new radicals

30th March 2012 UTZON ROOM SYDNEY OPERA HOUSE

1st April 2012 THE STREET THEATRE CANBERRA ENSEMBLE OFFSPRING new radicals

Artistic Directors Claire Edwardes & Damien Ricketson

program

Matthew Wright: Breakdown flute, clarinet, percussion, keyboard, violin & cello [AP]

Michael Norris: Save Yourself flute, clarinet, accordion, synth, violin & cello [WP]

Øyvind Torvund: Neon Forest Space clarinet, percussion, electric guitar, cello & electronics [AP]

- interval -

Ekrem Mülayim: and we chart the topography of a moment solo percussion [WP]

Yannis Kyriakides: Zeimbekiko 1918 violin, electric guitar & electronics [AP]

Simon Steen-Andersen: On And Off And To And Fro clarinet, vibraphone, cello & 3 megaphones [AP]

WP – World Premiere AP – Australian Premiere

performers

Lamorna Nightingale: flute Jason Noble: clarinet Claire Edwardes: percussion Zubin Kanga: piano James Crabb: conductor/accordion Zane Banks: electric guitar Veronique Serret: violin Geoffrey Gartner: cello ABOUT THE PERFORMANCE

Ensemble Offspring has always Thanks to John Cage there are now taken pleasure in introducing the several decades of rich and varied unheard to Australian audiences. sound-based practices that have In New Radicals we have put to- helped dispel the idea that the gether a program of international production of music is necessarily composers whose sounds we be- the output of conventional Western lieve represent a fresh and optimis- instruments. What is interesting in tic assessment of the music of our many of the works in this program, time. All are unashamedly explora- however, is the highly notated tory in their search for new ways to reassessment of those liberated construct and receive music. And sounds back into combination with although all have now-established traditional instruments. careers, all are relatively young, meaning that much of their musi- In New Radicals the represented cal contribution may still be yet to composers all express themselves come. using a large assortment of acous- tic and electronic media. There is Making proclamations about new also a curious mashup of ‘hi’ and trends and directions in music is ‘lo-fi’ aesthetics at play. Although reckless, especially when we are these works sit within a ‘fine-mu- in the thick of it. However, despite sic’ tradition, with all the perfec- the stylistic diversity of the works tionist trappings of meticulous no- on this program, there are some tation and technical sophistication, definite shared tendencies with their soundworlds tend toward the the composers’ approach to writ- unrefined: DIY instruments, eve- ing. ryday objects and cheap technolo- gies (be they kids instruments or One of the most striking is the rise $1 contact-mics). The sound of im- of the auxiliary instrument. While perfect media and all its unwanted the performance of odd objects for sound-artifacts are not suppressed novel sound effect has long been but embraced as a logical continu- the domain of that peculiar breed ation of the pursuit of timbre. of musician – the percussionist – no performer in this program, re- The works of UK-based composer gardless of instrument, escapes a and turntablist Matthew Wright complex multitasking excursion frequently employ DJs and special- through a battery of unconvention- ist new music performers in com- al sound-sources. Everything from bination with digital media. Wright megaphones in the case of the describes his compositional aes- Steen-Andersen, to melodicas in thetic as “music at the edge of col- the Norris and as for the Torvund lapse”, a type of ecstasy found at … the table on stage probably says the limits or boundaries of musical it all. material. The short yet monolithic 1 Breakdown walks a blurry line Mangling gestures from highfa- between momentum and stasis, luting baroque to garish 80s pop the furious activity of the perform- to distorted metal, the music of ers countered by a rock-like rhyth- Norwegian Øyvind Torvund re- mic stability. Wright describes the sists categorisation. His ongoing structure as “gradually, obsessive- Bandrom installation, for exam- ly getting shorter”, likening it to ple, see musicians and spectators the “progress of a glacier pushing teaching one another compositions back the earth around it”. He also by ear in informal spaces (such as evokes the confused energy at that caravans) in an epic exploration moment in which a caged animal of oral tradition and the imperfect is set free. reproduction of ideas. Folk mu- sic makes a tangible appearance The first of our two world pre- in his Neon Forest Space, with a mieres in tonight’s program is from traditional Norwegian melody. The New Zealand composer and soft- clarinetist’s grammar of ornamen- ware developer Michael Norris. tation, however, is extrapolated to Written for Ensemble Offspring, ludicrous extremes in a manic ac- Norris’ new work Save Yourself, companiment of prepared electric requires the musicians to utilise guitar and percussionist perform- conventional instruments (flute, ing ruler, velcro, zipper, combs (to clarinet, violin, cello) in combina- name but a few). The extensive tion with melodicas and flexitones. use of mundane objects including Accordion and a soft-synth (built CD players, radios, a spray can and especially for the work) complete an electric milk frother could risk the sonic picture. The composer being gimmicky if it weren’t for writes: “Save Yourself forms part their highly performed role within of a series of works that attempt the ensemble. The opening move- to find sonic analogues for ideas ment, for example, sees a transis- and techniques in the visual arts. tor radio latched to a solo cello as The general ‘theme’ of the work though it were some kind of pol- is the establishment of a series of ished orchestral double. monohued “colour fields” that are overwritten with surface figura- With a background in visual arts tions and gestures. The accordion and theatre, the music of Ekrem and melodicas provide the basis of Mülayim often borders on perfor- a cyclical progression of harmonic mance art. Much of his work is con- fields—subtly coloured by gliding cept-driven. Rather than working sine tones from the synth—whilst from within a prescribed medium, winds and strings create aggres- such as the chamber music tradi- sive gestural layers. The contra- tion, the originating idea generates puntal writing gradually decays its own medium from scratch in- into more synchronized figures to- cluding the required sound-sourc- wards the end of the piece, whilst es, to the grammar and notation at the same time “blurring” into a through which it is articulated and development of noise-based tim- sometimes even the very context bres from the very opening.” in which it takes place. The com-

