Friday 15 – Sunday 24 November 2019

hcmf.co.uk Box Office 01484 430528 #hcmf2019 UK UK PREMIERE FESTIVAL DIARY W WORLD PREMIERE DATE NO EVENT TIME VENUE

Fri 15 Nov Exhibition Launch: Claudia Molitor W 4pm Market Gallery, Temporary Contemporary, Queensgate Market edges ensemble: Grapefruit 5pm Temporary Contemporary, Queensgate Market Pre-Concert Talk: Naomi Pinnock + Ann Cleare 6pm St Paul’s Hall 1 Sonar Quartett + Juliet Fraser W UK 7pm St Paul’s Hall 2 The Riot Ensemble: Ann Cleare Portrait UK 9.30pm Huddersfield Town Hall Hanna Hartman: Solo Works UK 11.15pm Bates Mill Photographic Studio Sat 16 Nov Mini Pop-Up Art School 10am - 12pm Temporary Contemporary Queensgate Market Meet the Composer: Hanna Hartman 11am Phipps Hall 3 Ellen Arkbro + Marcus Pal W 1pm St Paul’s Hall 4 Iced Bodies UK 4pm Bates Mill Blending Shed 5 The Riot Ensemble W UK 7pm St Paul’s Hall 6 Decay / Sofia Jernberg 9.45pm Bates Mill Photographic Studio Sun 17 Nov Meet the Composer: Heiner Goebbels 11am Phipps Hall 7 Norrbotten NEO UK 1pm St Paul’s Hall 8 Hanna Hartman: Hurricane Season W 5pm Bates Mill Photographic Studio 9 : The Practice Of Love 7pm Bates Mill Blending Shed 10 Heiner Goebbels + Gianni Gebbia 9pm St Paul’s Hall Isidore Isou: Juvenal Symphony No 4 UK 11pm Huddersfield Town Hall

Mon 18 Nov Launch Event: cageconcert 10am - 5pm Richard Steinitz Building Atrium Installation: Georgia Rodgers W 11am - 5pm SPIRAL Studio, Richard Steinitz Building Group Chat W 11.30am Richard Steinitz Building Atrium W 12pm Phipps Hall The Hermes Experiment 12.30pm St Paul’s Hall Heloise Tunstall-Behrens / Lia Su W 1.20pm Phipps Hall edges ensemble: Grapefruit 2pm Richard Steinitz Building Atrium Silvia Rosani W 2.30pm Temporary Contemporary, Queensgate Market GBSR Duo W 3.30pm Huddersfield Town Hall Lisa Robertson 4.15pm St Paul’s Hall Morton Feldman’s Music for Dance & Film 4.40pm St Paul’s Hall Sophie Cooper / Nicole Raymond W 5.30pm Phipps Hall Mariam Rezaei W 6.20pm Richard Steinitz Building Atrium The Free Musketeers W 7.10pm St Paul’s Hall Super Luminum 8.20pm Northern Quarter Hanna Hartman: Secret Security 9.30pm Bates Mill Blending Shed Thomas Ankersmit UK 10.15pm Bates Mill Blending Shed Craig Scott W 11pm Bates Mill Photographic Studio Dafne Vicente-Sandoval + Cat Lamb UK 11.30pm Bates Mill Photographic Studio Tue 19 Nov CeReNeM Guest Lecture: Cat Hope 12pm RS G/01, Richard Steinitz Building 11 Wet Ink 1 W UK 2pm Phipps Hall Common Objectives: Why Artist Collectives Matter 4pm Small Seeds 12 TEMKO + Slagwerk den Haag UK 7pm St Paul’s Hall 13 Nadah El Shazly 9pm Bates Mill Photographic Studio Hanna Hartman: Electroacoustic Works 10.30pm Richard Steinitz Building Atrium

Wed 20 Nov 14 Wet Ink 2 W UK 12pm Phipps Hall Experimental Singing with Peyee Chen 6pm Small Seeds 15 S4 W 7pm St Paul’s Hall Experimental Singing with Peyee Chen 7.10pm Small Seeds 16 Skogen W 9pm Bates Mill Blending Shed Nadia Ratsimandresy W UK 11pm Bates Mill Photographic Studio

Thu 21 Nov 17 James Oesi / Maya Fridman UK 12pm St Paul’s Hall Meet the Composer: 2pm RS G/01, Richard Steinitz Building 18 We Spoke UK 4pm Phipps Hall 19 Irmin Schmidt W 7pm St Paul’s Hall Reactive Flows W 9pm Bates Mill Blending Shed 20 Kelly Jayne Jones W 10.30pm Bates Mill Photographic Studio Fri 22 Nov Meet the Composer: Luigi Archetti 10am Phipps Hall 21 Grand Chromatic Fantasy (Symphony for 3 Pianos) UK 12pm St Paul’s Hall Luigi Archetti: NULL (Parts 1-4) UK 2pm Bates Mill Photographic Studio 22 Ensemble Contrechamps UK 7pm St Paul’s Hall Luigi Archetti: NULL (Parts 5-7) UK 9pm Bates Mill Photographic Studio Sat 23 Nov Music at Play: Tiny Sound Zones (Session 1) 10am Heritage Quay Music at Play: Tiny Sound Zones (Session 2) 11am Heritage Quay Frank Denyer: Some Sounds are Gates 12pm Phipps Hall 23 The Arsenal of Unlived Things UK 3pm Lawrence Batley Theatre 24 The Fish that became the Sun (Songs of the Dispossessed) W 5pm Huddersfield Town Hall Pre-Concert Talk: Georg Friedrich Haas 7.15pm St Paul’s Hall 25 : Georg Friedrich Haas W 7.30pm St Paul’s Hall 26 hcmf// mixtape 10pm Bates Mill Blending Shed Sun 24 Nov 27 Lisa Ullén 12pm Phipps Hall : Living Within Sound 2pm Bates Mill Photographic Studio 28 Quatuor Bozzini + Ensemble Dedalus + Peyee Chen W 4pm St Paul’s Hall Pre-Concert Talk: 6pm Bates Mill Photographic Studio 29 Evan Parker @ 75 7pm Bates Mill Blending Shed Venue Key BMBS Bates Mill Blending Shed LBT Lawrence Batley Theatre RS Richard Steinitz Building (Phipps Hall, Atrium & RSG/01) BMPS Bates Mill Photographic Studio NQ Northern Quarter SPH St Paul’s Hall E Epicure Bar & Kitchen (hcmf// info desk) OB Oastler Building SS Small Seeds HQ Heritage Quay QM Queensgate Market TH Town Hall

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QM NQ CONTENTS Funders

Page 05 Director’s Welcome FESTIVAL PARTNERS Page 06 University of Huddersfield Page 06 Kirklees Council Page 06 Arts Council England Project Funders Page 07 British Council Page 07 BBC Radio 3 Page 08 Dutch Performing Arts Page 08 Swedish focus at hcmf// Page 09 Goethe-Institut London Page 09 Contemporary Music Centre, Ireland PROGRAMME Page 10 Exhibitions & Interventions Page 12 Talks Page 16 Profile: Hanna Hartman

TRINITY LABAN CONSERVATOIRE Page 18 Friday 15 November OF MUSIC & DANCE BRAND GUIDELINES Page 19 Profile: Naomi Pinnock

Trusts and Foundations Page 21 Profile: Ann Cleare Page 23 Saturday 16 November Page 26 Profile: Charlotte Moorman Page 29 Profile: Claudia Molitor In partnership with Media Partner Broadcast Partner Page 31 Sunday 17 November Page 40 Monday 18 November Page 48 Learning & Participation Festival Partners Page 50 Tuesday 19 November Page 55 Wednesday 20 November Page 56 Profile: John Butcher Page 61 Thursday 21 November Page 63 Profile: Irmin Schmidt Page 69 Friday 22 November Page 74 Profile: Mayke Nas Page 76 Saturday 23 November Page 83 Sunday 24 November

The Festival also gratefully acknowledges support from hcmf// members Professor Mick Peake Cover image: screen print by Hanna Hartman, with special thanks to Frans Gillberg nd PATRONS The Festival would especially like to thank the Welcome to the 42 Huddersfield Sir Ernest Hall OBE DL following for their service and support: Contemporary Music Festival! Sir CBE Nigel & Richard Bates, Bob Cryan, Kath Davies, Kate Ellis, Barry Hynes, Jacqui Gedman, BOARD OF MANAGEMENT Adele Poppleton, The Lawrence Batley Theatre, Professor Mick Peake (Chair) Huddersfield Town Hall, The Cedar Court Hotel Professor Michael Clarke and The Briar Court Hotel. Andrew Kurowski Martel Ollerenshaw HUDDERSFIELD CONTEMPORARY Baroness Kath Pinnock MUSIC FESTIVAL Professor Thomas Schmidt Room RS1/10 University of Huddersfield FESTIVAL TEAM West Yorkshire HD1 3DH UK Graham McKenzie Tel: +44 (0) 1484 472900 Zoggel © Robbie van Artistic Director and Chief Executive Email: [email protected] Roisin Hughes www.hcmf.co.uk n building the programme around the practice of Swedish composer Hanna Hartman, hcmf// 2019 Executive Producer Charity registration number 514614 I features subtle, low-key innovations from many of modern music’s most daring artists. Tamsyn Webley Festival Manager PROGRAMME BOOK PRODUCTION In a seemingly un-nuanced world that celebrates sensationalism and thrives on binary opposition, a Abi Mitchell Peter Davin Designer more pluralistic approach to the experience of what it is to be human is welcome. Learning & Participation Officer / Marcus Netherwood Advertising Sales The overlooked, the unheard, those are the voices to listen to if we want to build a more equal society. Volunteer Coordinator Muso Communications Ltd Robin Smith Tel: + 44 [0] 161 638 5615 After all, what is a festival if not a celebration of the multiplicity of voices and approaches to sound, art, Marketing & Development Officer www.musocommunications.com and music. Sophie Cooper Printed by Northend Young Curators’ Programme Coordinator Our thanks go to our core partners and funders for their continued support – Arts Council England, Rosie Clements Kirklees Council and the University of Huddersfield. The international programme is supported by STIM, Front of House Manager Export Music Sweden, Kultur i Vast, Musik i Syd, the Swiss Arts Council Pro Helvetia, Dutch Performing Chris Ruffoni Arts and Goethe-Institut London. A special thank you also to the PRS Foundation for their support of Front of House Manager our Talent Development Programme, British Council London, and Contemporary Music Centre Ireland, Sheralyn Bonner Trinity College Dublin and Offaly County Council. Marketing Director & Regional PR Manager As always, we are grateful to the fantastic hcmf// audience who continue to turn out in large numbers (Bonner & Hindley) to support the Festival. We look forward to welcoming you all to Huddersfield for an incredible 10 days of Nick Thompson wonderful music from around the world. Digital & Social Media Manager (Bonner & Hindley) Faith Wilson National PR Manager Adam Long Production Manager (Tim Garbutt Events) Graham McKenzie Artistic Director & Chief Executive 6 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 7

University of Huddersfield At the time of hcmf// 2019, we will have launched our On behalf of everyone at Arts Council England, I wish BBC Radio 3 new music brand alongside a new website for Kirklees. hcmf// every success with its 42nd edition and hope hcmf//, now into its fifth decade, has from its that everyone attending enjoys the fantastic array of The partnership between BBC Radio 3 and hcmf// foundation enjoyed a symbiotic relationship with the In the summer we announced the creation of a new music and performances on offer. brings new and to listeners University of Huddersfield – a relationship which Sound Space, as part of the Huddersfield Blueprint, across the UK and around the world. It’s one of makes it unique amongst leading new music festivals our 10-year ambition for the town. The Sound Space Claire Mera-Nelson the cornerstones of the station’s year, giving our and enables a close interaction between outstanding will be an environment for, about and with sound. It Director, Music, Arts Council England listeners an intensive survey of the finest international creative research and cutting-edge creative practice. will be a place to enjoy the richness and diversity of performers and new work. music, inclusive of all genres, all communities, in all Last year, the Creative Arts Building – one of the hubs British Council of hcmf// – was renamed after Richard Steinitz, the forms. A space where you will be invited to be part This year we will bring that very special hcmf// founder of the festival and longtime Head of Music, of a community and will be a safe space for all to atmosphere to audiences at home through over 10 I’m delighted that the British Council this year quite literally setting this relationship in stone. This experiment and learn. hours of coverage from the festival. continues to encourage and support international relationship between the two enterprises continues to delegates to attend the festival. We know how many flourish and grow, with the Arts Council England and With this as our vision and ambition, we are pleased to At Radio 3 we aim not just to reflect what’s happening friendships and collaborations have started here, and Kirklees Council as two crucial partners, underscoring be working in partnership with hcmf// to achieve this musically and culturally in the UK and beyond, but to what a deep impact being at the festival has made on our commitment to the sustained excellence of the for the long term sustainability of the festival and for work closely with composers and artists in order to delegates from around the globe. The combination festival and to arts and culture in the region more the cultural life of the town. help generate it. As the most significant commissioner of the programme, the music, the composers, the generally. of new music in the UK, we’ve historically musicians, promoters, journalists, broadcasters Councillor Rob Walker commissioned many works with hcmf//. This year we and music lovers alongside the unique charm of The School of Music, Humanities and Media, with its Portfolio Holder for Culture & Environment, Kirklees are thrilled that we’ve been able to jointly commission Huddersfield and its people is hard to beat. Performing Arts department ranked 25th globally by Council Linke Hand eine Apostels by Evan Johnson, to be Over the last 12 years we have seen the festival the QS World University Rankings in 2019, is proud of performed by The Riot Ensemble and broadcast later transformed and its international reach, and by its world-leading Centre for Research in New Music on Radio 3. Arts Council England extension that of UK music and musicians, increase (CeReNeM) which attracts some of the best academics massively. Together we have welcomed guests from and students worldwide. Its technical infrastructure Radio 3 at hcmf// 2019 begins with a live broadcast The Arts Council is proud to invest in hcmf//, which around 40 countries, from Austria to , underpins many aspects of the festival, with staff and of hcmf// mixtape on Saturday 23 November, and is one of our regularly funded National Portfolio Malta to Mexico. It is from early conversations in students contributing substantially to the programme. throughout December our New Music Show will Organisations for 2018-22 and has also received our Huddersfield that new opportunities for hcmf// to As Dean of the School, I greatly look forward to the feature further performances recorded at this year’s Catalyst: Evolve funding to enable it to develop its champion UK new music have been found worldwide, UK’s foremost contemporary music festival as the festival. Highlights include the World Premiere of philanthropic work and strengthen its fundraising most recently in the Middle East and at Den Bosch’s high point in the cultural year of the University and Naomi Pinnock’s I am, I am and the UK Premiere of ability. November Music earlier this month. the region. It provides our students, staff and the Heinz Hollinger’s Increschantüm, both performed by community with unparalleled opportunities to engage the Sonar Quartett and the UK Premiere of Mikheil hcmf// continues to attract artists, audiences and At the heart of our work at the British Council is with, participate in, and contribute to cutting-edge Shugliashvili’s Grand Chromatic Fantasy for three delegates from home and abroad and its work two-way communication, initiating dialogue and creativities, technologies and thought. pianos. with international partners should be particularly seeding long-term relationships. It pleases me now celebrated. This year’s exciting and diverse with the benefit of hindsight to see many relationships Professor Thomas Schmidt hcmf// is a vital contributor to Radio 3’s programming, programme showcases established and emerging consolidated. It pleases me even more to see how Dean of the School of Music, Humanities and Media, and you can find BBC Radio 3’s coverage from hcmf// artists and composers from the across the globe, many are in the pipeline. Long may our joint ambition University of Huddersfield on BBC Sounds. Have a good festival. including the UK, , Georgia and Egypt. continue: to share the work of our inspirational artists globally, and to be inspired by the international new Alan Davey We are delighted that hcmf// has signed up to the music community. Our combined voices are powerful. Controller, BBC Radio 3 Kirklees Council PRS Foundation Keychange Initiative through which And thank you hcmf// for providing this wonderful it has made a commitment to achieving a gender platform. Kirklees Council, like hcmf//, is ambitious about balance across the festival by 2022. hcmf// has music and in last year’s brochure, we announced our also undertaken to engage with new audiences, for Cathy Graham plans for a Year of Music in 2023. A lot has happened example through hcmf// shorts on 18 November, Director Music, British Council since then, from the ongoing work of the Music which will enable more people to experience Development Group taking forward the music agenda, their festival offering, or this year’s Learning & to the establishment of a number of working groups Participation programme which includes experimental around festivals, venues, education, and classical singing workshops for women and gender minority music. participants. 8 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 9

Dutch Performing Arts Swedish focus at hcmf// Goethe-Institut London Contemporary Music Centre, Ireland In 2018 we announced a new three-year partnership STIM’s Council for the Promotion of New Music, The Goethe-Institut is delighted to be an ongoing between hcmf// and Dutch Performing Arts. together with Export Music Sweden, Kultur i Väst supporter of the fabulous endeavor that Graham The Contemporary Music Centre, Ireland documents, After a very successful first edition last year, Dutch and Musik i Syd, are looking forward to another McKenzie and his team are undertaking annually to develops and promotes contemporary music from Performing Arts is very proud to present yet another year of focus on Swedish music and musicians at realise hcmf//. The festival strives to encourage a the island of Ireland through creative partnerships in exciting Dutch programme with leading new Huddersfield Contemporary Music Festival. broad scale of international cultural exchange and the Ireland and abroad, introducing new audiences to new music performers, composers and Dutch-based Goethe-Institut is very pleased to support hcmf// as a composers, new directions and new horizons in new international projects at hcmf//. The third year of the Swedish focus at hcmf// will partner sharing the same mission. music from Ireland. present a rich offering of Swedish music, composers This year composer and instrument builder Aart and musicians. This year’s Composer in Residence The fruitful cooperation of the Goethe-Institut and CMC is honoured to be collaborating with hcmf// and Strootman turns his musical objects into political will be Hanna Hartman. Among her works being hcmf// started 12 years ago, and over time numerous celebrating CMC-represented composer Ann Cleare’s metaphor with the UK Premiere of his piece performed during the festival is the world premiere of composers, musicians and multidisciplinary artists portrait concert (performed by The Riot Ensemble) in W.A.L.L, performed by TEMKO and Slagwerk Den Hurricane Season, commissioned by hcmf//, as well from have found their way to the North of association with Trinity College Dublin’s Music and Haag. Norrbotten NEO (from Sweden) brings the as a preview of her new work HEAT. England. Not only has hcmf// allowed them to connect Media Technology programme and with support to the piece Blackbird Song by Kate Moore, and Thomas with international colleagues and create invaluable composer from Offaly County Council Arts Office. Ankersmit presents Perceptual Geography, based on Another World Premiere will be a site-specific organ lasting connections to fellow artists, but at a time and honouring the legacy of sound artist Maryanne and synthesis work by Ellen Arkbro and sound artist when society has become more divided and inward- New music from Ireland is no stranger to hcmf//, with Amacher (on the 10th anniversary of her death). Marcus Pal. looking, the festival’s focus on events and participatory works by composers from Ireland featured in 18 of the programmes enables a meaningful exchange with past 20 festivals and Ireland’s Crash Ensemble and Double bassist James Oesi and cellist Maya Fridman The Riot Ensemble’s performance of Lisa Streich’s local communities which has become increasingly Quiet Music Ensemble both performing at previous perform pieces by Maxim Shalygin and Boris Bezemer. Zucker is one of several UK Premieres during the important. editions of the festival. Elisabeth Smalt and Joel Ryan take part in hcmf// week. Works by Malin Bång, Per Mårtensson, and mixtape, a returning event where hcmf// brings Magnus Granberg will also have their UK Premieres. At first glance, many might not consider Contemporary music from Ireland makes a significant together a host of vital artists for a live broadcast contemporary, new and experimental music as an as contribution to cultural life on the island and on the on BBC Radio 3’s New Music Show. And last but not The spectacular vocal virtuoso, Sofia Jernberg, will easily accessible art form as perhaps other cultural international stage. CMC’s presence at hcmf// 2019 least, with The Arsenal of Unlived Things, Mayke Nas perform a solo voice improvisation, and experimental endeavours, yet hcmf// succeeds in proving otherwise builds on the international launch of CMC’s new created a large-scale opera, expanding on the thought pianist/improviser/composer Lisa Ullén will be playing year after year. From a more abstract point of view the music:new Ireland three at the Embassy of Ireland in experiments and mind games that have marked her her own piano works. festival aims to communicate a notion of freedom, London and Showcase in Café OTO in 2018, alongside career, performed by Nieuw Amsterdams Peil. reverberating through the performances at hcmf//. CMC’s NMDX International Delegate Programme, in Also among the Swedish musicians and ensembles partnership with Ireland’s annual New Music Dublin A big thanks to hcmf// for their continuing enthusiasm that will be heard during the festival are the Skogen We congratulate Artistic Director Graham McKenzie festival. and commitment, and also to Gaudeamus and ensemble, playing a new work by Magnus Granberg, and his team on once again curating an outstanding November Music for co-commissioning several and the contemporary music ensemble Norrbotten programme and on continuously offering these For 2020 and beyond, CMC and hcmf// aim to deepen pieces. NEO, performing works by Malin Bång and Marcus cherished experiences and moments of exchange. our partnership, amplifying the vibrant and diverse Fjellström. landscape of contemporary music from Ireland. Aad Hogervorst Melanie Bono Programme Director, Dutch Performing Arts Voilà, isn’t that a full smörgåsbord? Head of Culture Department Northwestern Europe, Evonne Ferguson Goethe-Institut London Director, Contemporary Music Centre, Ireland Mattias Franzén Director of Operations, STIM Council for Promotion of New Music 10 EXHIBITIONS & INTERVENTIONS EXHIBITIONS & INTERVENTIONS 11 Exhibition: edges ensemble: Installation: Claudia Molitor Grapefruit Georgia Rodgers

