Friday 16 – Sunday 25 November 2 018

hcmf.co.uk Box Office 01484 430528

#hcmf 2018 Christian by Marclay Collage studio. Morgan John Design by FESTIVAL DIARY

DATE NO EVENT TIME VENUE

Fri 16 Nov Exhibition Launch: Christian Marclay 4pm Market Gallery, Queensgate Market

1 Ensemble Musikfabrik: Saunders 1 7pm Huddersfield Town Hall 2 Christian Marclay: To be continued 10pm Bates Mill Blending Shed The One I Feed 11.30pm Bates Mill Photographic Studio

Sat 17 Nov Workshop: Noise Orchestra 10.30am – 2.30pm Oastler Building 3 Duo Gelland 1pm St Paul’s Hall 4 Wikipiano 4pm Phipps Hall 5 The Monochrome Project: Braxton 7pm St Paul’s Hall 6 ensemble mosaik: Poppe 9.30pm Bates Mill Blending Shed The Ectoplasm Girls 11pm Bates Mill Photographic Studio

Sun 18 Nov Installation: Noise Orchestra 10am – 4pm Oastler Building 7 Ensemble Musikfabrik: Saunders 2 1pm St Paul’s Hall 8 Christian Marclay: Investigations 4pm Huddersfield Town Hall 9 Nice Guys Win Twice 7.30pm Bates Mill Blending Shed 10 TEMKO: Riley 10pm St Paul’s Hall

Mon 19 Nov Tom Sanderman 11am St Paul’s Hall Mini Pop-Up Art School 11am – 3pm Richard Steinitz Building Atrium Quad 12pm Richard Steinitz Building Atrium Kathryn Williams 12.40pm University Sports Hall senza misura 1 1.20pm St Paul’s Hall Christian Marclay: Ephemera 1 2pm Phipps Hall DriftEnsemble 3pm Huddersfield Town Hall Clarice Rarity + Nathanael Gubler 3.30pm Huddersfield Town Hall Songs for VONK 4.30pm Bates Mill Blending Shed Decay 5.10pm Bates Mill Blending Shed Threads 6.20pm Bates Mill Photographic Studio Specimens 7.40pm Northern Quarter Thomas Meadowcroft 8.20pm Northern Quarter Christian Marclay: Manga Scroll 9.30pm Bates Mill Photographic Studio Heather Roche + Eva Zöllner 10.30pm Bates Mill Photographic Studio Christian Marclay: Ephemera 2 11.30pm Bates Mill Photographic Studio

Tue 20 Nov 11 Sarah Cahill 12pm St Paul’s Hall senza misura 2 2.30pm St Paul’s Hall 12 United Instruments of Lucilin 3.30pm Phipps Hall Untroubled Light // Melt 5.45pm Huddersfield Town Hall 13 Harriet 7pm Lawrence Batley Theatre 14 Thurston Moore 9.30pm Bates Mill Blending Shed Christian Marclay + Shelley Hirsch 11pm Bates Mill Photographic Studio

Wed 21 Nov senza misura 3 11am St Paul’s Hall HISS @ 10 #1 3.30pm Richard Steinitz Building Atrium HISS @ 10 #2 4.30pm Phipps Hall HISS @ 10 #3 5.30pm Richard Steinitz Building Atrium 15 Kudzu 7pm Bates Mill Blending Shed 16 Fast Gold Butterflies 9.30pm Magic Rock Tap Room

Thu 22 Nov senza misura 4 10.30am Phipps Hall 17 Lori Freedman: Beyond Excess 12pm St Paul’s Hall 18 Kluster5 4pm Phipps Hall 19 A History of the Voice 7pm St Paul’s Hall 20 Christian Marclay: Screen Play + Okkyung Lee 9pm Bates Mill Blending Shed 21 Quatuor Bozzini 11pm Bates Mill Photographic Studio

Fri 23 Nov 22 Mimitabu 12pm Phipps Hall 23 MUTED 2pm Huddersfield Town Hall 23 MUTED 4pm Huddersfield Town Hall senza misura 5 5.30pm Phipps Hall 24 Divertimento Ensemble: Sciarrino 7pm St Paul’s Hall 25 Stockhausen: Oktophonie 9.30pm Bates Mill Blending Shed 26 Christian Marclay + Okkyung Lee + Mats Gustafsson 11pm Bates Mill Photographic Studio

Sat 24 Nov 27 Ligeti Quartet 12pm St Paul’s Hall Other times, other places 2pm Huddersfield Art Gallery Canopy of Voices 4pm St Peter’s Church 28 Sciarrino: Carnaval 7.30pm St Paul’s Hall 29 hcmf// mixtape 10pm Bates Mill Blending Shed

Sun 25 Nov Music at Play: Sound Explorers 10am – 10.45am Heritage Quay Music at Play: Sound Explorers 11.15am – 12pm Heritage Quay 30 Arditti Quartet + Jake Arditti 1pm St Paul’s Hall 31 POLES 4pm Bates Mill Blending Shed hcmf// special brew 7pm Magic Rock Tap Room Venue Key BMBS Bates Mill Blending Shed NQ Northern Quarter SPH St Paul’s Hall BMPS Bates Mill Photographic Studio OB Oastler Building SPC St Peter’s Church E Epicure Bar & Kitchen (hcmf// info desk) QM Queensgate Market TH Town Hall HQ Heritage Quay (Market Gallery) USH University Sports Hall HAG Huddersfield Art Gallery RS Richard Steinitz Building (in Student Central) LBT Lawrence Batley Theatre (Phipps Hall, Atrium & RSG/01) MR Magic Rock Tap Room

USH OB RS

SPC QM NQ

MR Willow Lane HP1 5EB Funders CONTENTS

Page 05 Director’s welcome Music at Huddersfield FESTIVAL PARTNERS Shaping the future of new music Page 06 University of Huddersfield Project Funders Page 06 Arts Council England Page 07 Kirklees Council Page 07 BBC Radio 3 Page 08 Dutch Performing Arts Page 08 Swiss Arts Council Pro Helvetia Page 09 Swedish focus at hcmf// Page 09 Goethe-Institut London PROGRAMME Page 10 Exhibitions Trusts and Foundations Page 12 Profile: Christian Marclay Awarded to the University of Huddersfield for four decardes Page 14 Friday 16 November of “world-leading work to promote, produce and present Page 19 Saturday 17 November contemporary music to an international audience” In partnership with Media Partner Broadcast Partner Page 22 Profile: Anthony Braxton Page 26 Profile: Enno Poppe Page 29 Sunday 18 November Be at the centre of 21st Century music training. Page 32 Profile: Jessie Marino Our outstanding facilities and international community of musicians offer Festival Partners exciting training opportunities for study, collaboration and innovation in 2011, 2012, 2013, 2015, 2016 Page 36 Profile: Aart Strootman composition, performance, musicology, new media and music technology. Page 37 Monday 19 November Page 49 Profile: Heather Roche We have a long-standing reputation as a world-leading institution for teaching and research in contemporary music. Our internationally recognised Page 50 Learning & Participation staff were awarded over £4m in external research grants in 2017, and our Page 52 Tuesday 20 November partnerships with top ensembles, record labels, and software companies Page 62 Wednesday 21 November provide unrivalled professional development opportunities for our students. Page 64 Profile: Malin Bång Our courses Page 70 Thursday 22 November Sonic Arts and Composition BMus(Hons) Contemporary Music MA by Research Creative Music Production BA(Hons) Popular Music MA by Research Page 79 Friday 23 November Music and Sound for Image BA(Hons) Music Performing Practice MA by Research Page 82 Profile: Salvatore Sciarrino Music BMus(Hons) Music and Cultural History MA by Research Music Performance BMus(Hons) Music Performance PgDip Page 85 Profile: Stockhausen, Space Popular Music BMus(Hons) Music PhD and Spirituality Page 88 Saturday 24 November Page 94 Profile: Julius Eastman Page 96 Sunday 25 November Tel: +44(0)1484 472003 huddsunimusic Email: [email protected] Web: www.hud.ac.uk/inspire/mhm/music @Hudds_Uni_Music The Festival also gratefully acknowledges support from hcmf// members Professor Mick Peake st PATRONS The Festival would especially like to thank the Welcome to the 41 Huddersfield Sir Ernest Hall OBE DL following for their service and support: Contemporary Music Festival! Sir Simon Rattle CBE Barry Hynes, Kitty Porteous, Bob Cryan, Rachel Cowgill, Jacqui Gedman, Adele Poppleton, BOARD OF MANAGEMENT Kath Davies, Victoria Firth, Karen O’Neill, s we move Perhaps great art therefore does rise from Professor Mick Peake (Chair) Brendan Hulse, Nigel & Richard Bates, A into the fifth adversity after all, because we have to place all Professor Michael Clarke The Cedar Court Hotel, The Central Lodge Hotel decade of the of this positivity in the context of a world that is Andrew Kurowski and The Old Golf House. Festival, it seems a increasingly troubled. Displacement is the defining Professor Liza Lim pertinent moment feature of the times we currently live in – whether Martel Ollerenshaw HUDDERSFIELD CONTEMPORARY to ask the question through forced migration caused by war or poverty, – what do we or people shifted to the margins of society through Baroness Kath Pinnock MUSIC FESTIVAL understand by the unacceptable levels of homelessness. Professor Thomas Schmidt Room RS1/10 term ‘composer’ It is right that art (and music) provides a window Mirjam Zegers University of Huddersfield in today’s sound to this society, and displacement in its many

West Yorkshire HD1 3DH UK Zoggel © Robbie van world? When you manifestations is something we will return to Tel: +44 (0) 1484 472900 add to the mix that in future editions. In 2018, climate change, fake FESTIVAL TEAM Email: [email protected] we live in an increasingly visual world, then there news, and technology are some of the drivers Graham McKenzie www.hcmf.co.uk can be no-one more qualified to help us explore behind eclectic new and important works Artistic Director and Chief Executive Charity registration number 514614 such issues, than the Swiss-American artist commissioned and curated to present at this Roisin Hughes Christian Marclay. From beginning his career as edition of hcmf//. Festival & Development Manager PROGRAMME BOOK PRODUCTION an experimental DJ in 1970s New York, to being My thanks go to our core partners and funders the creator of arguably the most popular video art for their continued support – Arts Council Alexandra Richardson Abi Bliss Editor work The Clock (currently bringing in the crowds England, Kirklees Council and the University of Learning & Participation Officer Peter Davin Designer at the Tate Modern as I write this), Marclay’s Huddersfield. The international programme is Rosie Clements Marcus Netherwood Advertising Sales practice explores the fusion of fine art and musical supported by STIM, Export Music Sweden, Kultur Festival Coordinator / Front of House Manager Muso Communications Ltd cultures, transforming sounds and music into i Vast, Musik i Syd, the Swiss Arts Council Pro Robin Smith Tel: + 44 [0] 161 638 5615 a visible, physical form through performance, Helvetia, Goethe-Institut London, and a special Marketing & Development Assistant www.musocommunications.com collage, installation, photography, and video. welcome to Dutch Performing Arts as we embark Sheralyn Bonner Printed by Northend The programme at hcmf// will include the world on a new three-year partnership. A special thank Marketing Director & Regional premiere of the artist’s latest venture into sound you also to the PRS Foundation for their support of PR Manager (Bonner & Hindley) – Investigations, for 20 pianos and 20 players – our Talent Development Programme. Nick Thompson and we are grateful to the Swiss Arts Council Pro As always I am grateful to our fantastic hcmf// Digital & Social Media Manager Helvetia for the generous support that makes this audience who continue to turn out in large focus on Marclay’s work possible. numbers to support the Festival. I look forward to (Bonner & Hindley) As we set out on this journey into our fifth welcoming you all to Huddersfield for an incredible Faith Wilson decade, I feel that I can state with confidence that 10 days of wonderful music from around the world. National PR Manager contemporary and new music finds itself in a good Adam Long place, with an incredible array of emerging talent Production Manager (Tim Garbutt Events) here in the UK and beyond, generating ever- increasing audiences, for a body of work that is as diverse as it is stimulating. Graham McKenzie Artistic Director & Chief Executive 6 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 7

University of Huddersfield hcmf//’s commitment to the Keychange initiative, Kirklees Council BBC Radio 3 to achieve a 50:50 gender balance in programming hcmf// is now entering its fifth decade. Since its by 2022 – an initiative that is very much in line with Kirklees Council recognises the value of music in The partnership between BBC Radio 3 and hcmf// inception it has enjoyed a symbiotic relationship with the School’s agenda in Music, notably through the having a role to play in the health and wellbeing of brings new and experimental music to listeners the University of Huddersfield – a relationship which Yorkshire Sound Women Network founded by our own our residents and communities. It contributes to the across the UK and around the world, and Radio 3’s makes it unique amongst leading new music festivals Dr Liz Dobson. economy and supports business, combined making November presence in Huddersfield has become one and enables a close interaction between outstanding the district a great place to live, work, study and play! of the cornerstones of the station’s year. creative research and cutting-edge creative practice. As Dean of the School, I greatly look forward to the From our concerts to festivals, gigs and venues, or This very year the University marked this relationship UK’s foremost contemporary music festival as the exploring music’s role in democracy through the At Radio 3, we aim not just to reflect what’s happening by renaming the Creative Arts Building – since high point in the cultural year of the University and Kirklees Democracy Commission, Kirklees is a place musically and culturally across the UK but to work 2008 the home of Music and Music Technology and the region. It provides our students, staff and the of music, about music and we live music. with composers and performers to make new things one of the hubs of hcmf// – as the ‘Richard Steinitz community with unparalleled opportunities to engage possible, and we’re pleased to once again bring over Building’, honouring the man who had the vision with, participate in, and contribute to cutting-edge We are a district of world class music that stands ten hours of coverage from the Festival to a wider to establish a world-leading festival and music creativities, technologies and thought. proud on its rich and diverse musical heritage, and audience. department alongside each other in the middle of we have big ambitions for music in Kirklees. We see West Yorkshire. Neither of us would be here today if Professor Thomas Schmidt our long term partnership with hcmf// as an integral Our broadcast coverage begins with the music of it hadn’t been for him, and the naming of the building Dean of the School of Music, Humanities and Media, part of this. Julius Eastman, performed by the Arditti, Bozzini is a fitting tribute. What is more, the University University of Huddersfield and Ligeti string quartets on Saturday 24 November. has just awarded Rebecca Saunders, prominently There is a strong tradition of music making in An important composer in the New York minimalist featured in this year’s festival as in many previous Arts Council England the district and through our partnerships with scene, Eastman’s music is now receiving wider ones, an Honorary degree, again underscoring its organisations and festivals such as hcmf// we are recognition, and this concert will be broadcast in full commitment to contemporary music. The relationship We’re looking forward to this year’s exciting, working towards a celebratory year of music in 2023, as a live ‘mixtape’ concert on Radio 3. between the two enterprises continues to flourish and diverse and engaging programme at Huddersfield as our contribution to the wider regional year of grow, with Arts Council England as a third partner; Contemporary Music Festival and are pleased to cultural activities. Throughout December, Hear & Now – Radio 3’s together with Kirklees Council, the University recently continue to invest in the Festival as one of our National weekly programme for new music - will feature signed a memorandum of understanding with ACE, Portfolio Organisations. Audiences old and new Music is important to us, and we want Kirklees to be performances from the Festival, broadcast and underscoring our commitment to the Arts in the continue to be inspired by the finest contemporary a place where everyone can hear world class music recorded in our signature quality sound, including: region generally and to the sustained excellence of the music on offer, and we congratulate the Festival on through our festivals and programming; where a concert of chamber works by featured composer Festival in particular. achieving a record number of UK premieres, world children and young people have access to world class Christian Marclay; the UK premiere of Yes, by Rebecca premieres and commissions last year. musical experiences and education; and where the Saunders, an expansive 80-minute spatial installation The School of Music, Humanities and Media is proud next generation of musicians and music professionals composition, written for Musikfabrik; a concert from of its world-leading Centre for Research in New Many people from different backgrounds in can build and sustain a high quality career, with the Arditti Quartet featuring the world premiere of Music (CeReNeM) which attracts some of the best Huddersfield, including children and young people, access to the very best industry advice, career James Dillon’s ninth string quartet; plus further UK academics and students worldwide. Its technical refugees, asylum seekers and prison inmates, engage opportunities and performance routes. and world premiere performances. infrastructure underpins many aspects of the in the Festival’s year-round Learning & Participation Festival, notably through HISS (the Huddersfield programme, which reached over 700 participants last Music is the beat of our heart, it is the sound of our hcmf// is a vital contributor to Radio 3’s programming, Interactive Sound System) which celebrates its 10th year, bringing inspiration to audiences in a different communities and it is the pulse of our towns and giving our listeners an intensive survey of the finest anniversary in a series of hcmf// events this year, context. villages, and we welcome you to Kirklees. We hope international performers and composers with that with staff and students contributing substantially to you enjoy hcmf// this year, and we hope we can special hcmf// atmosphere. the programme. The School hosts two multi-million We encourage the Festival’s commitment to become friends so that we see you year on year as we European Research Council projects, Interactive international working and commend its many work towards 2023! You can find Radio 3’s Hear & Now coverage from Research in Music as Sound (IRiMaS, led by Professor partnerships with organisations in Europe hcmf// on BBC Sounds. Michael Clarke) and Fluid Corpus Manipulation and beyond, enabling innovative international Councillor Graham Turner Project (FluCoMa, led by Professor Pierre Alexandre collaborations and shared performances, and we Cabinet member for Corporate Strategy, Cultural Alan Davey Tremblay); the Queen’s Anniversary Professor for welcome the Festival’s international delegates to Policy and Asset Strategy Controller, BBC Radio 3 Contemporary Music, Robert Adlington, integrates England. musicological and creative research, with three postdoctoral fellows in New Music starting this Dr Claire Mera-Nelson year alone. We are furthermore pleased to support Director, Music, Arts Council England 8 FESTIVAL SUPPORT Box Office 01484 430528 hcmf.co.uk FESTIVAL SUPPORT 9

