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Holland Festival 2016 Ensemble Perforator HOLLAND FESTIVAL 2016 BACKBone © Anne Caesar van Wieren van © Anne Caesar ENSEMBLE PERFORATOR INFO PerfOraTOR: WO 8.6 WED 8.6 Naar eeN NIEUWE aanvang starting time maakPraktijk 20:30 8.30 pm locatie venue ‘Ik heb de indruk dat er een nieuw muziekgenre aan het ont- Bimhuis staan is, waarin akoestische klanken versmelten met elektro- nica en hedendaags gecomponeerde muziek een verbond duur running time aangaat met indie-pop, avant-garde-rock en uiteenlopende 1 uur 15 minuten, geen pauze 1 hour 15 minutes, no interval elektronische stijlen. Die notie weerspiegelt zich duidelijk in de componisten die we hebben gevraagd om mee te werken aan Backbone.’ Programma Aldus Marlies van Gangelen, hoboïste en oprichter van het nieuwe ensemble PERFORATOR. Samen met Bram van Sam- beek (fagot), Aart Strootman (gitaar), Ernst Glerum (contrabas) Julia Holter, Hallucinations (2016) en Akim Moiseenkov (live elektronica) zocht Van Gangelen Akim Moiseenkov/Marlies van Gangelen, Raymond Fafiani (2015) naar een nieuwe manier van muziekcreatie. Vanavond maakt Julia Holter, Backbone 2 (2016) het kwintet zijn officiële debuut met Backbone, een concert Judd Greenstein, Call of the Arpeggiator (2016) waarin scheidslijnen tussen uiteenlopende genres worden Akim Moiseenkov, Jarchinio Antonia (2015) bewandeld en grenzen tussen compositie en improvisatie Aart Strootman, Brams Backbeuhn (2016) vervagen. Daniel Wohl, Metals (2016) Judd Greenstein, Tone and Response (2016) Het ensemble wil nadrukkelijk geen volledig uitgeschreven Akim Moiseenkvo, Marvelous Nakamba (2015) composities spelen. Daarom vroeg het zes internationaal Nik Bärtsch, Modul 17 (2016) bekende componisten en muzikanten om een nieuwe bijdra- Akim Moiseenkov/Marlies van Gangelen, Raymond Fafiani (2015) ge: een ‘backbone’, een muzikaal idee dat dienst kan doen Julia Holter, Hallucinations (2016) als startpunt van een uitvoering. Het mocht een groove zijn, Antonio Vivaldi, Concerto per fagotto e archi RV 499 (1720-24) een akkoordenschema, een melodie of een lijst met instruc- Akim Moiseenkov, In 2 instanties (2016) ties. De enige voorwaarde die het ensemble stelde, was dat Greg Saunier, Prestissimo Possible (2015) de compositie moest passen op een A4’tje. De leden van het Antonio Vivaldi, Concerto per fagotto e archi RV 499 (1720-24) ensemble leverden bovendien ook zélf ‘backbones’ aan. Deze Nik Bärtsch, Modul 59 (2016) vormen de bouwstenen van het grotendeels geïmproviseerde Ernst Glerum, Shed (2016) concert van vanavond. Elk concert hierna zullen de bouwste- Shara Nova, Lighten up (2016) nen anders ingezet worden, in een andere volgorde, en een Akim Moiseenkvo, Marvelous Nakamba (2015) andere improvisatie opleveren. PERFORATOR wil tijdens de Bram van Sambeek, DNA (2016) improvisatie zoeken naar extremen: laveren tussen zachte, Akim Moiseenkov, Arsenio Halfhuid (2015) dromerige klanken en zware grooves, tussen grote elektroni- sche gebaren en fragiele akoestische kamermuziek. CREDITS Van Gangelen: ‘Met Backbone hebben we naar een nieuw maakproces gezocht. Een proces waarin de grenzen tussen componist en uitvoerder minder strikt zijn en waarin het muziek music klinkende eindproduct nadrukkelijk een co-creatief geheel is. Nik Bärtsch, Marlies van Gangelen, Ernst Glerum, Bovendien hebben we heel verschillende klankwerelden willen Judd Greenstein, Julia Holter, Akim Moiseenkov, samenbrengen.’ Bram van Sambeek, Greg Saunier, Aart Strootman, Daniel Wohl, Shara Nova (voorheen Worden) uitvoering performed by PERFOraTOR: PERFORATOR: Marlies van Gangelen, hobo/althobo, delta harp, effecten ToWards a new oboe/alt oboe, delta harp, effects Bram van Sambeek, fagot, effecten bassoon, effects kind Of creaTIVE Aart Strootman, elektrische gitaar, effecten electric guitar, effects ProCESS Ernst Glerum, contrabas double bass Akim Moiseenkov, joystick en andere elektronica joystick and other electronics ‘I believe that a new musical genre is emerging, blending acoustic sounds with electronics and connecting contem- wereldpremière world premiere porary composed music with indie, avant-garde rock and Amsterdam, 8 juni 2016 various electronica styles. It’s a belief which is reflected in the music of the composers we have asked to contribute to ziek nog altijd een belangrijke invloed is in zijn werk, is terug Backbone.’ te horen in de aanstekelijke ritmische puls die steevast door This says oboist Marlies van Gangelen, who has teamed up zijn partituren trekt. with Bram van Sambeek (bassoon), Aart Strootman (gui- tar), Ernst Glerum (double bass) and Akim Moiseenkov (live Parijzenaar Daniel Wohl woont in New York, waar hij naar electronics) to form the ensemble PERFORATOR. Together eigen zeggen visioenen najaagt van ‘een nieuwe muziek they are looking for new ways of music creation. Tonight, the waarin de klassieke traditie een synthese vormt met de ein- quintet will make their official stage debut with Backbone, deloze sonore mogelijkheden van tegenwoordig.’ In zijn werk a concert crossing the boundaries between a range of genres vermengt Wohl akoestische en elektronische klanken tot een and blurring the lines between composition and improvisation. organisch geheel. Instead of playing fully written out compositions the ensem- ble commissioned six international composers and musicians De Zwitserse pianist en componist Nik Bärtsch wordt ook wel to contributing musical backbones to this project. A back- ‘the scientist of groove’ genoemd. Met zijn ensembles Mobile bone is a musical creative starting point and can for e.g. be: en Ronin maakt hij onovertroffen ‘zen-funk’: gelaagde, funky a groove, chord sequence, a melody or set of instructions. grooves met invloeden uit de minimal music en veel gebruik The only restriction was: a backbone has to fit on one A4 van meditatieve herhalingen. paper. The members of the ensemble themselves attributed backbones too. All these backbones will function as building blocks in a one-hour improvisation by the ensemble. Every COmPOsers concert PERFORATOR will use them in a different way and order them differently. It’s the ensemble’s aim to search for extremes Greg Saunier is an American drummer. With his band Deer- during the improvisation: from mellow, dreamy landscapes to hoof, which he formed in 1994, he has to date produced thir- heavy grooves, from big electronic gestures to fragile acous- teen albums which hop from style to style – from The Man, tic chamber music moments. The King, The Girl’s improvised noise punk to the orchestral Van Gangelen: ‘Backbone is an attempt to work according synth arrangements on Green Cosmos and their latest release to a new kind of creative process, in which the boundaries La Isla Bonita, with gritty grunge seamlessly turning into pop- between composer and performer are not as strictly defined py electro beats and atmospheric soundscapes. and where the end product is the resounding result of a co-creative process. It’s also an attempt to bring together a Classically trained American singer Shara Nova operates range of very different sound worlds.’ under the stage name My Brightest Diamond. She has made a significant impact as a singer-songwriter who can turn her hand to a range of different musical styles, as evidenced on DE COmPonisteN her debut album Bring Me The Workhorse, on which she com- bines rock grooves with classical string arrangements and chamber music instrumentations. Her latest album is called Greg Saunier is een Amerikaanse drummer. In 1994 stond hij This Is My Hand. aan de wieg van de experimentele rockband band Deerhoof, waarmee hij sindsdien dertien albums lang alle mogelijke stij- Julia Holter studied classical composition at the CalArts Con- len en genres verkende: van geïmproviseerde noise punk op servatory in Los Angeles, yet on her debut album Tragedy she The Man, The King, The Girl, via de orkestraal getinte synth- emerged as a writer of experimental dreamy pop songs in the arrangementen op Green Cosmos tot het nieuwste album La spirit of Laurie Anderson, Kate Bush and Julianne Barwick. Isla Bonita, waarop gruizige grunge naadloos overgaat in Her release Have You In My Wilderness marked her interna- poppy elektrobeats en sferische soundscapes. tional breakthrough in 2014. Shara Nova (voorheen Worden) is van meerdere muzikale New York composer Judd Greenstein grew up listening to markten thuis. Onder de naam My Brightest Diamond laat de hip hop beats before he entered the Yale School of Music to klassiek geschoolde Amerikaanse zangeres sinds 2006 van focus on writing classical music. But pop has remained an zich horen als een veelzijdige singer-songwriter die uiteen- important presence in his work, evidenced by the infectious lopende stijlen naar eigen hand zet. Op haar debuutalbum pulse of his scores. Bring Me The Workhorse klinken klassieke strijkersarrange- menten en kamermuzikale instrumentaties naast rockende Parisian Daniel Wohl lives in New York, where he, in his own grooves. Haar nieuwste album heet This Is My Hand. words, pursues his ‘vision of new music which connects the endless sonic possibilities of today’s world with [his] classi- Julia Holter studeerde klassieke compositie aan het Cal- cal compositional background.’ Wohl blurs the lines between Arts Conservatorium in Los Angeles en ontpopte zich met electronic and acoustic instrumentation, blending both ele- haar eerste album Tragedy tot schrijfster van experimentele ments into a greater organic whole. droompopliedjes in de geest van Laurie Anderson, Kate Bush en Julianna Barwick. Haar album Have You In My Wilderness Nicknamed ‘the scientist of groove’, Swiss
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