Market Gallery, Temporary Contemporary Friday 15 November SPIRAL Studio, Richard Steinitz Building (Queensgate Market) Temporary Contemporary (2nd floor), University of Huddersfield (Queensgate Market), 5pm Opening Times: Monday 18 November, 11am – 5pm Saturday 16 November – Sunday 24 Monday 18 November November, 10am – 5pm Richard Steinitz Building Atrium, 2pm Georgia Rodgers is one of five artists chosen to participate in the Huddersfield Professional Launch Event: In 1964, Yoko Ono published Grapefruit, a Friday 15 November, 4pm Development Programme for Female Composers collection of conceptual and often ludicrous of Electronic Music. Through this project, she instructions for performers to make art with. Claudia Molitor (UK/Germany, 1974): had the unparalleled opportunity to work with the Written in absent-minded verses of poetry, the Auricularis Superior (2017) Huddersfield Immersive Sound System (HISS), book’s pages say things like ‘Carry a bag of peas. Exquisite Corpse (2010) using its monolithic network of 48 channels and 66 Leave a pea wherever you go’. Ono realised these speakers to expand the scope of her music. No-where land (2019) WORLD PREMIERE surrealist passing thoughts as a sort of incidental Now only frost exists (2019) WORLD PREMIERE theatre, combining mundanity and absurdity until Rodgers’ music focuses on what she calls they meant the same thing. At hcmf// 2019, the Composer Claudia Molitor creates music that ‘locatedness’. Describing one of her new works, University of Huddersfield’s edges ensemble reflects the space around it, giving us reason to the London composer used the word to capture will perform choice pages from Grapefruit as notice and relate to the environments we exist in. our geographical and environmental relationship interludes between concerts, weaving a surreal She treats spaces as if they exist, and talks about with music, how we are able – and sometimes dimension into festival proceedings. Along with architecture as if it were people. Throughout unable – to put a pin on what we’re hearing. An a launch event on the festival’s opening day, and hcmf// 2019, a selection of Molitor’s music artist who focuses her energies on perspective a special performance at hcmf// shorts, they’ll and film works will be installed at Temporary and acoustic design, Rodgers’ music takes be making covert appearances around festival Contemporary’s unique Market Gallery in space seriously, considering the conditions of an venues. They’ll blend into the environment just Queensgate Market. This will include Auricularis environment to be as significant a detail as the enough to keep the audience at a level of constant Superior, a ‘meditation on the activity of listening’, timbre of an instrument. Presented as a day- participation – performing Ono’s off-the-wall art originally commissioned by hcmf// as part of Field long loop, her work for the HISS is a patient and as if it were a self-help guide for going about your Studies 2017: Listening After Pauline Oliveros. thoughtful appraisal of these ideas. daily business. Molitor will also exhibit a new series of staunchly political works that map out the mind-numbing Please note: space in the SPIRAL Studio is limited Produced by hcmf// normalisation of xenophobia, misogyny and anti- to 12 people at a time environmentalism spreading across the West. Co-produced by hcmf//, Huddersfield Immersive Sound System (HISS) & the Centre for Research in New Music Produced by hcmf// supported by Goethe-Institut (CeReNeM) London now only frost exists © Claudia Molitor exists frost only now 12 TALKS TALKS 13 hcmf// hosts a series of free talks, Tuesday 19 // November discussions and lectures throughout the festival, featuring some of the CeReNem Guest Lecture: Cat Hope world’s most distinguished artists. RS G/01, Richard Steinitz Building (Ground Floor), University of Huddersfield, 12pm Friday 15 // November Australian composer Cat Hope discusses the Pre-Concert Talk: Naomi Pinnock & evolution of her work with the Decibel ScorePlayer, Ann Cleare a unique music notation programme that St Paul’s Hall, 6pm produces animated scores presented across tablet computers. Her talk culminates in a presentation Naomi Pinnock and Ann Cleare are the focus of of excerpts from her opera, Speechless, premiered hcmf// 2019’s opening night. Ahead of Sonar at the Perth International Arts Festival earlier this Quartett’s performance of Pinnock’s new piece, year. With an innovative approach to timbre and they discuss their approach to composing, drawing dynamics, and a fluid, pulseless sense of rhythm, on Pinnock’s attempt to connect music to memory Hope has been called ‘one of Australia’s most and Cleare’s interest in creating interactive music exciting individual creative voices’. spaces. This talk is presented by the Centre for Research in Produced by hcmf// New Music (CeReNeM) as part of its ’Speculations in Sound’ international research network Saturday 16 // November Tuesday 19 // November Meet the Composer: Hanna Hartman Phipps Hall, 11am Common Objectives: Why Artist Collectives Matter We sit down to talk shop with hcmf// 2019 Small Seeds, 4pm Composer in Residence Hanna Hartman. Renowned for her ability to blow up the scale of the In this panel discussion, a selection of artist minor and miniature, Hartman’s concerts at the collectives consider the benefits of co-operative festival focus on found objects and manipulated and grassroots structures, discussing the vital tools. need for resource-sharing and network-building. The panel includes members from the sound Produced by hcmf// supported by STIM’s Council for artist network Konst Musik Strar (Art Music the Promotion of Swedish Music, Export Music Sweden, Sisters), for women and non-binary artists, Sonic Kultur i Vast & Musik i Syd Cyberfeminisms, and the Drone Sunday 17 // November Society. Meet the Composer: Heiner Goebbels Please note: this venue has a wheelchair Phipps Hall, 11am accessible entrance, but does not have wheelchair accessible toilets A composer and director whose name is synonymous with contemporary music, Heiner Produced by hcmf// supported by STIM’s Council for Goebbels is also an esteemed pianist and the Promotion of Swedish Music, Export Music Sweden, improviser. In a late-night concert at St Paul’s Kultur i Vast & Musik i Syd Hall, he will deliver a rare free-form concert with Gianni Gebbia. On the morning of the concert, he discusses both ends of his musical spectrum. Heiner Goebbels © Wonge Bergman Heiner Goebbels © Wonge Produced by hcmf// supported by Goethe-Institut London

14 TALKS TALKS 15

Thursday 21 // November Saturday 23 // November Meet the Composer: Irmin Schmidt Pre-Concert Talk: Georg RS G/01, Richard Steinitz Building (Ground Floor), Friedrich Haas University of Huddersfield, 2pm St Paul’s Hall, 7.15pm

Irmin Schmidt was one of the founding members At hcmf// 2019, London Sinfonietta unveils a of Can, the German band that rerouted rock music. new World Premiere from Austrian composer A composer in his own right, he will perform Georg Friedrich Haas. Ahead of the concert, Haas works from his 18th solo , 5 Klavierstücke, discusses the influence of Riley – the abstract at hcmf// 2019. Before his performance, he painter best known for pioneering optical art – on discusses the seismic shifts that have marked his his work, as well as the intrinsic connections career. between her paintings and his music.

Produced by hcmf// supported by Goethe-Institut Produced by hcmf// London

Sunday 24 // November Friday 22 // November Pre-Concert Talk: Evan Parker Meet the Composer: Luigi Archetti Bates Mill Photographic Studio, 6pm Phipps Hall, 10am Legendary saxophonist Evan Parker will ring in his NULL is a seven-part drone saga by Swiss sound 75th birthday by ringing out hcmf// 2019, playing designer and composer Luigi Archetti. Composed as part of an improvised ensemble of friends almost entirely for processed guitar, it soundtracks and collaborators. Ahead of the festival’s closing the human sensation of ‘anticipation’, describing concert, Artistic Director Graham McKenzie talks our wasted time with static sound and overlapping to Parker about his musical legacy – and his ambience. Ahead of two long-form concerts current crop of experiments. featuring the music of NULL, Archetti discusses the project’s philosophy and process. Produced by hcmf//

Produced by hcmf// supported by the Swiss Arts Council Pro Helvetia

Saturday 23 // November Frank Denyer: Some Sounds Are Gates Phipps Hall, 12pm

In Some Sounds Are Gates, director Suhail Merchant explores Frank Denyer’s attempt to bring music closer to life. Along with a screening of excerpts from the film, Frank Denyer will take part in a Q&A session.

Produced by hcmf//

Konst Musik Strar © Klara Andersson © Klara Musik Strar Konst Some Sounds are Gates is commissioned by Octandre Ensemble 16 PROFILE PROFILE 17 Hanna Hartman You can do anything and call it music. For many, piece in which Hartman combines traditional it’s a problem – their qualm with the music they’re instrumentation with amplified objects and hearing. Maybe it sounds like nothing; maybe electronics, delicately conjuring one of her newly it hasn’t become musical yet. But for Hanna invented environments. Having also performed Hartman, it’s the greatest and most important the piece in her ensemble Curious Chamber truth in the world. One of Sweden’s most exciting Players, fellow Swedish found sound artist Malin composers, Hartman’s resourceful process is Bång described it as ‘intricate’ and ‘carefully about alighting the soundless, composing the constructed’, praising the feeling of involvement non-musical. It’s about hearing the sound of an one gets from being in the same room as object and trusting in it. Doing it her way, Hartman Hartman’s music. ‘I have performed Borderlines reveals the music of everything in our lives. many times myself’, she said, ‘and even playing I have time to really enjoy listening to the sounds at Hartman’s work begins with collection. Making the same time’. use of recorded sound and found objects, she is a constant and devoted listener: over the last 30 The details are satisfying. The granular level on years, she has been digging up sound from the which Hartman is designing her pieces makes for environments around her, making recordings of immersive listening experiences, the kind that specific spaces and collecting objects that might involve their listener on the ground. Mimitabu’s later become music. She sees a setting as source; performance of THE BOILER ROOM at hcmf// she calls upon things to become instrumentation. 2018 was yet another example of her sounds Along with her performance-oriented work, working in visceral overdrive, the ensemble she has written music for radio broadcast and performing a slow-burning textural hum, designed sound sculptures, often creating pieces occasionally exchanging minute flourishes of that feel more like dioramas than music – as if electronic sound. Hartman’s involved approach to offering up her own bespoke ecosystems. her arrangements – and her brilliant management of the space those arrangements lived within – While working with her on a performance, made THE BOILER ROOM an absolutely beguiling Distractfold violinist Linda Jankowska described experience. visiting Hartman’s house, talking about it in the same way we might talk about listening to Explaining Hartman’s 2004 composition one of her pieces – ‘a micro world of objects Longitude, a recording of sailing boat journeys and materials she has found’. It’s not random, broadcast on Sveriges Radio, textura wrote that though: Hartman holds on to these objects in the sounds were ‘simultaneously referencing their the extremely likely off-chance that she can original identity’ while ‘assuming newly configured combine them into an intricate piece of music. meanings’. It’s perhaps the most succinct At hcmf// 2017, Swedish ensemble We Spoke description of Hartman’s work out there, showing performed Hartman’s Shadow Boxing, a rigorously off the ways in which she is able to describe a choreographed piece in which daisy-chains of sound’s origin while completely disconnecting it. air bags became tools of percussion. Within At first take, Hartman’s approach is naturalistic Hartman’s collector-composer approach there is and archaeological, a mere summary of what method and purpose, an attempt at restructuring you can go out and listen to in the world. By the the context of sound into something new. time her music is ready to be heard, though, it’s something else entirely – existing in what she More important than having the materials is rightly calls ‘new constellations’.

knowing how they should interact. In 2009, Hanna Hartman © Helga Brekkan Distractfold brought Borderlines to hcmf//, a Profile by Robin Smith 18 EVENTS Friday 15 // November PROFILE 19

1 Sonar Quartett + Naomi Pinnock and performer interpretation. Pinnock is just the artist for that: she open spaces for musicians, just Juliet Fraser as her influences did for her. Pinnock’s personal hat is music, if not how we feel about it? relationship with the works of Woolf and Boast St Paul’s Hall, 7pm This is Naomi Pinnock’s question. The West W informs the piece, much in the way the paintings Yorkshire composer has spent her career creating of Agnes Martin did for her 2015 work Lines Tickets £18 (£15 concession / early bird) peculiar and intense music best understood and Spaces. Back then, she described how she through ourselves. Unlike composers who only ‘kept going back’ to Canadian Martin’s paintings, Sonar Quartett: Composed in 2014, Heinz Holliger’s focus on the essence of sound, the thing on its attracted to their ‘exquisitely simple’ nature. She Susanne Zapf violin Increschantüm continues the composer and own terms, Pinnock thinks of sound as something was pulled to them – what else is there to it? Wojciech Garbowski violin oboist’s commitment to creating music of that maps out experience, that finds its way into Nikolaus Schlierf viola expressive poise, ascribing the same emotional the lives of listeners: ‘it’s not that sounds of and in Pinnock was struck by how Martin’s art could Cosima Gerhardt cello weight to each passing second of sound. Playing themselves don’t interest me, but that I’m more evoke so much from so little – as she put it, in with the rapid-fire technique changes and interested in the effect of them within a gesture – ‘how much is possible from lines and spaces’. Juliet Fraser soprano momentary intervals that have become staples which is why I will always remember more about She reflected these miniature expressions in of his career, his new music reinvents music as a how something made me feel rather than any her composition, meandering through a loose Sonar Quartett dramatic arena, one of emotional outbursts and interesting technical aspects.’ It’s not what sound spectrum of overt ‘bold’ chords, and others more Lunik I UK PREMIERE (2019) 10’ tempered silences. is, but what it does. ‘faint’. The piece sounded like a chance meeting of stray tones, but it occasionally coalesced into a Naomi Pinnock (UK, 1979) Ahead of playing Pinnock and Holliger, Sonar Across genres, it is perhaps the most obvious dramatic fanfare of trembling trills, appearing as I am, I am WORLD PREMIERE (2019) 20’ Quartett warm up the festival with Lunik1, their way we relate to music: we can describe the fragmented shards of drama. own improvisational collaboration. It emerged in visceral hold it has over us, the way it attaches Heinz Holliger (Switzerland, 1939) rehearsal and became a group staple. Playing with itself to the moment – or even how it makes the Having commissioned it, pianist Richard Uttley Increschantüm UK PREMIERE (2014) 20’ ideas of expectation and assumption, it tests the moment. Writing music around remembering described Pinnock’s work as ‘spacious and ways in which the Quartett anticipate music – how and misremembering, Pinnock seems to suggestive… dreaming, yet utterly precise in its German quartet Sonar meet renowned soprano they induct from the past to make the music of recognise something special in these kind of language’. It is the perfect summary of Pinnock’s Juliet Fraser in a concert of ambiguous meaning their future. unknown musical experiences. Unlike those who music: her abstract approach to sound is focused and definite feeling. Naomi Pinnock and Heinz are ‘interested in the sounds themselves’, her but fragmented, zooming its lens so close to the Holliger are artists bonded by their open-ended Produced by hcmf// supported by Goethe-Institut moments are harder to analyse, impossible to boil ‘core elements’ of sound that they dissolve into style – both of them leave definitive impressions London & the Swiss Arts Council Pro Helvetia; also down. But we can feel them. something more evocative. through sparse music, the kind that hovers over supported by hcmf// Benefactor Peter Bamfield its listener indefinitely. Rather than fill the space Pinnock’s new piece, I Am, I Am, opens up hcmf// I am, I am is commissioned by hcmf// The writers Pinnock has nodded to in her new completely, they open it up, giving each listener the 2019, putting the mysterious mark she’s left on the work are as playful with language – as interested chance to place themselves within the sounds. festival in recent years to the very fore. It explores Part of this concert will be broadcast in considering its visceral essence, beyond the ‘themes of absence and presence’. Pinnock by BBC Radio 3 on Saturday meaning it serves with, as she is with her own Pinnock’s new work – named I am, I am after a 30 November 2019 sums up the piece with a typically powerful sense music. Pinnock has noted that she uses texts in poem by writer Rachael Boast – is concerned of vagueness, and cites the visceral, feeling composition in a way that makes them ‘chopped with ‘absence and presence’. It makes use of writing of Virginia Woolf, as well as the poetry of up, magnified, distorted, and stretched out’. Words her mood-boarding approach to composition, Pre-Concert Talk Rachael Boast, as influences. This continues a are garbled until they have only remnants of their containing an ephemeral weave of sounds and long tradition of Pinnock referencing like-minded St Paul’s Hall, 6pm original function – lines of definition, and spaces silences, describing what we can perceive – and artists, those who have found fertile ground of ambiguity. In this fragile space, Pinnock wants also what we can’t. As ever, Pinnock draws between definition and ambiguity. This concert will be preceded by a talk with to remind us of the imperfectly unique ways we together tangible experiences and dream-like composers Ann Cleare and Naomi Pinnock. interpret, experience, and remember. Feeling phenomena, scattering notes as if to suggest the Paired with the German string quartet Sonar, Please see page 14 for details. comes to the front. world of invisibles that we punctuate with words Pinnock’s piece was written with soprano Juliet and actions. Fraser in mind – an artist who enjoys making the Profile by Robin Smith most of the grey area between artist intention 20 EVENTS Friday 15 // November PROFILE 21

2 The Riot Ensemble: Ann Cleare create parallel universes where life is altered by Ann Cleare Portrait force. It speaks to the give-and-take nature of her t may seem a little ironic that on winning the work – she guides the piece, but does not exert Huddersfield Town Hall, 9.30pm I 2019 Ernst von Siemens Composer Prize – and her will on it, interested in seeing what stories of becoming the first Irish musician, ever, to do so – nature develop from her organisation. Tickets £18 (£15 concession / early bird) Ann Cleare was described as ‘making music that begs the question: is it music at all?’. An artist Weaving elemental stories with human ones, The Riot Ensemble: fixed in particular spaces, musicians are as much who describes composing as ‘shaping a sound’, Cleare’s recent orchestral piece teeth of light, Richard Craig solo contrabass flute positions as they are performers. For her new her work has more to do with placing and locating, tongue of waves, is another nature story. It Mana Shibata oboe piece on magnetic fields, the Riot Ensemble will with building immersive settings for sound to be considers the changing histories of oceanography: Scott Lygate bass clarinet split into two, acting as symmetrical mirrors of experienced in. With the dimensions she gives it, ‘for centuries’, Cleare notes, ‘the ocean evoked Rosie Burton bassoon one another. Consummate shape-shifters, these Cleare’s music seems to suggest that composers a sense of wonderment and fear as a vast Anders Swane tuba musicians are the perfect group to play – and place aren’t the ones responsible for sound – they just unknown space – however, in more recent times, George Barton percussion – Ann Cleare’s music. put it on its course. technological and economic shifts have caused Petur Jonasson guitar new concerns and understandings.’ The piece Alicja Pilarczyk violin The Riot Ensemble is no stranger to tackling the Cleare’s compositions have contours; they have describes our changing relationship to the world, Sarah Saviet violin political: their latest challenge will be teeth of geography; sometimes they have their own tides. and how we have mingled its power with our own. Stephen Upshaw viola light, tongue of waves, a meditation by Cleare 2018’s Earth Waves does: the piece is reliant on As earth becomes a more precarious place for us Louise McMonagle cello on rising tides and dying oceans. Described as intricate placements of speakers and musicians, to inhabit, Cleare considers the relationships we Sarah Dacey soprano ‘sonic architecture’, it is an example of Cleare’s set up so that singers – circling the ring of the have with our natural histories. Aaron Holloway-Nahum conductor interest in creating music that moves, alive in our performance area – become ‘waves’, ripples of disturbed world. sound that wash around the played at Hearing these pieces, one gets an idea of Cleare’s Ann Cleare (Ireland, 1983) the centre of things. The diagram for the piece is work, but not the feel of it. Her music is best found Moon Tones (Installation) (2019) Ahead of the Riot Ensemble’s concert, there’s a simple and beautiful, a demonstration of Cleare’s on location, so the listener can experience the way on magnetic fields (2011/2012) 18’ chance to experience one of Cleare’s immersive ‘tactile’ music approach – to treat music as if it she has choreographed it. Like stage directions teeth of light, tongue of waves UK PREMIERE sound installations. Presented in the Huddersfield were a ceaseless flow, in need of articulation. in a movie script, a lot of her writing is hidden, as (2017/18) 10’ Town Hall foyer before the concert, Moon Tones much about layout as it is the notes played. Her eyam iv (pluto’s farthest moons) UK PREMIERE encourages the audience to tune into and explore Think about it this way, and you’ll be well equipped appearance at hcmf// 2019 puts this idea front (2013) 30’ the sound colour of the four ‘far-off moons’ that to see her work performed. on magnetic fields, a and centre, with the Riot Ensemble preparing make up the characters of eyam iv, offering a landmark work composed in 2011, is a meditation an interactive concert experience in which the In the first of two concerts at hcmf// 2019, the prelude to the piece. on the travel of sound. The piece positions two audience takes up residence. Getting within the Riot Ensemble presents a portrait of Ann Cleare, violins symmetrically, with one loudspeaker placed confines of the performance, audience members one of Ireland’s leading modern composers. Produced by hcmf// supported by hcmf// Benefactor between them. The piece’s shape can be sparse experience eyam iv as a structure. Fixed positions Cleare’s work is a dialogue: her music talks to its Michael Peake and the hcmf// Friends or expansive; it was initially conceived with two exist, but personal stories emerge, weaving their environment, as well as its listener, constantly ensembles on either side of the loudspeaker, way around Cleare’s structured sound. being shaped by the course of nature itself. For The Riot Ensemble is supported by an Arts Council violinists serving as what Cleare calls ‘electric England Lottery Grant and Opus 2 International this concert, the malleable setting of Huddersfield currents’, charging their ensembles up. Recently, For eyam iv, Cleare describes her performers as

Town Hall will transform into an open-plan forum; Cleare honed in on the violins themselves, creating a ‘spatialised ensemble’, mapped out until each Part of this concert will be broadcast audience members will experience the specific by BBC Radio 3 on Saturday 7 a version without the ensembles. The experiment corner of the room achieves its sonic purpose. ways in which Cleare has decided to carry her December 2019 remains similar: to see what might differ in these She arranges her instruments and speakers to music through it. separately developing currents. put them in living relation to the people around them – to bring us back to the invisible energies, Cleare doesn’t so much make scores as she does Cleare describes each part of the piece as its own emotional structures and unnoticed worlds that blueprints: speakers and instruments are ‘character’, and notes that each one is ‘shaped form our lives with us. set up in certain shapes, forming particular differently, to create a sense of difference, to allow relationships with the room they find themselves them to build connections’. The piece magnifies Profile by Robin Smith in. Ensembles become a matter of choreography; contingency, using concurrent performances to 22 EVENTS Friday 15 // November Saturday 16 // November EVENTS 23 Hanna Hartman: 3 Ellen Arkbro + Solo Works Marcus Pal Bates Mill Photographic Studio, 11.15pm St Paul’s Hall, 1pm

Free Event Tickets £12 (£9 concession / early bird)

Erik Drescher amplified flute / water tap Hartman’s solo material is a stunning Ellen Arkbro organ tracks, though, Arkbro is really playing time, Dafne Vicente-Sandoval amplified bassoon / reinterpretation of our surroundings – while much Marcus Pal synthesis strumming her relative silences like an instrument potato starch of her work makes use of sound recordings made of intricacies. Jonny Axelsson percussion around the world, ‘taken out of their original Ellen Arkbro (Sweden, 1990) & Marcus Pal context’, these pieces are close to home, made (Sweden, 1991) At hcmf// 2019, Arkbro presents a unique organ Hanna Hartman (Sweden, 1961) up of the stuff left to gather dust in cupboards and Site-specific work for organ and synthesis performance with sound artist and long-term Rainbirds (2010) 7’ garages, of the things we put in gardens or use in WORLD PREMIERE (2019) 50’ collaborator Marcus Pal. Working together, Central Heating UK PREMIERE (2012) 8’ buildings. If it sounds surreal, it’s only because Arkbro and Pal continuously develop new ways Message from the Lighthouse UK PREMIERE we’ve never listened to their music before. Swedish sound artist and composer Ellen Arkbro of synthesising acoustically and electronically (2009) 15’ creates fixed-stare by employing ‘just produced sound, giving rise to states of harmonic Please note: seating in this venue may be limited intonation’, a tuning system adopted in Western resonance in which listeners enter into phase- Through her music, Swedish composer Hanna music by minimalists such as Terry Riley, La locked codependence with the sound. Hartman reveals what she calls ‘hidden Produced by hcmf// supported by STIM’s Council for the Monte Young and Marian Zazeela. Her new album, correspondences’. She extracts sounds from Promotion of Swedish Music, Export Music Sweden, CHORDS, doubles down on simple, long-form Produced by hcmf// supported by STIM’s Council for the soundless, creating expressive music Kultur i Vast & Musik i Syd; also supported by pieces that explore the blurring effect time has on the Promotion of Swedish Music, Export Music Sweden, from functional resources. Many of her works Goethe-Institut London sound. It’s called CHORDS, in all caps, for a reason Kultur i Vast & Musik i Syd are like domestic tableaux; collecting and – it’s 40 minutes of them. On both of the record’s Part of this concert will be broadcast amplifying mundane objects alongside traditional by BBC Radio 3 on Saturday 30 instrumentation, Hartman bridges the gap November 2019 between artistic statement and daily chore.