2 poser, by way of example, invented gesting the hiss and pop of an old an entire culture with its own his- gramophone with all its fragility tory, language and scripts, just as a and nostalgia of bygone eras. Like means of arriving at a notional folk other works in Kyriakides output, music. The second of our world this piece reveals his fascination premieres tonight, and we chart as both a carrier and corrupter of the topography of a moment, a message. explores the idea of examining a snapshot of time detached from Many of the works of Danish com- the continuum in which it exists. poser Simon Steen-Andersen The work furthers the DIY instru- play with dynamic and spatial mentation in tonight’s program expectations of sound. His works with a series of chime-like bells are often hyper-amplified and fea- dangling from especially knitted ture close-miking which promotes gloves. In creating the mechanism those minuscule mechanical ar- by which the instrument speaks, tifacts of instrumental technique Mülayim sets up a symbiotic dy- – the subdued breaths, scratches, namic between sound and physical clicks – to the fore. On And Off gesture with the resulting work as And To And Fro begins with a much a choreography as a musi- chamber trio performing an intri- cal work. The composer poetically cate riff and amplified with mega- comments: “Halt a slice out of time phones by three assistant-per- fleeting and gather around it like formers. This detailed soundworld a whisper of moths around light, is simultaneously expanded and fluttering. Layer onto layer, sphere focused by the directionality of the into sphere, cause unto effect, past megaphone’s horn, and timbrally into present, infinity. In the blink of filtered by the decidedly lo-fi cir- an eye a vast infinite geography.” cuitry. Not satisfied with their role as passive assistants to the instru- Yannis Kyriakides’ music fre- mentalists, the three megaphon- quently combines traditional per- ists become increasingly interfer- formance practices with digital ing. At first they act like gates, media. Born in Cyprus, raised in turning on and off and shifting our Britain and resident in The Neth- spatial perception of the sound- erlands, Zeimbekiko 1918, draws world, before eventually screech- inspiration from an old recording of ing into life as dominant perform- a Zeimbekiko dance the composer ers. By the second half of the work, encountered during a youthful the megaphones have transformed look into his own Greek heritage. themselves from a medium, a tool His response, however, is hardly a to deliver a message, into instru- ‘Bartokian’ transcription of antique ments unto themselves: megalo- folk modes, meters and melodies, maniacal contraptions generating but more of an evocation of the their own material in a cadenza of frail recorded medium on which sirens, foghorns and feedback. the music exists. Not long into the opening violin and guitar musings, Notes by Damien Ricketson an electronic layer enters sug-

