for your own with features unprecedented in either Subotnick’s Radio Experimental Studio archives was not Tickets £12 (£9 concession / online) arm,’ she said. ‘But it will be alright. Go ahead, do.’ oeuvre or the works of other composers of the created in Warsaw, but at Columbia-Princeton Yasunari Kawabata, One Arm era, save for Mazurek himself. Its aesthetic Electronic Music Centre – such at least was Archer Spade: Synchronised bodies; juxtaposition of time. The ambiguity – which could now be categorised as the claim of its author, Tomasz Sikorski, who Nick Millevoi electric guitar work was originally written for trombone and cello, ‘camp’ – along with its exotic eroticism and knack presented the recording as the fruit of his Dan Blacksberg trombone and premiered by Two New Duo at hcmf// 2014. for provocatively exaggerated imitations of natural scholarship in New York. The snag is that the © Chikako Morishita soundscapes, continue to amaze, intrigue and Columbia University archive bears no trace of the Dan Blacksberg / Nick Millevoi Holographic annoy, even after several decades. It is easy to Polish composer’s activity. As for Sikorski himself, Tubing UK PREMIERE Dan Blacksberg (USA, 1983) / Nick Millevoi (USA, WORLD PREMIERE overlook the fact that this surrealist love story the Polish ‘musical existentialist’ described his Chikako Morishita One Arm 1 WORLD PREMIERE 1983) Centralia Fragments (2017) is also an almost classical, three-movement stay in New York and his work on Solitude of Dan Blacksberg / Nick Millevoi Centralia 25’ concerto for solo synthesiser and electronic Sounds in the following fashion: Fragments WORLD PREMIERE sounds. ‘In October last year, while contemplating the Mick Barr TCHMENTREACH UK PREMIERE Centralia Fragments is a new work constructed shape of the composition I was supposed to from traditional song forms, , th develop at the Columbia-Princeton studio, I spent Philadelphia duo Archer Spade are guitarist 20 century electric guitar music, drone and noise, much time in my room listening to distant noises Nick Millevoi, who explores and expands on the juxtaposed in this ode to the town of Centralia, coming in through the half-open window. They sound of the electric guitar through the use of PA, and the still-burning fire from the coal mine were a seemingly disorderly mix of street bustle, non-traditional tunings, feedback and raw noise, disaster in 1947. © Archer Spade sirens of ships on the river, and a remote whir of and leading trombonist Dan Blacksberg, whose planes. After some time, I had the impression practice spans avant-garde jazz and modern Mick Barr (USA, 1975) TCHMENTREACH that all these sounds were alive, perhaps even classical music. Performing together in the UK UK PREMIERE (2013) 7’ conscious of their own existence, as if they wanted for the first time, the duo will present a selection to speak. Combining into a whole, yet thrown of their own genre-crossing work, a composition Composed specifically for Archer Spade, New back on their own resources, they amounted by composer Mick Barr and a new York-based avant-metal guitar shredder Mick to a solitary choir. I had the urge to convey this version of Chikako Morishita’s One Arm 1, first Barr has created a relentless, maximum-density impression in my new piece.’ presented at hcmf// in 2014 and adapted here for composition that pushes technical limits of guitar and trombone. each instrument and defies category. Equally Produced by hcmf// organised in collaboration with the inspired by minimalism, extreme metal, and John Adam Mickiewicz Institute operating under the Coltrane’s Interstellar Space.© Archer Spade Culture.pl brand within the international cultural Dan Blacksberg (USA, 1983) / Nick Millevoi (USA, programme accompanying Poland’s centenary of 1983) Holographic Tubing UK PREMIERE (2010) 11’ Produced by hcmf// regaining independence – POLSKA 100. Financed by the Ministry of Culture and National Heritage of Holographic Tubing explores an expansive the Republic of Poland as part of the Multi-annual soundscape created from extended trombone Programme ‘Niepodległa’ 2017-2021. techniques and the interaction of the electric guitar and its amplifier. This piece is inspired by PRES@60 is co-curated by Michał Libera, Michał imaginary outer and inner spaces within which Mendyk and Daniel Muzyczuk and co-financed by the otherworldly sounds could merge to create a Adam Mickiewicz Institute monolithic tableau.© Archer Spade 82 EVENTS Friday 24 // November Friday 24 // November EVENTS 83

atmosphere, the mood and all of the intuitive in the form of waves: a simple gesture, a natural gives the human voice the illusion of invulnerability 25 The Riot Ensemble meanings of Gamelan music. It relates to the force which throws you back into the here and by masking the imperfections that make it human. St Paul’s Hall, 7pm Balinese idea of ombak which in Balinese is a now. This gesture itself turns into a process of The three movements of Ctrl are called No Heart, wave. The wave is created by pairs of instruments remembrance, gradually blurred and modified. Body, and No Head. © Laurence Osborn Tickets £17 (£14 concession / online) which are tuned slightly differently. The one tuned higher is regarded to be an inhale and the The piece could therefore also be experienced as Commissioned by the Riot Ensemble with support from The Riot Ensemble: one tuned lower regarded to be an exhale. The a carousel of sound, on which shreds of memory the PRS Foundation and Arts Council England Sarah Dacey soprano small difference between similar pitches create pass by now and then. © Stephanie Haensler Kate Walter flute interference beating. In Bali it is believed that this Produced by hcmf// as part of the Arts Council England Philip Haworth oboe cyclical undulation gives the listener the feeling Laurence Osborn (UK, 1989) Ctrl WORLD PREMIERE International Showcase; supported by the Swiss Ausias Garrigos clarinet of the presence of God or leads them into the (2017) 20’ Arts Council Pro Helvetia and the Adam Mickiewicz Ruth Rosales bassoon meditative state. © Nikolet Burzyńska Institute operating under the Culture.pl brand within Amy Green alto saxophone Ctrl is a three movement song-cycle about the international cultural programme accompanying Freiderike Butt trumpet Commissioned by hcmf// and The Riot Ensemble masculinity written from the fragmented Poland’s centenary of regaining independence – Andy Connington trombone perspective of a male character and sung by a POLSKA 100 (financed by the Ministry of Culture and Sarah Mason percussion Katherine Young (USA, 1980) Where the Moss female singer. The piece examines the cycles of National Heritage of the Republic of Poland as part of Petur Jonnason electric guitar Glows UK PREMIERE (2016) 13’ physical and psychological violence transferred the Multi-annual Programme ‘Niepodległa’ 2017-2021); Adam Swayne piano between men, and the resulting damage. It also also supported by hcmf// Benefactor Professor Mick Sarah Saviet violin This piece began with a story and evolved with a deals with themes of power, entitlement, fear, Peake Stephen Upshaw viola question: What’s something you’ve lost? In this loneliness, and suicide. The vocal part uses Louise McMonagle cello octet, instrumental sounds and those made by autotune. In my opinion, autotune is the perfect Eleana Marigomez double bass misplaced, missing, found, and untethered things analog for a hyper-masculine character because it interact. These objects were drawn from Kelly Aaron Holloway-Nahum conductor Link’s noir coming-of-age story The Girl Detective (Small Beer Press, 2001) and from stories that Nikolet Burzyńska Ombak WORLD PREMIERE the performers with whom I collaborated on the Katherine Young Where the Moss piece told me. In Link’s story the girl detective’s Glows UK PREMIERE investigations take her up trees; into dreams— Stephanie Haensler daan und waan UK PREMIERE hers and other people’s; and down into an Laurence Osborn Ctrl WORLD PREMIERE underworld where the moss glows and stranger things happen. © Katherine Young Returning to hcmf// following their hit performance in 2015, The Riot Ensemble presents Stephanie Haensler (Switzerland, 1986) daan und a programme exploring gender and identity waan UK PREMIERE (2015) 12’ in 2017. Laurence Osborn’s Ctrl – written on the theme of the crisis of masculinity and the And now and then a memory: through a labyrinth persistence of outdated and oppressive notions with various doors and windows, numerous of ‘manliness’, as highlighted in the writing of thresholds and hinges, we are confronted with Grayson Perry – is placed alongside searing and attempts to search for a memory and hold on to it. searching works by Katherine Young, Nikolet The piece deals with the second look at something; Burzyńska and Stephanie Haensler. with repetition, variation and change.