Dutch Performing Arts Swiss Arts Council Pro Helvetia Swedish focus at hcmf// music itself, exist in a vacuum: thoughtfully reflecting the world in its pluralisms, all its joy and hardship, it invests in the contemplation and reflection of The Netherlands and hcmf// have a long-standing In the fifth year of a fruitful and stimulating STIM’s Council for the Promotion of New Music, contemporary society’s fears and hopes. and warm relationship. Even after considerable collaboration between the Swiss Arts Council together with Export Music Sweden, Kultur i Väst and budget cuts, including the closure of Music Centre the Pro Helvetia and the Huddersfield Contemporary Musik i Syd, are looking forward to the second year hcmf// allows composers, musicians and multi- Netherlands, hcmf// kept the exchange going. Music Festival, the oeuvre of Swiss artist Christian of the focus on Swedish music and musicians at the disciplinary artists to congregate and forge enduring, Dutch Performing Arts is very excited to give a new Marclay will receive a comprehensive focus. After Huddersfield Contemporary Music Festival. sustainable relationships with each other, which boost to the collaboration. compositions by Jürg Frey, Beat Furrer, Alfred further international cultural exchange in times when Zimmerlin, Stephanie Haensler and Fritz Hauser – to This year’s Swedish focus will present a wide range our societies appear to have become more divided In the 2018 festival edition, hcmf// will present no name a few – have been performed in Huddersfield of musical and aesthetical expressions; from the and inward-looking – new ideas are born here in fewer than 10 concerts with Dutch musicians and in recent years, the focus is now on an artist who opening weekend’s performances by (violinists) Duo Huddersfield as much as they are presented in this composers. Marco Blaauw / The Monochrome Project has attracted international attention, mainly in the Gelland and The Ectoplasm Girls’ industrial punk distinctly international heart for contemporary music bring two pieces by Anthony Braxton. Get ready field of visual arts, but whose work has always been and ‘pop music for the phenomenal world’, through in Europe. for a truly unique concert by TEMKO, performing closely connected with music. Christian Marclay the Curious Chamber Players’ UK premiere of Malin Terry Riley’s Shri Camel on instruments like guitar, has continuously been concerned with the mutual Bång’s Kudzu – a criticism of the man-made systems Artistic Director Graham McKenzie has been bass and vibraphone. Pianist Reinier van Houdt will influence of visual elements and music. In his oeuvre and credos causing our planet’s ecological collapse – delivering and continues to curate outstanding take part in the world premiere of Investigations by he investigates the relationship between sound and to the second weekend, when Mimitabu will combine programmes, incorporating many important Christian Marclay (USA/Switzerland). Genevieve image under the influence of various materials, acoustic instruments with electronic devices in issues into the Festival, such as gender equality Murphy’s The One I Feed will be premiered by TOEAC, including found objects or video clips. The resulting performances of works by Johan Svensson, Hanna representation, reaching younger and new audiences an accordion duo dedicated to the experimental graphic scores make up a large part of his work. Hartman and Joakim Sandgren. Closing this year’s and working with local communities. possibilities and techniques of their instruments. Swedish presence is a seismic performance by avant- Saxophonist Tom Sanderman will present works by hcmf// presents a comprehensive retrospective of garde saxophonist Mats Gustafsson in a collaboration These initiatives speak of an astute understanding composers Anthony Fiumera, Remy Alexander and Marclay’s work from recent years. Among the eight with Christian Marclay and Okkyung Lee. of our current cultural landscapes and show the Kate Moore, and soprano Claron McFadden gets into concerts will be Screen Play and Zoom Zoom, as well Festival’s commitment to open up a space which the character of Harriet Tubman in the UK premiere as newer works like To Be Continued (commissioned For next year’s edition of hcmf// we hope that the allows people to engage with one another on a local of Flemish Muziektheater Transparant’s Harriet, by Klangspuren Schwaz with the support of Pro Swedish focus will continue growing and present and community level through their appreciation of composed by Hilda Paredes. Helvetia). They will be performed by internationally a rich offering of Swedish music, composers and the tremendous programme. World class musicians, renowned artists, many of them Marclay’s musicians to the Festival’s audience. composers, curators and other cultural practitioners Ensemble Klang works together with composer Matt companions for many years, such as Shelley Hirsch, join the local community and music appreciators who Wright as well as performing works by Pete Harden. Thurston Moore, John Butcher and the Lausanne- Mattias Franzén find their way from all over the world in an inclusive The unorthodox and versatile Kluster5 presents based ensemBle baBel. One of the highlights of Director of Operations, STIM Council for atmosphere in this wonderful Yorkshire town. recent works by emerging Dutch composers. Last Christian Marclay’s residency will be the world Promotion of New Music but not least, composers collective Louis Andriessen, premiere of Investigations with 20 pianos being played We are immensely grateful for being able to David Lang, Michael Gordon and Julia Wolfe created in Huddersfield’s Town Hall on Sunday 18 November. Goethe-Institut London contribute to this convergence of artists and the quiet piece for violinist Monica Germino, who is audiences through our support of fellow European, suffering from hearing problems. Again, Huddersfield becomes the place for truly As the cultural institute of the Federal Republic Germany-based creatives, who with all their thrilling listening experiences. The curatorial policy of Germany, the Goethe-Institut encourages international peers devote themselves to inspiring our We are proud to support this exhilarating and diverse displayed by Graham McKenzie over the years international cultural exchange. We are delighted senses and intellect alike. programme! has made hcmf// indispensable to the European to be entering our 11th year of collaboration with festival landscape. It holds up a magnifying glass Huddersfield Contemporary Music Festival, a Melanie Bono We would also like to thank Operadagen Rotterdam to the most compelling and diverse developments consistent beacon in the contemporary music Head of Culture Department Northwestern and November Music, who co-commissioned several in contemporary music and it is precisely this that calendar. Europe, Goethe-Institut London pieces together with hcmf//. makes this festival so precious for listeners as well as musicians. Once more, we are delighted that Contemporary, new and experimental music is Pieter Zeeman Switzerland’s wide-ranging music scene is finding as much emotionally rewarding as it is thought- Programme Director, Dutch Performing Arts such a response in Huddersfield, and we are looking provoking. Looking at the history of the Festival we forward to many inspiring concerts. To be continued… also look at the nature of music itself, the role it plays within our multi-polarised world. Neither the Andri Hardmeier artists who create and perform the music, nor the Head of Music, Swiss Arts Council Pro Helvetia 10 EXHIBITIONS & INSTALLATIONS EXHIBITIONS & INSTALLATIONS 11

Christian Marclay Other times, other Spiral Also on at

Market Gallery, Temporary Contemporary places SPIRAL Studio, Richard Steinitz Building Huddersfield Art (Queensgate Market) (2nd floor), University of Huddersfield Huddersfield Art Gallery Gallery... Friday 16 November – Sunday 25 November Saturday 17 November: Monday - Saturday: 10am – 5pm Friday 16 November – Sunday 25 November 10am – 12pm / 2pm – 4pm Sunday: 10am – 4pm 11am – 4pm Sunday 18 November: Liz K Miller: The Closed Sunday + Monday 10am – 12pm / 2pm – 4pm Circular Scores Launch Event: Friday 16 November, 4pm Monday 19 November: 10 November 2018 – 2 February 2019 Live performance by Angharad Davies 10am – 4pm 11am – 4pm Presented at Huddersfield’s Queensgate (violin) & Tom Jackson (bass clarinet): Closed Sunday + Monday Loop duration: 120 minutes Market and on display throughout hcmf// Saturday 24 November, 2pm 2018, this exhibition features some of the This exhibition showcases the work of Liz The Spatialisation and Interactive Research scores used as the visual source for Marclay‘s The great stone circles of these islands K Miller, winner of the West Yorkshire Print Lab (SPIRAL) at the University of Huddersfield live concerts during the Festival, exploring – Brodgar (Orkney), Drombeg (Ireland), Workshop’s Flourish Award for Excellence is a 25.4-channel studio for cutting-edge his genre-breaking fusion of contemporary Stonehenge (England) – are gatherings of in Printmaking in 2017. Through the visual developments in 3D audio, high-order music and visual art. A versatile series of material that made extraordinary spaces in language of mapping and notating, she ambisonics, multichannel electronic compositions that substitute film, fine art which, so archaeology suggests, there were explores the seductiveness of cycles and composition, and immersive sonic-arts and physical objects for musical notation, festivals, rituals, performances. Other times, repetitive patterns to the human condition. environments. Conceived by Prof Michael these scores consider the role sense and other places does the same, but by gathering This exhibition brings together her recent Clarke, this SRlF-funded lab has a unique environment can play in performance, sounds rather than stones: field recordings sound visualisation artworks: imagery that configuration, stacking three 8-channel suggesting other possible forms of material from different locations around the British deconstructs and re-invents musical score loudspeaker rings in a cylindrical structure for musicians to respond to. Alongside his Isles that gradually move through the concert in order to visualise the complexity of sound with a 25th channel at the top of the room, graphic scores and video scores, there will space. within time and space. plus four subwoofers. As well as being be video documentation of some of Marclay’s used by composers, the facility is used in early music performances. Other times, other places can be experienced either as a sound installation in its own right, the design and testing of new spatial audio software by researchers from the Creative Produced by hcmf// supported by the Swiss Arts or as the setting for live performances of Coding Lab of CeReNeM (Centre for Research Council Pro Helvetia composed and improvised music. The work is a collaboration between the composer in New Music). The works presented Christopher Fox, the improvising musicians here demonstrate a diverse collection of Angharad Davies and Tom Jackson, and the approaches to the space by CeReNeM staff composer/sound designer Georgia Rodgers. and PhD students, including multi-channel acousmatic compositions and immersive Field recordings are mixed and diffused multimedia installations. through the space to produce an hour-long installation which listeners can inhabit or Featuring: pass through as they wish. Jorge Boehringer Small Island in Ideal Colours (2018) Produced by hcmf// co-commissioned by sound, Paulina Sundin & Monty Adkins Spectral hcmf// and University College Cork with support Shards (2017) from PRS for Music Foundation’s Beyond Borders Sebastien Lavoie The 4 Seasons – Autumn programme (2012) Kristina Wolfe Sacred Landscapes (2018) Sam Gillies infinitely gentle, infinitely suffering (2018) © Christian Marclay, courtesy of the artist courtesy Marclay, © Christian

Produced by hcmf// and CeReNeM 12 PROFILE PROFILE 13 Christian Marclay

The following text is an excerpt of a conversation that might appear to belong with one kind of music between Christian Marclay and David Toop, will appear to be short with another. And you may recorded in London on December 3, 2007 and notice something visually that you hadn’t noticed published in ARCANA III MUSICIANS ON MUSIC. before because a sound underlines it differently Edited by John Zorn from one interpretation to the next. You may ask yourself: am I watching the same film or a different Christian Marclay: For me editing a video is like version? Something happens that’s different than making a sound collage but with visuals attached if you’re sitting with your eyes closed, listening to to it – not a soundtrack to images, but images a piece of music, where the score is visible only to that have sounds: sound-images. More recently I the musicians. used video to generate performances, with video scores such as The Bell and The Glass (2003) and David Toop: Did you have a sense of what you Screen Play (2005). I’m using video for visual cues, wanted to hear when you were devising this piece? devising ways to give musicians instructions. The music is triggered by the projection. Screen Play is CM: I could hear music in my head when editing a montage of old films, all silent and all black and the footage. I had an idea of what it could be, white, on top of which I overlaid these simple and but most of the time I’m surprised with what colorful graphic animation: mostly lines and dots, musicians come up with. It’s been performed simple forms derived from the staff lines and dots many times and it’s always different. It’s basically on a traditional score. an open score, only the duration is the same and, even then, musicians decide to start a little before We’re so conditioned to watching films with and end a little after. I never know what’s going to soundtracks, that film images have the power to happen and that’s great. So, in a way, the only thing trigger sound. There are certain sounds that we that I can really put my name on, as a composer, is now automatically associate with certain images, the visuals. That’s going to remain the same, but so I’m playing with this conditioning. The abstract the music will always be different. graphics act as potential cues, signals to indicate a duration, a change, or maybe suggest a rhythm DT: But it is your music, to an extent, isn’t it, or pitch. Because the video is visible, the audience because it wouldn’t have happened without you is engaged in the process. They’re seeing what and your method and your directions that are inspired the music. They see the cause and hear intrinsic in the material. the effect. It’s not completely improvised, the musicians rehearse, familiarized themselves with CM: I’m not sure. These new pieces, like Shuffle the video and learn the cues. The way I’ve been (2007) or Graffiti Composition (2002), they offer presenting Screen Play is to invite three different only possibilities: it’s like a social situation that ensembles to take turns performing in the same involves musicians and audiences. And whatever evening. The audience sees the movie three times happens in that setting, happens: I have no control with three different soundtracks. over what the music sounds like. Copyright ©2008 by John Zorn/Hips Road Because sound can affect a scene, and something Photo © Daniel Spehr. Courtesy the artist Courtesy © Daniel Spehr. Photo 14 EVENTS Friday 16 // November Friday 16 // November EVENTS 15