3 ABOUT THE ARTISTS

Zane Banks electric guitar Claire Edwardes percussion

Zane Banks is very active in the Percussionist, Claire Edwardes, is contemporary music scene, having a leading interpreter of contempo- recently performed at the Rainy rary classical music and Co-Artistic Days Festival of Contemporary Director of Ensemble Offspring. Music in Luxembourg where he Recent career highlights include premiered Georges Lentz’s unac- concertos with the Radio Chamber companied electric guitar compo- Orchestra (The Netherlands), The sition Ingwe. He is also currently Queensland Symphony Orchestra working on his PhD at the Sydney and the Sydney Symphony as well Conservatorium focusing on The as solo festival appearances at the Electric Guitar in Contemporary Woodend Winter Arts Festival (Vic- Art Music. toria), Ozasia Festival (Adelaide) and the Huddersfield Festival of James Crabb conductor/accordion Contemporary Music (UK). In 2007 she was awarded an AMC/APRA James Crabb is widely regarded award for outstanding contribu- as one of the world’s leading ex- tion to Australian music, in 2005 ponents and ambassadors of the she was the recipient of the MCA classical accordion. He has been Freedman Fellowship and in 1999 soloist with many orchestras in- she was named Australian Young cluding the BBC Scottish, the Phil- Performer of the Year. harmonia, London Philharmonic, Sydney, and Melbourne symphony Geoffrey Gartner cello orchestras and ensembles such as the London Sinfonietta. His highly Geoffrey Gartner is an exponent acclaimed recording as soloist and of the upside-down cello and a arranger of the works of Astor Pi- passionate advocate of the Fluxus azzolla was released with the Aus- ethos. Conductor, cellist and per- tralian Chamber Orchestra (Song formance artist, he has brought of the Angel). James’ world pre- countless new works to life and miere performances and record- collaborated with many composers ings include works by Harrison in Australia and abroad. Geoffrey Birtwistle, Thomas Adès, Luciano holds a Doctorate in Contempo- Berio and Sofia Gubaidulina and rary Music Performance from the has an ongoing collaboration with University of California, San Diego. multi-media sound designers Ian He is a faculty member in the De- Dearsden and David Sheppard ali- partment of Academic Studies at as ‘Sound Intermedia’. the Australian Institute of Music, where he brings his unique per- former’s perspective to the lecture theatre. 4 Zubin Kanga keyboard Ekrem Mülayim composer

Based in London, Zubin Kanga Ekrem Mülayim is an Australian has recently performed at the Al- composer born in Istanbul, Tur- deburgh, Southbank and Many key. Currently undertaking a post- Hands Festivals in the UK, the Bo- graduate degree in composition at realis Festival in Norway, as well Sydney Conservatorium of Music, as appearing as soloist with the Ekrem has worked with some of London Sinfonietta. In 2010 Zubin Australia’s leading theatre and was the recipient of the Michael Ki- dance companies as well as orches- eren Harvey Scholarship as well as tras and ensembles. He has writ- the Limelight award for Best New- ten for the Song Company, Austral- comer. After graduating with the ian Voices, Bell Shakespeare and University Medal in Music from the several Belvoir theatre productions University of Sydney he completed including Yellow Moon, Cut and his Masters at the Royal Academy The Kiss. He is currently working of Music, London where he is now on a new project called Food; a co- undertaking a PhD. production between Belvoir and the dance company Force Majeure Yannis Kyriakides composer and on his personal project Hermit- age - an endurance piece involving Yannis Kyriakides studied music a month-long performance. at the University of York, and later moved to the Netherlands to study Lamorna Nightingale flute composition at the Royal Conserv- atory of The Hague. He currently Joining Ensemble Offspring in lives in Amsterdam where he is 2007, Lamorna has been featured artistic director of Ensemble MAE, in numerous marathon length co-founder of the record label UN- Feldman performances, regional SOUNDS and composition teacher Australian tours and Sizzles. She at the Royal Conservatory of The regularly performs with the Syd- Hague. He has been associated ney Symphony, the Australian Op- with ensembles such as the Asko era and Ballet Orchestra as well as Ensemble, musikFabrik, Ensemble the Australian Chamber Orchestra. Integrales and musicians such as As a soloist she recently released Andy Moor. He also regularly col- a recording of new Australian mu- laborates with visual artists and sic for flute, Eat Chocolate and Cry filmmakers. In 2007 he was fea- and in her role as a flute mentor, tured composer at the Hudders- she has published a range of flute field Contemporary Music Festival teaching materials. and his opera An Ocean of Rain opened the Aldeburgh Festival Jason Noble Clarinet in 2008. Prizes have included the Gaudeamus International Compos- Jason Noble is a freelance clarinet- ers Award. ist specialising in contemporary classical repertoire. He has per-