Nikolet Burzyńska (Poland, 1989) My composition moves in two lanes: on the Ombak WORLD PREMIERE (2017) 8’ one axis, a search for a long lost sound without beginning and end, distant from any temporality, The initial idea of the piece is derived from reminiscent of a distant bell toll. On the other Balinese Gamelan. Music is touched by the axis, the music repeatedly strikes bridge piers Laurence Osborn © Chloe Wicks Photography Osborn © Chloe Laurence 84 PROFILE PROFILE 85 Laura Bowler

’m a huge admirer of Harrison Birtwistle, but Formed while Bowler was an undergraduate ‘Iat the same time also Stephen Sondheim,’ at Royal Northern College of Music (where she says Laura Jayne Bowler, reflecting on a love of now lectures, as well as holding a professor of dance and musical theatre that dates back to composition post at Guildhall School), Size Zero childhood. Although currently she’s too immersed Opera’s name was coined quickly after the Tête à in the artistic freedom offered by contemporary Tête festival picked up Bowler and librettist Lavinia music to pen her own Broadway smash – ‘there’s Murray’s music theatre piece My Friend Annie, an still a part of me that would like to write one,’ exploration of teenage anorexia. As the company she admits – over the past decade her work as a evolved to offer emerging composers the chance composer, vocalist and as the artistic director of to write for theatre settings, its name also gave Size Zero Opera has been animated by a devotion early indication of Bowler’s belief that her music to striking, politically engaged and challenging shouldn’t be confined to an ivory tower. performances. ‘I‘ve become more and more interested in political Indeed, anyone questioning Bowler’s commitment theatre over the past three to five years,’ she would be advised to watch clips of her in Jennifer explains. ‘Mainly because I have this constant Walshe’s Training is the Opposite, then retreat to a inner battle over my aesthetic choices as a safe distance. Commissioned by Size Zero Opera composer and what I’m interested in sound- to celebrate the 2014 introduction of women’s wise, music-wise and theatre-wise, versus the boxing to the Commonwealth Games, Walshe’s engagement with the world around me.’ Current 20 minute opera for string quartet and mezzo- works in development reflect this real-life focus, soprano calls for a characteristically demanding including a collaboration with writer Philip vocal part to be performed simultaneously with Venables exploring rape culture through verbatim an authentic boxing workout routine; to prepare, accounts, and a voyage to Antarctica in early 2018 Bowler trained for three gruelling months that will result in a work for Manchester Camerata with former world top-three fighter Cathy ‘the highlighting the area’s environmental fragility. Bitch’ Brown. ‘Working with Jen on that was a hugely defining moment for me as an artist as it While Bowler’s music continues to challenge both encapsulated everything I was interested in with musicians and audience, she remains committed physicality and performance,’ she recalls. ‘If I was to using performance to offer accessibility without going to do this piece I had to be convincing as a compromise. ‘I would never ever change the way boxer; she wanted the full thing, 100 per cent.’ that I compose, but I do try to find ways that can make it more communicative in the way that it’s Even though gloves and shorts aren’t required delivered, whether that’s through physicality or for the premiere of her work FFF at hcmf//, she video, or through providing an inroad that allows promises it will still put Ensemble PHACE to the people’s imaginations to take hold of something,’ test. ‘Physicality always plays a very important part she says. ‘My pieces are never just a piece of in my instrumental writing, whether that means music; for me it’s about writing something that musicians are getting up and doing something has a direct connection with human experience.’ or whether it’s the material I write for them,’ she says. ‘That was the core of my doctoral research, © Abi Bliss how I can write material that forces people into a state of exhaustion, or into a certain physical state, that pushes them outside this idea of perfection in laura bowler © Laurel Turton © Laurel bowler laura performance.’ 86 EVENTS Friday 24 // November Friday 24 // November EVENTS 87