In this concert of solo works, three renowned musicians perform pieces Hartman has created around newly ‘musical’ objects. For Rainbirds, German flautist Erik Drescher performs alongside a pair of amplified water sprinklers, the hydraulic sounds creating a nearly-there harmony with the breathy sound of his flute. Bassoonist Dafne Vicente-Sandoval takes on Central Heating, complementing her instrument with the noise murmurations of potato starch – amplified with a microphone that will be moved by foot. The programme’s final piece, Message from the Lighthouse, comes from percussionist Jonny Axelsson, and combines traditional drums with bricks and plant pots, using contact mics to coalesce each individual sound into one whirring mass. Ellen Arkbro Ellen 24 EVENTS Saturday 16 // November Saturday 16 // November EVENTS 25 4 Iced Bodies Bates Mill Blending Shed, 4pm

Tickets £18 (£15 concession / early bird)

Seth Parker Woods ice cello Vocal emanations from within the cello serve Spencer Topel electronics to bridge socio-political themes in this work to the introspective and personal experience of the Seth Parker Woods (USA, 1984) & Spencer Topel audience. In addition to sounds captured and (USA, 1979) activated through the ice, a disembodied male Iced Bodies UK PREMIERE (2017) 120’ voice is heard reciting poetic phrases sonically diffused on spatialised glass sculptures. These In 1972, artist Jim McWilliams devised a piece sounds serve as sonic feedback loops, evoking for cellist Charlotte Moorman called Ice Music the isolation and neglect of voice hearers for London, which premiered at the Roundhouse, battling mental disorders within both the black London. Moorman, nude, ‘played’ a cello-shaped communities and the world at large. The audience ice sculpture with a plexi glass ‘bow’ for multiple at the end is left to contemplate and reflect upon hours. On the 47th anniversary of the original work, the visual image of freed bodies, represented by Seth Parker Woods and Spencer Topel re-address shards of ice, electronic entrails, and the sounds McWilliams’ concept with an immersive two-hour of an unrestrained voice liberated from the ice, performance and installation experience, seeking symbolised by the performer clutching a sound to dramatise the ephemerality of matter in phase emitting transducer. transition. Topel | Woods is an artist collective creating The inherent vulnerability of a melting ice visual art, music, installation and experimental sculpture, with its eventual destruction, media. Their work prompts audiences and visitors informs and drives the narrative of the work. to consider the role of art in relation to society, Choreographic strikes, taps, scrapes, bowing technology, and identity. and gouges are produced by Woods, translated into sound by Topel who responds, processes © Topel | Woods and diffuses these actions across glass panels suspended around the space. Over several Produced by hcmf// hours Woods feeds the sonification of material transformation by hastening the process through meditative and violent destruction. Once melted away, fragments of ice reveal the inner ‘organs’ of the sculpture, consisting of hydrophones, wires, and a black Lucite fin.

As a conceptual statement, Iced Bodies serves as an ode and response to those struggling minds, and bruised, tattered, and broken black bodies on display in the media by supplanting the cold body – the frozen body – of those lost to mental illness and violence in black communities, with that of a

Seth Parker Woods © Ben Kolak Woods Seth Parker black ice cello. 26 PROFILE PROFILE 27 Charlotte Moorman

hy don’t we make a cello out of ice?’. Artist her life at the festival. In its second year, she fascinated by their work together, and would teach was due. Her work is still making ripples, inspiring ‘WJim McWilliams once asked Charlotte decided to program Stockhausen’s Originale, a students about it at Philadelphia College of Art. He new approaches to sculpted performance; Moorman this question. It has become her legacy: bizarre riot of music theatre that blurs the line encountered the artists when he invited them to McWilliams’ composition Ice Music has found she is the performer you see in the photos, the one between character acting and concert production. perform at the university, resulting in a predictably itself reimagined as Iced Bodies, a brand new work who turned up to London’s Roundhouse in 1972, Originally, Stockhausen had cast video artist Nam controversial concert that exhibited all of the duo’s by cellist Seth Parker Woods and sound artist playing an ice sculpture, naked, until it melted. June Paik to play the role of ‘action composer’, most outrageous qualities. Obsessed with the Spencer Topel. Their cello is different. Filled with It is remembered as one of the most sensational one of many bite-size roles in the piece’s meta- radical nature of their performances, McWilliams what McWilliams describes as ‘electronic guts’, it things that ever happened to the avant-garde commentary on composing and performing. His took up Paik’s role for himself, designing his own uses microphones, hydrophones and transducers music scene of the 20th century. It is remembered presence at the festival led to a lifelong musical set of instruments for Moorman to play. The two to capture chilling metallic sounds. Woods not as Moorman’s moment. partnership. Paik’s brain-melting sculptures artists became friends, collaborating on a new only plays the sculpture, but deconstructs it – and Moorman’s confrontational performance art strand of cello sculptures. The results were just first bowing it to make sound, and then picking Except Moorman did more. She did the most. became inseparable; while only Paik ended up as staggering, and need to be seen to be believed: at it, chiselling away the ice as it melts. It is an Sometimes cast off as a ‘figure’ of the 1960s becoming a household name in the experimental in Candy, Moorman and her cello were covered incredible architectural feat, and it sounds like and 70s American avant-garde, where so many art world, it was together that they devised their in chocolate fudge, presented like a disoriented nothing else: you’d expect something harsh and composers, musicians and performers spent most iconic works. Their creative partnership was street mime. Most notable, though, was Ice Music, industrial, but Woods’ cello evaporates in delicate, their days, Moorman was actually a focal point. documented on stage, cemented in history by a written in 1972. It is arguably what Moorman is often vulnerable acoustics. An organiser and trailblazer, she was responsible series of outlandish concerts that beguiled and best known for: a cello-shaped block of ice that for connecting the dots of experimental music. outraged in equal measure. Their partnership is melted, on stage, as she played it. With Iced Bodies, Woods has taken Moorman’s In 1963, she founded New York’s Avant-Garde best told in pictures, showing off the inconceivable intriguing performance – and her wish to disturb Festival, a yearly occasion that hosted – and music objects Paik built for Moorman. These are the headlines of her career. The the institutional status quo – and put it in a new converged – many of the avant-garde’s biggest naked cellist. The ice cellist. They are perhaps political context. A meditation on the crisis of names. The inaugural festival featured John Paik and Moorman made the cello an avatar. symptomatic of being a performance artist first police brutality and the marginalisation of the Cage, Morton Feldman, Alvin Lucier and an In 1965, they performed Human Cello, a piece and a collaborator, producer and organiser African American community, his installation endless list of now renowned artists. Through the in which Moorman, towering over Paik as if to second. But these headlines also don’t go far considers the way bodies lose their agency. In a years, Moorman never let up on the project. She embrace him, bowed his back. In 1972, they enough in explaining the why of Moorman and documentary by Ben Kolak, Woods describes his programmed music, poetry and performance collaborated on the famous TV Cello, Paik Paik’s work together. It is extremely predictable hope to ‘create a sound installation that speaks regarded as the first generation of cutting-edge. reimagining Moorman’s instrument as a sculpture that the most shocking – and to many people to those who have been trapped, and find ways to of televisions and videotapes for her to ‘play’. And repulsive – thing to see at one of these concerts unearth those voices’. Iced Bodies seeks out these Through her festival, Moorman continued to there was TV Bra For Living Sculpture, too – one was a body. Moorman’s performances brokered a marginalised people; Woods tears apart the ice in make vital, life-changing connections. She had of Paik’s most iconic scores, it was an attempt to feminist moment for the avant-garde, realigning search of them. Moorman’s art here lives on in the always floated on the periphery. The closest she ‘humanize technology’ by, well, using a television expectations and presumptions made about best way: it has inspired new artists to create vital got to conformity was her indirect affiliation with set as a bra, worn by Moorman. As ever, she marginalised women artists. Her work also performances. Fluxus, an esteemed community of like-minded performed the piece with her cello, presenting to brought the performer and the instrument into artists that included Yoko Ono. Her closest crowds what Sophie Landres has described as an almost symbiotic relationship, eschewing a Profile by Robin Smith encounter with an institution was prison, after ‘a fantastical staging of power relations’. It is a hierarchy of composer, performer and piece – being arrested in 1967 for one of her iconic naked common theme in the history of Moorman’s work: instead it was her, naked, making direct contact cello performances. But Moorman’s art was still binding her cello to acts where she used her body with surreal, often futurist objects. It is all too defined by community – by her collaborative, open- on the cello. Her detractors charged her with fitting that all this history is so jumbled up – that arms approach. Her career is marked by a number indecent exposure, shocked by the suggestion of Paik, Moorman and McWilliams float around, of stunning performances, but the art world she a music of sexuality. Inherent in Moorman’s work weighing in different ways upon the art they occupied was one where artists shared with, and was a jab at social dynamics – at the conventions created. lived for, one another. Moorman and her friends of performing to a crowd. were making things that others could use, treating Moorman now has the legacy she deserves; in alternative culture like a gift they all gave back. Paik and Moorman created a character in the 2016, her work was put on display at the Grey Art Moorman made the formative relationship of cellist. An artist and designer, Jim McWilliams was Gallery in New York, paying back the credit she 28 EVENTS Saturday 16 // November PROFILE 29

5 The Riot Ensemble Claudia Molitor of collaboration. Her new work Decay weaves together an ever-changing roster of musicians St Paul’s Hall, 7pm over interrelated performances. Conceived with his is about Claudia Molitor, but only sort of. collaborative partner Tullis Rennie, the piece Tickets £18 (£15 concession / early bird) T Only in so far as Claudia Molitor cares whether was premiered at hcmf// 2018 alongside guest or not you talk about her as the ‘composer’ of musician Kelly Jayne Jones; it has since been The Riot Ensemble: With his restless knack for inventing new musical her music, the ‘author’ of her scores. Of all her performed with improvisers such as John Butcher, Kate Walter flutes situations, Evan Johnson has made Linke Hand flagship productions, there is another shining Alison Blunt and Line Upon Line Percussion, Philip Haworth oboe eines Apostels. Like casting a spell, Johnson’s star. It could be the bridge containing a million moving beyond strict borders. Now, more than Scott Lygate clarinets instrumentation bursts into existence, creating histories in Singing Bridge, or the railway line that ever, its sense of flow – its freedom to travel Ashley Myall bassoon an instantaneous moment of ecstasy that fizzles services London and Margate in Sonorama. In through time – feels important. In a dash of Andy Connington trombone forever outward. Twelve instrumentalists surround some cases, it could be everything else: Decay, the fatalistic irony, Molitor and Rennie were denied George Barton percussion harpsichord soloist Goska Isphording, submitting collaborative project she’ll finalise at hcmf// 2019, work permits to perform Decay in the United Adam Swayne piano to the tension of her strings. The piece traps has been living its own life entirely. States, the music travelling overseas without Goska Isphording harpischord soloist the ensemble in volatile relationships, their them. Petur Jonasson guitars twisted dynamics creating what Johnson calls an In recent years, Molitor has crafted a series of Sarah Saviet violin ‘extremely quiet, disappearingly unstable fantasia’. multi-disciplinary projects best described as Molitor describes the process of Decay as Alicja Pilarczyk violin audio-environmental, focusing our attention ‘generative’, inviting different artistic voices to Stephen Upshaw viola Israeli composer Omri Abram thinks of music on places and situations we exist in constant ‘change and challenge any sense of authoritative Louise McMonagle cello as an ‘inherent ambiguity’, believing steadfast collaboration with. In 2016’s Singing Bridge, iteration’. Along with instrumentation and musical Marianne Schofield double bass in its ability to be differently interpreted and she created an immersive piece of acoustic structure, the philosophy of Decay is in flux. By Aaron Holloway-Nahum conductor experienced. He composed Zohar (Irridescence) geography, tying Waterloo bridge to a series of giving the piece qualities such as age and personal as if it were a structure – large and formidable on sound recordings specific to its site and history. history, artists do different things to it: a particular Evan Johnson (USA, 1980) the outside, it’s intricate and organised within. The A Guardian review remarked that it was ‘best sound they add could be a milestone for the piece, Linke Hand eines Apostels WORLD PREMIERE piece slowly reveals hidden details to its listener, experienced as it was intended – overlooking the or it could become a contamination, germinating (2019) 18’ letting them get used to it on their own terms. bridge’, deftly summing up Molitor’s practice of the piece. Molitor notes the ubiquitous nature of using music to build meaningful relationships her theme – decay as something we ‘are troubled Omri Abram (Israel/Switzerland, 1986) Lisa Streich’s music makes small materials big. between us and our worlds. by and drawn to in equal measures’. It isn’t Zohar (Irridesence) UK PREMIERE (2017) 10’ Subtlety becomes captivating, enlarged to the neutral, but a combination of different emotional listener. In a UK Premiere of Zucker, the Riot It is not unusual for Molitor to talk about things – flourishes. Lisa Streich (Sweden, 1985) Ensemble becomes a ‘motorised ensemble’, whether structures, journeys or pieces of music Zucker UK PREMIERE (2016) 14’ playing like a mechanisation ticking over. Zucker is – as if they are alive. On the Waterloo bridge, Decay makes a return fixture of hcmf// 2019, both strikingly quiet and larger than life, and takes she remarked that we ‘completely take it for performed with Butcher and Blunt. Also The Riot Ensemble marks its second performance apart the pieces of a well-oiled ensemble. granted’, and she hoped to ‘open up the space premiered in a series of exhibiton works by Molitor at hcmf// 2019 with a series of works true to its for the space for the listener to reconnect with is Auricularis Superior, a sound installation name. Renowned for building deep, long-standing Produced by hcmf// supported by the Swiss Arts their relationship to it’. In turning a train journey commissioned by hcmf// in 2017, surveying the relationships with composers, the ensemble is one Council Pro Helvetia, STIM’s Council for the Promotion from London to Margate into the music score for links between sound and meditation fostered by of the world’s best at guiding radical music into of Swedish Music, Export Music Sweden, Kultur i Vast Sonorama, she described wanting to ‘challenge Pauline Oliveros. The focused and intentional & Musik i Syd the world. In this concert, the musicians premiere the disconnect between the traveller and their approach of these works is too good an analogy three pieces they’ve worked on with innovators journey’, locking the listener into place with our for Molitor to pass up: these in-the-moment The Riot Ensemble is supported by an Arts Council companion – a countryside in transit. In her work, participations, these close-up examinations of life around the world. St Paul’s Hall is a home fixture England Lottery Grant and Opus 2 International for them at this point – as is custom, they fill the we learn to replace our indifference with reciprocal processes, are what make her a composer. Molitor space with a familiar crackle of energy, bringing to Linke Hand eines Apostels is co-commissioned by BBC relationships with our surroundings. fights against our disassociation, our ability to life pieces that manifest uncertainty. Radio 3, hcmf// and the Riot Ensemble hide away from the things that culture our life. She Molitor’s art extends, inviting indeterminate scores the whole existence. aspects like journey and growth. It sheds identities like ‘composer’ in favour of the chaos theory Profile by Robin Smith 30 EVENTS Saturday 16 // November Sunday 17 // November EVENTS 31 6 Decay / Sofia Jernberg 7 Norrbotten NEO Bates Mill Photographic Studio, 9.45pm St Paul’s Hall, 1pm

Tickets £12 (£9 concession / early bird) Tickets £18 (£15 concession / early bird)

Claudia Molitor piano / objects Molitor’s hope has been for the work to ‘embrace Norrbotten NEO: polluted world. With Structures of Molten Light, Tullis Rennie trombone the melancholy of loss, and rejoice in the promise conductor she has written an ensemble piece based on her John Butcher saxophone of change’. It’s reflected in the process of Mårten Landström piano field recordings of the world, attempting to make Allison Blunt violin composition itself: the musical elements of the Sara Hammarström flute musical analogies of every day sounds, such as piece have gradually shifted, and will eventually Robert Ek clarinet ‘the rolling of a suitcase, or the scraping of shoe Claudia Molitor (UK/Germany, 1974) disappear entirely. Filip Gloria violin heels on the pavement’. She brings sounds typical Decay (2018-19) 50’ Paul Silverthorne viola of an open world environment, such as a city, to the It is rare that music pieces retain their name Björn Risberg cello contained space of the stage. Sofia Jernberg voice while becoming entirely different, but it is also Daniel Saur percussion in this way that Decay becomes reflective of life The late Marcus Fjellström trained in traditional Sofia Jernberg (Sweden, 1983) itself – of the ways that a person becomes as Kate Moore (Australia/Netherlands, 1979) composition but made gradual inroads into the Solo Voice Improvisation 40’ different as they are the same. Molitor notes that Blackbird song (2018) 8’ worlds of experimental and electronic music. art is constantly ‘capturing a moment, freezing it Klavierbuch #1 is from a series he was working on Decay has lived. Conceived by Claudia Molitor in time, preventing it from changing’, but Decay Malin Bång (Sweden, 1974) that paid homage to ‘old music libararies’, whose with her performance partner Tullis Rennie, the is the opposite: it is a living thing, and soon, it will Structures of Molten Light UK PREMIERE (2011) 8 archives provided soundtracks for B-movies and piece was first premiered at hcmf// 2018, with the transform into non-existence. television shows. The piece, prepared for one intention of going on. Rather than tour the piece Marcus Fjellström (Sweden, 1979-2017) solo keyboardist, follows these sounds in stray as is, Molitor has transformed it, each concert This concert is a double bill: following on from Klavierbuch #1 UK PREMIERE (2014) 10’ fragments, harkening back to this forgotten becoming a moment in the project’s time-lapsing Decay, experimental singer Sofia Jernberg will vintage while sounding eerie, ill-omened, and existence. A meditation on the slow-releasing present an improvised set of vocal excursions. A Enno Poppe (Germany, 1969) classically Fjellström. transformations that exist in life, Decay has gone frequent member of the eclectic noise orchestra Schweiss (2010) 4’ beyond the stasis of existing only in the moment Fire!, Jernberg has also played with Norrbotten One of Enno Poppe’s more direct pieces, Schweiss it’s performed. It has gone beyond belonging to an NEO and jazz group Paavo. In this concert, her Per Mårtensson (Sweden, 1967) grows music on its instrument. The concept is artist. At hmcf// 2019, Decay will complete its life voice works alone, exploring the twilit corners of Herr Krenz UK PREMIERE (2017) 20’ simple: the performer plays from the low A, slowly cycle. the Bates Mill Photographic Studio. reaching the same note up two octaves. This rise Swedish chamber ensemble Norrbotten NEO are is gradual, as if the note were a growing plant, and While Decay was conceived by Molitor, it has been Please note: seating in this venue may be limited moving into their second decade with the same shows off Poppe’s ability to control and nurture shaped by a rotating cast of characters. Each fearless agenda that’s carried them there. At musical environments. performance of Decay has featured different Produced by hcmf// supported by the PRS Foundation’s hcmf// 2019, they continue to perform music by guests who have become authors of the piece, Composer Fund & Goethe-Institut London; also only the most singular of composers. Per Mårtensson’s Herr Krenz is a fascinating altering its course and leaving a mark on its supported by STIM’s Council for the Promotion of exploration of post-reunification Germany that Swedish Music, Export Music Sweden, Kultur i Vast & timeline. The project’s inaugural guest was sound Kate Moore’s Blackbird song comes straight out focuses on the fall of the Wall and the East Musik i Syd artist Kelly Jayne Jones, who complemented of nature. It was written organically by Moore in German politician Egon Krenz. Through music and Molitor and Rennie at hcmf// 2018, experimenting the response to blackbirds that sing in the early recorded documentary, Mårtensson unravels this with records on a turntable. The piece has since hours of morning. Her piece situates birdsong in a history, considering the striking phenomenon of travelled to Austin, Texas, where it was met by Line melody, taking their musical language and relating ostalgie – nostalgia for life in old . Upon Line Percussion, before visiting TRANSIT it to our own – combining the experiences of our festival in Belgium, as well as Scotland’s SOUND songs. Produced by hcmf// supported by STIM’s Council for festival. the Promotion of Swedish Music, Export Music Sweden, Malin Bång’s music is rooted firmly in the earth, Kultur i Vast & Musik i Syd; also supported by Dutch Performing Arts & Goethe-Institut London appealing to us as citizens to better relate to our 32 EVENTS Sunday 17 // November Sunday 17 // November EVENTS 33 8 Hanna Hartman: Hurricane Season Bates Mill Photographic Studio, 5pm

Tickets £12 (£9 concession / early bird)

Hanna Hartman electronics / objects Dafne Narvaez Berlfein live camera / projection

Hanna Hartman (Sweden, 1961) Hurricane Season WORLD PREMIERE (2019) 30’ HEAT PREVIEW (2019) 30’

Composer in Residence Hanna Hartman combines her practices in this concert of new works. Hurricane Season is a brand new work for moving, amplified sounds and objects, expanding on the multimedia palette she explored in 2018’s Secret Security.