5 formed at many prestigious festi- Veronique Serret violin vals such as the Warsaw Autumn, Aldeburgh Festival, Musica Viva A founding member of Ensemble Festival and Sydney Festival. Ja- Offspring, violinist Veronique Ser- son has been an integral member ret graduated from the Sydney Con- of Ensemble Offspring for many servatorium before being awarded years whilst also performing with the Sydney Symphony Orchestral Halcyon, Sydney Children’s Choir, Fellowship and the Young Artist the indigenous womens group Chair with The Australian Cham- from the Tiwi Islands, Ngarukuru- ber Orchestra She tours the world wala and singer Holly Throsby. He performing with the Malaysian teaches in the Musicology faculty Philharmonic, Joanna Newsome at the Sydney Conservatorium of and Inga Lijlestrom. Active in the Music and maintains a strong in- field of popular music her recent terest in teaching his craft to the appearances in Australia were at next generation. Recent projects The Big Day Out, the Woodford have incuded a collaboration with Folk Festival, the ARIA awards dance group Sean Parker and Com- and the Independent Film Awards. pany on a new work Am I. Simon Steen-Andersen composer Michael Norris composer Simon Steen-Andersen (b.1976) Michael Norris (b. 1973) is a Wel- studied composition with Rasmus- lington-based composer. He holds sen, Spahlinger, Valverde and So- composition degrees from Victoria rensen in Arhus, Freiburg, Buenos University of Wellington and City Aires and Copenhagen. He has re- University, London, and is cur- ceived numerous prizes and grants, rently Senior Lecturer in Compo- including the Kranichsteiner Music sition at the New Zealand School Award 2008, the International Ros- of Music in Wellington. In 2003, trum of Composers and the DAAD Michael won the Douglas Lilburn Berliner Künstlerprogramm 2010. Prize, a nationwide competition for Simon has received commissions orchestral composers. He is also from ensembles and festivals such co-founder and co-director of Stro- as Ensemble Modern, ensemble ma New Music Ensemble, and has recherche, Donaueschinger Musik- participated in composition cours- tage, Wittener Musiktage and the es featuring leading composers French National Orchestra. Simon such as Peter Eötvös, Alvin Lucier, is active as a performer, installa- Christian Wolff and Kaija Saariaho. tion artist and lecturer, teaching His recent chamber orchestra work composition at the Royal Academy Sgraffito was commissioned by the of Music in Aarhus, Denmark. SWR (Sudwestdeutsche Rundfunk) and premiered at the Donauesch- Øyvind Torvund composer inger Musiktage 2010 by the Ra- dio Chamber Orchestra Hilversum, Øyvind Torvund studied composi- conducted by Peter Eötvös. tion at the Norwegian Academy of music and at the Universitet