Repetition), which now includes approximately Jorge Sanchez-Chiong (Venezuela, 1969) USED 26 Ensemble PHACE + 30 compositions. In the individual works of the REDUX UK PREMIERE (2012) 10’ PRES@60: Valerio Tricoli Laura Bowler series, he explores the process of repetition of plays Bohdan Mazurek musical material as well as the phenomena of USED REDUX has emerged from one of the Bates Mill Blending Shed, 10pm differentiation – especially those at the edge of composer’s previous works entitled used future, Bates Mill Photographic Studio, 11.30pm perception – through the occurrence of subtle where sound debris and particles were arranged Tickets £17 (£14 concession / online) and minimal methods of variation. Numerous into a tape, played alongside diverse instruments Free Event musical styles and genres, such as rock, jazz or and electronic devices. USED REDUX is not a Ensemble PHACE : even electronic club music leave their mark on the follow up or a logical sequel, rather a mashup, a Valerio Tricoli revox / electronics Doris Nicoletti flute way Lang creatively takes them on as loops in the ‘twin’ composition, ‘Doppelgänger’, or – as the Walter Seebacher clarinet compositions of the DW Series. composer puts it – ‘a pervert-blowup-remake’. Widely celebrated and critically acclaimed Revox Mathilde Hoursiangou piano / sampler Elements like a fast tempo (up to 190 bpm), master Valerio Tricoli takes an excursion into the Berndt Thurner percussion Influences from other arts and sciences, such as throbbing simple rhythmical patterns and the land of underappreciated yet highly influential Ivana Pristasova violin / viola the experimental films of Martin Arnold and the sheer merciless massiveness of the volume won’t Polish author of soundtracks, Bohdan Mazurek. Roland Schueler cello philosophical oeuvre of Gilles Deleuze, play an deny that a source of inspiration is to be found in Maximilian Ölz double bass essential role in DW. Lang designates DW 24 as hardcore music. Sanchez-Chiong: ‘Redux is not a Valerio Tricoli plays Bohdan Reinhard Zmölnig horn the twin work of DW 23, in that both works act as ‘better’ or ‘updated’ version of the future (I love the Mazurek WORLD PREMIERE (2017) 30’ Spiros Laskaridis trumpet electroacoustic portraits of artistic personalities. ‘trash attitude’ of used future, that redux doesn’t Bernhard Rainer trombone The subject of DW 23 is actor Boris Karloff; in DW preserve), much more it is a new work with new Little known Polish sound engineer Bohdan Hsin-Huei Huang keyboard 24 it is the musician Al Jourgensen, singer and and different approaches.’ Mazurek was a major figure within the Polish Felix Pöchhacker electric guitar frontman of the band Ministry, to Radio Experimental Studio and yet at the same Alfred Reiter sound whom the composition is also dedicated. On the Laura Bowler (UK, 1986) FFF WORLD PREMIERE time a fairly anonymous designer of sonic visions one hand, Jourgensen’s voice served as a source (2017) 30’ of the future from the early 1960s until the late Lars Mlekusch conductor of inspiration for the saxophone part of the piece, 1980s. His unique, futuristic sounds have been Laura Bowler voice which Lang describes as the instrumentation of FFF is a multimedia music theatre work exploring featured in the soundtracks to dozens of films, Michael Krenn saxophone Jourgensen’s voice. Some of the band’s songs the fight or flight mechanism. It draws on parallels theatre plays and radio programs known to as well as interviews with the singer comprise between the primal animalistic process of fight virtually anyone in Poland – unlike his name. In Bernhard Lang DW24 - Loops for Al the material for this piece, which is controlled or flight and society’s engagement with politics. this exciting world premiere, his compositions will Jourgensen UK PREMIERE by a keyboard and forms the looped rhythmic It takes the passive online ether (flight) and form a material base for a piece created especially Jorge Sanchez-Chiong USED REDUX UK PREMIERE base of the composition. The instrumental the recent resurgence in protest marches and for hcmf// by one of the most adventurous and Laura Bowler FFF WORLD PREMIERE ensemble and saxophone are in dialogue with this political activism (fight) as departure points.FFF , uncompromising electronic musicians on today’s electronic material, doubling, re-transcribing, and composed for chamber ensemble, voice, film and scene, Valerio Tricoli. Performed here alongside UK premieres from contrapuntalising the loops. electronics looks to magnify the outrage / fight and Bernhard Lang and Jorge Sanchez-Chiong, vacant minds / flight of society through a directly Co-commissioned by hcmf// and the Adam Mickiewicz hcmf// commission FFF will bring together Laura Like the other works of the series, DW 24 also physical and brutal musical exploration. Institute Bowler’s focus areas as a composer, academic and reflects the diverse intellectual and musical career © Laura Bowler performer into one work for the first time. Another of the composer and instrumentalist Bernhard Produced by hcmf// organised in collaboration with the hcmf// debut – for both Bowler and Austrian Lang. The saxophone part was developed in a Co-commissioned by hcmf// and BBC Radio 3 Adam Mickiewicz Institute operating under the ensemble PHACE – the piece explores the fight or long collaboration with Lars Mlekusch and is Culture.pl brand within the international cultural flight mechanism, drawing parallels between the most indebted to two formative jazz saxophonists: Produced by hcmf// as part of the Arts Council England programme accompanying Poland’s centenary of primal, animalistic mechanism of fight or flight Eric Dolpy and Evan Parker. The latter’s unique International Showcase. PHACE is supported by the City regaining independence – POLSKA 100. Financed and contemporary society’s engagement with technique, characterised by multiphonics and Council of , the The Arts and Culture Division of by the Ministry of Culture and National Heritage of politics. overblowing in the extreme registers of the the Federal Chancellery of Austria, the SKE-Fonds and the Republic of Poland as part of the Multi-annual instrument, gave rise to a new system of notation the Austrian Cultural Forum London. Programme ‘Niepodległa’ 2017-2021. Bernhard Lang (Austria, 1957) DW24 – Loops for for DW 24, so dubbed ‘Parkerphonics’ by Lang and Al Jourgensen UK PREMIERE (2014) 17’ Mlekusch. © Juri Giannini PRES@60 is curated by Michał Libera, Michał Mendyk Parts of this concert will be broadcast and Daniel Muzyczuk and co-financed by the Adam Since 1997, Bernhard Lang has intermittently by BBC Radio 3 on Saturday 16 Mickiewicz Institute worked on the DW Series (Difference/ December 2017 88 EVENTS Saturday 25 // November Saturday 25 // November EVENTS 89 27 Kit Downes 28 Laura Cannell: St Paul’s Hall, 12pm FEATHERS UNFURLED Bates Mill Photographic Studio, 2.30pm Tickets £12 (£9 concession / online) Tickets £12 (£9 concession / online) Kit Downes church organ Tom Challenger saxophone Laura Cannell violin / overbow violin / double recorders Kit Downes (UK, 1986) Obsidian WORLD PREMIERE (2016) 60’ Critically acclaimed composer/performer Laura Cannell’s hcmf// commission FEATHERS Kings UNFURLED is a narrative about physical and Bhdak emotional boundaries and liminal landscapes. Obsidian Deconstructing her compositions and using them Flying Foxes as graphic scores for semi-improvised pieces Black is the Colour which seek to dissolve borders, Cannell eschews Modern Gods formal structure to re-imagine a sonic landscape The Gift unrestricted by time or origin.

Obsidian is a collection of Kit Downes’ solo organ Laura Cannell (UK, 1978) FEATHERS works from the eponymous album soon to be UNFURLED WORLD PREMIERE (2017) 40’ released on ECM Records. It is a musical response to volcanicity, slow processes that cause extreme Transient Thresholds reactions. A mixture of written and semi-scored/ Untethered semi-improvised pieces, it focusses on the Unshackled nuances and unique features of both smaller Hollowed chamber organs local to rural Suffolk as well as Outstretched larger, grander instruments from bigger cities In The Room Not Passing Through around the UK. It is both a study of extended techniques from instruments sometimes in states FEATHERS UNFURLED is about freedom, of disrepair, and a connection and adaptation of the space and the crossing of mental and physical improvised tradition of the instrument, exploring thresholds. These transient spaces are themes of duration, vibration and mechanics. channelled through Cannell’s exploration of the space between experimental, improvised and . Boundaries, both self-imposed Produced by hcmf// as part of the Arts Council England and cultural, are constructed and dissolved. International Showcase Dissonance, drone, fragmented melodies and solo polyphony create one narrative from a multitude of stories. The compositions use extended instrumental techniques pushing the performer to unveil new questions. FEATHERS UNFURLED is rooted in but not tethered to the past.