A piece of tape music, HEAT is a prime example of Hartman’s dedication to collecting and redistributing sound, altering both course and context. A preview of the piece follows Hurricane Season, complementing and contrasting it.

Please note: seating in this venue may be limited

Produced by hcmf// supported by STIM’s Council for the Promotion of Swedish Music, Export Music Sweden, Kultur i Vast & Musik i Syd

Hurricane Season is commissioned by hcmf//

HEAT is commissioned by Deutschlandfunk Kultur © Hanna Hartman 34 EVENTS Sunday 17 // November Sunday 17 // November EVENTS 35

9 Jenny Hval: The Practice of Love Bates Mill Blending Shed, 7pm

Tickets £18 (£15 concession / early bird)

Jenny Hval vocals / synth has been our guide. Her mix of octave-dancing Vivian Wang vocals / synth hymnal and oratory flex has carried through each Jenny Berger Myhre vocals / synth / video / one of her musical projects, like connective tissue sound installation between stray organs. Natali Abrahamsen Garner vocals / synth Espen Reinertsen saxophone The way Hval uses her voice is investigative – Håvard Volden drum machines / percussion seeing what course it takes in the world – but also Linn Nystadnes sound tech intentional, pushing back against the institutional ideas that mark up our lives. With her new record Jenny Hval (, 1980) and performance piece, The Practice of Love, she The Practice of Love (2019) 80’ is using voice to explore voice – considering its use as a primary communication tool. Her largest- The Practice of Love is a multidisciplinary scale work to date, The Practice of Love combines immersion in music, literature and movement sound, video and choreography, and is realised by by Norwegian musician, composer and writer an ensemble of artists, from woodwinds through Jenny Hval. It will explore sonic, visual and to filmmakers. At its core, it is a communal choreographic ideas while transforming voices, exploration into ‘voice, presence and life’ and what sounds and even bodies into texts, in a process Hval imagines to be its opposite: ‘word, absence, that Hval herself describes as a form of magic. death’. Hval’s thesis is stark, but compelling: the With a multinational ensemble including voice is a means of loving, our way of finding each

experimental musicians, vocalists, dancers and other in the world: in speaking and singing, we are Myhre © Jenny Berger Jenny Hval video artists, this new project extends Hval’s work seeking out empathy and togetherness. Hval calls into new and even more challenging territory. her project ‘magic’, for the same reason: music Using sound, text and image manipulation, locks her band into a shared understanding of The Practice of Love is both a magical seance and something, whatever it is. how to express love, the music becomes larger, Kylie Minogue, her voice stops in a strange space an inquiry into the nature of creativity. the stage more daunting. It is, arguably, the most between think and feel. These ideas are big, bold, and as existential as daring moment of her career. Over the last decade, Hval’s music has been in flux. ever. But Hval calls them something else: stupid. The Practice of Love is co-produced by Black Box teater Whatever music she is making – and it changes, a ‘I have wanted to ask bigger, wider, kind of idiotic It sounds very different, but that’s the Hval way: & Ultima Oslo Contemporary Music Festival lot – it is her singing that has remained constant, questions like: What is our job as a member of the the sound always suits the theme. On Innocence an avatar within different worlds. In the past few human race?’. The music written for The Practice is Kinky, she matched sharp, syllabic sounds to years alone, she has adapted from the spindly folk of Love responds with a suitable sound map: as visceral recording processes, dousing her words wonderland of Viscera into the noise rock ASMR of Hval’s lyrics become more vulnerable and over- in a close contact production that created an Innocence is Kinky; from the grounded songwriting the-top, her songs embrace schmaltzy aesthetics, unbearable friction. On , her voice of Apocalypse, Girl to the b-movie gothica of utilizing jittering beats and wide-eyed synth sheen. stuck to the icy drones around it, reflecting the Blood Bitch. Her early records were sonically It’s unknown territory for Hval: with The Practice seething atmosphere of horror soundtracks. surrealist and meandering, but she’s since given of Love, she steps into the domain of popular Hval’s voice becomes part of its environment – not way to a more succinct style, one that marries music. Before now, love songs had always been reflecting it, but joining it. The Practice of Love is her interrogative poetry to pop music – or a kind for other people; Hval considered herself a ‘minor another intriguing leap for Jenny Hval: influenced of pop music, at least. Through it all, Hval’s voice character’ in the world of music. In thinking about by the biggest human questions we can ask, and 36 EVENTS Sunday 17 // November Sunday 17 // November EVENTS 37 10 Heiner Goebbels + Gianni Gebbia St Paul’s Hall, 9pm

Tickets £25 (£19 concession / early bird)

Heiner Goebbels piano its jazz for their first concert together, Goebbels ensemble and orchestra works and music theatre, swaps in sound, colour and environment as it Gianni Gebbia saxophone and Harth took a programme of traditional creating large-scale stage pieces that kept intact surveys a continent of conflict. Once again, the compositions and discombobulated them. They many of his curious, inter-format ideas, all the piece is laid out on a vast musical map, making Heiner Goebbels (Germany, 1952) & changed melodies, tinkered with structures, while investigating structured world-building. significant use of improvisation. Harkening back Gianni Gebbia (Italy, 1961) and as Harth noted, ‘integrated them into Tying this work to visual, installation-based to Goebbels’ days as an amateur left-wing sax Improvisation 60’ improvisations’. This became the format for the composition, he emerged with deeply stimulating player, the piece makes use of saxophones to partnership known simply as Duo Goebbels/Harth: works as different from one another as Landscape evoke political histories, echoing the cries of At hcmf// 2019, Heiner Goebbels goes rogue. Long working on the music of composers they deeply With Man Getting Killed by Snake and Or The helpless, war-torn citizens. It’s an example of what since established as one of music theatre’s leading respected, they added their own interpretations, Hapless Landings – works with staggeringly Goebbels does best, using intricacy to highlight composers and directors, he will be represented respectfully tinkering with their inspiration. divergent texts, backgrounds and histories. incident. without setting, story or script. His prop will be a piano, taking the now legendary German musician Goebbels and Harth were a duo, but played Writing music theatre, Goebbels became a kind of This saxophone part was played by Gianni Gebbia, back to the days when he had to make do with an with many other professional and amateur open-ended completist. He wanted to ensure that another stalwart of impression and free play. In instrument and an instinct. musicians from the Sponti movement, every aspect of his composition and direction – recent years, he has been on hand to join Goebbels collectively forming that So-Called Radical Left from music through to lighting, staging and artist as an improvising partner, bringing out a rare, In fact, if you’re willing, we’ll completely disregard Wind Band, which reached upwards of 20 players. movement – was felt by its audience, on their own early-career vision of the renowned composer. At Composer Goebbels for a moment, and swerve True to their name, they were present at demos terms. As he told Stephan Buchberger: ‘I attempt hcmf// 2019, the duo rocks up to St Paul’s Hall instead to a time of experimental bunker rock and activist functions, creating a symbiotic to present the diverse voices in the materials, for one of these performances, with nothing but a shows, anarchic improvisation and leftist brass relationship between German music and politics, which the audience can then put together to form deep end to dive into and one another to bounce band action. A concert of is, and reinventing the purpose of brass band – from a comprehensive impression, an experience’. off of. It seems like a call back, a reference to after all, a bit of a portal, a 40­‑year flashback to a state fanfare to citizen resistance. The duo later Constructed out of texts from writers such as something Goebbels used to do, but he’s been time when Goebbels a free playing musician. Back changed direction again, forming the experimental Kafka and T.S. Eliot, I went to the house but did not here all along – seeing what’ll happen then, he was mingling in Frankfurt’s underground rock band , where they would interrogate enter requires both acting and a cappella singing scene, traversing the city’s squats and the yet another format: popular music. The band of its performers, as well as a malleable domestic Produced by hcmf// supported by Goethe-Institut politically charged music attached to them. It counted vocalist, guitars and electronic musician setting that they must take apart themselves. London was here he spent the late 1970s as a member of Christoph Anders, as well as and drummer Chris These are inquisitive directions, from an inquisitive Sogenanntes Linksradikales Blasorchester (the Cutler, of the legendary avant-rock band Henry mind: rather than create a music theatre of his ‘So-Called Left Radical Wind Band’), seeking a Cow, amongst its number, and released a series own opinion, Goebbels’ writes with everyone who reality and impact to music that remains in his of records. They formed their songs around loose will experience it in mind, opening them up to the music to the present day. ideas, given strenuous improvisational workouts, same thoughts and questions he has himself. In often lifting classical composition into the harsh this, there are hints of the improvising Goebbels of He was all about the bands. In 1975, Goebbels met terrain of noise music. Frankfurt past: an open-minded lover of grey area, Alfred Harth. Both musicians had been making certain only that he’s not. symmetrical moves towards experimental music, At this point, Cassiber is a tasty slice of history in bumping into one another through local jazz band Goebbels’ career, marking the last time he’d make Goebbels’ theatre work is still expanding. His most Rauhreif. The group fizzled out of existence, but the kind of music you’d find listed on a website recent production, Everything That Happened and swung the two players closer; Harth and Goebells called Progarchives. As the duo developed their Would Happen, served as a history of Europe’s opted to do the show as a duo, building on some musical styles, Goebbels moved further along in permanent wartime, delivered on the century informal collaborations they had worked on in the making composed works. In the 1990s, Goebbels of the First World War. It weaves together an past – echoing Rauhreif’s energy, without any of made a name for himself as a composer of incredible suite of stage changes, making intense also intouch withtheLettrists ofthelate 1950s. in thisgenre along with HenriChopin,whowas Lettrists, François Dufrêne, wasakey protagonist called ‘Sound Poetry’. Indeed,oneofthe former music andtheprefiguration ofwhat would later be poetry thatcould bethereunion ofpoetryand and phonemes,inorder to produce anonsense book, Isouexplains hissystematic useofletters of 22withthefamous publisher Gallimard. Inthis 38 Juvenal SymphonyNo4 Isidore Isou(Romania/France, 1925-2007) Studeny, DanyTayarda Roland Sabatier, Jean-LouisSarthou,Frédéric Marie-Thérèse Richol-Müller, Woodie Roehmer, Eric Monsinjon,François Poyet, Hélène Richol, in, LucienneDeschamps,Sylvain Monségu, Chaumeix, Camille Cholain,CatherineCous- Alain Bertaud, Nicole Brenez, Broutin, Jacques Choir: Jean-Baptiste Beck,Silva-Gabriela Béju, Voice: MariaFaustino Voice: Isidore Isou Featuring: realisation /live spatialisation Frédéric Acquaviva orchestration /sound Free Event Huddersfield Town Hall,11pm Symphony No.4 Isidore Isou:Juvenal theorist, publishedhisfirst book, Isou, whowasnotonly thefounder butthemain mathematics. philosophy, politics,economics, erotica, novels and but notlimited to cinema,dance, architecture, expanding widely inalldirections, including Lettrism started asapoeticmovement before Dadaism andSurrealism, andbefore Fluxus. an avant-garde movement whichtook place after moved to Paris in1945order to create Lettrism, Isidore Isouwasbornin1925Romaniaand New Poetry and to a New Music New a to and Poetry New EVENTS Sunday 17 UK PREMIERE (1947),attheage Introduction to a a to Introduction // (2001-03)60’ November (1947) and example inhisfirst symphony, Isou invented hisown system ofnotation, for first historical recording of and soundartist, Imethiminorder to produce the 1990s when,asayoung experimental composer Isou’s symphonies were only realised inthelate (1950). 20 also predated theextended voice techniques of Minimalism. Theirdeconstruction ofvocal delivery kind ofprecursors to musical movements suchas patterns, itcould beargued thattheLettrists were human voice. Withtheiruseofrepetitive musical within thecosmos ofsoundscontained inthe This Lettrist poetryandmusichadto beinvented pitch ormusical instruments inhismusic. been exhausted, andtherefore forbade theuseof considered thatallcombinations ofpitches had produced bythebodyofperformer. Isoualso ‘New Alphabet’ofsounds,referring only to those uses Greek letter symbolslinked to aprecise (with voices only) othersymphoniessuchas of spectacle existed atalltimes, includingin Debord’s ideawasirrelevant, andthatthe concept Lettrism in1951) hadjust died.Isouthought Situationnist Internationale andmemberof Isou’s its peak,since GuyDebord (thefounder ofthe Spectacle’ whichatthattime(2001)was to protest against theideaof‘Society of unique interpretation ofearly works suchas first singer to perform Isou’s pieces) givingher there isanopportunity to hear Loré Lixenberg (the Later inthefestival, aspartofhcmf// Aperghis, whowasdirectly influenced bythem. proponents ofthegenre asBerioandinparticular Juvenal Juvenal th century composers includingsuchnotable , thefourth symphony, wasintended (2001-2003)orSymphonyNo5(2006). Research for a Poem in Pure Prose Pure in Poem a for Research War War andorchestrated (1947),which mixtape, Snow

year, and concert attheCentre Pompidou earlierthis publisher AlDante. Following Isou’s retrospective was publishedasaCDbytheavant-garde Three years before Isou’s deathin2007, aged voices inmyown compositions. impressive grain, andhadalready worked with using thespecificityofIsou’s aged voice withits did ithimself,asIwasparticularly interested in from theComédieFrançaise), Iinsisted thathe In spite ofIsou’s reluctance (hewanted anactor with amixofLettrist andnon-Lettrist performers. my vocal orchestrations basedon when hewastotally forgotten, andthenrecorded Isou’s voice inhistinyParis flatin2001,atime Circenses’ (Bread andCircus Games).Irecorded © Frédéric Acquaviva and become anactive listener. audience are invited to walkthrough thespeakers the UKinthisconcert spatialisation,where the Produced byhcmf// symphony to Ancient Rome,andtherefore dedicated hisnew Juvenal willbeheard for thefirst timein Juvenal andhismotto ‘Panem et Juvenal’s Juvenal Satires

Sunday 17 // November EVENTS 39

Isidore Isou © A Ciseler, mixed media on photo, ca.1963 The Hermes Experiment © Raphaël Neal sending amessage atthesametime. – thekindofsoundyou getwheneveryone starts 40 acoustic soundwiththedigital miasma. mixed insomewoodwinds, combining swathesof at the soundstogether. Theresults willbeperformed Combining ringtones, thestudents beganto blend told to settheirown notification ringtone for it. student wasaddedto aWhatsAppgroup chatand based ontheirphonetunesofchoice. Each workshops, coming upwithanew composition collaborated withschoolstudents inaseriesof musician Napoleon IIIrd (JamesMabbett) In thisplayfulcollaborative project, experimental Produced byhcmf// Chat Group WORLD PREMIERE James Mabbett(UK,1980)Group Chat School &Greenhead College Featuring students from Royds HallCommunity James Mabbett(UK,1980)ringtones /woodwinds Richard Steinitz Atrium,11.30am Group Chat hcmf// hcmf// shorts shorts, withalittle twist: Mabbett is ajubilantmusical shoutingmatch (2019)19’ Monday 18 // November McGill University’s MMRsystem. from performances atIssue Project Roomand to useamplification live –thispiece follows on feedback. Butcher hasrarely hadtheopportunity its 66speakers, generating swathes ofacoustic taking hissolo playingandrebuilding itthrough Huddersfield Immersive SoundSystem (HISS), put hisinstrument through thewringerof revealing its‘hiddensounds’. Butcher will mew wayto alter thecourse ofhissaxophone, environments. Records suchas list ofunderground artists –andanatlasof storied career, he’s collaborated withalong to puthimselfinsituations.Throughout his Experimental saxophonist JohnButcher likes Produced byhcmf// music. With partners thatcould changethecourse ofhis outdoor settings,treating themascreative have surveyed theacoustics ofhyper-specific Magnetic Bottle IV John Butcher (UK,1954) John Butcher saxophone Phipps Hall,12pm John Butcher Magnetic Bottle IV, IV, Bottle Magnetic WORLD PREMIERE Resonant Spaces Spaces Resonant he looks for a (2019)15’ They take onMeredith Monk’s ecstatic absolutely norespite inOliver Leith’s hypnotic they make yet anothertransformation, given their momentary lapseinto robot outoftheway, role-plays asa‘malfunctioningandroid’. With Experiment withsupport from Arts CouncilEngland Council England Experiment withsupportfrom theRVWTrust andArts ‘animatronic characters runningout ofbatteries’. melting featured ontheprogramme isJoelRust’s mind- onrushing melodies oftwo separate pianos.Also consisted ofMonklaughing hysterically amidst the Uh huh, Yeah huh, Uh Orders of Pack Produced byhcmf// appropriate amountof and double bass. Athcmf//2019,they bringan an uncanny timbre ofharp,clarinet,soprano instrumentation, they bondpieces ofmusicto the scales. Combiningapeculiarrange of The HermesExperimentare proud to tip Oliver Leith(UK,1990)Uhhuh,Yeah (2019)5’30” Joel Rust (UK,1989)Pack ofOrders (2017)9’ The HermesExperimentBass Piece (2019)5’ Double Fiesta (1987)6’ Meredith Monk(USA,1942),arr. Denholm Hanna Grzeskiewicz co-director Héloïse Werner soprano /co-director Marianne Schofielddouble bass Oliver Pashley clarinet Anne Denholmharp The HermesExperiment: St Paul’s Hall,12.30pm The HermesExperiment huh, Yeah huh, Fiesta , atumblingmusical mazethatoriginally Pack of Orders of Pack , where they’ll playmusicasifthey were wascommissioned byThe Hermes wascommissioned byTheHermes bizarre , inwhicheachperformer to proceedings. Double Double Monday 18 Uh Uh qualities ofwhatwe hear. Hernew composition, making space, timeandphysicality significant Lia Suisinterested inthe inspired bytheflocking patterns ofbirds. and Franziska Boehm,combined informations Azerbaijan. Thepiece usesvocals from herself carvings’, inspired byGobustan NationalPark in ‘the awakening ofspiritsfrom Paleolithic stone operas. Through played inindiebandsandwritten experimental Heloise Tunstall-Behrens hasmadesoundart, their music. channels and66speakers to expand thescope of System (HISS), usingitsmonolithicnetwork of48 to work withtheHuddersfield Immersive Sound project, artists hadtheunparalleled opportunity Composers ofElectronic Music.Through this Professional Development Programme for Female artists chosento participate intheHuddersfield Heloise Tunstall-Behrens andLiaSuare two offive birds. including theever-returning soundsofwind and field recordings withthese repetitive qualities– to theFayuan temple inBeijing,where shecreated change. Sucomplemented theseideas withvisits – a’wheel’ thatcould present bothstasis and and itspotential asarepetitive, looping instrument 輪 (Repetition) Lia Su(China,1993) (CeReNeM) System (HISS) &theCentre for Research inNew Music Co-produced byhcmf//,Huddersfield Immersive Sound 輪 Petroglyph Heloise Tunstall-Behrens (UK,1985) Phipps Hall,1.20pm Behrens /LiaSu Heloise Tunstall-

(Repetition) // November WORLD PREMIERE , wasdirectly inspired by theHISS, WORLD PREMIERE Petroglyph FREE EVENTS presence presence (2019)12’ , sheinvestigates (2019)15’ of music–in 41 42 hcmf// shorts Monday 18 // November Monday 18 // November FREE EVENTS 43

While primarily a violinist, Robertson’s edges ensemble: GBSR Duo compositional practice is imaginative and Sophie Cooper / Grapefruit Huddersfield Town Hall, 3.30pm outward-reaching, making use of ambient sound Nicole Raymond and object-based instrumentation – suggesting Richard Steinitz Building Atrium, 2pm music that exists in closer contact to nature. In Phipps Hall, 5.30pm GBSR Duo: Can we not hear the birds that sing?, she makes Siwan Rhys piano Please see page 10 for details. use of sandpaper, attached to the violinist’s foot, to Sophie Cooper (UK, 1982) George Barton percussion suggest the nature reserve’s soundscape, as well Intact WORLD PREMIERE (2019) 15’ Produced by hcmf// as gloves, worn to make the sound of flapping bird Nicholos Moroz (UK, 1991) wings. Nicole Raymond (UK, 1990) Intralatent WORLD PREMIERE (2019) 20’ Silvia Rosani Crackles of Rain WORLD PREMIERE (2019) 20’ Produced by hcmf// Temporary Contemporary Piano-percussion duo George Barton and Siwan This concert premieres two brand new works by (Queensgate Market), 2.30pm Rhys bridge musical disconnects, performing Sophie Cooper and Nicole Raymond, two of five across a broad spectrum that encompasses Morton Feldman’s Music artists chosen to participate in the Huddersfield Silvia Rosani (Italy, 1979) anything from ‘classical festivals to club nights’. for Dance and Film Professional Development Programme for Female White Masks: Intermezzo 4 WORLD PREMIERE Emerging with a repertoire that has included Composers of Electronic Music. Through this (2019) 20’ Stockhausen and the long-form music of Morton St Paul’s Hall, 4.40pm project, artists had the unparalleled opportunity Feldman, at hcmf// 2019 they will premiere to work with the Huddersfield Immersive Sound A composer and electronic musician based in Intralatent, a gripping new work by composer Philip Thomas piano System (HISS), using its monolithic network of 48 London, Silvia Rosani writes music and designs Nicholas Moroz that investigates the possibilities Hilary Elliott dancer channels and 66 speakers to expand the scope of systems that can be used outside of the academic of human and non-human agency in relation to live their music. musical bubble. Interested in challenging ‘social electronics and instrumental music. Morton Feldman (USA, 1926-1987): inequality’ in composition, her recent work has Three Dances (1950) 8’ As a composer and improviser for trombone involved installation-based presentations of music Produced by hcmf// Figure of Memory (1954) 6’ and guitar, Sophie Cooper has traversed noise, that can involve audience members, making Variations (1951) 7’ psychedelia and traditional songwriting. Her ensemble members of them. Rosani’s newest Lisa Robertson Music for the Film ‘Sculpture by Lipton’ (1954) 8’ new piece Intact realises vocals and trombone as work is ‘experimental’, but in a way more present sources of infinite texture. Cooper sourced text for and active than that word usually conveys. Rather St Paul’s Hall, 4.15pm Throughout the 1950s, minimalist composer the piece from service users of the charity Stand than presenting a finished thought designed in the Morton Feldman wrote a series of works intended Alone, who support adults estranged from their composer vacuum, White Masks works things out Lisa Robertson solo violin for both music and improvised dance. Relatively families. in the moment, with its audience. unknown and in many cases unpublished, Lisa Robertson (UK, 1993) these works have rarely been performed live. A Moving in and out of fields at will, Nicole Raymond The installation considers a host of interrelated Can we not hear the birds that sing? (2019) 20’ renowned interpreter of Feldman’s music, pianist also goes under the alias NikNak, using turntables social boundaries: those set up between audience Philip Thomas recently collected these works in to switch between – and occasionally merge – field and performer, and also those inherent to ‘the Lisa Robertson creates music for environments, Morton Feldman Piano, a collection of recordings recordings and dance music. For Crackles of Rain, production and consumption of contemporary linking smaller-scale worlds to broader political that illuminate Feldman’s relationship with the she continues to make music that moves across music’. In White Masks, Rosani invites audience statements. Can we not hear the birds that piano. In this concert, he performs them as they as well as forwards, diffusing sound through an members to play new hybrid instruments she has sing? was conceived at a nature reserve near were intended, accompanied by dancer Hilary exchange of 20 speakers. designed, for use by either professional musicians Motherwell, inspired by the choruses of bird Elliott. or interested, unskilled listeners. In handing song she heard there. She created the piece Co-produced by hcmf//, Huddersfield Immersive Sound over improvisation duties to the listener, Rosani in close collaboration with her geographical Produced by hcmf// System (HISS) & Centre for Research in New Music encourages unlikely interactions and a shattering site, juxtaposing localised sounds of the nature (CeReNeM) of artistic borders. White Masks is a work that reserve with the urban surroundings it finds itself crosses thresholds. ensconced in. The M74 Motorway proved to be a key influence over the piece, decorating the bird Produced by hcmf// sounds with the destructive human relationships that mark-up nature. Mariam Rezaei © Coast2Coast Photography – theemotionsofbeinggoverned. that invoke ofpressure, endurance andresistance Reich, immersing thelistener inarelay ofsounds the piece borrows ideasofphasingfrom Steve style to the fore. Written for aquartet ofturntables, decks improviser, bringingherbombastic mixing informed byRezaei’s work asbothaDJ anda of thepast, butthehere andnow. inherent to theBritishPolitical system –notjust violence manifests through manifesto, andis is arighteously political protest, exploring how beyond themonpurpose.Hernew composition it does,specifically itdoes,andlikes to go Mariam Rezaei’s musicknows nobounds–or