1 Ensemble Rebecca Saunders (UK, 1967) Yes UK PREMIERE Musikfabrik: Saunders 1 (2016/17) 80’

Huddersfield Town Hall, 7pm Yes refers to Molly Bloom’s monologue, the final chapter of James Joyce’s Ulysses. This monologue Tickets £25 (£19 concession / online) can be regarded as a kind of literary collage, a web woven from the innumerable paths traced by Ensemble Musikfabrik: stories, thoughts, associations, and moments in Helen Bledsoe flute a continuous, unrelenting high-energy stream: a Peter Veale oboe snapshot, a state of being before and during the Carl Rosman clarinet act of falling asleep, amid glimmerings of the James Aylward bassoon subconscious. Christine Chapman horn Marco Blaauw trumpet Oscillating between moments of absence and Matthew Conley trumpet presence, the text is not always audible, remaining Bruce Collings trombone often subcutaneous, yet still tangible and present. Melvyn Poore tuba The monologue is often sung, but also recited Ulrich Löfflerpiano by the soprano and the instrumental musicians, Benjamin Kobler be it on an out- or in- breath, half-whispered, piano Ackermann © Astrid Saunders Rebecca Dirk Rothbrust percussion nearly silent, or suppressed beneath a hand. At Thomas Meixner percussion times words or phrases rear up, becoming visible, deeply erotic moments – in all their facets, from gradually create a single image or ‘object’: Krassimir Sterev accordion audible and intelligible, before disappearing again, romantic to soberingly grotesque – appear in the imprints reiterated and projected into time Hannah Weirich violin consumed within the flow of the music – just as music in a variety of shadings, which overlap and and space, like a giant mobile seen from many Yoonhee Lee violin moments of Bloom’s biography, personality, and coalesce. Yes closely explores the monologue’s perspectives, that in itself remains untouched. Axel Porath violin memories take on temporary form in her inner, most explicit passages – specifically intending The light, the focus, and the position from which Dirk Wietheger violoncello stream-of-consciousness monologue, only to sink to rebuke any coy, clichéd interpretation of Molly it is perceived are altered, as is our nearness Florentin Ginot double bass back into the river of time. Bloom – plumbing the fathomless depths of and distance to the object – a manifest complex Joyce’s text, with its unleashing of a raw sexual protraction of the one, singular thing. Enno Poppe conductor Working with the voice, its limits, and the need energy that refuses narrow definitions of sex and Juliet Fraser soprano of breath can capture an innate human fallibility, gender. Yes explores a music which steps out of the flow Paul Jeukendrup sound design a raw intimacy – and exploring a multitude of of time, which is projected into space like a sound Rebecca Saunders concept / spatial direction ways to work with the breath opened up a whole A singer stands silently on the stage – a theatrical sculpture – and which, at the moment of listening, new world of sonic and emotional possibilities. moment in itself. The human body – our seeks absolute focus on the physical presence of The pioneering Ensemble Musikfabrik present The various forms of recitation of the text seeks anticipation of it, of every movement of the eyes, the sound. Yes, a new work by renowned composer Rebecca partly to suppress and transform the monologue the corners of the mouth – therein lies infinite © Rebecca Saunders (from an interview with Saunders, the recipient of an Honorary Doctorate into a multitude of a sonic surfaces, which the dramatic potential. In Yes, both soprano and Barbara Barthelmes of the Berlin Festspiele, from the University of Huddersfield in November music then implies, suggests, frames and re- instrumentalists are viewed as protagonists in a 2017) 2018. A meditation in the ambiguities of language contextualises. While Yes eschews any immediacy quasi-abstract theatre, co-existing in a shared and expression, Yes is inspired by the time- of meaning, its juxtaposition of words and music sonic landscape. The 28 separately composed Produced by hcmf// and funded by Kunststiftung NRW warping monologue that concludes James Joyce’s seeks to unleash meaningful, emotionally charged soli, chamber-music works, and ensemble pieces as part of Campus Musikfabrik; supported by hcmf// masterpiece Ulysses. It is a literally breathtaking relationships from within the text. – the modules – are distributed throughout the Benefactor Professor Mick Peake supported by piece of music, the ensemble responding to the space, and are collaged in a spatial and musical Goethe-Institut London inhales and exhales in Fraser’s vocal performance The repeated ‘yes’ is ambiguous and complex. It polyphony. with fluid arrangements. The result is an ever- casts shadows of and allusions to: the moment This concert will be broadcast by BBC changing collage of music and theatre in which of half-conscious orgasm; a life-affirming ‘yes’; Almost every module represents, with exhaustive Radio 3 on Saturday 15 December our preconceived notions of language are lost to the ‘yes’ that seals one’s fate; and Bloom’s insistence, an immutable state, always in essence 2018 time. recollections of myriad sexual encounters. These the same. Fragments, each time slightly varied, 16 EVENTS Friday 16 // November Friday 16 // November EVENTS 17

Christian Marclay (USA/Switzerland, 1955) 2 Christian Marclay: Fade to Slide (2010) 8’ To Be Continued Fade to Slide is a video score commissioned Bates Mill Blending Shed, 10pm by pioneering music ensemble Bang on a Can All-Stars. Here, Christian Marclay continues Tickets £18 (£15 concession / online) his exploration into the use of video to create a framework in which live music can develop. Short ensemBle baBel: fragments of films, and their original soundtrack, Antonio Albanese guitar are edited into a rapid succession of events Laurent Estoppey saxophone that the musicians use as a structure for the Anne Gillot recorders / bass clarinet performance. Luc Müller drums Noëlle Reymond double bass Christian Marclay (USA/Switzerland, 1955) The Bell and the Glass (2003) 23’ Christian Marclay To Be Continued UK PREMIERE Christian Marclay Fade to Slide The Bell and the Glass, Marclay’s first endeavour Christian Marclay The Bell and the Glass to guide musicians through the use of video, was inspired by two of Philadelphia’s most famous Switzerland’s ensemBle baBel have a icons, the Liberty Bell and Marcel Duchamp’s longstanding relationship with the work of The Bride Stripped Bare by Her Bachelors, Christian Marclay, having performed his pieces Even (The Large Glass) (1915–23). Aside from on an international stage since 2012. As part of both objects being cracked and situated in his residency at hcmf// 2018 they perform the Philadelphia, Marclay found other surprising and UK premiere of To Be Continued, a graphic score often humorous affinities between them. The conceived by Marclay specifically for the ensemble double video projection juxtaposes the Liberty in the form of a 48-page comic-book. They will also Bell and The Large Glass with found film footage, perform two of Marclay’s ‘video scores’: Fade to such as Duchamp discussing the cracks in his Slide and The Bell and the Glass. work and clips from Hollywood movies, alongside new footage shot by Marclay in Philadelphia. Christian Marclay (USA/Switzerland, 1955) A minimum of two musicians are prompted to To Be Continued UK PREMIERE (2016) respond freely to the two screens, but they must come together in unison to accompany Duchamp’s To Be Continued is a graphic score made from voice, which was transcribed into traditional found comic books. The work will be performed musical notation. by the Swiss group, ensemBle baBel, who create a dynamic composition by interpreting the often The Bell and the Glass was commissioned in 2003 by the humorous cartoon collages that make up this Relâche Ensemble under the Future Sounds commission 48-page score. series as Future Sounds 5: Visible Audio, and by the Philadelphia Museum of Art Studies 7. This piece has an indeterminate duration. This version will be approximately 30 minutes long. Produced by hcmf// supported by the Swiss Arts Council Pro Helvetia

Parts of this concert will be broadcast by BBC Radio 3 on Saturday 1 December 2018 To Be Continued © Christian Marclay, courtesy of the artist courtesy Marclay, Be Continued © Christian To 18 EVENTS Friday 16 // November Saturday 17 // November EVENTS 19 The One I Feed 3 Duo Gelland Bates Mill Photographic Studio, 11.30pm St Paul’s Hall, 1pm

Free Event Tickets £12 (£9 concession / online)

TOEAC: yet abstract emotions which are relevant to today’s Duo Gelland: Hans-Joachim Hespos (Germany, 1938) Pieternel Berkers accordion society. I want to help people to understand how Cecilia Gelland violin a e r i UK PREMIERE (2012) 20’ Renée Bekkers accordion certain emotions function, how to relate to them Martin Gelland violin and to become aware of them. I also want to be a Hans-Joachim Hespos’ a e r i moves between Doan Hendriks technical / scenography advisor voice for those who have witnessed or had similar James Dillon Traumwerk Book I ‘tense nothing – in the outskirts of audibility’ experiences to me and the work deriving from Hans-Joachim Hespos a e r i UK PREMIERE and ‘intended expressions of erupting ferocity’ Genevieve Murphy is a Scottish composer a personal experience means it has an honesty like ‘zigzag-cuts into the unknown, hetzfluid based in Amsterdam. A cross-platform artist behind it, a vulnerability yet openness which Violinists Cecilia and Martin Gelland have an crashlightenings’ – a kaleidoscope of violinistic whose work combines a flummoxing variety of welcomes others to share and relate to my work. encyclopedic relationship with contemporary extremes. The imploring singing of the Song practices, from fine art to free improvisation, music. Considered one of the most engaging Thrush conveys a sense of urgency. The work was her music exists at the fringes, emphasising Inspired by the concept of ‘self-destruction’, and energetic music groups in Europe, they are composed for Duo Gelland in 2012. © Duo Gelland contemporary music’s progressive potential and I am fascinated by the internal fight to resist known for their endurance-run performances, using it to talk politics, psychology and social destructive behaviour. The One I Feed sketches invigorating pieces with an intense, emotional style Produced by hcmf// supported by STIM’s Council for welfare. Her new commission, The One I Feed, is a portrait of the conflict and the uncertainty in a of interpretation. Their reputation serves them the Promotion of Swedish Music, Export Music Sweden, a thought-provoking piece that wrings expanse destructive mind, emphasising the attractiveness well in this concert of radical and maze-like music, Kultur i Väst & Musik i Syd; also supported by Goethe- out of simplicity. A work for two accordions, it of this destructive behaviour and the euphoria it which includes the thunderous violin impulses of Institut London will be premiered by TOEAC, a Netherlands- produces when you give in to it. Repeatedly feeding Hans-Joachim Hespos’ a e r i, and James Dillon’s based accordion duo dedicated to the possible this harmful desire results in something far too Traumwerk, a mischievously tangled piece which experimental techniques of their instruments. complicated to give up. © Genevieve Murphy serves as an interpretation of the confounding art of Renaissance painter Albrecht Dürer. Genevieve Murphy (UK, 1988) Commissioned by November Music The One I Feed UK PREMIERE (2018) 40’ James Dillon (UK, 1950) Traumwerk Book I Co-produced by hcmf//, November Music and (1995/96) 25’ I find ways to communicate sensations, problems Standplaats Utrecht; supported by Dutch Performing and experiences that can feel overwhelming yet Arts The title Traumwerk or Dreamwork derives from intangible, inexplainable and incomprehensible. Albrecht Dürer’s description of his enigmatic In my previous works, I must have experienced and inventively playful Marginalia, designed for the specific emotion myself, have observed my the prayer book commissioned by the Emperor own reactions towards it and have looked into how Maximilian in 1515. The combination of a strange I sought comfort. I would then try to understand playfulness, its function as Marginalia; like what provoked that certain emotion and look at the the labyrinthine imagery of the illuminated similarities and differences between people when manuscripts it is a particularly inventive example it comes to reacting and coping. of what Paul Klee was later to describe as ‘taking a line for a walk’. In some ways it is an exploration Also of interest to me is that we all suffer from of grotesquery a free elaboration or rather an insecurity – everyone can relate to it in some way elaboration freed. © James Dillon or another, yet we try to hide it. Methods of hiding it can be destructive to oneself and others around them. To be an artist and a maker means I have the opportunity to communicate to a large number of people, and I am driven by expressing specific 20 EVENTS Saturday 17 // November Saturday 17 // November EVENTS 21

a performance of the piece, they will open this Nicole Lizée (Canada, 1973) Scorsese Etudes 4 Wikipiano website and perform the piece according to the WORLD PREMIERE (2018) 11’ Phipps Hall, 4pm content at that given moment. © Alexander Schubert Nicole Lizée’s celebrated auteur-focused works Tickets £12 (£9 concession / online) use loops of key scenes to create obsessive Commissioned by Zubin Kanga and Podium Festival homages to a filmmaker. Following on from Zubin Kanga piano her Alfred Hitchcock, Stanley Kubrick, Quentin Nicholas Moroz electronics Scott McLaughlin (Ireland, 1975) In the Tarantino and David Lynch sets, she has composed unknown there is already a script for this celebration of the the iconic films of Martin Alexander Schubert WIKI-PIANO.NET transcendence WORLD PREMIERE (2018) 10’ Scorsese. From the early collaborations with Scott McLaughlin In the unknown there is already Robert de Niro in Taxi Driver, Mean Streets, a script for transcendence WORLD PREMIERE The piano as stringed instrument, where each Cape Fear, Casino, to the bravura storytelling of Claudia Molitor You touched the twinkle on the string is a reservoir of dynamic continuum across Goodfellas to the manic energy of The Wolf of Wall helix of my ear note and timbre. The pianist as spectral explorer, Street, Lizée digs into Scorsese’s unique style, full Nicole Lizée Scorsese Etudes WORLD PREMIERE mapping the instrument’s prominences, surfing its of movement, symbolism, intensity and violence. Christopher Fox Five characters in search of a shifting eddies and currents. A magnetic resonator © Zubin Kanga form WORLD PREMIERE becomes a prosthesis with which the pianist explores the dynamic resonance of the strings. Commissioned by Zubin Kanga Australian-born pianist Zubin Kanga is a Metal bolts are ‘preparations’ of the strings to seasoned interpreter of iconic works by make them inharmonic, destabilising the specific Christopher Fox (UK, 1955) Five characters in contemporary music’s leading composers. In pitch of the string into multiple competing pitch- search of a form WORLD PREMIERE (2018) 11’ this fascinating concert, he performs new and timbre complexes. The player explores the tipping recently commissioned works that augment and points between stable pitches and multiphonics, Five characters in search of a form is a work for counterpose his piano with disruptive multimedia. through to the dissolution of the string sound into piano and video that plays on the boundaries Scored for magnetic resonators, video, keyboards, complex timbre. © Scott McLaughlin between live and recorded action, the live amplified voice and scores edited by the internet pianist apparently rehearsing the performance public, these pieces hinge on discrepancy and Commissioned by Zubin Kanga with the support of Arts that we see projected on the screen. As well as contingency, offering a probing and political Council England this dialogue between the ‘now’ and ‘then’ of concert exploring composing as a radical action of performance and recording, there is also a series confrontation. Claudia Molitor (UK, 1974) You touched the of exchanges between five different sorts of piano- twinkle on the helix of my ear (2018) 15’ playing, the ‘characters’ of the title. Please note: this concert includes images © Christopher Fox from films featuring stylised violence. Viewer Compositional time, filmic time, editing time, discretion is advised. rehearsal time, practising time all enter into Commissioned by Zubin Kanga with the support of Arts the performance of You touched the twinkle on Council England the helix of my ear. Their echoes describe the Alexander Schubert (Germany, 1979) interrelationships that exist between the haptic Produced by hcmf// supported by Goethe-Institut WIKI-PIANO.NET (2018) 15’ realities of composition and performance both London and the hcmf// Patrons focussed on manifesting an instance, the same WIKI-PIANO.NET is an interactive community- instance, of sound. Conceived as a contemplative based piano piece by Alexander Schubert. The dialogue between the present pianist and the complete webpage of wiki-piano.net is the score absent composer – each ‘haunting’ each other’s to the piece. The pianist performing this piece creative space – the piece audiovisually explores reads and plays everything that can be found on the interplay between performing, notating and the internet page, from top to bottom. Visitors to sounding. © Claudia Molitor the internet page are able to influence and change Commissioned by Zubin Kanga, with the support of the the score of the piece – continuously. This can Hedger Zubin Kanga © Richard happen at all times. When the pianist schedules RVW Trust 22 PROFILE PROFILE 23 Anthony Braxton