Commissioned by hcmf//

Produced by hcmf// as part of the Arts Council England Laura Cannell Greyfriars © Andy Sapey Cannell Greyfriars Laura International Showcase 90 EVENTS Saturday 25 // November Saturday 25 // November EVENTS 91

Pauline Oliveros (USA, 1932-2016) All Fours for Pauline Oliveros (USA, 1932-2016) The acceleration from 7.8Hz to 13Hz of the earth’s 29 ICE + Distractfold the Drum Bum UK PREMIERE (1990) 12’ Primordial / Lift UK PREMIERE (1998) 75’ resonant frequency is represented in Primordial / + Fritz Hauser + Anne Lift by a low frequency oscillator. The oscillator is Bourne + IONE: Oliveros This piece was written in the context of a solo Primordial / Lift is based on information heard indirectly as it moves almost imperceptibly program for which I had commissioned 11 concerning the shift in the resonant frequency of from 7.8Hz to 13Hz over a 45 minute period and Huddersfield Town Hall, 6pm composers to write pieces for me and my clearly the earth from 7.8Hz to 13Hz given in Awakening modulates the sounds of various performers in the defined Drum-Set. Five of the composers came to Zero Point; The Collective Initiation by Gregg ensemble. The amplitude of the performer’s sound Tickets £22 (£19 concession / online) from the US, six from Europe. , Joey Braden, Radio Bookstore Press (1997). when selected will change rhythmically in step Baron, Warren Smith, Bun Ching Lam, Franz with the oscillator. When the oscillator reaches ICE: Koglmann, Pierre Favre, Robert Suter, Stephan According to Braden the resonant frequency of 13Hz it will stabilize for another 30 minutes. Joshua Rubin clarinet Grieder, Mani Planzer, Rob Kloet, and Pauline the earth was measured as 7.8Hz in 1960 and © Pauline Oliveros and IONE Rebekah Heller bassoon Oliveros were the composers who contributed by 1994 the measurement was at 8.6Hz and it Daniel Lippel electric guitar pieces reflecting a wide variety of styles. The will rise to 13Hz by 2010. At the same time, the Produced by hcmf// as part of the Arts Council England pieces were premiered in in 1991. magnetic fields of the earth are diminishing in International Showcase; supported by the Swiss Distractfold: strength towards zero point. By the time that Arts Council Pro Helvetia, Executrix and The Pauline Rocío Bolaños objects / electronics All Fours for the Drum Bum is a very playful 13Hz is established as the resonant frequency the Oliveros Trust. Linda Jankowska violin / objects / electronics approach to percussion. It can be played in a very magnetic fields will reverse their polarity - North Emma Richards viola / objects / electronics simple way or it can be pushed towards a complex will become South and vice versa. Alice Purton cello / objects / electronics structure. However the motto Pauline provided for Mauricio Pauly co-artistic director / electronics the booklet of the program indicates a beautiful Sam Salem co-artistic director / electronics / direction: ‘Every heartbeat is unique. Listen sound diffusion carefully! ‘© Fritz Hauser Constantin Popp technical director Fritz Hauser (Switzerland, 1953) Fritz Hauser drums RUNDUM UK PREMIERE (2007) 20’ Anne Bourne cello Ross Karre percussion RUNDUM is a concept piece. IONE artistic direction (Primordial / Lift) RUNDUM is a sound event with no rhythm or pulse. Pauline Oliveros All Fours for the Drum RUNDUM consists of ongoing sounds and noises Bum UK PREMIERE that fade in and out. Fritz Hauser RUNDUM UK PREMIERE The dynamics between the players are kept in Pauline Oliveros Primordial / Lift UK PREMIERE balance. There are no solos. When using voice or wind instruments, repeat hcmf// presents the only UK performance of sounds / noises several times before going to the the late Pauline Oliveros’ elemental Primordial next one. / Lift, featuring the International Contemporary There are no melodies or intended harmonic Ensemble (ICE) and Manchester-based ensemble changes. Distractfold. Joining these two tireless advocates RUNDUM hovers in space like a mobile. of contemporary music creation in a one-off The intention of RUNDUM is to dissolve time and celebration of her work will be Oliveros’ long- space. © Fritz Hauser time collaborators Fritz Hauser, IONE and Anne Bourne. Fritz Hauser © Matthew Lee Hauser © Matthew Fritz 92 PROFILE PROFILE 93

live with technology. More than controlling musical Pauline Oliveros parameters, it acts as a ‘time machine’, creating a kind of temporal resonance in which her own ne of five ‘acts’ in the Postcard Theatre playing, transformed, returned unpredictably as a (1976) Oliveros made with Alison Knowles, O layer in the next moment. BEETHOVEN WAS A LESBIAN is resonant for attending to her work now. Neither parody nor Her adoption of alternative approaches to sound homage, she was wryly acknowledging the many and to working with others, less dominating and women who passed as men to have their work more non-hierarchical, chimed with her reading recognised. But beyond setting the record straight of the S.C.U.M. Manifesto. In the political wake of on women as composers (her essay And Don’t 1968 and its violence, including seeing a student Call Them Lady Composers (1970) remains all immolate himself protesting the Vietnam War, she too relevant), her example speaks to a different took Valerie Solanas’ roaring (and hilarious) tract paradigm, one that doesn’t reinforce the pantheon as an invitation to pause, reflect, and transform simply by adding women to it. her work through meditation, karate and spiritual practises. The immediate impact came with the How do we avoid canonising her, keeping her Sonic Meditations, text scores developed with spirit alive rather than laying her to rest? Instead an all-female group. Over time, these processes of reading the postcard’s mute imagery, or for collective and personal transformation led writing our interpretation on its reverse, we can to Deep Listening, defined as directing attention perhaps hear the air breathing through foliage through simultaneous but different processes of and the faintest ‘click’ of the camera’s shutter, hearing and listening – towards sounds, others, supplementing our inner reading voice. For and the effects of listening on the expansion of Oliveros, such transformation, listening anew, was embodied consciousness. ‘I began to understand the fundamental of her attuning system. that many people felt that they were not being heard… I recognised that being heard is a step Improvisation was a constant. Growing up in toward being understood. Being understood is Houston, dialling all kinds of music (and recording a step toward being healed. Understanding is a static and white noise) on the radio, she played step toward building community.’ Many of her jazz, country and as well as classical scores incorporate instructions for listening works. Her composition teacher, Robert Erickson, and sounding that manifest precisely the kind encouraged her improvisations with kindred of equally dissimilar and sensuous community spirits, including Terry Riley (she performed in she advocated. This ‘algorithmic’ composing the premiere of In C), Loren Rush and Stuart generates complexity through simple processes Dempster. She took a similarly DIY approach in oscillating between the individual and social her early tape pieces; every sound is resonant, bodies of players and audience. Our interactions changing as its energy transfers through and are not chaotic, but disciplined by creating musical reflects off different media, whether a bathtub time for each other. resonator or cardboard tube filter. She exploited echo and tape delay, the latency of Wi-Fi in Making the question of canonising or ranking ‘real’ time networked improvisation, and aural redundant, Oliveros invites us to cede control, physiology through difference tones. A founder of to take aural pleasure, to relinquish judgement the San Francisco Tape Music Center, she retained through transformative listening. ‘I’m not a lifelong fascination with technologies – not to particularly worried in preserving my work. I’m fix sounds ever more precisely, but to expand interested in doing it… in the event that we’re consciousness. involved in – how it can change me, or how I can learn about myself.’ Oliveros’ set-up for tape delay and echo evolved PPauline Oliveros, “Postcard Theatre”, Editions AcquAvivA#15, Berlin, 2013 Editions AcquAvivA#15, Theatre”, “Postcard Oliveros, PPauline continuously over 50 years into the Expanded © Ed McKeon Instrument System, her platform for improvising 94 EVENTS Saturday 25 // November Saturday 25 // November EVENTS 95