6 der Künste, Berlin. He has taken Ensemble Offspring private lessons with Michael Finn- issy and Julio Estrada. His music is Ensemble Offspring is a dynamic based on free associations between Sydney-based organisation dedi- various sounds and approaches to cated to the performance of inno- music. His recent pieces are often a vative new music. Driven by open- collage of naïve melodies, baroque mindedness and performance ornaments played by a child, nor- excellence, Ensemble Offspring’s wegian folk music, synth sounds, activities promote diverse and animal growls and field recordings. emerging music practices that ex- pose audiences to new ways of Matthew Wright composer experiencing sound. The group embraces a broad and progressive Matt Wright is a composer, sound repertoire from seminal chamber artist and turntablist who special- music of the past 50 years, to free ises in concert/club/gallery/web improvisation and the creation of hybrids. He is the Programme Di- striking interdisciplinary produc- rector of the BA Creative Music tions. Technology degree at Canterbury Christ Church University and he Led by Artistic Directors Claire Ed- works especially closely with En- wardes (percussion) and Damien semble Klang in the Netherlands, Ricketson (composer), the ensem- Bl!ndman in Brussels, with his ble comprises a team of virtuoso own ensemble, Splinter Cell in the performers with broad ranging tal- UK, as well as in performances in ents: some performing concerto’s the UK, in New York and Paris with with renowned symphony orches- saxophonist Evan Parker, with tras and others touring the world whom he recently co-composed a with indie pop bands. studio album named ‘Trance Map’. In 2011 Ensemble Offspring was nominated in nine categories at the 2011 Art Music Awards. Re- cent highlights include the 2010 Sydney Festival, ensemble-in-resi- dence at the 2010 ISCM World New Music Days and an international tour to China (2011). Performing in venues ranging from the Syd- ney Opera House to local Sydney bowling clubs, Ensemble Offspring has developed a reputation for its uniquely adventurous and engag- ing programs.

www.ensembleoffspring.com

7 coming soon

the composers - steve reich in residence

The Godfather of minimalism, one of “a handful of living compos- ers who can legitimately claim to have altered the direction of musical history” (The Guardian), Steve Reich’s influence can be heard everywhere from the concert hall to the nightclub. His music proves that sometimes less really is more, as deceptively simple patterns and phrases interlock to create transcendent moments of sheer crystalline beauty.

Now Steve Reich makes a rare visit to Australia to be the first in Sydney Opera House’s new series The Composers. In residence for a week, Reich will work in collaboration with New Music pioneers including Synergy Percussion, Eighth Blackbird, Halcyon, Ensem- ble Offspring, ACO Qantas Emerging Artists, Orava String Quartet and Sydney Symphony Sinfonia Quartet and feature a performance of his classic Music for 18 Musicians.

Steve Reich, A Celebration Concert Hall, Sydney Opera House Sunday 29th April, 6pm

sizzle

Warming up your winter, Sizzle makes a much anticipated return to the Petersham Bowling Club in 2012. Ensemble Offspring get contemporary classical music off its high horse and takes it to the people in a series packed full of fun and surprise.

Expect avant-garde contemporary classics mashed up with pop music, early music, late music and wtf music all dished up in a casual and cosy Sunday arvo setting, Bring your family, friends and flatmates along and roll up your sleeves for a sizzling smorgasbord of sensory seduction with all the chilled comforts and cheap drinks of your local bowlo.

1. Sydney Petersham Bowling Club Sunday 15th July 3pm

2. Sydney Petersham Bowling Club Sunday 19th August 3pm

8 acknowledgements

The Sydney performance of New Radicals is co-presented with the support of the New Music Network.

The Canberra performance of New Radicals is co-presented with the support of The Street Theatre.

Michael Norris’ Save Yourself has been written as part of the Trans-Tasman Com- poser Exchange, a partnership between SOUNZ, the Centre for New Zealand Music, and the Australian Music Centre. Michael Norris’ residency with Ensemble Offspring is supported with funding from Creative New Zealand

Ensemble Offspring is assisted by the Australian Government through the Australia Council, its arts advisory body and the NSW Government through Arts NSW. Claire Edwardes & Damien Ricketson