s with the majority of musical terms, his decision to look outward to a whole range of worlds and to give performers both responsibility can shift under the dynamic force of improvisation, A composition comes with a certain received sources in both America and Europe in order to and creative licence. interpretation and conjunction of numerous wisdom. It conjures up the image of written gain a greater sense of his place in black America. artforms and socio-political commentaries. parts to be played by an ensemble or orchestra He made this highly revealing statement on the A piece for seven trumpets in which the players to hopefully create a satisfying artistic whole. importance of discovering seminal 20th century are costumed and choreographed the work would Ghost Trance refers to the act of Ghost Dance that Specific phrases are assigned to musicians who composers such as John Cage and Karlheinz fall into the category of multimedia according brought much spiritual healing and also embodied will then follow a clearly mapped life cycle of notes Stockhausen. to common parlance but it is more a case of overdue justice for displaced and oppressed Native and tones. the theatrical nature of live music, namely the American peoples. As the practitioners of the ‘The philosophical dynamics of Cage’s music appearance, stance and movement of those who ritual negotiated the space between the living and For several decades Anthony Braxton has been would help me as an African-American intellectual produce sound, coming to the fore. dead ancestors so Braxton’s musicians are able boldly challenging this model. He has vividly to look into my own lineage and develop my own to ‘depart from the page’ in order to enter a new imagined form as something malleable that can perspective. Experiencing the musics of Cage and The score has been conceived in such a way so realm of sensation. With much of the world reeling materialise in a variety of ways. Rather than fixity Stockhausen would be the final part of my own it can be ‘augmented or interrupted’ by Ghost from the politics of fear and hate the chance for in composition he has furthered the idea of fluidity equation, in terms of understanding what I wanted Trance Music, a course of action that increases the those who make art and those who hear it to take in compositions, which may unfold simultaneously to do with my life.’ likelihood of something that may only occur in the a bold step together into a vibrant unknown reality rather than successively. This vision of multiple circumstances of a specific performance. Rather rather than fall into any cynically planned fake scores interlocked and interacting reflects a Hence the ‘African-American intellectual’, as than leaving space for improvisation within a given groove is cause for celebration. © Kevin Le Gendre central idea in Braxton’s aesthetic, and that is Braxton says himself, is no less empowered to composition, Braxton presents composition that the continuum of creative events that trigger a see the work of others, beyond the superficial questioning of where both the artist and audience boundaries of race and geography, as a portal to may be in time and space. As with many exponents greater creative self-fulfillment. In any case Cage of European classical music, Braxton numbers et al’s daring experiments with sound, silence, his works, but that doesn’t mean that a particular space and sequencing of structural elements in a composition will completely stand apart from given work resonated with Braxton’s burgeoning another. Borders do collapse. ideas on how best to achieve a uniqueness of experience for composer, performer and A Chicago native who studied clarinet at high listener. The depth of such originality, which has school and further developed his musical skill in been sustained and consistent, puts him in the the US army, Braxton is as renowned as a multi- pantheon of key 20th century composers such as reed player as he is a composer. His virtuosity the aforementioned Cage and Stockhausen as on numerous horns, particularly less common well as Edgar Varese and David Tudor. They are all instruments such as the contrabass clarinet, bound by their great individuality. as well as the alto saxophone, has made him a source of inspiration for players who are intent on Part of Braxton’s appeal is the immense courage expanding the palette of their music. of his convictions and refusal to impose limits. His reverence for what might be called jazz is made Braxton became a prominent member of the clear by his reprises of the music of Thelonious pioneering Association For The Advancement Monk, Billy Strayhorn and Dave Brubeck among Of Creative Music (AACM) in the 1960s and others, but, true to form, he did so on piano rather contributed much to the music of his peers, than the saxophone with which he is readily such as Wadada Leo Smith and Muhal Richard identified. Braxton stands ‘in the tradition’ very Abrams, but it is his work under his own name that much on his own terms. defines him. Braxton the composer is as open to possibility as he is to certainty with regard to ideas, Composition 103 is another example of Braxton’s and a major part of his development stems from ability to create across rather than within specific Gannushkin © Peter Anthony Braxton 24 EVENTS Saturday 17 // November Saturday 17 // November EVENTS 25

In the field of electronic music there has been 5 The Monochrome 6 ensemble mosaik: rapid technical development for decades. Project: Braxton Poppe Just as rapid is the fading of those same new technologies. Often, earlier pieces can no St Paul’s Hall, 7pm Bates Mill Blending Shed, 9.30pm longer be performed today because the required technologies went missing or don’t work anymore, Tickets £25 (£19 concession / online) Tickets £25 (£19 concession / online) or performers simply don’t know how things were done 25 years ago. Since up-to-date technology The Monochrome Project: Anthony Braxton (USA, 1945) Composition ensemble mosaik: is always the one that works best, sound Marco Blaauw trumpet No 103 UK PREMIERE (1983) & excerpts from Christian Vogel synthesiser aesthetics turn out to be extremely time-related. Christine Chapman trumpet Composition No 173 UK PREMIERE (1994) 65’ Simon Stresser synthesiser Therefore the creation of pop music pieces can be Matthew Conley trumpet Roland Neffe synthesiser meticulously determined by a specific preset of the Callum G’Froerer trumpet Anthony Braxton, born in Chicago in 1945, is a Ernst Surberg synthesiser DX-7 or a certain software tool. Rike Huy trumpet composer, saxophonist and multi-instrumentalist Chatschatur Kanajan synthesiser Nathan Plante trumpet and one of the great innovators and avant-garde Karen Lorenz synthesiser Composing means taking apart. In Rundfunk William Forman trumpet figures in jazz, whose practice as a composer has Mathis Mayr synthesiser (Broadcast) for nine synthesisers I don’t use also been influenced by such exponents of new Niklas Seidl synthesiser historic instruments but historic sounds. The Lisa Charlotte Friederich speaker music as Edgard Varèse, Iannis Xenakis, John instruments are nine computers and nine Marco Blaauw musical direction Cage, Frederic Rzewski, Karlheinz Stockhausen Enno Poppe synthesiser keyboards. The sounds are from the 60s and 70s: Taylor Ho Bynum musical coaching and Vinko Globokar. Composition No 103 was Arne Vierck sound engineer FM synthesis, Minimoog, Piganino. Their pioneers written in 1983, but received its world premiere in Wolfgang Heiniger audio software are Gottfried Michael Koenig, Thomas Kessler, In 50 years of composing and performing, 2005. It is a fully composed piece of approximately John Chowning, Wendy Carlos, and Tangerine Anthony Braxton’s music has remained ineffable 45 minutes duration for seven trumpets, with ensemble mosaik ring in 20 years of future-bound Dream. No original instruments are being used and incomparable. A multi-instrumentalist and costumes and choreographed movement. The musical exploration with an archaeological dig. but only computer generated reproductions, improviser whose early records featured on the performance will be augmented and interrupted With a penchant for making real-time experiments everything sounds different than it would have iconic left-field jazz label BYG Actuel, he has by excerpts from Composition No 173. of their concerts, they interpret Enno Poppe’s done in their day. I have all of the sounds at my gained renown as one of experimental music’s Rundfunk by shapeshifting into an orchestra of fingertips at any time. I can play back any number most adventurous voices, marrying theory to free The performance at hcmf// follows its European synthesisers. A piece that pays homage to the of parts and I can switch between tunings freely play. In this unique showcase, the Monochrome premiere at the Maschinenhaus in Essen by the history of electronic music by reconstructing it on and constantly. The sound is being reconstructed Project bring two pieces from his longstanding trumpet ensemble Monochrome Project led by modern digital instruments, Rundfunk becomes and put back together in new ways. The Composition series to life: 103, for seven trumpets, Marco Blaauw, one of the world’s leading trumpet a facsimile of the 60s and 70s synthesiser performers aren’t keyboard virtuosos, by the way, is performed hand-in-hand with excerpts from innovators working in new music, and has been sound, a computer-made replica that considers but virtuosos in the handling of electronic sounds 173, a pantomimic work combining complex developed in close liaison with Braxton’s close technology’s march of progress. in general. instrumentation and experimental character associate trumpeter Taylor Ho Bynum. acting. Enno Poppe (Germany, 1969) Rundfunk The piece consists of thousands of atoms. The work will be presented in a ritualised form. UK PREMIERE (2015 – 2018) 60’ The music is analytic and emphatic. It’s being compounded in a laboratory. While composing Co-produced by hcmf//, Marco Blaauw with littlebit Without broadcasting, new music wouldn’t exist I am wearing a white lab coat. A concert is not GbR and Ruhrtriennale; supported by Dutch Performing as it does today. The invention and development an experiment, however. The moment I stop Arts; also supported by Goethe-Institut London and of electronic music in the studios of the public understanding what’s happening, art emerges. hcmf// Benefactor Dr Peter Bamfield broadcasting services led to some magical The beauty lies in the overtaxing. © Enno Poppe moments of a medium that aimed to interrogate its own possibilities and requirements. Radio Co-commissioned by Südwestrundfunk, Wien Modern, stations were even willing to support specialised hcmf//, Philharmonie Luxembourg, Festival d’Automne institutes. These days the medium has changed to à Paris, Acht Brücken | Musik für Köln, Deutschlandfunk being a news provider and entertainer. Kultur, and musica viva des Bayerischen Rundfunks

Produced by hcmf// supported by Goethe-Institut London 26 PROFILE PROFILE 27 Enno Poppe

o get a picture of Enno Poppe as a composer, which was performed at hcmf// 2010, presents Tyou need only watch him in action as a the entangled comings and goings in a disjointed conductor. And that’s not necessarily referring urban landscape inspired by William Burroughs’ to the online clip from 2014 of him with ensemble writings of his time living in Tangiers. Combing mosaik as the ‘augmented conductor’ of text by the German poet and novelist Marcel Alexander Schubert’s Point Ones in which, hooked Beyer with multi-screen video projections by up to an array of motion sensors, his wild gestures Belgian film-maker Anne Quirynen that evoke trigger live electronics while continuing to guide the compound vision and meandering pathways the ensemble’s players. of bees, it depicts the city not as a set of fixed locations, but as a series of interactions and Even without the exaggerations of Schubert’s superimpositions. piece, when conducting, Poppe’s limbs trace an invisible, dazzlingly complex blueprint of lines, More recently, Poppe’s multi-part piece angles and curves. A musician from Chicago’s Speicher (2008-13) tackles the unreliability of Ensemble Dal Niente described him as seeming memory, with musical ideas ‘remembered’ by to have five elbows. Another analogy might be the large ensemble: recurring, distorted and that of watching a time-lapse film of the growth recontextualised. Asking musicians to navigate of an apple tree: a tangle of vigorous, jutting such shifting, unstable territory is a common perpendicular branchings that occupy every Poppe feature: most infamously, 2003’s Rad possible axis while remaining rooted in a unified (Wheel) requires duetting keyboardists to steer organic purpose. confidently through a score in which they have to trigger shifts into around a hundred different pre- The geometry and mathematics of nature are programmed microtonal and spectral scales. familiar concepts in the music of Poppe, who was born in the dying days of the 1960s in Sauerland, Scherben (2000/2008) and Fleisch (2017) are Germany, studied conducting and composition similarly demanding, the former compressing 121 with Friedrich Goldmann and Gösta Neuwirth ‘shards’, some lasting only a few seconds, into a at Berlin’s Hochschule der Künste and has 13-minute piece, while the latter, for saxophone, conducted ensemble mosaik since 1998. As electric guitar and drums, deconstructs rock well as the growth patterns of plants, his work music down to its molecules then rebuilds them draws upon concepts of cells, mutations and the with a jolt of galvanic energy. With Rundfunk interplay between genotype and environment, (2018), a concert-length tour through the history symmetry and irregularity, original and mutation of synthesiser music guided by the most informed that he describes as ‘dented nature’. His one-word and passionate of fans, that approach finds titles evoke the idea of fundamental substances, realisation on a much larger scale. And in typical their everyday qualities explored and transformed: Poppe style, with its microtonally tempered Ol (Oil, 2001-4), Salz (Salt, 2005), and even Brot software recreations, Rundfunk also offers a (Bread, 2007) – one wonders whether Mehl (Flour) cellular reboot of that history into original and and Hefe (Yeast) lurk, unfinished, in the Poppe ever-evolving forms. © Abi Bliss store cupboard to complete the recipe.

This fascination with patterns, systems and interactions extends from the cellular level to the human and beyond. A key landmark in Poppe’s

Enno Poppe © Harald Hoffmann.com © Harald Enno Poppe career, the music theatre work Interzone (2003), 28 EVENTS Saturday 17 // November Sunday 18 // November EVENTS 29

3. 17-19C physics: The Ectoplasm Girls 7 Ensemble a hypothetical medium formerly believed to Bates Mill Photographic Studio, 11pm Musikfabrik: Saunders 2 permeate all space, and through which light and other electromagnetic radiation were thought to St Paul’s Hall, 1pm Free Event move.