In what has over recent years become a tradition harmonic series. As each different tone rises form a self-contained, blinded, impermeable, 30 hcmf// mix tape during the Festival’s closing weekend, hcmf// up into audibility, the players improvise from sonic biosphere. And the saxophone, in extreme Bates Mill Blending Shed, 10pm presents an eclectic mix of work across multiple indications notated by Oliveros. Critic John contrast, is a giant retina with thousands of light- stages, broadcast live on BBC Radio 3’s flagship Rockwell described it at the time as ‘eerily sensitive cells, like the dragonfly. Because of its The Riot Ensemble: new music programme Hear and Now. This year, beautiful’. powerful detection skills, the saxophone can see Sarah Dacey soprano The Riot Ensemble performs works by the late a vital element of the trio that, because of both its Kate Walter flute iconic American artist Pauline Oliveros, including The work has largely disappeared from sight pitch-black habitat and its other highly-developed Philip Haworth oboe the rarely heard The Wheel of Time, for string in recent years due to the uncertainty of the senses, the trio itself has forgotten about: its Ausias Garrigos clarinet quartet and tape. Austrian group Nikel present the whereabouts of the tape – long presumed missing. eyes. The ‘window’ that the saxophone opens re- Ruth Rosales bassoon first performance of a new work by Enno Poppe, I am extremely grateful therefore to the Kronos orientates and re-temporises the whole structure Amy Green alto saxophone while Arizona-based Scottish electronic music Quartet for their dedication in locating the tape, of the trio, allowing it to both see again and to Freiderike Butt trumpet composer and performer Lauren Sarah Hayes and for sharing the performance material with observe itself and its surroundings from a different Andy Connington trombone presents the world premiere of her latest work, us. My thanks also to IONE and Aaron Nahum- angle.© Ann Cleare Sarah Mason percussion commissioned by hcmf//. Philadelphia duo Archer Holloway for their enthusiasm and perseverance Petur Jonnason electric guitar Spade complete the line-up. in bringing this event to fruition. Lauren Sarah Hayes (UK, 1981) Mini Savior Adam Swayne piano © Graham McKenzie Opt. WORLD PREMIERE (2017) 25’ Sarah Saviet violin Please note: this is a free event but tickets are Mira Benjamin violin limited. They can be booked in advance online or Enno Poppe (Germany, 1969) Fleisch Mini Savior Opt. is the latest in a series of Stephen Upshaw viola via the Box Office. (2017) UK PREMIERE improvisations formed out of playful and tactile Louise McMonagle cello explorations of my most recent hybrid analogue/ Eleana Marigomez double bass Pauline Oliveros (USA, 1932-2016) The To compose means to assemble. In order to do digital performance system. In a new configuration Autobiography of Lady Steinway this, one first has to isolate the individual parts, as specially created for hcmf// 2017, an excessive Aaron Holloway-Nahum conductor everything has actually always been assembled number of components, of which the space, Pauline Oliveros (USA, 1932-2016) already. Writing a string quartet entails to first audience, and performer are all part, mutually Nikel: The Wheel of Time UK PREMIERE of all divide the idiomatics, in order to find a new affect each other through a network of sound Yaron Deutsch electric guitar idiomacy. This is especially true in the context of analysis and digital signal processes. Patrick Stadler saxophones The idea of packing the cavernous spaces of The . Rock music has generally become © Lauren Sarah Hayes Brian Archinal percussion Blending Shed at Bates Mill with multiple stages, quite dusty, which is why it has started to interest Antoine Francoise piano featuring a diverse range of artists and musical me. Through the destruction of the syntax I can Commissioned by hcmf// Alfred Reiter sound engineer styles, on the second Saturday, and broadcasting release dynamics, which have been misaligned it all on BBC Radio 3 Hear and Now has become a and peppered with rubbish by the stereotypes of Archer Spade Improvisation Archer Spade: Festival tradition. rock music. This process is not about exposing Nick Millevoi guitar however, as the instruments and the sounds can While presenting a programme of works by British Dan Blacksberg trombone During last year’s event we announced the sad also not be reinvented. Yet meaning emerges from guitarist and improviser at an hcmf// passing of a true musical pioneer, the American reassembling the ruins. © Enno Poppe event in Philadelphia in 2016 it was our pleasure Lauren Sarah Hayes hybrid anologue / digital live composer and artist Pauline Oliveros. This year to work with trombonist Dan Blacksberg and electronics we dedicate hcmf// mix tape to Oliveros, with the Ann Cleare (Ireland, 1983) the square of yellow guitarist Nick Millevoi. Collectively they go under presentation of two of her works – the text based light that is your window UK PREMIERE (2013-14 )13’ the name Archer Spade and in the second of their Pauline Oliveros The Autobiography of Lady The Autobiography of Lady Steinway and an ultra- two appearances at hcmf// 2017 they bring their Steinway rare performance of The Wheel of Time (for string This piece has a lot to do with eyes. Imagine these own highly original take on jazz improvisation to Pauline Oliveros The Wheel of Time UK PREMIERE quartet and tape). two different creatures: The first is a dragonfly, the ‘mix tape’. © Graham McKenzie Enno Poppe Fleisch UK PREMIERE with eyes that are so big they cover almost its Ann Cleare the square of yellow light that is your Commissioned by the Kronos Quartet, written entire head, giving it a helmeted appearance Produced by hcmf// as part of the Arts Council England window UK PREMIERE in 1982, and performed in 1983 at the California and a full 360-degree field of vision. The second International Showcase Lauren Sarah Hayes Mini Savior Institute of the Arts Contemporary Music creature is a multi-armed, deep-sea being, which Opt. WORLD PREMIERE Festival, it consists of gentle, digitally synthesised lives in an aphotic zone of the ocean, where very This concert will be broadcast live Archer Spade Improvisation electronic tones, rising and falling and shifting little light infiltrates. Now imagine that structures by BBC Radio 3 in texture, all derived from the partials of one similar to these are present in this piece, that a trio of piano, percussion, and electric guitar 96 EVENTS Sunday 26 // November PROFILE 97