44 Tail Wolf’s Produced byhcmf// Wolf’s Tail Mariam Rezaei(UK,1985) Mariam Rezaeiturntables Richard Steinitz BuildingAtrium,6.20pm Mariam Rezaei hcmf// shorts iscommissioned byhcmf// WORLD PREMIERE (2019)30’ Monday 18 Wolf’s Tail Tail Wolf’s // is November that is2019. the purposeofwords intheturbulent hellscape make usfeel just thatlittle bitmore hopeless about anything. From withintheirhijinks,theMusketeers musical manoeuvres –itloses itsabilityto relate to saying theword outloud –indifferent iteration and performance. Through anendless half-hourof love –oratleast, itdoesatthe beginningofthe of repetition. InEstonian, armastus means is aperformed ‘game’basedaround afrenzy Produced byhcmf// intriguing andhilariousset-pieces. Estonia performing inandaround jazzto create Musketeers are animprovising musicgroup from Prepare for anunequivocal brain-frying. TheFree Armastus The Free Musketeers Ahto Abnerdrums Ekke Västrik electronics Mingo Rajandidouble bass Jan Kausvoice The Free Musketeers: St Paul’s Hall,7.10pm The Free Musketeers WORLD PREMIERE

(2019)30’ Armastus

with adroning SunnO)))chug. are bothhypnoticandheavy–like adream scored wash over inasuccession ofripples. Theresults movements, letting theirlayers ofguitar andbass MacKinney andHopemake slow, repetitive patient andconsiderate take ontextural overload. their swirlofguitars issomethingelse,offering a Influenced byRhysChathamandElianeRadigue, down exactly whatthey doisalot harder. Calling them‘noisemusic’istheeasypart:pinning combine into theunitthatisSuperLuminum. Australian duoCatHopeandLisaMacKinney Cat Hopebass Lisa MacKinney guitar Super Luminum: Northern Quarter, 8.20pm Super Luminum Monday 18 Produced byhcmf// accessible Please note: thisvenue isnotwheelchair you’ll just abouthearthem. The guitars are ananchor, though:listen in,and control. overwhelming itfeels like they’ve escaped their microscopic speed,andthetextures become so start melting thecandle. Theirmusicunfolds ata tuning they feel like onthenight,and thenthey get straight to thepoint:duodrop into whatever Quarter. SuperLuminumperformances tend to burning theirwaythrough anightatNorthern exploration ofimmersive improvisation, slow- At hcmf// 2019,SuperLuminumcontinue their // November FREE EVENTS 45

Super Luminum © Clinton Green 46 hcmf// shorts Monday 18 // November Monday 18 // November FREE EVENTS 47 Hanna Hartman: Thomas Ankersmit Craig Scott Dafne Vicente-Sandoval Secret Security Bates Mill Blending Shed, 10.15pm Bates Mill Photographic Studio, 11pm + Cat Lamb Bates Mill Blending Shed, 9.30pm Bates Mill Photographic Studio, 11.30pm Thomas Ankersmit modular synthesiser Craig Scott tape players / cd players / loudspeakers Hanna Hartman electronics / objects Dafne Vicente-Sandoval bassoon Thomas Ankersmit (Netherlands, 1979) Dafne Narvaez Berlfein live camera / projection Cat Lamb synthesiser Perceptual Geography UK PREMIERE (2019) 45’ Craig Scott (Scotland, 1987) Improvisation for automated tape players, cd Hanna Hartman (Sweden, 1961) Cat Lamb (USA, 1982) Thomas Ankersmit’s Perceptual Geography is players and loudspeakers WORLD PREMIERE Secret Security (2018) 25’ Astrum, Trigonum, Speculum UK PREMIERE constantly changing, existing differently for every (2019) 20’ (2017) 40’ space it’s performed in. Honouring the legacy of Secret Security is a piece of music theatre, artist Maryanne Amacher on the 10th anniversary Craig Scott is interested in the disquieting tensions in Hanna Hartman’s own small way. It’s Cat Lamb’s Astrum, Trigonum, Speculum is of her death, Ankersmit reflects her extreme that exist between ‘human’ and ‘machine’ choreographed, but not for people. Written written for woodwind and ‘secondary rainbow leaps across the artistic spectrum, as well as her creation, and the way our errors get passed, like for electronics and tiny objectsts, Hartman’s synthesiser’. Lamb workshopped the instrument experimental philosophy. It sounds like nothing DNA, into technology. His musical set-up is a things perform, dancing within hand-drown with Bryan Eubanks to ‘spectrally filter a live else; focused on ‘aural architecture’ , it changes at junkyard of glitched and manipulated instruments; boundarieses – wonky squares and imperfect sound input to the listening space in which the the will of its venue. using these disregarded devices as music, he circles, projected onto a cramped screen. piece is situated’. Integrating the surrounding ‘exploits the inherent instability of old playback Given uncannily human qualities, they become environment into the music itself, the piece and its Produced by hcmf// supported by Dutch Performing technologies with the precision and control that characters of their own. place become one, all sounds equally intentional. Arts & Goethe-Institut London digital automation affords’. The result of Scott’s approach – of digitally straightening out sketchy Produced by hcmf// supported by STIM’s Council for Please note: seating in this venue may be limited Perceptual Geography is commissioned by CTM Berlin hardware – is striking, a re-enactment of our the Promotion of Swedish Music, Export Music Sweden, & Sonic Arts Amsterdam recent industrial past, informed by our always Kultur i Vast & Musik i Syd Produced by hcmf// upgrading present. Astrum, Trigonum, Speculum was commissioned by the Please note: seating in this venue may be limited gmem-CNCM-marseille

Produced by hcmf// Craig Scott Craig Hanna Hartman Secret Security © Christina Ertl-Shirley Security © Christina Hanna Hartman Secret 48 LEARNING & PARTICIPATION LEARNING & PARTICIPATION 49

Mini Pop-Up Art School Experimental Singing with Peyee Chen Saturday 16 November Temporary Contemporary Wednesday 20 November (Queensgate Market) Small Seeds, New Street 10am – 12pm Session 1: 6pm – 6.45pm Free Event Session 2: 7.10pm – 7.55pm

Join us for a pop up participatory activity that will Free Event offer the opportunity to be creative in a range of ways, celebrating and complementing Claudia Come and give experimental singing a go! Vocalist Molitor’s fantastic exhibition – showing throughout Peyee Chen will lead this inclusive workshop, Music at Play: the festival’s ten days at the Market Gallery in focused on trying out vocal improvisation in a Tiny Sound Zones Temporary Contemporary. Get stuck in, whatever casual, no-pressure environment. Participants your age and ability – no experience necessary. will have the chance to explore the connection Saturday 23 November between the voice and the body, connecting Heritage Quay, University of Huddersfield ArtActivistBarbie (@BarbieReports on Twitter) will the physical ways we make sound. No prior be reporting live on the scene! experience is necessary: just come along and sing. Session 1: 10am – 10.45am This workshop is open to women and non-binary participants only. focus on 2 – 5 year olds (walking children)

Launch Event: cageconcert Please note: this venue has a wheelchair Session 2: 11am – 11.45am accessible entrance, but does not have focus on baby sensory (pre-walking) Monday 18 November wheelchair accessible toilets Free Event (booking required) Richard Steinitz Building Atrium 10am – 5pm Our annual Music at Play workshops return for another year! Join early-years artist Sophie Free Event Cooper for two magical sessions for babies, toddlers and their grown-ups. In our first session, hcmf// invites you to the launch of cageconcert, toddlers will have the chance to learn how to a suite of apps and information related to John play instruments and bang drums, in all sorts of Cage’s Concert for Piano and Orchestra. Play with exciting ways: loud and quiet, fast and slow. For and explore Cage’s graphic notations using the the second session, we slow things down with Solo for Piano app, create your own performance meditation for babies, involving slowly moving of the Concert using the instrumentalists of ambient music for families to chill out with. Apartment House to combine and rearrange each

of the instrumental parts with the Concert app, To book workshop places or discuss your and learn about the piece through text, images, visit further, please contact Abi Mitchell on performances and interviews with the musicians. 01484 471116 or at [email protected] Members of the cageconcert project team will be Peyee Chen © Michael Salander Peyee on hand to demo and discuss the resource. hcmf// is an Arts Award Centre and can deliver Discover and Explore Arts Award 50 EVENTS Tuesday 19 // November Tuesday 19 // November EVENTS 51 11 Wet Ink 1 12 TEMKO + Phipps Hall, 2pm Slagwerk den Haag St Paul’s Hall, 7pm Tickets £12 (£9 concession / early bird) Tickets £18 (£15 concession / early bird) Wet Ink: Kristina Wolfe’s piece A Mere Echo of Aristoxenus Alice Teyssier flute throws Wet Ink in a different direction completely. Aart Strootman guitar barriers, and the discursive ripples they’re causing Alex Mincek tenor saxophone Wolfe’s music explores ‘structural, mathematical Fred Jacobsson bass guitar throughout the world. Through his new music, he Ian Antonio percussion and spiritual meanings of sound heard in sonic Pete Harden baritone guitar erects his own set of ‘wall’ instruments, creating Eric Wubbels piano architecture’, challenging Wet Ink to play music Wiek Hijmans guitar impenetrable sound barriers that reflect our Josh Modney violin with precise shape and stature. They also reel back Frank Wienk percussion devastating divisions back to us. Sam Pluta electronics the years, journeying into the 1st and 2nd centuries. Ramon Lormans percussion Looking into ancient Greek history, Wolfe found Pepe Garcia percussion W.A.L.L is ambitious, even by Strootman’s lofty Pierre Alexandre Tremblay (Quebec, 1975) specific examples of ancient architecture she Ryoko Imai percussion standards; this is, after all, the man who decided (un)weave WORLD PREMIERE (2019) 14’ wanted to study the sound of. to build brand new instruments so he could play Aart Strootman (Netherlands, 1987) Terry Riley’s unplayable masterpiece Shri Camel. Kristina Wolfe (USA/Denmark, 1984) Sam Pluta’s Lines on Black is the concert’s W.A.L.L UK PREMIERE (2019) 50’ Since that stunning performance, delivered at A Mere Echo of Aristoxenus WORLD PREMIERE endgame. A piece that captures the spirit of the hcmf// 2018, his vision has expanded, and so 2019 15’ ensemble playing it, it’s a kind of musical test, a Having spent much of his life in a workshop, has his band. TEMKO, the ‘chamber-metal’ trio stop-start network of written music and empty making skew-whiff guitars with alien fretboards, Strootman plays with, is now joined by guitarists Sam Pluta (USA, 1979) space. The notation provided to the ensemble experimental musician Aart Strootman is no Wiek Hijmans and Pete Harden, as well as Lines on Black UK PREMIERE (2018) 20’ abruptly disappears and reappears, challenging stranger to the construction game. For his new members of Slagwerk den Haag. They seem like Wet Ink to make up futures for the precise music project W.A.L.L, the Dutch instrument builder the right group for W.A.L.L. Self-described as Wet Ink is a collective of musical brain-stormers they’ve been playing. Lines on Black is information and composer takes his interest in hyper-precise ‘interested in any material that has a pulse’, the versed in performing, composing and improvising. versus imagination, and dares Wet Ink to be their acoustics one step further, complementing his Dutch percussion ensemble automatically get The group take a different tack to playing music, best spontaneous selves. opting for co-operative approaches that create bespoke guitars with microtonal tubular bells what Strootman is doing. He is an artist who draws a line between sounds and heartbeats, bringing what they describe as a ‘band’ atmosphere. That Co-produced by hcmf// & the Centre for Research in and a gigantic marimba – once again following word conjures up certain images – a bunch of New Music (CeReNeM) through the design of his instruments from start to his woodworked instruments to life. Slagwerk den musicians cramped into a practice room, going at finish.W.A.L.L is different: with these new objects, Haag share Strootman’s belief that everything can music with trial and error until they find a solution. (un)weave is commissioned by Wet Ink supported by Strootman is building up barriers. Influenced by ‘produce sound’; that all sources have something In the first of two daytime concerts at hcmf// 2019, Canada Council for the Arts, the FluCoMa project & the rising need for a new crop of protest music, to say. Wet Ink will premiere new works by Huddersfield- CeReNeM. his new project is much more than shiny new based composers Pierre Alexandre Tremblay and instruments. Strootman has long been an exemplary musician A Mere Echo of Astritoxenus was funded as part of a Kristina Wolfe, alongside Wet Ink member Sam and performer, capable of taking iconic music Marie Skłodowska-Curie Actions (MSCA) postdoctoral With W.A.L.L, Strootman turns his bespoke pieces and making them shine again. With Pluta. Tremblay’s work is typical of his approach. research fellowship project titled ‘Using Virtual Reality instruments into political metaphor. The ‘wall’, in W.A.L.L, he tells a bigger, bolder story – and one of and Archaeoacoustic Analysis to Study and Exhibit his own, at that. Effusive and ambitious, (un)weave attempts to Presence (VRAASP)’ at the University of Huddersfield. these times, is a stand-in, a symbol of our globe’s reach outward and understand everything at once. rising taste for populism and racism – a legacy not Inspired by busy city sprawls and cinema editing, created but certainly accelerated by US president Produced by hcmf// supported by Dutch Performing Tremblay has worked with Wet Ink to muse on Donald Trump. These barriers exist everywhere; Arts what ‘everyone’s inner monologue would sound new fascist ideologies are moving through the W.A.L.L is co-commissioned by Gaudeamus like, should they become audible’. Musically, it is fit west, even found in new polices implemented in Muziekweek, November Music and Slagwerk Den Haag to burst, Tremblay giving experimental music the Strootman’s home country of the Netherlands. with support of KunstLoc Brabant and NFPK feel of a crowded metropolis of independent yet As scapegoating rhetoric and state violence interacting people. continues to rise, W.A.L.L gains in signifiance. Strootman considers the destructive effects of 52 EVENTS Tuesday 19 // November Tuesday 19 // November EVENTS 53 13 Nadah El Shazly Bates Mill Photographic Studio, 9pm

Tickets £12 (£9 concession / early bird)

Nadah El Shazly voice / electronics over the head of repetition. Like the rest of Ahwar, it condenses El Shazly’s far-ranging influences – Nadah El Shazly (Egypt, 1989) noisy bands, classical Arabic music and the free Music and Improvisations Based on Ahwar improvising legends of old – into one place. (2017) 50’ She’s at her best when she’s throwing it all together, running everything at the same time – Nadah El Shazly is one of many musicians leading then her music becomes singularly exhilarating, the new wave of experimental music in Egypt. instantly vital to the ears. On Carte Blanche, a split Based in Cairo, the last few years have seen her record made with Sun City Girls’ founding member compose the thrilling, large-scale opus Ahwar, Sir Richard Bishop, she took her approach one a record that realises her experiences of jazz, step further, jamming with rock group Karkhana electronic and rock music, blowing up each into on music that was deliciously free, reigned in ever- the widescreen of a big band. The record is a so-slightly by bulky rhythms. The sound was both testament to El Shazly’s open-ended approach: to surreal and grounded – a nod to both playing what make an experimental music that engages every you know and making up what you play. possible sound source. El Shazly has played in a lot of bands – as a On Ahwar, El Shazly took solo material and teenager, she would front them, covering old- funnelled it through the lens of a full ensemble. school punk tunes, and she soon moved into The record was eventually realised by 22 artists larger-piece outfits – but she’s also a proficient contributing a patchwork of choral hums, solo player. At hcmf// 2019, she reverts to her improvised woodwinds and electronic friction. economical set-up of voice and electronics, Arabic for ‘marshlands’, the title evokes supplementing her vocal experiments with trusty the record’s labyrinth route, its themes of keyboards. Following her improvisational instincts, disorientation and displacement. It came together the concert will find her in labyrinth-making mode as an exploratory record that embraced the once again, creating a journey as unexpected as maximal possibilities of jazz. At the same time, it the one lurking in Ahwar. provided a map of the Egyptian underground and beyond: guitarist Maurice Louca, who recently Please note: seating in this venue may be limited released the monolithic jazz record Elephantine, features on the record, as she did on his. Sam Produced by hcmf// Shalabi, Louca’s bandmate in the Dwarfs of East Agouza, also features throughout.

Koala, the record’s centerpiece, serves as a microcosm of El Shazly’s vision. A non-stop noise wall of interweaving saxophones plays over a lackadaisical beat, the melodies cramped together in a cacophonous fanfare. It sounds like a jam band getting stuck in the mud, and yet it is captivating for its full seven-minute run – rushing euphoria © Alan Chies Nadah El Shazly 54 EVENTS Tuesday 19 // November Wednesday 20 // November EVENTS 55

Hanna Hartman: wide, open arena. Scouring through the back 14 Wet Ink 2 pages of Hartman’s electroacoustic music, this Electroacoustic Works Phipps Hall, 12pm concert features radio pieces Crush and 2004’s Att Richard Steinitz Building Atrium, 10.30pm fälla grova träd är förknippat med risker. Written Tickets £12 (£9 concession / early bird) fourteen years apart for one of her most familiar Free Event formats – the airwaves – they contain Hartman’s Wet Ink: of Wet Ink, but it’s theirs to storyboard. With best qualities: cohesion, detail, and concentration. Alice Teyssier flute the structure and order of play sculpted prior Hanna Hartman (Sweden, 1961) Alex Mincek tenor saxophone to each individual performance, the ensemble Att fälla grova träd är förknippat med risker As with all her work, Hartman’s tape music Ian Antonio percussion creates their own ‘version’ that will never again be (2004) 8”35 reimagines stray sound, both taking it from the Eric Wubbels piano repeated. Black Bat (2014) 7”44 world and turning it into the world. Josh Modney violin Crush (2018) 14”24 Sam Pluta electronics Bryn Harrison’s work last appeared at hcmf// Fracture (2016) 23”11 Produced by hcmf// supported by STIM’s Council for the Promotion of Swedish Music, Export Music Sweden, in 2017. As psychedelic as contemporary music Charmaine Lee (Australia, 1991) will ever get, his music was then considering our Hanna Hartman’s electroacoustic music is defined Kultur i Vast & Musik i Syd; also supported by EMS Elektronmusikstudion Stockholm Smoke, Airs WORLD PREMIERE (2017 rev. 2019) 12’ perception of the present tense, of living in the by force and resonance. Featuring works recently moment while drawing on the cycles of past and collected on new record Gattet, this concert Black Bat was commissioned by Deutschlandradio Bryn Harrison (UK, 1969) future. His new work builds on his own personal provides a crash course in her tape music, an Kultur & Sclossmediale Werdenberg. Dead Time WORLD PREMIERE (2019) 20’ philosophy of time. It’s inspired by writer Lisa offering of the music she’s taken out of – and put Baraitser, and moments in life that she describes back in – to existence. Crush was commissioned by Sveriges Radio. Eric Wubbels (USA, 1980) as ‘neither eventful nor vital’ – a rare phenomenon

modules/relationships UK PREMIERE (2019) 20’ in our current climate. Dead Time sounds severe, Fracture is a naturalist noise piece, capturing Fracture was commissioned by Deutschlandradiokultur but it’s not: guided by his peculiar, paceless music, the chaos of extremities in sound. Black Bat and features Dafne Vicente Sandoval on bassoon. In their second concert at hcmf// 2019, American the piece serves as antithesis, meandering around is gnarly: composed for Berghain’s crushing ensemble Wet Ink performs three more works our obsession with acceleration. speakers, it makes use of the iconic night club’s Part of this concert will be broadcast by BBC Radio 3 on Saturday 14 written specially for them, finding yet more cavernous space, retaining the vastness of that December 2019 solutions to pages on pages of question marks. These three works do entirely different things, A group of composer-performers with a knack but that’s never troubled Wet Ink: the more fluid for doing it all, it’s fitting that their first order of the situation, the better. They bring together business is to play a piece by one of their own. ideas like no other ensemble – give them half Charmaine Lee is a frequent guest collaborator an explanation, and they’ll make up something with Wet Ink; a rising star of the New York exceptional to go with it. experimental scene, she explores sound as a phenomenon of people, studying the conception Co-produced by hcmf// & Centre for Research in New of musical traditions that span from ‘free jazz Music (CeReNeM) to ASMR’ (Bomb Magazine). As a vocalist, she Part of this concert will be broadcast frequently seeks out new interactions, altering the by BBC Radio 3 on Saturday 14 voice through electronic states. Her work is unlike December 2019 any other.