Tickets £18 (£15 concession / online) The Ectoplasm Girls: 4. physics: R1-O-R2, the volatile chemical Nadine Byrne compound known for its lightness and lack of Ensemble Musikfabrik: Tanya Byrne color, with anesthetic properties. Carl Rosman bass clarinet Richard Haynes bass clarinet Nadine and Tanya Byrne create pop music for as Hypnotower, experimenting with noise- 5. 19/20C inf. regarded as the medium for radio Dirk Rothbrust percussion the phenomenal world. Taking influence from drenched trance on Unlearn. With a multimedia ‘song wafts across the ether’. punk, industrial and minimal wave, the Swedish performance that includes improvised music and Rebecca Saunders aether UK PREMIERE duo have released two unnerving records as The visuals, Bates Mill Photographic Studio provides a aether was written for Carl Rosman and Richard Rebecca Saunders dust UK PREMIERE Ectoplasm Girls on Joachim Nordwall’s iDEAL fitting twilight zone for The Ectoplasm Girls. Haynes with my thanks for the wonderful sound imprint, crafting distant and muted sounds for the experiments we did together. Ensemble Musikfabrik are next-of-kin for Rebecca unsettled sleeper. As solo artists, their material Produced by hcmf// supported by STIM’s Council for © Rebecca Saunders Saunders’s music, having played it all over the investigates liminal spaces: this year Nadine the Promotion of Swedish Music, Export Music Sweden, world in a variety of shapeshifting set-ups. In a released Dreaming Remembering, a record that Kultur i Väst & Musik i Syd Commissioned by the Bludenz Festival für Zeitgemässige second concert showcasing her recent works, abstracts techno and drone into songs of broken Musik for first performance November 2016 by Carl Ensemble Musikfabrik divide themselves. Having memories, while Tanya has released solo material Rosman and Richard Haynes. tackled Yes as a group, the ensemble now deliver microcosmic performances of aether, confined to Rebecca Saunders (UK, 1967) dust UK PREMIERE a bass clarinet duo for Carl Rosman and Richard (2017) 25’ Haynes, and dust, for percussion. The expansive vision of Saunders’ composition is here rendered dust / n.: a fine, dry powder of tiny particles of sparse. waste matter or earth.

A film of dust is a like a membrane, covering Rebecca Saunders (UK, 1967) aether UK PREMIERE or layering the body or thing, on the ground, on (2016) 28’ surfaces or carried in the air. The dust of the earth is a place of burial. Dust within a room is n. / aether: ˈiː.θər/ composed mostly of dead skin, a powder of mortal 14C ME; OF ether; L aethēr the upper pure bright remains. air; L aestus heat; G aithḗr, akin to aíthein to glow, burn; OE ād funeral pyre. ‘...not a sound only the old breath and the leaves turning and then suddenly this dust whole place 1. inf. the upper regions of the atmosphere or suddenly full of dust when you opened your eyes space; the clear sky; the heavens; air. from floor to ceiling nothing only dust and not a sound only what was it it said... come and gone in 2. ancient cosmology: no time gone in no time.’ a) a purer form of fire or air - the fifth element that That Time, Samuel Beckett filled all space beyond the sphere of the moon, constituting the substance of the stars and ‘...all these words, all these strangers, this dust of planets; words, with no ground for their settling, no sky for b) Aether - the ancient Greek personification of the their dispersing, coming together to say, fleeing clear upper air of the sky. one another to say, that I am they, all of them, The Ectoplasm Girls The Ectoplasm 30 EVENTS Sunday 18 // November Sunday 18 // November EVENTS 31 those things that merge, those that part, those that never meet, and nothing else, yes, something 8 Christian Marclay: else,....a wordless thing in an empty space...’ Investigations The Unnameable, Samuel Beckett Huddersfield Town Hall, 4pm Inside, withheld, unbreathed, Nether, undisclosed. Tickets £18 (£15 concession / online)

Souffle, vapour, ghost, Featuring: hauch and dust. Steve Beresford Jin-Hyung Lim Laura Cole Claudia Molitor Absent, silent, void Maria Donohue Dan Nichols Naught beside. Mary Dullea Sarah Nicolls Mei Yi Foo Liam Noble Either, neither, sole, Reinier van Houdt Jamil Sherrif Unified. Noriko Kawai Adam Swayne

Mark Knoop Philip Thomas dust is a solo for two, each their own. Catherine Laws Richard Uttley Kate Ledger Cameron Ward An homage to Christian Dierstein and Dirk Rotbrust for the (many) wonderful sound sessions The world premiere of Christian Marclay’s over the years. Investigations, a new score made of 100 found photographs that feature piano players. The Each performer creates their own version, inaugural performance will feature 20 live pianos. defined by their own instruments and the chosen The pianists interpret each image by deciphering juxtaposition of up to eight separately composed the musical action made at the moment the modules. The fallible physical body behind the photograph was taken. sound, feeling the weight of sound, exploring the essence of a timbre, seeking the grit and Christian Marclay (USA/Switzerland, 1955) noise within. Surface, weight and touch are the Investigations WORLD PREMIERE (2018) essence of musical performance: the weight of a heavy beater resounding on the drum skin; 100 images of pianists performing, found in the bow drawing the sound out of silence; the magazine clippings, concert promo photos, differentiation of touch pressing the brushes advertisements, and the internet are cropped into the drum skin; the expansion of the muscles around the hands and keyboard. The players are between the shoulder blades; the player’s in- asked to replicate the sound and action made breath preceding the played tone... when the photograph was taken by deciphering © Rebecca Saunders whatever evidence each image provides, then marking the result of their investigation on the Commissioned by Festival Acht Brücken | Musik für staves below the image. During the concert the Köln and Ensemble Musikfabrik for Christian Dierstein players perform independently from each other. und Dirk Rothbrust, with support from the Ministry for Family Children, Youth, Culture and Sport of the State of This piece has an indeterminate duration. This version Nordrhein-Westfalen. will be approximately 60 minutes long.

Produced by hcmf// supported by Goethe-Institut Produced by hcmf// supported by the Swiss Arts London; also supported by Professor Emeritus Richard Council Pro Helvetia; also supported by Dutch Steinitz OBE

Performing Arts of the artist courtesy Marclay, © Christian Investigations 32 PROFILE PROFILE 33 Jessie Marino

have a cello’. These are the four words Jessie ‘I would much rather write music for Dave Broome ‘I Marino once used to describe her status than for piano’, she noted in conversation with as a musician. Speaking in a conversation for composer Travis Just. Marino eschews the Object Collection, she was not only summing modularity of contemporary music, the way it is up the limitations of playing and writing for one anonymised and generalised so that people can instrument, but to the immense journey she has keep reproducing it. Her tense-specific approach taken as a composer, performer and media- makes for art that is not easily replicated; she maker. Beyond her involvement in the radical speaks of ‘highly organised time structures and Ensemble Pamplemousse, Marino has built up musical forms’, suggesting a meticulous approach a vast catalogue of surrealist compositions and that stands not just for the art piece, but for its mind-melting theatre melodramas. Calling her where, when and why. anything at all feels like pigeonholing. It sounds about right for Nice Guys Win Twice, a Marked by illusory humour, Marino’s work piece that’s timestamped from the very moment has grown out of bizarre concepts and weird you read its title. 2018 is Marino’s hidden aphorisms that feel, somehow, completely on performer: reflecting on Trump talk and an point. They’re not didactic or political, but their increasingly obfuscated media world, the piece beguiling nature feels like a synopsis of our becomes a tonal reflection of our immediate cultural mood. A mime piece from 2012, Captain present, feeding back the mundanity and obscenity Picard Eats a Sandwich Seductively, references we’ve become accustomed to. Through three a YouTube video of a Star Trek scene posted 12 intoxicatingly disparate parts, Marino’s ensemble years ago, dubbed by its poster as ‘the hottest delivers a cryptic and unsolvable puzzle that scene in television history’. It is a very modern relates to everything we’ll never hold true again. phenomenon, becoming bigger and more Placing grandiose gestures next to shoulder impactful than it ever was actually funny. Marino’s shrugs, they make us feel at home with the piece perceptively sums up the ineffable way we ludicrous. now experience and communicate, committing to the Picard video as if it were a cultural artefact. Both a self-sufficient artist and an over-involved collaborator, Marino’s practice is similar to early Three years later, Marino wrote Endless Shrimp, avant-garde pioneers, who made their work in a levelling up her surrealism once more. The piece vacuum, but also wanted to be the person to guide involves rolling footage of factory production it into the public eye. John Cage is a key influence; lines behind a duo of performers, placed in that Marino created On Silence in tribute to the archetypical ‘contemporary performer’ role: soundless 4’33”, providing 13 new compositions behind a table of instruments. The clattering that reflect his playful, performative instincts. percussion and chance vocalisations add an Marino’s fondness for close collaboration comes abstracting bluster to mundane images of out in Nice Guys Win Twice; she developed capitalism and manufacturing, Marino taking the piece with visual artist Constantin Basica, something atomic and blowing its proportions out technical manager Camille Lézer and performers of the water. Marino calls her process ‘rigorous’, SCENATET, each an integral part of its existence. and it is, because nothing she does can pass by She’ll perform it with them, too – like a player- without talking back at itself. manager, she substitutes herself into a tactical set-up of her own creation, wanting to experience Marino’s music is particular about its moment. it for real. © Robin Smith

© Kristof Lemp © Kristof Environments are crucial; performers are specific. 34 EVENTS Sunday 18 // November Sunday 18 // November EVENTS 35

self-care, render the language of political dramas 9 Nice Guys Win Twice into sputtering piles of abstract glitch and push 10 TEMKO: Riley Bates Mill Blending Shed, 7.30pm around projections of everyday technology which St Paul’s Hall, 10pm slowly build up a mediated veneer of the real which Tickets £18 (£15 concession / online) keeps us safely at our desks away from the action. Tickets £18 (£15 concession / online)

SCENATET: In Part One, the performers are sequestered to TEMKO: Terry Riley (USA, 1935) Shri Camel UK PREMIERE Signe Asmussen voice small illuminated boxes onstage and asked to Aart Strootman electric guitar (1978) 45’ Vicky Wright clarinet repeat combinations of everyday gestures, such Ramon Lormans vibraphone Stefan Bauer saxophone as touching your toes, adjusting your glasses, Fred Jacobsson electric bass / synths ‘It’s an honour to have TEMKO working on Shri Andras Olsen trombone lifting your arm, or pointing. These gestures are Camel’ Terry Riley Kristen Riis-Jensen violin organised into rhythmic frameworks and repeated Shri Camel has become a rare artefact of Terry Karolina Ohman cello in various combinations. Riley’s work. Composed after the landmarks After the success of A Rainbow in Curved Air, Mina Fred viola In C and A Rainbow in Curved Air, the piece Terry Riley fans had to wait for over eleven years Frederik Munk Larsen guitar In Part Two, SCENATET stages a political address, continued his pursuit of classical minimalism before Shri Camel was released. An incredible David Hildebrandt percussion modeled after the most recent State of the Union while honouring a growing influence from Indian reoccurrence of virtuosic keyboard parts but with Mattias Seibaek percussion Address in the US. The language of this political music. It is notoriously hard to perform: replicating a special feature - just intonation. An answer on spectacle has been filtered, removing all of the Riley’s score, written for a specifically modified one of the many technological developments of the Jessie Marino composer/performer vowels from the language, and making percussive keyboard used to achieve ‘just intonation’ tuning, 70s: the programmable synthesiser. Shri Camel is Constantin Basica video artist the remaining consonant letters. By altering the is no easy feat. In this unique concert, musical hardly ever performed by anyone other than Terry Anna Berit Asp Christensen artistic manager language and adding to this repeated physical polymaths TEMKO break Shri Camel’s golden Riley and - because of the tuning - never before on (SCENATET) gestures, the line between political drama and cult rule, ditching the synthesiser. Instead, they play instruments like guitar, bass and vibraphone. Camille Lézer technical manager following begins to be blurred. new instruments built for the occasion to achieve the precise tunings and uncanny beauty of Riley’s Discovering this piece, which seems unplayable Danish ensemble SCENATET take on the role of In Part Three, the ensemble pushes cardboard original. on acoustic instruments, fascinated TEMKO. performers in Nice Guys Win Twice, a political boxes around the stage. On to these boxes is Much like Terry Riley, TEMKO plays an improvised commentary on the absurdity of modern projected different everyday video footage – version of the album live, creating Shri Camel’s information. Jessie Marino’s theatre piece takes making the boxes look like moving televisions. universe of sound, but without a synthesiser. the well-known phenomenon of fake news as its They move the boxes around in different The keys of the vibraphone are shortened or starting point, meditating on the daily subterfuge configurations and eventually build up a stacking lengthened and the frets of the guitars are delivered by media platforms and Presidents. wall of blinking, glitching television sets. moved. Adams Musical Instruments built the Supplemented by live electronics and prepared special vibraphone in just intonation tuning for visuals, SCENATET’s movements reflect the This piece is about the difference between percussionist Ramon Lormans to perform the mundanity and melodrama found in living building and fabrication. The realms of the piece. Guitarist Aart Strootman built the just alongside our mess of a political climate. Through real vs the realms of the virtual. The difference intonation guitars for bassist Fred Jacobsson and surreal choreography and glitching media, Nice between memory and nostalgia. An interpolation himself. © TEMKO Guys Win Twice becomes another reality to second between the home space and the screen space. guess. Transforming the entirety of the theatre from a Produced by hcmf// supported by Dutch Performing stage, to a screen, to a tiny domestic habitat for a Arts Jessie Marino (USA, 1984) / Constantin Basica fish. Can the digital be swallowed by the physical? (Romania, 1985) / SCENATET (Denmark) © Jessie Marino Nice Guys Win Twice UK PREMIERE (2018) 50’ Co-commissioned by the Darmstadt Summer Course, La Nice Guys Win Twice travels through the Muse en Circuit, G((o))ng Tomorrow, Borealis, TRANSIT many spectacles of the everyday uncanny. The and hcmf// performers shuffle through micro-managed mundane gestures as a form of choreographed Produced by hcmf// 36 PROFILE Monday 19 // November FREE EVENTS 37 Aart Strootman Tom Sanderman St Paul’s Hall, 11am e may have had a guitar in hand for most of unorthodox sounds and systems could enrichen his life, but Aart Strootman knows he doesn’t the conformities of Western music. It’s hard to H Tom Sanderman soprano saxophone / pedals rock. ‘My approach is the direct opposite of what play, but it is ultimately an invitation, a musical people expect from an electric guitar’, he told treasure waiting to be pried open. Remy Alexander Sleeping Water UK PREMIERE Spitalfields Music in 2017. He plays the guitar, Aart Strootman Floating Points on a fixed sure, but it might be more accurate to say he Much like Riley, Strootman likes to solve riddles monorail UK PREMIERE workshops it, moulding it into whatever shape and nobody asked him to. With ‘chamber-metal’ band Anthony Fiumara Red Shift UK PREMIERE sound palette is required of it. TEMKO, he set about creating new instruments built entirely for the purposes of playing Shri A master of minimalism, Tom Sanderman Strootman’s instrument is a starting point – a Camel. He constructed specific vibraphones with performs as a solo saxophonist and as a member collection of strings in flux. He can retool them to shortened or lengthened keys, modified guitars, of the experimental Ensemble VONK; he’s also better relate to their surroundings, and often his and crafted instruments out of differently tuned worked with New York’s leading contemporary performances come straight out of the garage, physical materials, aiming to capture every group Bang on a Can, performing the works of guitars crafted by hand before they make their last note Riley played, whether intentional or pioneers of the genre Steve Reich and Philip Glass. way to the concert hall. By the time he’s done improvised. TEMKO is its own virtuoso act: by In this concert, Sanderman’s specialism becomes with them, they’re DIY table-tops; they might have painstaking miracle, it delivers a performable innovation, with the minimalist movement eight strings, or maybe it’ll be five. Or they’ll have facsimile of Shri Camel. speaking a new dialect through compositions by arching necks, the strings measured out to have composers Anthony Fiumera, Remy Alexander and an intricate understanding of the material they’re Riley was revered in the contemporary scene Aart Strootman. showcasing. long before releasing Shri Camel. A vital figure in the early days of the minimalist movement, his Remy Alexander (Netherlands, 1991) Sleeping It is Strootman’s complete disregard for 1964 composition In C was formative – a series of Water UK PREMIERE (2018) 12’ standardisation that led him to Terry Riley’s entrancing vignettes and repetitions, its influence Shri Camel. A rabbit hole of a composition, it is is ubiquitous to this day. In 1969, he released A Composing this piece, I wanted to play with the notorious for being nearly impossible to perform, Rainbow In Curved Air, a record of tape music relationship between stillness and motion, and belonging quite stubbornly to the keyboard it that approached the traditions of Hindustani raga how they can coexist. I really like the mental image was originally composed on. Riley programmed through curious improvisation. This was typical of water that is asleep; I find it contradictory and his instrument to conform to just intonation – a Riley: he utilised specific genres, theoretical at the same time comforting in its many possible tuning system of small musical intervals that techniques and tunings as if he were adlibbing poetic implications. Water; it houses the bodies runs in opposition to modern Western practice – them. Refusing to be confined by formalities, he of so many sailors, refugees; how can it sleep in and proceeded to play flowing, virtuosic music. instructed rock, ambient and electronic music, peace? Full of Plastic. Fresh supplies of meltwater. Performances are unheard of: a cursory search encouraging a modern era of musical hybrid. Fun; banana boats. Endless stories of pirates and flags up a couple from Riley himself, and little explorers and conquerors. Yes. Water. it is very more. Shri Camel was so deeply embedded in Riley’s crucial. We usually just deal with the surface of it, synthesiser that it seemed it would stay there to be or not to be mesmerised by it . We do not – Riley would go on to compose a great number of forever. The careful manner in which TEMKO have fully – comprehend what is beneath. pieces in accordance with this tonal philosophy, handled the piece, and the precise way in which © Remy Alexander but Shri Camel has become an infamous artefact. they have presented it, is proof of Strootman’s love You cannot take it away from its original specifics not only for performing music, but for taking care Commissioned by November Music of tuning and timbre; it is defined by the Rileyisms of it. He was once asked by Kaleidoscope what his given to it at the time. But Riley wasn’t intending favourite thing about composing was. ‘Listening’, Aart Strootman (Netherlands, 1987) Floating difficulty, nor exclusivity. He was imagining he answered, summing up a music career spent Points on a fixed monorail UK PREMIERE (2018) 10’ composition as an open field, a place where tailoring. © Robin Smith