outcome is to be considered vain, frail or delightful 31 Ensemble Grizzana is, as in life itself, up to each one of us, listeners Magnus Granberg and performers alike. © Magnus Granberg St Paul’s Hall, 1pm had a vision of wanting to create an didn’t seem to be too many contexts that might environment or a biotope where individuals be interested in my work. But Another Timbre Commissioned by Another Timbre ‘I Tickets £12 (£9 concession / online) could coexist and co-act with each other in a was a place where the music seemed to fit quite multitude of ways, while still retaining the specific naturally.’ Jürg Frey (Switzerland, 1953) Ensemble Grizzana: identity and coherency of the environment, Late Silence WORLD PREMIERE (2017) 30’ Magnus Granberg celesta / harmonica / of the composition,’ says Magnus Granberg, It was the label’s founder, Simon Reynell, who percussion explaining the origins of Skogen, the ensemble initiated the project premiering at hcmf// 2017 The material is raw but delicate. The language is Jürg Frey clarinet he founded in 2005. Comprising a core of Swedish featuring Ensemble Grizzana performing a piece non-rhetorical and precise. The form has a clear Mira Benjamin violin musicians plus international guests and ranging each by Granberg and leading Wandelweiser architecture; sounds and sections become present Angharad Davies violin from chamber instruments to contact mics and composer Jürg Frey. ‘I very much appreciate the and disappear but don’t dissolve. Richard Craig flute/electronics no-input mixing, Skogen’s name translates as atmosphere of Jürg’s music,’ says Granberg. Philip Thomas piano ‘forest’ – an appropriate shorthand not only for ‘It’s a little bit like a space where it’s possible to The work of the composer is elemental – as is its cello this particular ecosystem, but as a snapshot of accommodate oneself as a listener and become a absence when the composer lets the music go on Dominic Lash double bass Granberg’s wider musical approach. part of or disappear into the music.’ John Lely electronics without interference. Tonality is vaguely touched on, a soft, slightly wavering light in the music. Dimitra Lazaridou Chatzigoga zither and elec- Making improvisation – which he studied, along Both works draw upon existing songs, although in Silence, memory, presence – this triad shimmers tronics with saxophone in Gothenburg and New York – a a typically oblique manner: in Granberg’s How Vain in the background and keeps the piece in a balance Simon Allen percussion / dulcimer central part of his music, Granberg is less a Are All our Frail Delights?, audiences may struggle of clear decisions and wide horizons. © Jürg Frey micromanaging topiarist than a careful, nurturing to discern spores cast adrift from William Byrd, Magnus Granberg How Vain Are All our Frail gardener, planting his compositional seedlings Johannes Ockeghem and Tin Pan Alley composer Commissioned by Another Timbre Delights? WORLD PREMIERE to thrive under the care of his performers. ‘I try to Jerome Kern. It’s a long-used compositional Jürg Frey Late Silence WORLD PREMIERE articulate and communicate a musical situation method for Granberg which he characterises on Produced by hcmf// supported by STIM’s Council for in the score where I can accept more or less all one hand, ‘as a way of treasuring or taking care of the Promotion of Swedish Music, Export Music Sweden, Ensemble Grizzana returns to hcmf// with an possible outcomes,’ he explains. ‘In practice this the creative impulses the act of experiencing other Kultur i Väst & Musik i Syd expanded line-up and a programme of world means that I create pools of materials – containing musics offer: to let the music that moves you set premieres, both loosely based on two pieces of melodic fragments, chords, rhythms, single something in motion in a very direct and concrete early music: Ockeghem’s Déploration sur la mort sounds, suggestions regarding timbres, etc – from manner,’ and on the other ‘as a way of approaching de Binchois and Byrd’s Oh Lord How Vain. From which the musicians can choose what to play and and getting to know musics a little bit better that this common starting point, composers Jürg when to play it, along with suggestions as to how to you perhaps partly find it difficult relating to, Frey and Magnus Granberg worked separately, treat them.’ finding inlets or ingresses to musical thoughts and producing fascinatingly different results, both practices via the fragments that do intrigue you.’ haunted by distant echoes of the source material. He adds, ‘There are so many gradations of this spectrum of connections and interactions, It also offers Granberg, who more frequently plays Magnus Granberg (Sweden, 1974) How Vain Are independences and interdependences between clarinet, the chance to flex those green fingers on All our Frail Delights? WORLD PREMIERE (2017) 40’ composition, improvisation, composers and a relatively unusual specimen. ‘The use of celesta musicians that seem yet to be explored.’ in my piece very much stems from my desire to How Vain Are All our Frail Delights? consists of: a play it, and since I happened to know that the temporal framework; sets of musical materials Delicate and considered yet underpinned by University of Huddersfield has an example of this from which the performers choose what to play; restlessness, Granberg’s music, performed both comparatively rare instrument I thought I’d better and some suggestions as to how to treat the by Skogen and by other ensembles, has found a seize the opportunity to do so!’ he admits. ‘And it’s materials. The resulting piece can be described comfortable home on the Sheffield-based Another a lovely instrument which fits beautifully with the as an environment in which the properties of the Timbre label, whose catalogue frequently inhabits other instruments, of course.’ environment itself, as well as the different choices, the possibility-rich spaces between improvised interests and natures of its inhabitants, regulate and composed music. ‘When I first started to © Abi Bliss the final outcome of the music. Whether the realise my musical ideas with Skogen there 98 EVENTS Sunday 26 // November Sunday 26 // November EVENTS 99

Sam Amidon is a singer and multi-instrumentalist 32 Sam Amidon + Guests originally hailing from Brattleboro, Vermont, US. Lawrence Batley Theatre, 7pm His most recent album, The Following Mountain, was released in May of 2017 by Nonesuch Records. Tickets £17 (£14 concession / online) His first album of entirely original songs and compositions, it features appearances by Jimi Sam Amidon vocals / banjo / guitar / violin Hendrix percussionist Juma Sultan and legendary Byron Wallen trumpet free-jazz drummer Milford Graves, known for his James Allsop bass clarinet / tenor saxophone pioneering work in the 1960s with artists such as Kit Downes piano Albert Ayler and Sonny Sharrock. Jasper Høiby acoustic bass Chris Vatalaro drums / live electronics Prior to The Following Mountain, Amidon has released five acclaimed albums of radically hcmf// welcomes experimental folk artist, reimagined folksongs on the Bedroom Community singer and multi-instrumentalist Sam Amidon and Nonesuch labels, touring internationally in to Huddersfield for the first time with a highly a wide variety of musical contexts. Called ‘part unpredictable programme exploring the preservationist, part visionary’ by the Boston intersections of songcraft, jazz improvisation, and Globe, Amidon’s material for these albums traditional American music. For this performance, consists primarily of adventurous reworkings of Amidon has brought together some of the UK’s traditional American ballads, hymns and work finest jazz and improvising musicians to support, songs, with the New York Times writing that reflect and challenge his music, weaving together Amidon ‘transforms all of the songs, changing a one-of-a-kind performance. They will perform their colors and loading them with trapdoors.’ The songs from Amidon’s most recent release The albums have been deeply collaborative in nature, Following Mountain, which is his first album of including contributions from musicians such as entirely original compositions, as well as drawing composer , guitarist Bill Frisell, and on material from Amidon’s earlier records such improviser Shahzad Ismaily among others. Along as Lily-O and I See The Sign, which consisted of the way Amidon has recorded or performed as a radically re-worked traditional folksongs. guest artist with musicians such as pianist Jason Moran, indie rock band Bon Iver, and violinist Pekka Kuusisto. Amidon lives in London with his wife, singer and songwriter . © Sam Amidon