With modules/relationships, Wet Ink connect the dots between their concerts, once again playing off form and formlessness. Composer and Wet Ink member Eric Wubbels says his piece ‘explores continuums between freedom and determinacy’, and it does; all of the possible material that can

© Hanna Hartman be used for modules/relationships is put in front 56 PROFILE PROFILE 57 John Butcher

here is he finding these people? You’d Kobi, Hans Koch and Urs Leimgruber. The group W think, at this point in his career, that John convened around the idea of taking the smallest Butcher would have hit the ceiling – that he’d have member of the saxophone family and enlarging it. found his last collaboration, formed his last band. As a chorus of sopranos, they have spent a decade Amongst recent outings, his rolodex has included going to the edge of the instrument’s possibilities, Keiji Haino, Rhodri Davis and Joe McPhee, each unleashing a torrent of extended techniques that coming up against his saxophone with their own sound both harsh and harmonious. S4’s open- instrument in a one-time-only live setting. In ended concerts and wide-ranging recordings 2014, he released Tarab Cuts with his longtime harken back to something Butcher told collaborator Mark Sanders, realising one of the interviewer Dan Warburton in 2001: ‘the soprano most singular musical outings of his career – a is prone to superficial agility’. Through 10 years musical response to a collection of Arabic music of improvisations, S4 have been exploring the suggested by artist Tarek Atoui. He spent 2017 incredible sensitivity of their shared instrument – playing in an oddity of a trio with moog player Pat the ways it has led a history of jazz players down Thomas and drummer Ståle Solberg, producing the rabbit hole, surprising them with boundless a righteously untoward combination of sounds. scope. There’ll surely be more to come: with a family of familiar faces, Butcher has continued to find Weirdly enough, Butcher is a solo artist – he’s just himself in entirely new circumstances, making been living in plurals. He’s not only found artists music that is bona fide new. to attach himself to, but places, objects, and machines. When he talks about his work, it’s often It’s simple, really: Butcher plays with people in reference to where he made it, or through which because he appreciates their music. ‘I choose who chain of events. At hcmf// 2019, he’s presenting a I play with because I value them as musicians, and new work called Magnetic Bottle IV. It was made that isn’t because they work in a particular style – with the Huddersfield Immersive Sound System the idea is always to draw on different sides of my (HISS), a loudspeaker rig that comprises a large- own playing’. It’s been decades, and he’s learned scale network of channels and speakers. Often nearly everything he can about his woodwinds, but described as an ‘orchestra’, the HISS is another things are still happening to him; there are still impact point, a way through which Butcher’s ways an artist can play that will inform the way saxophone will change. It’s a portal: Butcher will he does. At the same time, he’s still discovering use the system to create swathes of amplified the world: he and McPhee stranded themselves feedback, transforming his solo playing into a in the West Texas desert for At the Hill of James series of intertwining saxophone lives. Magee, their improvisations echoing the power of the ‘extreme’ environments Butcher found himself For Butcher, this is a golden opportunity. soloing in for his album Resonant Spaces. Over the He’s rarely had the chance to use this kind of course of his career, his instruments have become technology live; amplified feedback has only very vessels, travelling through particular settings and occasionally formed part of his performance. coming out the other side changed. With the HISS, he can make it happen – so he will. Falling into the situation, he’ll find the music out, Butcher thrives in face of the unknown. He knows somehow revealing something new about him and how to play, but he’s open to how else he could his instrument. play. In 2010, he became a founding member of S4,

joining the versatile soprano sax players Christian Profile by Robin Smith © Andy Moor John Butcher 58 EVENTS Wednesday 20 // November Wednesday 20 // November EVENTS 59 15 S4 16 Skogen St Paul’s Hall , 7pm Bates Mill Blending Shed, 9pm

Tickets £12 (£9 concession / early bird) Tickets £18 (£15 concession / early bird)

S4: At the same time, they are capable of playing it Skogen: It’s all for the taking: Skogen are invited to ‘freely Christian Kobi soprano saxophone cool, making what the Whole Note call ‘music that Ko Ishikawa sho navigate’ the situation he’s provided, trusted to Hans Koch soprano saxophone is harmonised intimately, as if by a bel canto choir Anna Lindal violin tread his waters. Within the piece are the type of Urs Leimgruber soprano saxophone – open enough that every strain is audible’. Their Angharad Davies violin hushed, instinctual sounds Granberg tends to end John Butcher soprano saxophone range is formidable – a testament to their intimate Leo Svensson Sander cello up with – inflections of ancient and new music, relationship with the instrument they’ve made a Rhodri Davies harp huddled together. S4 Elastic Voices WORLD PREMIERE (2019) 60’ home for. Magnus Granberg prepared piano Simon Allen vibraphone / percussion Let Pass My Guiltless Ghost is spontaneous for a The extraordinary New Orleans musician Sidney S4 formed at the invitation of member Christian Erik Carlsson percussion reason: while writing it, Granberg took inspiration Bechet discovered his first soprano saxophone in Kobi, who was looking towards a festival Henrik Olsson percussion, objects / electronics from what he calls ‘disparate impulses’. He has a London junk shop in 1920. It was here one of the performance in 2010. They could well be the Petter Wästberg electronics / objects brought together histories separated by cavernous first great jazz improvisers came into existence only saxophone quartet to work exclusively with no-input mixing board years of time: the renaissance music of Anne – leading the way on this curious instrument. It sopranos; each member has chosen to make their Boleyn, the second wife of Henry VII, presides was a moment of small revolution - influential own music through collaborative improvisation Magnus Granberg (Sweden, 1974) over the piece, the lyrics to O Death Rock Me yet, amazingly, it took 40 years for the next wave of in myriads of projects, mostly without other Let Pass My Weary Guiltless Ghost Asleep providing it with a tender and devastating soprano innovators and experimenters to arrive, saxophonists; for them, S4 is a unique gathering. WORLD PREMIERE (2019) 60’ title. Boleyn’s influence is joined to the popular with John Coltrane, Steve Lacy, Evan Parker and At hcmf// 2019, they will premiere Elastic Voices, a standard You Must Believe In Spring, written by counted amongst them. new in-situ piece – structured and improvised with Magnus Granberg’s music happens in chain Michel Legrand and redesigned for jazz piano by the special acoustics of St Paul’s Hall very much reactions. The Swedish composer writes Bill Evans in 1977. Saxophonist Ab Baars noted that in the 1950s in mind. detailed pieces that somehow feel incidental, Bechet would end his practice sessions by with instruments passing notes between one Centuries apart, the differences in these songs creating bird and animal sounds. ‘I sometimes © John Butcher another in whispered conversation. It is a kind somehow echo through Granberg’s music, sharing wonder if what they call music is the real music’, of acoustic music like no other, so confident in with him a music of ineffable emotion – the same Bechet remarked: ‘where sounds turn into Produced by hcmf// supported by the Swiss Arts its quietness that it sounds as if someone had personal, intimate sounds, passing through time music and music turns into noise – that’s a very Council Pro Helvetia recorded the natural sounds of an empty room. like branches of a family tree. interesting place to be’. Bechet and the later For his newest work, Let Pass My Weary Guiltless pioneers discovered in the soprano a flexible, Ghost, Granberg’s ensemble Skogen once again Produced by hcmf// supported by STIM’s Council albeit wayward, instrument, capable of making form a circle, exchanging quiet fractures of sound for the Promotion of Swedish Music, Export Music exceptional art beyond traditional limitations. between themselves. Sweden, Kultur i Vast & Musik i Syd; also supported by S4 carry these ideas forward in their music. Kulturrådet (The Swedish Arts Council) & Musikverket (The Swedish Performing Arts Agency) We tend to think of compositions as lines, always S4 are a quartet of soprano explorers who have moving forward, but Let Pass My Weary Guiltless been described by Sound Projector as ‘unleashing Ghost is a space, and a suggestion of what to do an astonishing assault of tones, drones, steam with it. Granberg has built what he calls ‘pools kettle whistles, tongue-popping, vaguely obscene of musical materials’, and confined them to a bubblings and synchronised flurries of notes, that ‘temporal framework’ – in other words, a place to you would swear are coming out of an electronic do something and a time within which to do it. sequencer’. Nadia Ratsimandresy © Jacopo Baboni Schilingi Oiseaux Androïdes Li-Ying Wu(Taiwan/Denmark, 1978) Nuance Matt Collins(UK,1996) Baptiste Chatel soundengineer Nadia Ratsimandresy ondesMartenot Free Event Bates MillPhotographic Studio,11pm Nadia Ratsimandresy 60 Charette (USA,1956) Quatre Baptiste Chatel (France, 1982) Gang Bang Sarah Wéry (Belgium,1987) EVENTS UK PREMIERE WORLD PREMIERE UK PREMIERE UK PREMIERE UK PREMIERE (2016)8’ (2018)9’ Wednesday 20 (2018)8’ (2019)8’ (2016)6’ // November Council ofArts Garde MusicFestival withthesupportofDanish national decréation musicale deReims&hcmf// Nuance Produced byhcmf// Please note: seatinginthisvenue maybelimited supplemented withmodernelectronics. newly commissioned works onherinstrument, concert, Ratsimandresy willplayaseriesof ambiguous, emotionally charged music.Inthis sound, offering itsplayer thechance to create keyboard family, itmakes anindefinite hovering sonic palette; unlike otherinstruments inthe Invented inthe1920s,it’s known for aunique instruments ever made–since shewasachild. ondes Martenot –oneoftheearliest electronic Nadia Ratsimandresy hasbeenplayingthe Gang Bang Gang Charette Androïdes Oiseaux iscommissioned byHillingdonMusicFestival isco-commissioned byCésaré, Centre iscommissioned byArs Musica Festival iscommissioned byKlangAvant- Fine, Fine, Maxim Shalygin. Written in close collaboration For JamesOesi Crespo Barba(Spain,1995) James Oesidouble bass Tickets £12(£9concession /early bird) St Paul’s Hall,12pm Maya Fridman 17 JamesOesi/ Talamh Thomas Power (Ireland, 1993) Canti d’InizioeFine Maxim Shalygin (Ukraine/Netherlands, 1985) Maya Fridman cello / MUJI Aya Yoshida (Japan,1992) Bass Piece Boris Bezemer(Netherlands,1992) new music,shewill perform Well-versed inplayingdemandingand imaginative becoming oneofmusic’s most in-demandsoloists. of years goingfrom emerging to accomplished, Cellist Maya Fridman hasspentthelast couple show itoff. double bass itself,providing Oesiwith new waysto Power are more focused on thesoundof polyphony. Works from Aya Yoshida andThomas created atantalising piece involving rapid-fire by flamenco singing,while BorisBezemer has A. Crespo Barbahaswritten awork influenced on different worlds andconverting themto his; his intricate understanding ofthebass, drawing premiering aseriesof new works thathighlight taking apartitstradition asabandtool. He’s instrument into amainstay ofsolo performance, Double bassist JamesOesihastransformed his the overwhelming new work bycomposer UK PREMIERE UK PREMIERE UK PREMIERE UK PREMIERE (2019)10’ (2019)5’ UK PREMIERE voice (2019)8’ (2019)6’ Canti d’Inizio e e d’Inizio Canti (2018)45’ Thursday 21 concentration camps. attempt to depictthehorrors experienced inthe rhythmic, atothers soberandmeditative –isan out ofsixAngelsDeath’.Themusic–attimes of theGermanalphabet,andassigned to one Holocaust victimsdirectory, called after asegment represents adifferent ‘imaginaryfolder inthe by Gratchenfestival, Gaudeamus&November Music All pieces performed byJamesOesiare commissioned NL with financialsupportfrom the Performing Arts Fund Canti d’inizio e fine e d’inizio Canti Arts Produced byhcmf//supported byDutch Performing six parts,eachmovement of personal material ofhiscareer. Asongcycle in solo performance to express someofthemost with Fridman, thepiece seesShalygin use // November wascommissioned byMaya Fridman Canti d’Inizio e Fine e d’Inizio Canti EVENTS 61

62 EVENTS Thursday 21 // November PROFILE 63

18 We Spoke board, visuals and electronics, it’s yet another Irmin Schmidt vocalist, Malcon Mooney. At least to begin with, game for We Spoke to sacrifice their hearts and rock music mattered: it was salve against the Phipps Hall, 4pm minds to. A gestural piece, c2b7 reflects Bieri’s seriousness of the musical tradition Schmidt had menacing humour, reinventing performers as an wasn’t the plan. In fact, it was a sidequest. been taught in. Tickets £12 (£9 concession / early bird) gamers who have to pay the consequences for C Up until 1968, Irmin Schmidt’s career was their decisions. As We Spoke move chess pieces running a steady course towards something else: It’s funny, really, that Can gave us ‘’. We Spoke: around the board, different types of film music will the concert hall. The Berlin musician had studied Inspired by the New York wave and actually Julien Annoni begin to play, the piece descending into out-and- to be a composer and was settling into a prime eschewing the musical practices alive in Germany, Kaja Farszky out-chaos. They’ll only have themselves to blame. role as a conductor around Germany. His name Schmidt’s band were pure anachronism – Olivier Membrez was associated with orchestras and symphonies everywhere at once, they united a contradiction Gwen Rouger Peng, the new work from Barblina Meierhans, is throughout the country, and attached to an of styles and cultures, counting American and Hannah Walter a piece that We Spoke describe as ‘using human impressive list of teachers – the magnanimous Japanese vocalists in their ranks in Mooney and Robert Toche DNA as a score’. It is the kind of psychological Karlheinz Stockhausen, for one. On top of that, . At the same time, the band couldn’t experiment that Meierhans’ pieces tend to he had already led the most important revolution get any play from their home country, which was Hanna Hartman (Sweden, 1961) become, creating poetry out of social science. The of his life: he had vehemently rejected the dogma ironically sourcing its musical sensibility from Termite Territory UK PREMIERE (2019) 20’ piece pits a drummer, who is constantly speaking, of his Nazi father, who spent the war period as a the United States. Through obsessive practices against tape music, the relentless, unwavering willing bystander. in which the band would simply improvise into Ezko Kikoutchi (Switzerland/Japan, 1968) process of the performance talking back to infinity, Can began to sound placeless, developing d’Hypnos UK PREMIERE (2019) 12’ the writer of the piece itself: is Peng still being Schmidt had already asserted himself; he had a beguiling musical style around repetition, achieved, completed, as you hear it? escaped into music. Until the late 1960s, he had psychedelia and ambience. They made a long list Barblina Meierhans (Switzerland, 1981) never planned to start a band. It was, as always, of weird odd-one-out masterpieces: , Peng UK PREMIERE (2019) 10’ It’s hard to know where to start with Ezko New York, that was the bother; on visiting the city, and , all coming off like Kikoutchi’s new piece, d’Hypnos – or, wait, maybe Schmidt found a place with less definition, and spoofs of traditional rock music that sounded Chloe Bieri (Switzerland, 1990) we should mention that it involves a member of less boundary, than he had to deal with at home. sublime and seamless, played by a band with their c2b7 UK PREMIERE (2019) 15’ the ensemble wearing a ‘cerebral waves detection’ In the American musical underground, there were own magnetic pull. helmet? All we can say here is that it’s well worth no lanes to stay in; it was nothing like what he At hcmf// 2017, they spent half a concert locked in a Google. It completes a We Spoke programme had experienced in Germany, where people were When the group disbanded, Schmidt retooled, combat with several dozen plastic bags. Doesn’t it that is, fittingly, as off the wall as possible. It’s keen to keep classical and popular music apart. returning to his classical career with a decade ultimately make a lot of sense that We Spoke will structured as if they’ve asked composers to make Schmidt completed his musical education here – of new experiences to share. With Can, he’d open their concert at this year’s festival by moving them gadgets and games, with the happy accident with a lesson in breaking the rules. picked bits and pieces from different worlds, around cardboard? of discovering something – finding answers where making them work for him. The band had made there were no questions. Without Schmidt, we wouldn’t have Can. His visit Soundtracks, a collection of music for films, which In their defence, it’s not their idea. The ensemble to New York is the point of conception for the band including the monolithic , a 14-minute are taking on Termite Territory, a brand new work Produced by hcmf// supported by the Swiss Arts and all that came beyond it; a new genre, as well guitar groove written for the 1970 drama Deep by Composer in Residence Hanna Hartman, who Council Pro Helvetia; also supported by STIM’s Council as a new outlook in music, began with that trip. End. Schmidt clearly enjoyed the experience, and was responsible for providing them the challenge for the Promotion of Swedish Music, Export Music When he got home, he formed the band with fellow began working as a film scorer, soundtracking Sweden, Kultur i Vast & Musik i Syd; also supported by of Shadow Box two years ago. With a habit for musical polymaths David Johnson and Holger so much visual media that his debut solo the hcmf// Patrons turning found objects into sources of dramatic Czukay – convincing them that they, too, could became compendiums of them: to date, his

Filmmusk series has amassed six volumes. At musical theatre, We Spoke have become the We Spoke is supported by Usinesonore Association ditch the academic world and open up the avant- perfect foil for Hartman’s music, taking her sound garde, giving it colour and character. Schmidt the same time, Schmidt used his time away from design ideas and exploding them into the stuff of Part of this concert will be broadcast has expressly rejected the accusations that he Can to continue to make minor revolutions to his an abstract pantomime. by BBC Radio 3 on Saturday 7 formed a ‘rock’ band – the three founders played music: Toy Planet, conceived with Swiss jazzer December 2019 jazz, funk and psychedelia – but the early evidence Bruno Spoerri, married cosmic ambience and folk Representing their native Switzerland, We Spoke is damning. Their first ever songs, retroactively music, while Impossible Holidays saw him use his will also premiere work by three of the country’s captured in , are a rugged collation experimental palette to make something closer to most exciting (and/or infuriating) names. Chloe of guitar jams, their aggression and angularity pop music. Bieri’s c2b7 is aptly named: written for chess finished off with the groaning wails of their first 64 PROFILE Thursday 21 // November EVENTS 65

He has never completely abandoned his training. 19 Irmin Schmidt 18 albums into his solo career, he gave us 5 Klavierstücke, building on his early days as a St Paul’s Hall, 7pm composer and pianist. Schmidt describes the tracks as ‘spontaneous meditations, only played Tickets £18 (£15 concession / early bird) once, and recorded simultaneously’ – echoing the days when Can would play and play, improvising in Irmin Schmidt piano search of serendipity. ‘They are formed’, he said, ‘from an emotional memory in which Schubert, Irmin Schmidt (Germany, 1937) Cage, Japan and Can are equally present’. In Klavierstück II WORLD PREMIERE (2018) 12’ the end, this project is maybe the most definitive Nocturne I WORLD PREMIERE (2018) 14’ moment in his career. Like his epiphany in New Yonder WORLD PREMIERE (2018) 20’ York, these pieces rewrite the earliest lessons Schmidt ever learned about music – curious to see A founding member of German rock pioneers Can, what can happen in the beyond. keyboardist Irmin Schmidt was responsible for contributing to the psychedelic rhythms that have Profile by Robin Smith influenced a generation of rock music. He has been a compooser throughout his career; through a series of film soundtracks, opera scores and solo albums, Schmidt has shown a different side of himself, creating sparse and spectral music that pays credence to space and silence. With his 18th solo album, 5 Klavierstücke, he has found a middle-ground between the student who grew up learning how to compose and the rock musician who did nothing but improvise.

At hcmf// 2019, Schmidt will play pieces from 5 Klavierstücke, though only sort of. These piano works were made as stray thoughts, largely invented on the spot. The album cannot be replicated, but it can be reflected, improvised in the same spirit Schmidt has recently been creating with. This concert is a rare opportunity to see Schmidt make music from scratch, without a band to dress it up, inviting only the ambient sound of St Paul’s Hall to join in with him. The concert serves as a deeply personal rumination on the whole of Schmidt’s career.

Produced by hcmf// supported by Goethe-Institut London; also supported by & Mute Records Irmin Schmidt © JLucia Bauer 66 EVENTS Thursday 21 // November Thursday 21 // November EVENTS 67 Reactive Flows Bates Mill Blending Shed, 9pm

Free Event

Owen Green live electronics Rodrigo Constanzo’s performance makes use of Olivier Pasquet live electronics heavily augmented percussion to explore dense Lauren Sarah Hayes live electronics and violent textures. He explores and develops a Leafcutter John live electronics range of turntable and DJ scratching techniques, Rodrigo Constanzo augmented snare drum applying them to an amplified snare drum. This, combined with robotic extensions to the drums, Owen Green (UK) juxtaposes sound worlds. Race to the Bottom WORLD PREMIERE (2019) 9’ For Herbig-Haro, Olivier Pasquet has designed Rodrigo Constanzo (Spain) a minimalistic overload aiming to immerse the Solo Improvisation 10’ audience in rhythmic chaos. Sonic grains storm into the void, creating music that blows around its Olivier Pasquet (France) Herbig-Haro (HH) WORLD PREMIERE (2019) 12’ Making Moon via Spirit, Lauren Sarah Hayes was influenced by playing music in a host of different Lauren Sarah Hayes (UK) collaborative environments. The projects led her to Moon via Spirit WORLD PREMIERE (2019) 11’ unexpected outcomes, requiring her to relinquish control and remain open to possibilities. Moon via Leafcutter John (UK) Spirit is a live improvisation, Hayes learning from Line Crossing WORLD PREMIERE (2019) 12’ her collaborations that letting go is often the best course of action. In a concert exploding with software, five of the world’s leading electronic performers present Leafcutter John’s Line Crossing presents an music they’ve been working on for 14 months animated visual score which responds to and as a virtual community. The artists involved in works with sounds created by the performer. the University of Huddersfield’s Fluid Corpus ‘I explored a real-time feedback loop between Manipulation project intertwine digital and human and machine where the human responds physical worlds; with a stash of computer to the computer and vice versa. The audience processes that manipulate sounds, their music can see and hear what’s happening inside the flows together. machine!’.