Tom Sanderman © Juri Hiensch Tom When Tom Sanderman asked me to write a solo work for saxophone, two things were immediately 38 hcmf// shorts Monday 19 // November Monday 19 // November FREE EVENTS 39 clear to me: it had to be minimal music and had to (in this case, high intensity interval training). make use of a delay pedal. Minimal music because Quad Kathryn Williams The piece is an ongoing creative collaborative I was aware of Tom’s great fondness for this genre, Richard Steinitz Building Atrium, 12pm University Sports Hall, 12.40pm response to numerous shared concerns between and a delay pedal because I wanted to play around Kathryn Williams and Annie Hui-Hsin Hsieh. with a microtonal soundscape where it would Gaia Blandina performer Kathryn Williams piccolo These include perceptions of perfectionism in become unclear to the listener what was coming Eleanor Cully performer classical music performance practice and cultural from the speakers and what was coming from the Vera Goetzee performer Experimental flautist Kathryn Williams creates norms regarding the female body in music and in instrument via the microphone. Sophie Fetokaki performer works out of constraint and limitation. At hcmf//, exercise. © Kathryn Williams Colin Frank performer she presents a further reflection on the flawed At an early stage, I asked Tom for some alternative Johnny Hunter performer politics of musical practice. PIXERCISE is a piece Produced by hcmf// fingerings, with the aim of allowing various notes Fred Thomas performer composed collaboratively with Annie Hui-Hsin to go out of tune in a controlled way. This enabled Maurizio Ravalico performer Hsieh, utilising high intensity interval training – a senza misura me slowly but surely to cause the persistent type of brief, intense cardio workout. Here used groove of the piece to ‘float’ melodically. It is on Sophie Fetokaki’s art is about stepping over and to inform Williams’ piccolo playing, the training St Paul’s Hall, 1.20pm this contrast between rigidity and intangibility that crossing out. Working between mediums, she technique is a metaphor made literal, its presence the work’s title is based: Floating points on a fixed experiments with the hierarchical position of speaking to the music world’s accommodation of Philip Thomas piano monorail. The result is a fiendishly difficult work ‘artist’, emphasising the collaborative actions of overwork and gender inequality. during which you, the audience, can either sit on performer and audience. Repurposing everyday Christopher Fox (UK, 1955) senza misura the edge of your seat grooving away with Tom or objects and actions as fantastical theatrical Annie Hui-Hsin Hsieh (Taiwan, 1984) / Kathryn (part 1) UK PREMIERE (2016-17) 17’ just lie back and go with the flow. materials, Fetokaki frames our habits and Williams (USA, 1987) PIXERCISE (2017) 20’ © Aart Strootman comforts as agents of movement and change. Please see page 52 for details In this collaborative performance of Samuel As the title implies, PIXERCISE is a collision Anthony Fiumara (Netherlands, 1968) Beckett’s miniature music drama Quad, sound and between piccolo performance and exercise Produced by hcmf// Red Shift UK PREMIERE (2018) 9’ space form a ceremony: performers walk across a restricted grid, playing music to announce I don’t know much about astronomy. Perhaps their movements across it. Sound becomes an that is due to the fact that I reside in a city – where ambiguous action of its own: does it lead, or is it the night is filled with the light we produce on the led? ground. I live under a dome of light, which denies me the view of that blanket of light. But when Samuel Beckett (Ireland, 1906-1989) Quad I + II I am on vacation, I like to look up at night and I (1981) 20’ am always impressed by the unchangeable and timeless beauty. It seems like it takes its power Quad is one of Samuel Beckett’s most austere from our gaze. and musical works. Four walkers pace around a square following a pattern of permutations, That immutability is, of course, an illusion. Time with each possible solo, duo and trio given. One expires differently for people, mountains or stars. percussionist is assigned to each walker and For a slowly living celestial body our life must look must sound when they enter, play while they walk, like a small flash of light. While to us their slow and cease when they exit. The result is a spatial existence and movement seems endless. canon in four voices, or, as author Anne Carson © Anthony Fiumara notes, a Ringkomposition of clear marks that are constantly disappearing. In this production we Commissioned by November Music translate Quad – originally composed for television – into a live event, exploring and expanding both Co-produced by hcmf// and November Music; supported the work and the experience it offers to the by Dutch Performing Arts spectator. © Sophie Fetokaki

Produced by hcmf// Kathryn Williams © Larry Goves 40 hcmf// shorts Monday 19 // November Monday 19 // November FREE EVENTS 41

and speculative processes of live-coding with Christian Marclay: traditional instrumentation, preparing themselves Ephemera I for one in an infinity of branching paths. Colin Frank’s FAKE uses a party game as its graphic Phipps Hall, 2pm score, performers deceiving one another into creating unexpected dissonances. 11 fragments, Steve Beresford organ written by Cristian Morales Ossio, is a real-time response to itself, with part of the ensemble British experimental improviser and musical performing a score as others improvise a reaction. polymath Steve Beresford, who has been a central In concert, the members of DriftEnsemble build figure in the British improvising scene for over new relationships with each other, realising thirty years, performs one of two interpretations of themselves in front of their audience. Christian Marclay’s Ephemera, here on organ. Colin Frank (Canada/UK, 1993) FAKE (2017) 7’ Christian Marclay (USA/Switzerland, 1955) Ephemera (2009) FAKE refers to trickery, pretence, and appearing

to be something that is not. It also refers to Rarity Clarice Published in 2009, Marclay amassed an eclectic improvisation, as in ‘faking it’. In this piece the collection of newspaper advertisements, performers improvise following a graphic score, Clarice Rarity + fruits at the same time. The title is symbolic – it magazine illustrations, restaurant menus, candy causing them to trick each other and mime does not describe the piece, but rather reflects the wrappers, and other disposable printed matter soundless gestures. This fakery game causes Nathanael Gubler period of my life of which the piece was written. © Clara Iannotta with decorative musical notations and which were tense ensemble interactions; tension that Huddersfield Town Hall, 3.30pm reproduced as 28 unbound prints. periodically builds then releases in eruptions of Cassandra Miller (Canada, 1976) crashes and screeches. The piece is inspired by For Mira Clarice Rarity viola This piece has an indeterminate duration. This version my increasing engagement with virtual mediums, (2012) 5’ Nathanael Gubler violin will be approximately 35 minutes long. particularly through computers and the Internet, Maria Gîlicel harmonica / page turning and the uncertainty, skepticism, and disbelief Composing this piece was a play of translations: Zephany Hoe harmonica / page turning Produced by hcmf// supported by the Swiss Arts propagated there. © Colin Frank it is a reworking for violin of a computer-made Council Pro Helvetia transcription of an unplugged performance of Kurt Clara Iannotta Limun Cristian Morales Ossio (Chile, 1967) 11 fragments Cobain singing Where Did You Sleep Last Night – Cassandra Miller For Mira (2016) 13’ also called In the Pines, a traditional American folk DriftEnsemble Alwynne Pritchard Une Mort Heroique song often attributed to Lead Belly. 11 fragments was premiered by MDI Ensemble, © Cassandra Miller Huddersfield Town Hall, 3pm In a typical burst of resistance to the common Evan Parker and Matteo Pennese, in Milan (2016). concert, Clarice Rarity has put together a Alwynne Pritchard (UK, 1968) The principal idea considers the possibility of Une Mort Heroique DriftEnsemble: programme of three works significantly different putting an instrumental trio (11 ‘fixed-written’ (1993) 8’ Colin Frank percussion from one another in spectacle: a tone poem by fragments) and improvisors together, interacting Pablo Galaz Salamanca electronics Clara Iannotta, a meditation on British culture with each other. In coherence with the original Alwynne Pritchard’s music is unique in its distinct Paola Munoz recorder / flutes by Alwynne Pritchard, and a Nirvana cover – of approach, no instruction has been previously and uncompromising dramatic attitude. Even Peyee Chen voice sorts – from Cassandra Miller. Rarity celebrates set for the improvisors, so that they can play though it is clearly rooted in a British culture, it Irine Røsnes violin the women composers who share her relentless in a totally open way, creating continuously cannot be compared to any other composer from Cristian Morales Ossio objects pursuit of a singular, personal creative style free emergent relationships between the fix and the the UK and is not afraid to openly demonstrate its from formal boundaries. ‘otherness’, which manifests itself in interesting Colin Frank FAKE unexpectedness. Since its first performance, the work has adopted diverse instrumentations and contrasts of complex and differing textures. Cristian Morales Ossio 11 fragments Clara Iannotta (Italy, 1983) Limun (2011) 9’ forms. The current version includes a voice, for the © Clarice Rarity DriftEnsemble let life happen to them in two open- first time. © Cristian Morales Ossio Limun (lemon in Arabic) is a plant that has the ended compositions. Comprised of composer- Produced by hcmf// ability to bloom continuously, so you can see on the improvisers, the group incorporate the liabilities Produced by hcmf// same tree lemon blossoms, green fruits and ripe 42 hcmf// shorts Monday 19 // November Monday 19 // November FREE EVENTS 43

all approaching the theme of evolution from a equal measure, it implies decline and loss but Songs for VONK different perspective. The theme connects the Decay can also open up to change and transformation: Bates Mill Blending Shed, 4.30pm songs into a larger arc of tension and at the same Bates Mill Blending Shed, 5.10pm be it the fermentation process of food, the patina time it gives every maker the freedom to relate to of treasured furniture, the warm sounds of an Ensemble VONK: it in their own way. A selection of this programme Claudia Molitor piano old cello, the worn steps of an ancient building, Rianne Wilbers soprano will be played at hcmf//. Tullis Rennie trombone the colourful leaves in autumn or the signs of Erwin Muller clarinet/ bass clarinet Kelly Jayne Jones guest musician aging on a friend’s face that make them uniquely Tom Sanderman soprano saxophone Molly Joyce writes her songs starting from a and beautifully themselves. Many works wish to Reggy van Bakel percussion personal point of view, as a process of conforming, Decay presents the first performance in what capture a moment, freeze it in time, prevent it from Nicoline Soeter composer / artistic director deforming, reforming and transforming. She will become a musical time-lapse. The work is a changing, but Decay embraces the melancholy writes about looking for a way to relate to her meditation on seasons, aging and time, by Claudia of loss, and rejoices in the promise of change. At The beguiling Ensemble VONK meld saxophone, surroundings with the physical disability she has Molitor and performed with improvising partner each concert during the tour that follows, Claudia clarinet, percussion and soprano in an innovative as the result of a car accident. Tullis Rennie. Decay considers the slow decline Molitor and Tullis Rennie will be joined by a local blend. Curated by composer Nicoline Soeter, of life, embracing the existential implications, guest artist, who will bring their own creative VONK invited composers Brechjte and Molly Joyce Molly Joyce and Nicoline Soeter also wrote the and hidden joys, that come with growing old. The practice to the performance. Each new iteration to devise meditations on the concept of evolution. song texts, while Brechtje worked with several concert is the first in a series which will eventually will form the basis for the following concert where The result is Songs for VONK, a collection that poets. Nicoline sees evolution as a form of return to hcmf// in 2019, performed with a another artist joins. This cumulative process will fluctuates between contemporary, classical and imperfection. The result is a turbulent song about different guest musician. slowly erode the ‘original’ and generate an ever- indie pop, breaking down genre and growing it her own perfectionism. Her other song, The great evolving multi-authored work. new. oxidation event reflects on a geological episode Claudia Molitor (UK, 1974) and Tullis Rennie around 2.35 billion years ago, the first significant (UK, 1983) Decay WORLD PREMIERE (2018) 50’ Produced by hcmf// supported by PRS Foundation’s Nicoline Soeter (Netherlands, 1974) The great buildup of atmospheric oxygen that transformed Composer’s Fund oxidation event UK PREMIERE (2018) 5’ Earth. Decay is a contemplation on the process of decay. Molly Joyce (USA, 1992) Conform UK PREMIERE A subject we are troubled by and drawn to in (2018) 7’ Brechtje creates a comic perspective, from the Brechtje (Netherlands, 1993) Is that your arm? inconvenient question what to do with your extra UK PREMIERE (2018) 5’ arm while spooning, to a song about the evolution Nicoline Soeter (Netherlands, 1974) Hands full of of a Mexican dish. The production was made with dirt UK PREMIERE (2018) 6’ support from the Netherlands’ Performing Arts Brechtje (Netherlands, 1993) Evolution of my Fund. © Ensemble VONK Mexican Food UK PREMIERE (2018) 3’ Co-produced by hcmf// and November Music; In the production Songs for VONK, inventor and co- supported by Dutch Performing Arts creator Nicoline Soeter invites composers to write a new programme along with her. Songs for VONK explores the unique colour of the musical forces that are the group’s artistic DNA. These songs reveal influences from contemporary composed music and avant-garde pop; they’re cross-genre, driven by a curiosity about unexpected hybrid languages.