Produced by hcmf// Sam Amidon © Terry Magson Sam Amidon © Terry 100 PROFILE PROFILE 101

distinction made between academic and ‘popular’ Alexander Schubert culture – surely a redundant term in today’s super- fragmented world. For Schubert, IRCAM and clubland, pop songs and intense improvisation, TV shows and scientific research are all there to wenty-five years ago Alexander Schubert be quoted, questioned and synthesised into works T might have been labelled a ‘postmodern’ where the exacting coordination required from composer. Actually, scrap that: back in 1992 his their performers echoes the constant synaptic work couldn’t have existed in the same way that juggling we carry out every day. it does now. That’s not to deny that many of the elements that are called into play in Schubert’s Indeed, for all of the screens and smoke and pieces – video, text, lighting effects – have been flashing lights that feature in Schubert’s arsenal, part of contemporary music’s toolbox for decades. it’s worthwhile returning to Walshe and her There’s nothing new about making soloists deliver assertion in the same piece that key to The New awkward PowerPoint presentations (replacing Discipline are ‘Works in which we understand ‘PowerPoint’ with slides or index cards if you want that there are people on the stage, and that these to go back even further). But the temperament and people are/have bodies.’ With his background in concerns of the Bremen-born, Hamburg-resident neurobiological research, it’s little surprise to find composer place him in the company of several a fascination in Schubert’s work with gesture and peers whose work engages with how music sensory perception. Having premiered at hcmf// today rarely reaches our collective awareness in 2014, Sensate Focus – inspired by experiments in isolation, but as part of a constant, captivating, which kittens were raised under strobe lighting contradictory stream of sound, images and ideas. – could easily lend its title to a whole strand of his pieces exploring and deconstructing the In a blog written for last year’s Borealis Festival, links between movement and sound. While his Jennifer Walshe identified what she named 2011 piece Your Fox’s a Dirty Gold used motion ‘The New Discipline’ among compositions. Not sensors to simulate a guitar solo, HELLO (2014) an aesthetically united school so much as a used videoed gestures as a score and Star Me way of working that included her own practice Kitten (2016) wreaked havoc with a set of musical alongside others such as James Saunders and ‘cues’ triggered by a narration that veered into Matthew Shlomowitz, these are ‘pieces which increasingly dark territory. often invoke the extra-musical, which activate the non-cochlear. In performance, these are works in Recently, Schubert’s work has taken a more which the ear, the eye and the brain are expected to immersive turn, centring audience more than be active and engaged.’ For Walshe, the ‘discipline’ performer and drawing them in to increasingly refers to the rigour of finding new compositional participatory experiences. While Black Mirror and performative tools within this, in a world in (2016), in which the audience donned capes and which Dada and Fluxus are established heritage identity-erasing cat masks to be led around an and YouTube rules supreme. abandoned hotel, represents a nightmarish apogee of Schubert’s current practice, Although Schubert wasn’t mentioned, he certainly Supramodal Parser (2015), with its dreamlike fits Walshe’s description. Nervy, fast-moving and states evoking an all-night techno event, offers a inquisitive, his work takes the multimedia world more welcoming, if still at times characteristically as an all-pervading fact of life, not something to challenging, opportunity to submit to Schubert’s be gingerly picked up between finger and thumb unique brand of discipline. and scrutinised before the composer retreats back behind piled-up manuscripts. Neither is the © Abi Bliss Alexander Schubert © Peggy M ärz Schubert © Peggy Alexander 102 EVENTS Sunday 26 // November Sunday 26 // November EVENTS 103

create a club event to be danced to. It is a drive 33 Nikel: Alexander through personal perspectives on how to get lost. Schubert twenty hours, forward, bridge, Bates Mill Blending Shed, 9pm circle, line, open, twitch. heavy drag, align the moths, Tickets £17 (£14 concession / online) feathers hit embrace, the froth. fast awake. Nikel: post-rave. Yaron Deutsch electric guitar clouds of tongues, aligned commute, Patrick Stadler saxophones a splitting point no less acute, Brian Archinal percussion / drums break lights constantly reroute, Antoine Francoise piano / keyboard a shadowed washout of your own repute. Mohna voice ok I get it now, the undertow reloops, Alfred Reiter sound engineer the nets draw in, the flock regroups, Daniel Dominguez light assistant cheeks, light wash, attention Alexander Schubert live electronics / lights another breath, another quickening, prolonged retimed, and kisses too, Nikel bring hcmf// 2017 to a close with a bang! an exceed intervention. Inspired by Berlin rave and techno culture, their collaboration with composer Alexander Schubert The model monotypic, and German indie singer Mohna allows the the pattern polycyclic. quartet to reach out into new terrains not always accessible under the constraints of the traditional We step out, composer-performer relationship. Perfectly we dream inside, staged in the vast Bates Mill Blending Shed, Nikel we close our eyes forever. invite you to let go, be euphoric and party. The switch inside Please note: This performance contains flashing an origin of supergenes. lights organism’s eyes all flashing © Markus Sepperer Nikel you sing aloud all covered too Alexander Schubert (Germany, 1979) Supramodal in wreckage of resemblance. Parser UK PREMIERE (2015) 60’ you love internally blood corals The airstream has a blossom faint, we order randomly. stoned curtains 1) n4000 a sea rose crash and pauses too: blazing stars 2) White Rooms wait; dark eyes, your upper lip all glissing 3) Dark Eyes beauty passes by in standstill. draw blood, the idea of us kissing 4) Rolling Shutter still frame, the sound of balloons hissing Alternate occurrence , freeze frame, This one-hour piece examines different aspects entering the wasteland, rolling shutter, down is the only way out of ecstatic ‘letting-go’ episodes through supramodal deadend. rotate blades, just a few more frames multi-sensory scenarios comparable to those n400 emptiness, reread the passage until the curfew experienced at extended techno events. It deals crushing bones, k-hole stutter © Alexander Schubert with both losing one’s self in what is at times no less. enter razors an overwhelming audiovisual experience and, cutoff lovers Produced by hcmf// supported by Goethe-Institut contrastingly, at times an almost ‘frozen in time’ you sigh digitally standing in the clearing London / standstill environment. These settings intend to you hope with your body shadows disappearing reflect different psychological states rather than erasing 104 INFORMATION INFORMATION 105 Buying Your Tickets Information

Please note: online discounts are available To Book Your Tickets Accessibility on a limited number of tickets and are Online: www.hcmf.co.uk This brochure and our separate Access Leaflet are only available until Friday 29 September at Phone: +44 (0)1484 430528 Monday–Saturday available in large print, braille, on audio cassette the latest (or earlier if limits are reached 10am–5pm. Minicom users can also phone this and computer disk. Call +44 (0)1484 472900 for before that date). Please book early to number. (no booking fee) copies. avoid disappointment. Post: hcmf// Box Office, Lawrence Batley Theatre, Queen’s Square, Queen Street, Huddersfield Concessionary rates are available for attendees Festival Saver HD1 2SP with a disability, plus one free ticket for a Admission to all events £420 In Person: Monday–Saturday 10am–5pm at companion if required. Support dogs are welcome. Online £340 Lawrence Batley Theatre Limited parking is available for attendees with a disability outside each venue and on the University Weekend 1 Saver Paying For Your Tickets campus. Call +44 (0)1484 472900 to reserve a (18 + 19 November) Cheque: payable to: Lawrence Batley Theatre place on campus. Admission to all events £140 Card: Visa, Mastercard, Solo, Switch or Delta (no Online £115 booking fee) Bursaries Available to assist students and those with limited Weekend 2 Saver Reservations can be held for four working days but means to attend the Festival. Call +44 (0)1484 (25 + 26 November) must be paid for one week before performances. 472900 or visit www.hcmf.co.uk for further details. Admission to all events £80 Online £70 Please check your tickets as soon as you receive Places to Stay them. The Box Office may be able to resell your Huddersfield Visitor Information Centre Group Discounts ticket (applies to sold-out performances only) for +44 (0)1484 223200; (tickets must be bought in one transaction) a charge of 50p per ticket. Tickets for resale must email Parties of ten or more – 10% discount. be returned to the Box Office at least three hours [email protected] before the performance. Education and Community Group Discounts For more information about Huddersfield visit (tickets must be bought in one transaction) Please Note www.hcmf.co.uk Parties of five or more – 10% discount. Latecomers to performances will not be admitted Groups of ten or more – 20% discount. until, and if, a suitable break can be found in the Travel Information programme. hcmf// will do everything reasonable National Rail Enquiries Discounts for 17 – 29 Year Olds to ensure the performance of the published +44 (0)8457 484950 www.nationalrail.co.uk A limited number of tickets available for all events programme but reserves the right to change at a price of £4 offering huge savings of up to £18 artists and programmes or cancel a concert in the National Express on normal ticket prices (tickets must be booked in event of circumstances beyond its control +44 (0)871 781 8178 www.nationalexpress.com advance and will not be available on the door) West Yorkshire trains and buses Concessions Metroline +44 (0)113 245 7676 www.wymetro.com Students, under 17s, senior citizens, disabled, First Huddersfield those claiming unemployment or supplementary +44 (0)1484 426313 www.firstgroup.com benefits and Kirklees Passport holders. West Yorkshire Journey Planner Proof of eligibility is required – please present the www.metrojourneyplanner.info relevant document at the Box Office. Get involved with hcmf// As a registered charity, your support makes a huge difference to hcmf// in our work to bring the very best of contemporary music and visual arts to our audiences in Huddersfield each year. As we look beyond this year’s 40th edition of the Festival, we remain firmly focused on our mission to support, commission and celebrate the creation and performance of new music by composers, artists and performers from the UK and beyond. Over 35% of the funds we raise goes directly to composers, artists and performers – and, during the 10 days of the Festival alone, hcmf// generates £1.2 million for the local economy each year.