With Race to the Bottom, Owen Green built on Co-produced by hcmf// and the FluCoMa project. his obsession with cardboard, and the sounds This project has received funding from the European it makes when you take a bass bow to it. His Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme software improvises based on these sounds, learning from the acoustics and generating new Part of this concert will be broadcast music. His software picks up something in our by BBC Radio 3 on Saturday 7 world and tries to make sense of it. December 2019 Reactive Flows © Angela Guyton Flows Reactive 68 EVENTS Thursday 21 // November Friday 22 // November EVENTS 69 20 Kelly Jayne Jones 21 Grand Chromatic Bates Mill Photographic Studio, 10.30pm Fantasy (Symphony for 3 Pianos) Tickets £12 (£9 concession / early bird) St Paul’s Hall, 12pm Kelly Jayne Jones With a longstanding interest in ‘geology as a Dan Valentine sound source’, Jones has frequently used rocks Tickets £18 (£15 concession / early bird) Joe Beedles and stones in her music. In 2015, she appeared around with a makeshift well of Tamriko Kordzaia piano Grand Chromatic Fantasy was written for three Kelly Jayne Jones (UK, 1980) bricks, using contact mics on them to bring deep, Tamara Chitadze piano pianos, each beginning at a different pitch. It is a carving shapes with many parallel and cavernous noises into public spaces. The sounds Stefan Wirth piano simple and self-explanatory concept: the pianists proportional sides WORLD PREMIERE (2019) 60’ – brash, noisy, and sometimes even musical – are go down, and sometimes, up, meeting in moments like nothing you would expect a rock to be able to Mikheil Shugliashvili (Georgia, 1941-1996) of contradiction and conflict. The tone is one of Kelly Jayne Jones is keen to unravel the parts make. They suggest the scope of things we don’t Grand Chromatic Fantasy (Symphony for 3 eternal dissent: stabbed chords and blunted of ourselves that remain unknown. In making know – and all the things in the world we’ve never Pianos) UK PREMIERE (1974/1976-78) 60’ melodies move together like they’re inverting one cavernous drones with rocks, playing free heard from. For her performance at hcmf// 2019, another, revealing the negative colours of what psychedelic music and improvising in bands, the rocks make a comeback. Jones will once Georgian composer Mikheil Shugliashvili we should be seeing. A reference to Bach’s own she has explored the fringes of our shared again dig in her microphones, drawing out what conceived Grand Chromatic Fantasy, his Chromatic Fantasy is found within the music, laid understanding. Her recent work is based upon she describes as ‘ancient spirits imbued in them’. masterwork, in the 1970s – over an extended on like black comedy – it’s completely devoured by ‘themes of the unconscious’, and asks how art She will uncover hidden sound. In her world, period of four years. It was a long process, and for the three pianos playing it. can ‘explore visceral emotion and psychological that’s what psychedelia is: music waiting to be good reason: Shugliashvili was writing the most awareness’. In Jones’ work, sound becomes an discovered. important music of his life. It came in a period of Shot through with impulsive dynamic changes apparition. dramatic stylistic upheaval – he had always been a and sudden rhythmic curveballs – at times, it’s Jones is interested in building networks and misunderstood avant-garde composer, but in the an endless race to the finish, and at others it’s It’s as if through hearing particular music we can relationships with her music. It’s led her into 1970s he took a nosedive, eschewing all stylistic a tumble down the stairs – Grand Chromatic conjure up the subconscious images that belong to a series of projects with differently interactive traditions and reaching for musical extremes. Fantasy is breathless, impossible to stop listening us – and just for a moment, we can grasp them. It elements, involving visual motifs, choreography Grand Chromatic Fantasy is his most memorable to. But perhaps its greatest achievement is is a unique approach, and a people-oriented one. and audience participation. She recently created piece. It’s the most dread-inducing thing you’ll its utterly unique atmosphere; as if producing Genres like ‘hauntology’ and ‘psychedelia’ are and toured a performance with sax-playing hear this year – an hour-long epic of clustering the music through his arrangement of pianos, commonplace now, but they have been abstracted, noisemaker Matana Roberts, and also worked catastrophes. Shugliashvili created a piece that felt both dense stripped of a connection to us. With her music, alongside Haris Epaminonda on an installation for and weightless, an urban city sprawl drawn under Jones wants to make the phenomenal personal Venice Biennale. Her appearance at hcmf// 2019 Shugliashvili was the right artist in the wrong a cloudless sky. again. is collaborative, too: working alongside dance circumstance. An unsuccessful student – his producer and Rainer Veil member Dan Valentine, music was too brash, loud, overwrought – he Produced by hcmf// supported by the Swiss Arts It can be heard best in Jones’ recent tape Clay as well as visual and electronic artist Joe Beedles, travelled his own path, founding his own music Council Pro Helvetia; also supported by hcmf// Tablets, Hoarded Creatures. Described as she’s created an installation through which studio in Tiblisi. His minimalist approach to playing Benefactors Allan and Mo Tennant ‘environmental psychedelia’, it contains two she will perform, hoping to ‘connect with other and composing was at odds with much Georgian eerie soundscapes in which she interpolated dimensions’. It’s an extremely Kelly Jayne Jones music of the time: very little of his work was ever ghostly drones with very tangible sounds: running way of going about things. We can’t help but take performed, with Grand Chromatic Fantasy first water, heavy wind and chirping birds. It’s another her word for it. played in Georgia in 2013. An obscure name, he example of her work that lives on the borderline stands as one of many artists punished for carving between psychedelic and slice-of-life – much like Please note: seating in this venue may be limited their own personality onto minimalist music; the subliminal drone of her album Dream Recall, the foggy, doom-laden melodrama that Grand Produced by hcmf// which sounds like new age ambient music being Chromatic Fantasy plays out is unlike any of the taken out of the astral plane and situated onto great artists we would normally compare it to. carving shapes with many parallel and proportional solid earth. sides is commissioned by hcmf// 70 EVENTS Friday 22 // November Friday 22 // November EVENTS 71 Luigi Archetti: NULL Bates Mill Photographic Studio

Free Event

Luigi Archetti (Switzerland, 1955) no linear point, and in Archetti’s own words, ‘any NULL UK PREMIERE (2010-15) attempts to discover clearly defined melodies, rhythmically ordered structures or even beats are Parts 1-4: 2pm - 6pm to no avail’. Without a purpose to come, a sound to Partds 5-7: 9pm - midnight follow, NULL becomes its own event, its complete stillness impossible to ignore. The music of NULL describes our experience waiting, pausing, anticipating. To us, the act of As Archetti points out, NULL is a displacing not doing something, and merely expecting it, experience. In his view, there’s no place that is as good as nothing. To sound designer Luigi it belongs to: ‘the sounds do not provide any Archetti, it’s an opportunity – an ‘invitation to travel reference whatsoever to a possible location’. in unchartered regions’. It’s time we reckoned with Archetti’s sparse approach to making music – no the sensation we spend our lives trying to escape. extra instrumentation or recording makes up the textures of this record, all made with guitars – In this five-year project, Archetti crafted the most makes NULL wholly unique, a journey unto itself. extensive and fully realised project of his career, It’s as if he’s found nirvana in industrial music. attempting to create a series of sound recordings that serve as a metaphor for the sensation of At hcmf// 2019, we invite you to sink into one of anticipation. Think of lifts, train platforms, empty this century’s most monumental feats of sound offices – places where a murky near-silence design. Spread over two concerts, Archetti permeates everything. With its greyscale drones presents the full series of sounds that encompass and static sound, NULL invites us to notice the NULL, giving audiences the chance to sink into the waiting room worlds we spend our days in. stillness and stay there.

With NULL, Archetti attempted to capture and Please note: seating in this venue may be limited foreground the sounds we disassociate from. Over seven distinct records, he created heavily- Produced by hcmf// supported by the Swiss Arts processed guitar works that have the tone of these Council Pro Helvetia un-listened noises. They have none of the qualities we would usually give to music; they have ‘no melody, rhythm, structure’, and they ultimately relate to nothing, offering no distinguishable soundtrack to their surroundings.

Archetti researched concepts of ‘zero’, but found himself most interested in it in the abstract; rather than treat it as mathematics or science, he considers it as a sensation. Ironically, NULL can’t be quantified or referenced; it is a music with Luigi Archetti © Rolf Bismarck Luigi Archetti Christine Sun Kim © Robert Rieger 72 EVENTS Friday 22 // November Breath andBreak Ivan Fedele (Italy, 1953) May IAskYou Something?(2017)14’ Barblina Meierhans(Switzerland,1981) Christophe Egeasoundengineer Thierry Debonspercussion Jon Roskilly trombone Matthew Conley trumpet Pierre-Stéphane Meugésaxophone Charles Pierron horn Christine SunKimperformance Ensemble Contrechamps: Tickets £18(£15concession /early bird) St Paul’s Hall,7pm Contrechamps 22 Ensemble inevitable place inacapitalist structure. as ameansofexerting power ontheworld –its its absence, Kimpresents thewayssoundisused both ‘ghost andcurrency’. Through experience of hearing andmakingmusic,thinking ofsoundas the personal andpolitical connections madein media to askthisquestion. Kim’s work surveys Kim, deafsince birth,usesmultiple forms and can’t hearit?American soundartist Christine Sun What can we learn about soundfrom thosewho invention. flicking through aprogramme ofnew andnow interests front andcentre, thegroup effortlessly being made.Thisconcert putstheirbreadth of up thebest andmost boundless musiccurrently peoples’ worth ofcreative determination, serving soloists’, Contrechamps fusestogether 21 Coming self-describedasan‘ensemble of Deaf, notmute Christine SunKim(USA,1980) UK PREMIERE UK PREMIERE (2019)30’ (2012)14’ breath. alongside two works exploring communication and adrenaline. performer. Ivan Fedele’s impulsive –triggeringitsplayers to overflow with so well-scripted thatitsenergy feels almost its performers to pauseandthenerupt,it’s arrangement andmusical detritus.Itchallenges a stop-start juxtaposition offree jazz,classical from maverick composer BarblinaMeirehans, Ensemble Contrechamps present Contrechamps inrealising it. her work asperformer-composer, supporting between thetwo acts. but theand-undeniable connecting space It’s notthebreath, orthebreak, thatmatters most, from breathing to makingsound,andvice versa. électroacoustique, Haute école deGenève Johnson Foundation &Centre demusique Fondation Victor etHelgaBodifée, Stanley Thomas Council Pro Helvetia; alsosupported byVille deGenève, Produced byhcmf// supported bytheSwiss Arts new UKPremiere has Considered soundsassocialmores. WIth her differently. Through musicandinstallation, she of sound,andhow itcan beexperienced Kim’s musichasexplored theloaded connotations Break Friday 22 consists ofagradual, improvised transition May I Ask You Something? You Ask I May // November November 2019 by BBCRadio3onSaturday 30 Part ofthisconcert willbebroadcast Deaf, not mute not Deaf, , shecontinues EVENTS 73 isanew work Deaf, not mute not Deaf, Breath and and Breath

74 PROFILE PROFILE 75 Mayke Nas

ometimes it helps to make a list. In 2017, It’s a large-scale work for orchestra – the S Mayke Nas delivered a speech to aspiring instrumentalists have to just go with it, throwing composers at Gaudeamus Muziekweek, themselves into the piece’s bombastic abandon. attempting to answer a question so impenetrable They play a horrifying symphonic overture, that most of us choose to ignore it: ‘Why do breaking it up by making conversation, laughing composers do it?’. Later, she came up with a in chorus and creating discordant bangs all over list of 10 reasons – many of them pros, some of the place. With it, Nas turns passing whims into a them cons, all of them a little ludicrous – in an grandiose piece. Based on a play by Peter Handke, attempt to answer that question. I can’t decide I Delayed People’s Flights By Walking Slowly In which is my favourite: ‘not to sleep’ is the most Narrow Hallways has a similar combination of relatable; ‘craziness’ is tempting, but a little over deliberate and hair brained: performers hyper- the top; ‘not being good at anything else’ is, I think, aggressively write confessions about their lives the reason that anyone does anything. But my onto blackboards, because – well, just because, favourite is ‘looking for trouble’. If ever there was really. The regimented rhythm and ascetic a composer of mischief, it’s Mayke Nas, the artist choreography of the piece is now iconic, gripping responsible for making the piece of music that for the havoc it wreaks upon its performers. most resembles Bart Simpson writing lines on a chalkboard. The way Nas talks about her music, you’d think you were an accomplice, there at the moment Mayke Nas makes ephemeral and uncertain she commits her crimes. She dares and probes, music, reaching out for the best of the best in non- recalibrating the listener’s self-conscious until solutions. 2006’s Anyone Could Do It is a prime it’s working on her level, until certain lunacies example: a maddeningly circular, rhetorically- feel entirely within their rights. Nas describes shaped piece of nonsense, it involves a group of 2012’s Down the Rabbit-Hole as if it makes perfect performers, all unprepared, following instructions sense. It does not. The abstract music works in

to make an imaginary piece of music. They don’t a reference to the Beatles – she claims that ‘the der Heyden Nas © Gemma van Mayke know what they’re doing – just that they’re doing accompanying melody of Lucy In The Sky With it. Cue aesthetic crisis: does the piece mean Diamonds, crushed like aniseed crumble, has that anyone should be able to make art, outside found its way into the opening.’ Making good on of commodity chains and professional skill? Or this psychedelic influence, Rabbit-Hole is filled is a stop-gap for culture rather than a bubble games, occasionally collapsing parts of their body does it mean the opposite? She quotes Fluxus with nervous humour and fluorescent symphonies. protected from it. Her pieces have been called onto the piano – is just odd, and better for it. In a artist George Maciunas, who spoke of art’s great Notes move haphazardly, ‘like how Alice repeatedly things like Help! and It Don’t Mean a Thing, time where art, news and life all travel without paradox: it ‘must be unlimited, obtainable by all shrinks and grows during her experiences in the nodding to songs from times gone. As part of context – in which the funniest stuff we see online and eventually produced by all, but the artist doing rabbit-hole, stumbling upon one astonishing an online installation for the Ear Reader, she makes absolutely zero sense – Nas perfectly art has to justify his income, demonstrate that only situation upon the other’. The piece may as well be designed Snack Bar, a curated video playlist captures weirdness, and how we’ve become so he can do art, and art therefore must appear to be tumbling down the stairs. that shuffles together YouTube deep cuts, from very familiar with it. complex, intellectual, exclusive’. It’s a tough one, concerts to game show clips and covers of video and rather than solving the problem, Nas punks In Rabbit-Hole, Nas notes the influence game music. Here’s everything: together at last. Profile by Robin Smith us with it. Stockhausen had on the Beatles when they made Sgt. Pepper. No barriers go up: in her world, All jumbled up, Nas’ Snack Bar is a bit of a clue: As for her, Nas is the latter stuck in the former: pop music flows into contemporary composition it tells us that this is an artist who likes to put art an artist who has to make ‘art’, when all she without interruption. She’s said before that on shuffle, taking it away from the things that really wants to do is press the button and see ‘pop, jazz, new media are all also found in new can explain it. Nas’ music can be taken as is. The what happens. The immense Why Not? is so composed music’, and it’s certainly true of utterly bemusing DiGiT #2 – a piece in which two called because Nas wrote it free of hindrance. her music: majestically referential, her world players sit at a piano and play hand-clapping 76 EVENTS Saturday 23 // November Saturday 23 // November EVENTS 77 23 The Arsenal of Unlived Things Lawrence Batley Theatre, 3pm

Tickets £25 (£19 concession / early bird)

Nieuw Amsterdams Peil: they wrestle with objects that are bigger than they Merel Junge viola should be, while staring into environments they’ll Heleen Hulst viola never be able to traverse. They are, in this way, Rianne Wilbers voice like dreams – accidentally imagined worlds we Koen Kaptijn trombone temporarily visit. Jan Roel Hamersma percussion Pepe Garcia Rodriguez percussion Nas has moved into making her largest-scale Gerard Bouwhuis piano work with the exact energy you’d expect: she is full Ria Marks director of ideas, excessively inspired, and keen to point Floriaan Ganzevoort lighting designer to her influences.The Arsenal of Unlived Things is full of sideshows and references, celebrating Mayke Nas (Netherlands, 1972) the artists that inspired Nas to think ludicrously: The Arsenal of Unlived Things UK PREMIERE it takes its name from poet Rainer Maria Rilke’s (2019) 50’ work The Book of Hours, who was also ruminating on life paths and the gravity of making choices. In The Arsenal of Unlived Things, Mayke Nas She was, as ever, inspired by something related imagines parallel universes. We’ve all had to the Beatles, making reference to one of John daydreams about what could’ve been; what if we Lennon’s songs, in which he borrowed Allen could jump ship and start living in them? With her Saunders’ famous line: ‘Life is what happens to us soon-to-be-trademarked reckless abandon, Nas while we are making other plans.’ ditches this life for all the ones we imagine – a ‘parade of what-ifs’ from alternate reality. In this It’s hard to know, at this point, whether The new music theatre piece, Nieuw Amsterdams Arsenal of Unlived Things will incite a laugh riot Peil soundtrack her fight with butterfly effect and or a network of deep existential crises. It will chaos theory, playing up the absurdity of trying to probably do both. The good news is that Mayke Nas rewrite your life. has been given a stage and an audience – her two absolute favourite things in the world. Nas is overfamiliar with performing and entertaining. She has created an excess of Produced by hcmf// supported by Dutch Performing obscene music games, inflected with niche Arts humour that is often for our entertainment, and sometimes just hers. The music theatre format The Arsenal of Unlived Things is commissioned by November Music & DAAD (Berlin) seems like a natural fit for her; it provides her a space where she can get away with the surreal and play up the comedic. Collaborating with visual artist Teun Hocks, The Arsenal of Unlived Things realises her vision in technicolor, drawing direct inspiration for the piece’s setting from Hock’s paintings of bizarre, empty landscapes. Hock’s art © Teun Hocks Courtesy Torch Gallery Amsterdam Gallery Torch Hocks Courtesy © Teun places characters in disturbingly funny situations: 78 EVENTS Saturday 23 // November Saturday 23 // November EVENTS 79 24 The Fish that became the Sun (Songs of the Dispossessed) Huddersfield Town Hall, 5pm

Tickets £18 (£15 concession / early bird)

Octandre Ensemble Directed by Jon Hargreaves and Christian Mason, last year Octandre Ensemble worked Benjamin Marquise Gilmore solo violin on a recording of The Fish that became the Sun. Having worked with Denyer a number of times in Jon Hargreaves conductor recent years, they have become familiar with the Holly Mathieson conductor musical intricacies of his work, and through their collaborations with him, have gained a deeper The Octandre Ensemble is joined by musicians understanding of the underlying issues in his from Consortium5 and New London Chamber music. While The Fish that became the Sun is Choir, vocal students from the RubyThroat epic in its scope, it is still very much the work of ensemble, coached and led by Linda Hirst, and its composer – delicate, subtle and ever curious percussion students from Trinity Laban about the human relationship to sound. As is Conservatoire. typical of Denyer, it is an empathetic survey of our world, involving ‘a wide array of instruments from Frank Denyer (UK, 1943) all over the world and from far back in history’. The Fish that became the Sun (Songs of the Dispossessed) WORLD PREMIERE (1991/4) 60’ Tonight’s performance at hcmf// 2019 will mark the piece’s first ever full performance. Originally written in the now distant time that is the The instruments and music have been waiting early 1990s, The Fish that became the Sun is one for a long time: at hcmf//, Octandre and their of Frank Denyer’s most ambitious works. Written collaborators will realise a moment of music for 37 performers spread over more than twice history that’s been hidden for a long time. that number of instruments, it includes his own hand-crafted instruments including pipes, sets Produced by hcmf// with support from Another Timbre of slate gongs, glass gongs, steel plates, lamella and Trinity Laban dyads and various rattles, as well as found objects such as paving stones, brooms, a fishing rod and more. It involves male and female vocalists, the former playing eunuch flutes, and there are also two child vocalists. Regular instruments such as sitar, hammered dulcimer, harmonium and double basses are heard and the music involves a number of different tuning and intonation systems. It is the fullest realisation of his study into melody and timbre, and the practicalities of mounting a performance are considerable. Octandre has bravely and enthusiastically embraced the Frank Denyer Frank challenge. 80 EVENTS Saturday 23 // November Saturday 23 // November EVENTS 81 25 London Sinfonietta: Georg Friedrich Haas St Paul’s Hall, 7.30pm

Tickets £25 (£19 concession / early bird)

London Sinfonietta: there is both a clash and a cohesion to the music Michael Cox flute he writes. There’s an attempt to make direct, Mark van de Wiel clarinets physical communication, to distort through Timothy Lines clarinets perception what we see, hear and feel. In line Timothy Ellis horn with Riley’s visuals, Haas is creating illusions, his Byron Fulcher trombone music a constantly shifting canvas. David Alberman violin Sarah Saviet violin Haas’ new piece is complemented by Katherine Hilaryjane Parker violin Balch’s New Gemoetry. It’s inspired by a different Alice Barron violia artistic moment, taking its name from a scene in Fiona Winning viola Tom Stoppard’s play Arcadia, but also concerns Zoe Matthews viola itself with the sensation of shape. Balch takes Adrian Bradbury cello one of Stoppard’s ideas, to ‘zoom in to the Enno Senft bass miniscule details’ of shapes, and inverses it, Zoë Martlew cello instead ‘zooming out and amplifying’ her music’s David Hockings percussion complexities. Philip Moore piano Produced by hcmf// supported by hcmf// Benefactor Katherine Balch (USA, 1991) Martin Staniforth New Geometry UK PREMIERE (2015) 10’ Georg Friedrich Haas’ New Work is commissioned by the London Sinfonietta in association with Southbank Georg Friedrich Haas (Austria, 1953) Centre and hcmf//. Supported by The London New Work WORLD PREMIERE (2019) 50’ Community Foundation, Cockayne – Grants for the Arts & a generous group of individual donors. For this major London Sinfonietta commission, prolific composer Georg Friedrich Haas has Pre-Concert Talk written music in response to a retrospective St Paul’s Hall, 7.15pm celebrating British artist Bridget Riley, presented at Southbank Centre’s Hayward Gallery. This concert will be preceded by a talk with Riley’s visual sensations are overwhelming, composer Georg Friedrich Haas. Please see page inviting long-stays and submerged viewers. His 15 for details. New Work honours her by creating the very same extreme illusions. Haas describes his homage to Bridget Riley as ‘a gradual interference of soundscapes’, as if visually mapping out the encounters of his invisible harmonies. Like Riley, © Bridget Riley 2019. All Rights reserved © Bridget Riley 82 EVENTS Saturday 23 // November Sunday 24 // November EVENTS 83 26 hcmf// mixtape 27 Lisa Ullén Bates Mill Blending Shed, 10pm Phipps Hall, 12pm

Free Event Tickets £12 (£9 concession / early bird) hcmf// mixtape returns for another year, once From the expansive, 89-instrument monolith Lisa Ullén piano The piano is, perhaps, the most apt instrument to again shuffling up the schematics of contemporary of The Fish that became the Sun to miniscule make this discovery on: just sitting at it dives the music! Hosted in its signature setting, Bates Mill solo ruminations, Frank Denyer’s music retains Lisa Ullén (Sweden, 1964) performer into an unknown space in which one Blending Shed, this free concert makes a playlist something enigmatic. Elisabeth Smalt will play Hollow 1 can only make something new. There are threads of its performers, bringing together a host of vital Woman, Viola and Crow – a song that requires its Up North, of melody and strands of abstraction in Ullén’s artists and giving them new roles to play. 2019’s performer to sing, rattle percussion and imitate the Gap one music, reflecting her ability to play both solo and in mixtape provides a real medley of this year’s bird song, briefly taking on a mini ecosystem solo h free-playing band scenarios. Her live performance festival, bringing some of the main characters – alongside Frog, a work written by Denyer for can guarantee her, at the piano – but little more back to the stage – while also introducing some bowed strings. A mainstay of Sweden’s burgeoning experimental than that is set in stone. new players. scene, Lisa Ullén recently released Piano Experimental pianist Philip Thomas has recently Works, an exhaustive collection of music pieces Produced by hcmf// supported by STIM’s Council for Joined by his Electro-Acoustic Quartet, released an album-long study of Morton that debunk the definitions of composition and the Promotion of Swedish Music, Export Music Sweden, saxophonist Evan Parker heads up the mixtape Feldman, providing an extensive overview of the improvisation. Kultur i Vast & Musik i Syd in the first of two ecstatic improvisations at minimalist pioneer’s work for piano. In these live the festival. His expansive vision changes per performances, he conjures up a different image collaboration, with this longstanding group mixing of Feldman: Extensions 3 ratchets tension out the abandon of free improvisation with live signal of sparsity, while Intersection 3 is a cacophony in processing. which silence feels as loud as noise.