The group includes two promising young composers, the Dutch composer Brechtje and the American Molly Joyce. Joyce made a short song cycle, Brechtje and Soeter wrote four songs, Decay 44 hcmf// shorts Monday 19 // November Monday 19 // November FREE EVENTS 45

This initial sense of dread can be brought about by THREADS Specimens the insignificance you feel in the face of greatness, Thomas Meadowcroft Bates Mill Photographic Studio, 6.20pm Northern Quarter, 7.40pm where others have seemingly found meaning and Northern Quarter, 8.20pm purpose in the face of your own aimless path, Featuring: Jyoti Manral, Alex Delittle, Elizabeth Please note: unfortunately this venue is not coupled with the overarching dread you feel as you Please note: unfortunately this venue is not Hanks, Keertan Rehal, Vijay Venkat wheelchair accessible. contemplate your own existence, where you fit into wheelchair accessible. the significance of society and, as Ruth Tallman Threads is a synthesis of sound, dance and Adapted live pieces from Sculptures & In The put it, ‘the search for answers in an answerless Thomas Meadowcroft (Australia, 1972) light, bringing to life textiles and their history in Dust Of Idols, including the tracks Unfold In All world’. Alleinunterhaltung (2003-) 40’ Yorkshire and telling the stories of the women Directions, VI.VI.MMXV, Chamber Voices & The and children who produced textiles in Yorkshire’s Unread Library ‘I wanted to create something dense and heavy. Australian composer Thomas Meadowcroft mills and factories. Together with young people When you listen through [the work], it makes you continues to demolish courtesy in this latest from Kirklees, SAA-uk artists present a unique All pieces composed, recorded and performed by feel like it has the weight of time stitched into it. instalment of Alleinunterhaltung (‘Entertaining performance exploring the hidden history of mills, Alex Ives (Specimens) (UK/Jamaica, 1989) 20’ Clarity was not my main objective – like an old Alone’), an ongoing piece that operates as a the evolution of textiles and how they connect piece of furniture covered in dust, you can tell what searing, defeatist commentary on the broken Britain with India pre-1947 through sound, music In this live performance Specimens re-creates it is but the details are obscured. My ambition was economy of music. Incorporating the starkness and dance. pieces from his two albums Sculptures and In The to create a dense sonic backdrop, a representation and humour typical of Meadowcroft’s music and Dust Of Idols and merges them into one seamless of the confusion and insecurities we all feel when its place between contemporary classical and Produced by hcmf// and SAA-uk; supported by Postcode soundscape – a sonic exploration of the concepts questioning our existence. You know there should abstract pop, the piece employs a combination of Community Trust of mortality, existentialism and the dread one be answers but you can’t quite make out what they drum machines, organ, analogue tape and synth can feel in the face of an apparently meaningless are.’ ©Alex Ives to engage with the thorny issue of the ‘political world. economy of music via its endless proliferation’. Produced by hcmf//

Produced by hcmf// Specimens Müller © Raphaelle Thomas Meadowcroft 46 hcmf// shorts Monday 19 // November Monday 19 // November FREE EVENTS 47 Manga Scroll © Christian Marclay, courtesy of the artist of the artist courtesy Marclay, © Christian Manga Scroll Zöllner Heather Roche & Eva

the 11th century and is considered the antecedent Clarinettist Heather Roche and accordionist Ideas for this piece originated from earlier attempts Christian Marclay: of the contemporary Japanese graphic novel. Eva Zöllner present a series of experimental to modify the clarinet using PVC pipes of varying Manga Scroll Having been stripped of their dramatic context, the works at the intersection of different music and lengths. This preparation technique effectively sound effects are strung together into one long media. Known for their independent travels lowered and narrowed the range of the instrument, Bates Mill Photographic Studio, 9.30pm composition meant for interpretation by voice. in experimental performance and extended such that each chromatic fingering produced a techniques, the duo come together in a concert of microtonal inflection with a darkened, muffled Shelley Hirsch voice This piece has an indeterminate duration. This version will constantly changing aesthetics and approaches. timbre. The pipe finds new life inside a bucket of be approximately 30 minutes long. Alongside their primary instruments, the duo water as an air pump that produces variants of Born and raised in New York City, Hirsch dropped utilise electronic trinkets, reaching for a sound bubbling sounds at different depths. out of high school and moved to San Francisco, Produced by hcmf// supported by the Swiss Arts Council both frail and harsh. Roche and Zöllner are two California, where she worked in experimental Pro Helvetia of contemporary music’s most versatile and Various other identities emerge inside the theater, explored extended vocal techniques, and adaptable voices. accordion itself as it endures the highest and lowest began composing pieces for voice. Hirsch has extremes of its range while sustaining equally collaborated with Christian Marclay for more than Heather Roche + William Kuo (Canada, 1990) Tubular restrictive dynamics and physical movements in 20 years. During hcmf// Hirsch will perform Manga Eva Zöllner Living UK PREMIERE (2018) 15’ extended durations. © William Kuo Scroll as well as Zoom Zoom. Bates Mill Photographic Studio, 10.30pm The journey of each instrumentalist begins in Luis Antunes Pena (Portugal, 1973) The Hunter Christian Marclay (USA/Switzerland, 1955) Manga roughly the same way: a combination of pedagogy (2017) 8’ Scroll (2010) Heather Roche clarinet and intuition orients the human body with the Eva Zöllner accordion intended assembly of the instrument. Each act 1. Speak, but say nothing This vocal score consists of onomatopoeias found upon the instrument is met with resistance, from in serialised Manga comics originally published William Kuo Tubular Living UK PREMIERE which sound arises through forces such as friction, 2. Wear sunglasses in Japan but translated for the US market. These Luis Antunes Pena Hunter velocity, and pressure. As a composer, I am driven black-and-white newsprint comics have been cut Elnaz Seyedi Nach neuen Meeren UK PREMIERE by the possibility of encountering new identities 3. Be above the situation and collaged into a sixty-foot-long handscroll. This Pierre Alexandre Tremblay nureinwortgenügtnicht formed by such resistance. type of scroll, called Emakimono, was invented in 4 (Tausch) 48 hcmf// shorts Monday 19 // November PROFILE 49

4. Wear sunglasses whose sense is multiplied by their common / composed / remembered past. Explain / comment Heather Roche 5. Be below the situation but wear a leather jacket / multiply the music by music, or as Harrold Bloom larinettist and experimentalist Heather and he really seemed to get her instrument by the says so elegantly: ‘The meaning of a poem can only C Roche has one other gig on her curriculum end. As a result of our dialogue, I think this piece 6. Be emotional be another poem’. vitae: blogging. Her website is its own triumph, is more or less a masterclass in how to write for a relentlessly prolific trail of instructions on clarinet and accordion’. 7. Dream of being loved This fourth piece / iteration / instance is exploiting extended techniques, abstract sound-making mutations of the three original movements and and other ideas for those playing clarinet and its Roche’s duo with accordionist Eva Zöllner 8. Be authentic the three first variations, to unearth the roots sibling instruments. For these insightful posts, is a prime example not only of the musical / aims / origin of the piece / programme / idea. Roche has enjoyed such descriptions as ‘the possibilities, but also the unexpected freedom The Hunter is a consciousness of a highly sensitive Recombinations / swaps / merges / blends / Queen of clarinet multiphonics’ – the kind of praise that comes from working with another player. An sensorial for emergent coolness. It is a parody hybrids are seen as many perspectives of a single you get when you exist on only the most niche active partnership since 2016, their collaboration on the term of the creative industries called the multidimensional object. corner of the internet. With categories and sub- is a canny solution to knowing the unknowable ‘coolness hunter’ and on advice on ‘how to be cool’ © Pierre Alexandre Tremblay categories of radical musical afterthought, Roche – simply by sharing the stage, they make or on ‘pulling popular girls’. © Luis Antunes Pena is single-handedly bringing up a next generation of discoveries. They met when Roche was living Produced by hcmf// contemporary explorers. in Cologne; temporary compatriots, they first Elnaz Seyedi (Iran, 1982) Nach neuen performed together for Kölner Philharmonie’s Meeren UK PREMIERE (2018) 5’ Roche’s encyclopedia of knowledge is tried and Tripclubbing, a series of events hosting Christian Marclay: tested. It is proof of a long history of personal contemporary music under the neon glow of ‘Thither - I wish to go, and I trust Ephemera 2 dabbling, and of her immense versatility as a a modern club setting. ‘We discovered that we Myself forthwith, and my grasp. performer. Her adaptability is perhaps best really loved being on stage together’, she notes, The sea lies open [before me], into the blue Bates Mill Photographic Studio, 11.30pm heard on composer Christopher Fox’s recent providing a simple answer to the lofty questions of Drifts my Genoese ship. release Headlong. A collection of extreme how and why collaborations come about. Everything shines new and newer for me Reinier van Houdt piano aesthetic deviations, Fox’s new pieces double up Noonday is sleeping in time and space - : as exercises in quick-footed shapeshifting for The duo instantly recognised a shared love of Only your eye - tremendously One of the world’s most accomplished pianists, the performer; they contain shards of melody, experiment and opportunity; the realisation Gazes upon me, Endlessness!’ Reinier van Houdt has spent his career in pursuit swung jazz, electronic supplements, overdubs, was a resounding source of comfort, and even From Nach neuen Meeren by Friedrich Nietzsche, of nonconformists, premiering work by Robert radical octave leaps and microtonal experiments. encouragement, for their work, bringing about Translation © Sharon Krebs, supplied by the Ashley, Michael Pisaro and Alvin Curran. In this Amazingly, Roche is the CD’s sole performer, radical performances they’d perhaps never have LiederNet Archive concert he performs Christian Marclay’s graphic showcasing an understanding of her instrument otherwise landed on. ‘There’s a great sense of score Ephemera. that’s beyond lateral. trust and playfulness in our combined music- Pierre Alexandre Tremblay (Québec, 1975) making, which makes it easier to take risks when nureinwortgenügtnicht 4 (Tausch) (2016) 15’ Christian Marclay (USA/Switzerland, 1955) Roche’s repertoire for clarinet and electronics trying new things on our instruments’. Tackling Ephemera (2009) is staggering, a dropdown list of curiosities that pieces like William Kuo’s Tubular Living, for ‘Traduttore, traditore’, says the Italian proverb. includes the complex work of Enno Poppe, the makeshift ‘auxiliary’ instruments, is a lot easier ‘Traduire, c’est avoir l’honnêteté de s’en tenir à Published in 2009, Marclay amassed an eclectic sparse delicacy of Salvatore Sciarrino and the when you have someone to take a leap of faith with. une imperfection allusive’, nuances the translator collection of newspaper advertisements, conceptual composition of Rebecca Saunders. Pierre Leyris. This series of pieces looks at the magazine illustrations, restaurant menus, candy The topic sentence of her PhD was ‘performer- Collaboration is not just a tool for Roche, but impossibility of translating, firstly the text, then wrappers, and other disposable printed matter composer relationships’, proving a commitment also an example of music’s potential to be the context. The multiple nuances of words and with decorative musical notations and which were to delivering trustworthy interpretations of her more communal – a truly open source artform. images, flatten, lost, unseizable. reproduced as 28 unbound prints. counterpart’s material. Implicit in her practice Alongside her blog, Roche has been constructing is that the dialogue that goes into finessing a her own ‘Wikipedia edit-athon’, championing Moreover, it is also a reflection on the This piece has an indeterminate duration. This version composition is its own extended technique. A women composers and addressing the issue of inexpressible, where music and silence allow will be approximately 30 minutes long. recent musical friendship developed with electro- underrepresentation. Whether through online some states / sentiment / experience to be acoustic composer Pierre Alexandre Tremblay, presence or at the concert hall, Roche is trying her expressed with more power / precision / nuances. Produced by hcmf// supported by the Swiss Arts who wrote a piece for Roche’s upcoming hcmf// best to do as much for the person as the piece – to Therefore, this suite of pieces should be taken Council Pro Helvetia; also supported by Dutch performance with accordionist Eva Zöllner. ‘There bring artists up with the art. © Robin Smith as different expressions of a single impression, Performing Arts was a lot of back-and-forth between him and Eva, 50 LEARNING & PARTICIPATION LEARNING & PARTICIPATION 51

Noise Orchestra presents: machine, you’ll have the opportunity to make a Music at Play: Sound Explorers paper-cut artwork which will interact with the Sunday 25 November Noise Machines & Light electronics in the instrument, turning light into Heritage Quay A Workshop Installation. sound. Oastler Building, University of Suitable for children aged 11 – 18. Session 1 (10am – 10.45am): Huddersfield focus on baby sensory (pre-walking) Produced by hcmf// in partnership with Noise Saturday 17 November: Orchestra; supported by One 17 Design Session 2 (11.15am – 12pm): Workshop 10.30am – 2.30pm focus on 2 – 5 year olds

Sunday 18 November: Mini Pop-Up Art School Monday 19 November Free Event (booking required) Installation 10am – 4pm Richard Steinitz Building Atrium, 11am – 3pm Join Early Years artist and flautist Kathryn Williams Free Events (booking required for for two magical sessions for babies, toddlers and their workshop) grown-ups. Filled with interactive sensory stations and Join us at our mini Pop-Up Art School on Monday instrumental playing, including a soft play area for pre- 19 November, our full day of free events. We invite Learn how to build your own noise machine and walking babies, this will be an ear-opening experience you to make an artistic response to the various create interactive art work! for young listeners. There will also be a trampoline for performances – draw to the music as you listen, cuddly toys, so do bring one from home! make miniature concertina notebooks and design A noise machine is a hand-held electronic musical your own ‘postcard from hcmf//’! instrument that can make all sorts of weird and All children welcome at either session. interesting sounds and noises, similar to that of Produced by hcmf// in partnership with the University a synthesiser. As well as building your own noise Produced by hcmf// of Huddersfield hcmf// Campervan Radio

Campervan Radio, our new mobile radio project, was launched in October as part of Our Biennale. The van has visited libraries across Kirklees as part of the community-led initiative Fun Palaces, as well as taking up residence in Upper Batley High School for a series of radio and DJing workshops.

Campervan Radio will be popping up across Huddersfield venues throughouthcmf// – keep an eye out on social media to find out when you can jump on board and meet our resident radio DJ Alexa. Space in the van is very limited, so make sure you don’t miss out!