What difference can I make? When you support hcmf// you are helping us to: // commission new works, from emerging artists as well as world-renowned composers // work in partnership with other festivals and venues to ensure repeat performances of new work // bring together artists, composers, performers and programmers to create innovative collaborations and creative partnerships // create opportunities for young children, students, community groups, older people, families, amateur musicians and composers to participate in and benefit from our award-winning Learning & Participation projects.

How to get involved There are lots of ways you can choose to support hcmf//: // donations of any amount can be made at any time through www.hcmf.co.uk // our new Membership Scheme will be launching soon, offering a choice of levels of support and benefits // become a corporate donor or sponsor // supporting our fundraising campaigns for specific projects // leaving a gift in your Will or giving an in-memory gift // volunteering as a Festival Steward

Visit hcmf.co.uk for more information, or to get in touch, give us a call on 01484 472900 or email [email protected] www.neos-music.com NEOS

musica viva COMMUNICATIONS György Ligeti Lontano Tristan Murail Le Désenchantement du Monde George Benjamin Palimpsests NEOS 11422 (1 SACD) Pierre-Laurent Aimard, piano Symphonieorchester des Bayerischen Rundfunks George Benjamin, conductor

Benjamin leads a superlative performance, one surprisingly visceral for a piece about distance. [...] This is some of Benjamin‘s most forthright writing, and it benefits from the larger scale and broader palette this orchestra offers … (David Allen, Gramophone November 2016)

Sonic Migrations Music of Laurie Altman

To see how we can help you deliver Laurie Altman, Randy Bauer, Clipper Erickson & Kuang-Hao Huang, piano your latest marketing, publishing Patrice Michaels, soprano or design project call: Matthias Mueller, clarinet & SABRe +44 (0) 161 638 5615 Andrew Rathbun, saxophone [email protected] John Bruce Yeh, clarinet Cavatina Duo Manhattan String Quartet

Laurie Altman’s musical compositions on Sonic

NEOS 11614–15 (2 CDs) Migrations represent, in some way, a passage: A passage through places (globally), history and events, words, sonic environments, people’s lives and their mutual emotions. The pieces are the by-product of a time span of some 25 years, encompassing diverse ensembles and sonic frameworks, far-flung influences, textures, and feelings.

Everyone who likes compositions with jazzy influences, but not just simple crossover, is in good hands with Laurie Altman. (Dirk Wieschollek, Fono Forum 06/2017)

NEOS AD HCMF 2017.indd 1 30.08.17 09:05 CONCERTS 2017–18

STRIKING AND CUTTING-EDGE NEW MUSIC Including 9 UK premieres by composers including Anna Clyne, Betsy Jolas, Thomas Larcher and Raymond Yiu, plus recent works by Sir Harrison Birtwistle, Mohammed Fairouz and Poul Ruders.

TOTAL IMMERSION COMPOSER DAYS Full days of concerts, films and discovery exploring the lives and work of 3 composers.

JULIAN ESA-PEKKA LEONARD ANDERSON SALONEN BERNSTEIN SATURDAY 21 OCTOBER SUNDAY 10 DECEMBER SATURDAY 27 JANUARY

BOOK NOW 020 7638 8891 Visit for full details barbican.org.uk bbc.co.uk/symphonyorchestra COMPOSE YOUR Work with a vibrant teaching team headed up by Michael Finnissy, on Masters and PhD composition programmes that will stretch FUTURE and challenge you to produce your best work. Portfolios might include concert pieces, interdisciplinary work, or a film or videogame showreel. You will have opportunities to participate in at least two workshops each year with leading musicians such as Juliet Fraser, Mark Knoop, Oliver Coates, Calefax and Ensemble Nikel.

For more information contact [email protected] Bethany Stenning, winner of 2017 Hazel Muras-Osborn @sotoncomp University of Southampton Composition Prize Birmingham Contemporary FOR CURIOUS LISTENERS NEWS OPINIONS PLAYLISTS PODCASTS EVENTS Music Group

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BE MOVED NEW WORKS BY RICORDI LONDON RICORDI COMPOSERS @ HCMF// 2017

Graham Fitkin Dai Fujikura Highlights of the 2017/18 Season at Southbank Centre’s Royal Festival Hall Recorder Concerto Sawasawa WP: BBC NOW, Tecwyn Evans (cond), WP: Polish Radio Choir, Sophie Westbrooke (rec), 2017 Szymon Wyrzykowski (cond), 19.11., 3 pm JOSEPH MARX GERALD BARRY BRYCE DESSNER KRZYSZTOF An Autumn Organ Concerto* Concerto for PENDERECKI Joseph Phibbs Rolf Hind Symphony London premiere Two Pianos** Violin Concerto No. 2

Clarinet Concerto On what weft are woven the waters UK premiere 11 April 2018 World premiere (Metamorphosen)† 29 November 2017 13 April 2018 2 May 2018 WP: Philharmonia Orchestra, Edvard WP: [ensemble of 14 musicians], Gardner (cond), Mark van de Wiel (cl), 2017 Frederic Wake-Walker (dir), 19.11, 8 pm lpo.org.uk

Philip Venables Enno Poppe * Concert generously supported by Victoria Robey OBE Illusions Fleisch ** Commissioned by the London Philharmonic Orchestra, Borusan Culture Arts Centre & Orquestra Nacionales de España † Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme WP: London Sinfonietta, Richard Baker UK P: Ensemble Nikel, (cond), David Hoyle (per), 2017 25.11, 10 pm O N p C

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