Following on from the realisation of his expansive Please note: this is a free event but tickets are Juvenal Symphony No 4, we take a closer look at limited. They can be booked in advance online or the work of French artist Isidore Isou. Soprano via the Box Office. Lore Lixenberg performs three of Isou’s poetic vignettes, showcasing his attempt at creating As this is a live broadcast, audience members sound art from within the confines of his Letterist must be seated by 9.45pm art movement. In Isou’s work, poetry is intrinsically linked to sound – words are used as abstract Produced by hcmf// supported by STIM’s Council for the intonations, given a new meaning in the wake of Promotion of Swedish Music, Export Music Sweden, being broken by war-time propaganda. Kultur i Vast & Musik i Syd; also supported by Dutch Performing Arts

Hanna Hartman has sort of written something This concert will be broadcast live by straightforward with Horizontal Cracking in BBC Radio 3 Concrete Pavements, except not really at all. The instruments are unexpectedly traditional: two saxophones, played in this instance by consummate horn players Anthony Brown and Carl Raven, take centre stage. They’re interpolated by electronic textures, which move through the concert environment while being distorted and misdirected by Brown and Raven – which is where things start to swirl. Karnowski © Pawel Lisa Ullen 84 EVENTS Sunday 24 // November Sunday 24 // November EVENTS 85

Buried within the physics was a poetry that David Toop: Living summed up the nature of recollecting a life in 28 Quatuor Bozzini + Within Sound sound: the long echoes of memory; a fluttering of Ensemble Dedalus + the heart set in motion by those memories. But Bates Mill Photographic Studio, 2pm that rapid oscillation between two hard parallel Peyee Chen surfaces has also characterised an internal St Paul’s Hall, 4pm Free Event struggle for my own practice: the tensions between writing about music, sound, listening and Tickets £18 (£15 concession / early bird) David Toop spoken word / recordings / objects silence, then working physically with these same elements and other materials as a musician or Quatuor Bozzini: past – the signposts we build out of nostalgia and David Toop (UK, 1949) so-called sound artist. Clemens Merkel violin regret. It follows and expands upon 2017’s Late Flutter Echo (2017, performance 2019) Alissa Cheung violin Silence in soundtracking moments at the end of Resolving that conflict has demanded strategies Stéphanie Bozzini viola time, where it has run out. In his accompanying Flutter Echo is an acoustic phenomenon, the not unlike the vernacular, provisional approach Isabelle Bozzini cello text, Frey conjures a space between oldness and rapid bouncing of sound signals between two exemplified by the prefab housing that made an end: ‘last shade, late wind, late fall, last view, late parallel surfaces. This was my first memory of impression on my young mind in the 1950s. How Ensemble Dedalus: tune, last bliss, lost word, lost grief’. From this hearing. When I was a child my mother would visit is it possible to devise formats that bring together Didier Aschour guitar vantage point, Grounds of Memory looks back, my grandparents’ house in Enfield. I noticed the the making or reading of a text with another form Cyprien Busolini viola reckoning with the intangible passage of time. prefab housing built to shelter families bombed of making that involves the whole body, active Stéphane Garin percussion out of their homes during the war; then at one materials, other parts of the self? Silvia Tarozzi violin Frey has said before that music is both composed point during the walk we passed through a narrow Fabrice Villard clarinet and, well, composer-less. An artist’s role is alleyway where I was struck by the sound of our Flutter Echo (hcmf// version) will be a reading but Deborah Walker cello significant, but it is to interact with sound – not footsteps undergoing a strange, metallic, resonant also a performance of paper, recording, writing, a invent it. Their work is felt, but so is ‘absence, transformation. rumination on memory, an exploration of surfaces Peyee Chen voice when the composer lets the music go on without and depths, a fluttering between the walls. interference’. It makes sense that this composer More than 60 years later, I settled on Flutter Echo Jürg Frey (Switzerland, 1953) would get caught up on the themes found in as the title of my autobiography, first published © David Toop Grounds of Memory WORLD PREMIERE (2019) 60’ Grounds of Memory. Much like Frey’s music, in Japan in 2017, published in English by Ecstatic memory is ambiguous and uncontrollable; it never Peace Library in 2019. Please note: seating in this venue may be limited Impossibly soft, Jürg Frey’s music finds the spot truly belongs to us. Instead, Frey suggests that our closest to silence and cosies up to it. It sounds history passes through the years on its own terms, like he’s gone to the void and managed to make returning to us changed. He borrows Dickinson’s something grow in it; next to so much silence poem, Since I Could Not Stop Death, to describe and darkness, his music sounds all the more this sensation: ‘since then, ‘tis centuries – and yet alive. Returning to hcmf// with a World Premiere, it feels shorter than the day’. the Swiss composer continues his humble experiments with sparsity and texture, inviting Produced by hcmf// supported by the Swiss Arts a new combination of performers to join in. For Council Pro Helvetia; also supported by DRAC Occitanie, this concert, string quartet Quatuor Bozzini play Regional Council Occitanie, SACEM, SPEDIDAM, the alongside Ensemble Dedalus and experimental Institut Français, Fonds Diaphonique, FACE, Impuls Neue Musik Occitanie en Scène & hcmf// Benefactor singer Peyee Chen, all 11 artists coming to terms Richard Steinitz with the low gravity of Frey’s music.

Grounds of Memory is co-commissioned by hcmf//, Grounds of Memory is another piece of music in Quatuor Bozzini, Ensemble Dedalus & GMEA, the which Frey quietly, without rupture, surveys the National Center of Musical Creation of Albi-Tarn elemental forces of our lives. With texts from Emily Dickinson and Arakida Moritake, as well as Frey

David Toop © Fabio Lugaro © Fabio David Toop himself, it considers the ways we remember our 86 EVENTS Sunday 24 // November Sunday 24 // November EVENTS 87 29 Evan Parker @ 75 Bates Mill Blending Shed, 7pm

Tickets £18 (£15 concession / early bird)

Evan Parker soprano saxophone playing that emerged in his 1961 recording of Matt Wright laptop / turntable My Favorite Things. The choice was a signal of Paul Lytton percussion / analogue electronics Parker’s own future as a vivacious polymath: he Richard Barrett sampling keyboard would be one of those artists, able to do things in Paul Obermayer sampling keyboard the plural, bringing the mood with the mayhem. Peter Evans trumpet / piccolo trumpet Growing up on jazz radio, Parker was absorbing a Peter van Bergen bass / Ab clarinets wide range of sounds, unable to connect any of it, Mark Nauseef percussion incapable of determining its quality – he counted Sten Sandell piano / synthesiser on Coltrane’s free jazz to cut through the miasma. Adam Linson bass / electronics Sam Pluta electronics There have been enough formative collaborations in Parker’s career to fill and breach this piece’s Evan Parker (UK, 1944) word count, but none come more important than Improvisation 90’ his early experiences with . Another member of the British underground’s first wave, Bailey floated about the scene’s hotspots, playing Evan Parker is a lot. He is one of those artists who as part of John Stevens’ aptly named Spontaneous has become impossible to quantify, as unstoppably Music Ensemble. It was here Parker first off the beaten track as he is totally essential to a encountered Bailey, and through this connection dozen different movements. True to his position as that they would ring in the 1970s as notorious one of the European underground’s most notable collaborators, founding the Incus imprint and artists, his story veers off in a thousand different bringing about the Music Improvisation Company. directions, down the strangest, most uncovered These early collaborations saw them make three corners of avant-garde music into scenic B-roads. records, including their opus, The Topography His discography reads like a dusty volume of of the Lungs. A frenzied, hyper-aggressive and history, and unfolding it feels unseemly. In a way, it everywhere-splaying set, the duo was joined on is best told through encounters; in those chance it by drummer Han Bennink, partnering up for a collaborations Parker has experienced, and in the record that remains a landmark in experimental unbelievable ensembles he has brought together. music around the world. Parker has been generous with his music: it has sprawled through lives as they have sprawled Parker’s early output was confident and through his. uncompromising, embracing as many different corners of experimentation as possible. He The first encounter we should talk about is John welcomed the chance to play with the players, Coltrane. When Parker started playing sax as a publishing his findings with jazzers such as bassist teenager, he coloured every choice in his adventure Barry Guy through Incus – while simultaneously as if it depended on the truths of jazz’s most pursuing his own solo attempts at circular famous player – his most important influence. breathing and hyperspeed tonguing. Parker He notes that his chosen instruments became and Guy made an appearance at hcmf// in 1992, phantoms of Coltrane’s, attempts to replicate his continuing their long-standing partnership with famous tenor sound and the mellifluous soprano a performance of typically loose definitions. Forbes © Caroline Parker Evan 89 hcmf// would like to thank the following Members They called it Improvisation!, the exclamation a musician of this type, and achieve something mark nodding to, well, jazz, those early Impulse! like equilibrium? In Trance Map, Wright’s use for their support: releases that suggested the genre as a whole, of tape samples, field recordings and record and the restless pursuit of catharsis that carries scratch has the same pulsing unpredictability as Benefactors Friends through all of its idioms. From there, the list Parker’s saxophone lines, jerking and careening Roz Brown & Colin Rose Mr Derrick Archer of collaborators quite literally goes on: greats as if both were travelling on – and off – the same Dr Peter Bamfield Miss Mary Black like Joe McPhee, John Zorn, Milford Graves and tracks. Live, the piece has been performed with Mr & Mrs Mervyn & Karen Dawe John Bryan Thurston Moore are a microscopic sample of many different collaborators, often erupting into Prof Mick Peake Mr Richard Chalmers people who have shared a moment in history with a group freak out worthy of a noise rock band like Mr Martin Staniforth Marie Charnley Evan Parker. Boredoms. Mr Richard Steintiz Ms Rona Courtney Allan & Mo Tennant Mr Patrick Crozier Parker’s relationship with hcmf// serves as Trance Map is the kind of communal adventure Mrs Mavis Green a microcosm of his work, bringing together Parker has been going on since he started out, Patrons Dr John Habron snapshots of his experiments as a composer, and indicative of his love of being within other people’s Martin Archer Andy Hamilton the collaborations that made them happen. In music. He started out emulating the exuberance Mrs Shirley Bostock David Hanson 2002, Parker visited hcmf// to present Memory/ of Coltrane; now, he thrives off the sound worlds Sir Alan Bowness Mr Bryn Harrison Vision, a large-scale project that cast a group of of collaborators. He recently partnered with Mr Alex Bozman Lizzie & Dan Hunt familiar friends as the Electro-Acoustic Ensemble. David Toop for Sharpen Your Needles, a piece that Susan Burdell Mr David A Lingwood The group had been active since the early 1990s, considers the politics of listening, positing record Dr E Anna Claydon Dr Anthony Littlewood formed as a free jazz band with some soft concepts collections as a somehow radical act. At hcmf// Mr C W Dryburgh Nikki & James McGavin about ‘real time signal processing’ – suggestive 2019, he presents another group work; along with Dr Colin G Johnson Mr Nicholas Meredith directions that saw Parker embrace the growing familiar creative partners and a ragtag roster of Ms Rosemary Johnson Mr Graham Moon role of computers in music. As a composer, Parker musicians, he’ll deliver a frenetic improvisation to Joe Kerrigan & Christine Stead Mr Philip Bradley & Ms Geraldine Kelly built on a trusty foundation of improvisation, close down the festival. As he turns 75, there are Graham Hayter & Kevin Leeman Dr Roger M W Musson instructing members of the ensemble to respond, few better ways to celebrate his career than with Mr John Moffat Miss Harriet Richardson in a daisy-chain, to pre-recorded improvisations, this: a collaborative revolution. Laurence Rose James Saunders sparking a fervent series of interrelated events. Dr M R Spiers Judith Serota OBE Produced by hcmf// supported by STIM’s Council for Terrence Thorpe Mr & Mrs David & Phillida Shipp In embracing new music types, Parker has been the Promotion of Swedish Music, Export Music Sweden, Peter John Viggers Mr & Mrs Vic & Alison Slade factoring his instrument into the now, considering Kultur i Vast & Musik i Syd Barnaby & Maria Woodham Colin Stoneman what sense the saxophone might make in a world Gregory & Norma Summers where sound meets information. He’s delivered a Mr Gordon Sykes rich new series of works, and amazingly, they have Pre-Concert Talk John Truss sounded unlike anything else in his career. In 2011, Bates Mill Photographic Studio, 6pm Rob Vincent he brought Trance Map to hcmf//, a collaboration James Weeks with plunderphonics artist Matt Wright. Ahead This concert will be preceded by a talk with Evan Dr Margaret Lucy Wilkins of Trance Map, Parker had already been working Parker. Please see page 15 for details. with electronic musicians and DJs, but the work had been largely responsive, taking stems of his improvisations and inserting them into a familiar framework. His collaboration with Wright presented a challenge: could Parker perform with 90 INFORMATION INFORMATION 91 Buying Your Tickets Information

Please note: Early Bird discounts are To Book Your Tickets Accessibility Travel Information available on a limited number of tickets Online: www.hcmf.co.uk Concessionary rates are available for attendees National Rail Enquiries and are only available until Friday 4 Phone: +44 (0)1484 430528 Monday–Saturday, with a disability, plus one free ticket for a +44 (0)8457 484950 / www.nationalrail.co.uk October at the latest (or earlier if limits 10am–5pm (no booking fee) companion if required. Support dogs are welcome. are reached before that date). Please book Limited parking is available for attendees with a National Express early to avoid disappointment. In Person: Monday–Saturday, 10am–5pm at disability outside each venue and on the University +44 (0)871 781 8178 / www.nationalexpress.com Lawrence Batley Theatre campus. Call +44 (0)1484 472900 to discuss your Festival Saver requirements. West Yorkshire trains and buses: Admission to all events £400 Reservations must be paid for one week before Metroline Online £340 performances. Bursaries +44 (0)113 245 7676 / www.wymetro.com Available to assist students and those with limited Please check your tickets as soon as you receive Weekend 1 Saver means to attend the Festival. Call +44 (0)1484 First Huddersfield them. The Box Office may be able to resell your (16 + 17 November) 472900 for further details. +44 (0)1484 426313 / www.firstgroup.com Admission to all numbered events £120 ticket (applies to sold-out performances only) for Early Bird £95 a charge of 50p per ticket. Tickets for resale must For more information about Huddersfield visit West Yorkshire Journey Planner be returned to the Box Office the day before the www.hcmf.co.uk www.metrojourneyplanner.info Weekend 2 Saver performance at the latest. (23 + 24 November) Admission to all numbered events £100 Please Note Early Bird £85 Latecomers to performances will not be admitted Get involved with hcmf// until, and only if, a suitable break can be found Group Discounts in the programme. hcmf// will do everything As a registered charity, your support makes a There are lots of ways you can choose to support (tickets must be bought in one transaction) reasonable to ensure the performance of the huge difference to hcmf// in our work to bring hcmf//: Parties of 10 or more – 10% discount published programme but reserves the right the very best of contemporary music and visual to change artists and programmes or cancel a arts to our audiences in Huddersfield each year. // donate any amount at any time at hcmf.co.uk Education and Community Group Discounts concert in the event of circumstances beyond its Over 35% of the funds we raise goes directly to // join our Membership Scheme (tickets must be bought in one transaction) control. composers, artists and performers – and, during Parties of five or more – 10% discount the 10 days of the festival alone, hcmf// generates // become a corporate donor or sponsor Groups of 10 or more – 20% discount Visit hcmf.co.uk for more £1.2 million for the local economy each year. // support our fundraising campaigns for information, or to get in touch, specific projects Discounts for 17 – 29 Year Olds When you support hcmf// you are helping us to: A limited number of tickets are available for all give us a call on 01484 472900 or // leave a gift in your Will or give an events at a price of £4, offering huge savings of email [email protected] // commission new works in-memory gift up to £21 on normal ticket prices (tickets must be booked in advance and will not be available on the // work in partnership with other festivals and // volunteer as a Festival Steward door) venues to ensure repeat performances

Discounts for under 17s // bring together artists, composers, performers A limited number of £1 tickets are available for all and programmers to create innovative events for under 17s collaborations and creative partnerships Concessions // create opportunities for young children, Students, senior citizens, disabled, those claiming students, community groups, older people, unemployment or supplementary benefits and families, amateur musicians and composers to Kirklees Passport holders. Proof of eligibility is participate in and benefit from our award-winning required when buying / collecting tickets. Learning & Participation projects. Whilst we can’t be with you in Huddersfield this year, we are delighted to be performing the UK premiere of Rebecca Saunders’ Scar, co-commissioned with hcmf//, in Birmingham on Sunday 15 December 2019. We hope you can join us for this or one of our many other performances around the world – and to see you in Huddersfield very soon.

Our UK & International Concerts

Across the Channel Tue 19 November 2019 Conservatoire à rayonnement regional, Paris

BCMG with MCME Mon 18 December 2019 National Centre for Contemporary Art, Moscow

BCMG with MCME Tue 19 December 2019 Multimedia Art Museum, Nishni-Novgorod

Migrating Sounds Sun 15 December 2019, 6pm CBSO Centre, Birmingham

Varèse: Density Mon 4 May 2020, 6pm Town Hall, Birmingham

Varèse: Density Sun 10 May 2020, 4pm Southbank Centre, London

Secret Kiss Wed 24 June 2020 Wigmore Hall, London

Book at bcmg.org.uk

BCMG is a company registered in England no: 2446126, registered charity no:1001474. ALAN

DAVID

EARLY WORKS 19 OCT – 19 JAN

Open daily 10am – 5pm Free entry hepworthwakefield.org Some of the most exciting compositions since 2000, each combined with pieces written exactly 100 and 200 years earlier.

Beethoven meets Thomas Adès, Dutilleux and Knussen, Spohr encounters Rautavaara, and hear pioneering works from Philip Glass, Shankar and Enescu. Supported by Funded by

February – December 2020 Registered charity no 1138117 David Hockney, Arizona, 1964. Acrylic on canvas 60 x 60” © David Hockney. Photo Credit: Fabrice Gibert. Private Collection lpo.org.uk/2020vision Alan Davie, Cross for the White Birds, 1965. © The Estate of Alan Davie

2020 Vision.indd 1 06/09/2019 15:33:59 hcmf full page ad v2.indd 1 30/09/2019 10:50 Everything we do is music by Barry Russell

More than fifty fun, the laureates thought provoking and hands-on activities. Most projects require no prior

“Everything we do is music” knowledge of “Everything we do is music” “Everything we do is music” Cross-curricular experiments in sound based on the music of Cross-curricular experiments in sound reading music based on the music of John Cage Explore the music, ideas and ideals of John Cage, composer of 4' 33'' and one of the twentieth century’s most original and by Barry Russell inventive artists. or playing an “Everything we do is music” contains more than 50 fun, thought-provoking and hands-on activities, each taking a work by John Cage as a starting point and exploring the links between music, dance, visual art, poetry and nature.

Most projects require no prior knowledge of reading music or playing an instrument and can be worked through with little preparation — each project instrument. encouraging creative thinking and experimentation, exploring the world around us and blurring the boundaries separating life and art.

Open this book to uncover the connections between: Music and Dance Explore the relationships between movement and sound, develop choreographies to accompany your performances, use gestures and actions to inspire your own compositions… A vital classroom Music and Art Create drawings, paintings, graphical scores and collages, make music for rocks, stage exhibitions of your art… Music and Words resource for Experiment with vocal sounds and textures, write poetry based on your favourite sports and pastimes, compose a litany for an endangered species… Music and Nature Listen to the beauty of the sounds around us, construct a miniature rock garden, use and make instruments from plants… specialists and Music and Life Turn your favourite book into a theatrical event with music, poetry and dance, bring people together to perform in events where anything can happen, and Sweden remember, everything we do is music... non-specialists alike. Lisa Streich Edition Peters 68500 Suitable for all EP 68500 Full cover spread DD (rev).indd All Pages 18/02/2016 14:06:46 Key Stages.

Digital & Print Publishing | Graphic Design Available from all good music shops Web Development | Brand design | Marketing or direct from [email protected] | www.musocommunications.com Yair Klartag Israel www.editionpeters.com Discover inspirational Donghoon Shin South Korea stories, stunning art & heritage

• Fascinating exhibitions • Relaxing gardens & parks • Great coffee & unique gifts

Tolson Museum | Huddersfield Kirklees Museums & Galleries Huddersfield Art Gallery @KirkleesMuseums Bagshaw Museum | Batley Oakwell Hall | Birstall

For further details: www.kirklees.gov.uk/museums Support the next generation of composers, sound artists Philip Venables and music creators. and Ted Huffman’s visit samgiving.org

soundandmusic.org

Music by: Claire Victoria Roberts Katherine Betteridge Sioned Eleri Roberts 14 & 15 February 2020 Michel van der Aa Pontio, Bangor Duncan Chapman Guto Pryderi Puw Niamh O’Donnell Featuring: Graham Fitkin Pablo Barrios UPROAR & Electroacoustic Wales Joanna Bailie John Metcalf Experiments in Sound Ben Wallace Tom Sissons Siwan Rhys (piano) Joss Smith BNME Jerry Zhuo Gareth Glyn Jordan Hirst Steph Power 13 & 14 March 2020 Lynne Plowman Purcell Room at Queen Elizabeth Hall Ashley John Long David John Roche An opera examining the real-life tragedy of two teenage runaways. Mark David Boden They lived every moment, including their last, online.

‘Venables’s way of building tension through minimal means is astonishing’ (subject to funding) Tickets and further information: (Alex Ross, New Yorker) www.bangormusicfestival.org.uk