To book workshop places or discuss your visit further, please contact Alexandra Richardson on 01484 471116, or email [email protected]

hcmf// is an Arts Award Centre and can deliver Discover and Explore Arts Award. 52 EVENTS Tuesday 20 // November Tuesday 20 // November EVENTS 53 senza misura 11 Sarah Cahill

Free Event St Paul’s Hall, 12pm

Philip Thomas piano Tickets £12 (£9 concession / online)

Pianists work in a measured musical space: Sarah Cahill piano whatever music they play on any one piano is always made with the same collection of keys and Terry Riley Keyboard Studies strings. In senza misura this space is the source Terry Riley Be Kind to One Another (Rag) of music that is never the same but is always Lou Harrison Summerfield Set made in the same way, 27 sections each made up Harold Budd Children on the Hill of 27 events. A performance consists of as many sections as the pianist chooses to play, in any Pianist Sarah Cahill has developed a reputation order, and in this first set of performances Philip as one of piano music’s most compelling voices. Thomas will play a different collection of sections Her close relationship with the minimalist music each time . of Terry Riley is on display in this performance of Keyboard Studies, an exercise piece of For as long as I have known Philip I have been phenomenal speed whose constituent parts can trying to give him some music that fully responds be substituted and combined. It’s complemented to the extraordinary subtlety, grace and freedom by the fittingly titled Be Kind to One Another, a with which he plays. This is my fourth attempt and musical gesture of empathy known for its gentle, I think I may, at last, have succeeded. balmy atmosphere. Works from Lou Harrison © Christopher Fox and Harold Budd complete a programme of piano music that is both intriguing and comforting.

Christopher Fox (UK, 1955) senza misura Terry Riley (USA, 1935) Keyboard Studies UK PREMIERE (2016-17) (1965) 25’

Part 1: Monday 19 November Around the same time Terry Riley was launching St Paul’s Hall, 1.20pm (17’) the minimalist movement with his classic In C, he composed his Keyboard Studies, which offer the Part 2: Tuesday 20 November pianist assorted figurations to choose from and St Paul’s Hall, 2.30pm (22’) juxtapose and repeat in various combinations. He describes them as ‘long meditational exercises,’ Part 3: Wednesday 21 November and has said that he engages in these minimalist St Paul’s Hall, 11am (55’) patterns as a kind of extended morning ritual. While there are no recordings of him playing his Part 4: Thursday 22 November Keyboard Studies, it’s always illuminating to listen Phipps Hall, 10.30am (25’) to his phenomenal minimalist improvisations, in which his two hands play in independent meters Part 5: Friday 23 November often at lightning speed. He explains: ‘I had been Phipps Hall, 5.30pm (9’) playing Keyboard Studies No 1 and No 2 (1965) for a couple of years before notating them. Both Produced by hcmf// are repetitive studies of time, hand coordination, improvisational flow and texture. John Cage had asked me for a page of music for his Notations Sarah Cahill © Marianne La Rochelle Sarah 54 EVENTS Tuesday 20 // November Tuesday 20 // November EVENTS 55 book of graphic scores, and I submitted Keyboard Lou Harrison (USA, 1917 – 2003) Summerfield Set individual and shared memories, through the Study No 2’. The version you hear today actually (1936/1988) 11’ 12 United Instruments many large and small (hi)stories that art proposes combines both Keyboard Studies at once. I had of Lucilin us as so many keys. Taking its inspiration from ordered the score in the mail and had asked Terry This is one of many of Lou Harrison’s works Michel Chion’s Requiem, I immersed myself in this if he could show me how it works. My memory inspired by Baroque and Medieval music, in Phipps Hall, 3.30pm electroacoustic masterpiece to present a kind of is that when we got together at his piano, he its form and texture and use of counterpoint. anti-reading… an anti-requiem, a contemplation of suggested combining figures on page one with Dedicated to the harpsichordist Susan Tickets £18 (£15 concession / online) a rich life as an improbable emergence. figures on page two, so I started doing that, playing Summerfield and her family, the three-movement © Pierre Alexandre Tremblay page one with my right hand and pages two and Summerfield Set opens with a vigorous Prelude United Instruments of Lucilin: three with my left hand. It was only years later (with an epigraph from Lucretius’ paean to peace, André Pons-Valdès violin Co-commissioned by United Instruments of Lucilin, that I noticed with chagrin that the first page reads an allusion to eight years of warmongering by Fabian Perdichizzi violin Philharmonie Luxembourg & hcmf// Keyboard Study 1 and the other two pages are the Reagan administration), followed by the Danielle Hennicot viola Keyboard Study 2, but by then Terry had given his contrapuntal Ground (composed in 1938 and Ingrid Schoenlaub cello Catherine Kontz (Luxembourg, 1976) Snakes & approval, so that is the version played today. While recycled as a second movement), and finally Round Cathy Krier piano Ladders WORLD PREMIERE (2014-2018) 8-10’ demonstrating the Keyboard Studies, he pointed for the Triumph of Alexander, referring to the name Marcel Lallemang clarinet out how he makes use of the sostenuto (middle) of the Summerfields’ child who had recently been Guy Frisch percussion Snakes & Ladders is an ensemble work based pedal, allowing for particular pitches to ring out born. © Sarah Cahill on the ancient ‘Moksha Patam’, a board game over the repeated patterns, so I made frequent use Pierre Alexandre Tremblay un fil rouge designed to teach lessons in virtue. The conceit of it. © Sarah Cahill Harold Budd (USA, 1936) Children on the Hill UK PREMIERE is that of a perspectival shift whereby the game (1976) (arr. Kyle Gann in 2008) 25’ Catherine Kontz Snakes & Ladders becomes a stage-sized course so as to bring out Terry Riley (USA, 1935) Be Kind to One Another WORLD PREMIERE the implicit drama within. The performers move (Rag) (2008/2014) 13’ Children on the Hill, an improvised piece, exists Anna Meredith songs for the M8 in set sequences towards the centre, following in a few different versions. In 1981 Budd recorded Nick Morrish Rarity life of lines II UK PREMIERE a range of instructions to produce sound, noise As with many of my piano works, Be Kind to One a brief rendition on his disc The Serpent.The and movement, while the snakes and ladders Another began as an idea I was noodling around following year, Kyle Gann attended the New Music The United Instruments of Lucilin are are positioned randomly for each performance. with in late-night improvisations. Its gentle and America festival in Chicago, where Budd played Luxembourg’s premier music group and its first Though the character should be one light and somewhat naïve atmosphere attracted me from an extended version, with a virtuosic middle ever chamber ensemble. Named in reference ludic, it can get heated as performers race to the beginning and it soon became a hit with my section featuring rapid cascading arpeggios. Gann to the country’s historical name, they represent reach the end point. © Catherine Kontz then very young twin grandchildren, who always kept a cassette recording of that performance, a growing population of players and composers wanted me to play it for them when they got into during which a baby had cried continuously, and interested in contemporary music as a broad Anna Meredith (UK, 1978) songs for the M8 bed at night. It is basically laid out in four related planned to transcribe it to a notated score. It church, valuing soundscapes, music-theatre (2005) 12’ sections and in its improvised version it can take wasn’t until 2008, when digital playback software and dramatic composition in equal measure. In many forms with each section being repeated as made it possible to slow down the arpeggios for this game-changing performance, the ordinarily The M8 is the motorway that runs between many times as desired before moving on to the transcription without changing the pitch, that acoustic group metamorphose, taking on Pierre Edinburgh and Glasgow – as motorways go it’s next. When Sarah Cahill told me about her project Gann felt confident he could create a score. Budd Alexandre Tremblay’s electroacoustic composition pretty good, it has four or five great bits of public A Sweeter Music, I felt this material best suited says that he would sometimes use written-down un fil rouge alongside the empty spaces and art including grass pyramids, a giant foghorn the bill. I wrote out this concert version, giving the motives on a scrap of paper as a guide, but these spectral resonances of Nick Morrish Rarity’s life and a huge wire horse. These five miniatures are piece a more overall arching structure with related notations are long gone. When presented with of lines II. short distinct homages to journeys I made with my interludes and developments added that were not Gann’s transcription, Budd responded, ‘I couldn’t friend Sarah when I was 17 or 18 and we seemed in the original improvisations. The title is taken play that in a thousand years.’ In an interview, Pierre Alexandre Tremblay (Québec, 1975) un fil to spend a disproportionate amount of our spare from something Alice Walker said immediately when he was asked what the title had to do with rouge UK PREMIERE (2018) 19’ time bombing up and down the M8 in the middle of after 9/11: ‘We must learn to be kind to one the music, he replied, ‘Children is love.’ the night to and from various ill-advised indie gigs. another now.’ My new composition is a statement © Sarah Cahill This piece is an existential meditation on fiction © Anna Meredith for peace. It does not aim for dramatic content, as an exercise in simplifying our lives, spent but strives instead to enforce a feeling of balanced Produced by hcmf// navigating chaos: the beauty and ugliness of equilibrium and compassion. © Terry Riley encounters, of plans and accidents, improbable yet inescapable. In particular, the piece looks into the meaning that we try to give to all this, in our 56 EVENTS Tuesday 20 // November Tuesday 20 // November EVENTS 57

Nick Morrish Rarity (UK, 1989) life of lines II follow their own path. The piece is dedicated to the Callum Dewar (UK, 1987) Melt WORLD PREMIERE UK PREMIERE (2017) 12’ United Instruments of Lucilin, without whom Lines Untroubled Light // Melt (2018) 14’ would not have been brought to life. Huddersfield Town Hall, 5.45pm life of lines II is a study into sound as an expression © Nick Morrish Rarity The landscape of the guitar is constantly changing. of time. The piece is a kind of assemblage or Free Event Its heavy use and influence on popular music braid, in which delicate strands of sounds are life of lines II is an extended version of the existing piece styles, the constant development of technologies interwoven, and become tangled over the course life of lines, and is commissioned by hcmf// Musica Youth Orchestra being used to augment the instrument, and its of the piece. The piece is designed around Massed Guitars from Musica Kirklees & continued use by composers in contemporary art- expansions and contractions of material to create Produced by hcmf// Calderdale Music Trust music styles give the instrument an incredible and a situation in which the performers can intervene Ukulele groups from local primary schools eclectic history and future. directly in the formal field and follow the lines Parts of this concert will be broadcast and flows of sound. At points, sounds coalesce by BBC Radio 3 on Saturday 15 Craig Ogden guitar Melt is a love letter to the guitar. and resonate together, at others they diverge and December 2018 Callum Dewar Melt WORLD PREMIERE Drawing on the experiences and background of Eleanor Cully untroubled light WORLD PREMIERE the composer as a performer this concerto for guitar deconstructs the idioms, technologies and Young musicians unite to present an exciting canon of the guitar and disseminates them into the evening of guitar music. Led by acclaimed orchestral landscape. © Callum Dewar classical guitarist Craig Ogden, schools and orchestras from across the region have been Commissioned by hcmf//, Musica Kirklees and invited to perform two new compositions by The Calderdale Music Trust Eleanor Cully and Callum Dewar. With guitars at the fore of the performance, Ogden is joined by Eleanor Cully (UK, 1992) untroubled light Musica Youth Orchestra, Massed Guitars from WORLD PREMIERE (2018) 12’ Musica Kirklees, Calderdale Music Trust, and three ukulele groups from local primary schools. For this work I combined four melodies into This event was achieved in partnership with clusters, played by the guitars. I gradually Huddersfield’s new festival for young people,Our arranged them vertically; resembling partials Biennale. of a missing strike tone. Chords begin at a very slow tempo and increase gently as the harmony develops. The soloist remains with the original tempo. The orchestra slips briefly through this Our Biennale Finale texture in four places. A shimmering harp and Huddersfield Town Hall, 7pm percussion section emerges beneath the guitars towards the end, fading with the lights to the soloist who ends the piece in darkness. Join us as we celebrate the closing of Our © Eleanor Cully Biennale, a festival of arts and culture for young people in Kirklees. The evening will Commissioned by hcmf//, Musica Kirklees and include a selection of performances, music The Calderdale Music Trust and artwork from the Festival, all created in partnership with artists and local young people. Produced by hcmf// in partnership with Musica Kirklees as part of Our Biennale 58 EVENTS Tuesday 20 // November Tuesday 20 // November EVENTS 59 13 Harriet Lawrence Batley Theatre, 7pm

Tickets £18 (£15 concession / online)

Lex Bohlmeijer / Mayra Santos-Febres texts In Act I, we hear about her childhood as a slave. Manoj Kamps musical director She talks about the violent injury she suffered Jean Lacornerie direction / scenography to her head when she was young. The music Miwa Matreyek video design makes reference to the religious visions that Peter Quasters light design / digital lighting / resulted from it and which showed her the way scenography out. Important in the development of the drama Lieve Pynoo costume design were her activities rescuing enslaved families Claron Mcfadden / Naomi Beeldens vocals and friends, using the network of anti-slavery Monica Gil Giraldo electronics / sound design activists known as the Underground Railroad, for which she became a leader, known as the HERMESensemble: Moses of her people. Like most slaves she was Wibert Aerts violin illiterate, so used music to direct the fugitives. Nico Couck guitar The score makes reference to these tunes in Act Gaetan La Mela percussion II, known to have been used as coded messages for the runaways. These tunes are entwined in the Flemish theatre group Muziektheater Transparant dramaturgy of the music as codes. present Harriet, a monodrama depicting the life and impact of 18th century abolitionist Harriet Shortly after acquiring a property in New York Tubman. Having escaped her life as a slave, State, Harriet went back to Maryland once more Tubman devoted herself to saving others through and returned with an eight-year-old light-skinned the Underground Railroad – a system of safe black girl named Margaret. Act III makes reference routes used to break out slaves and help them to the unanswered question that Margaret was reach the free states. Composed and conceived possibly Tubman’s daughter as the two shared an by internationally celebrated composer Hilda unusually strong bond. Alice, Margaret’s youngest Paredes, this ambitious and powerful narrative daughter, spent much time with Harriet in her details Tubman’s journey from captivity into old age, listening to her stories. In Act IV we hear activism. about the battles she led during the Civil War, such as the one that took place at the Combahee Hilda Paredes (Mexico, 1957) Harriet river, and how she was made General by John UK PREMIERE (2018) 90’ Brown, an anti-slavery leader of his time. We also learn about Nelson Davies, a young soldier who This monodrama is a portrait of the African- became her second husband. The work makes American freedom fighter and former slave constant reference to her thoughts as recorded by Production: Muziektheater Transparant Universidad Nacional Autónoma de México and Harriet Tubman (c.1822-1913). This chamber various sources and at the end of Act IV we hear Co-production: HERMESensemble, Theatre de la MuziektheaterTransparant opera is scored for two voices, percussion, violin, her message to President Lincoln. The epilogue Croix-Rousse, Festival Internacional Cervantino, guitar and electronics. In the libretto Harriet tells is a message of hope and continuity for her fight hcmf//, Operadagen Rotterdam, Muziekgebouw aan ‘t With the support of Ammodo, Tax Shelter of the Belgian her life story to her young protégé Alice. against slavery and racism. IJ, Coordinación de Difusión Cultural UNAM and CIRM, Federal Government, Fondo Nacional para la Cultura Centre National de Creation Musicale y las Artes, Mexico (FONCA), The Composers’ Fund, a PRS for Music Foundation initiative in collaboration with Composition commissioned by Festival Esmée Fairbairn Foundation and Dutch Performing Arts Internacional Cervantino, Muziekgebouw aan ‘IJ, 60 EVENTS Tuesday 20 // November Tuesday 20 // November EVENTS 61

Christian Marclay (USA/Switzerland, 1955) 14 Thurston Moore Christian Marclay + Zoom Zoom (2007-2018) Bates Mill Blending Shed, 9.30pm Shelley Hirsch Marclay has had an ongoing interest in Bates Mill Photographic Studio, 11pm Tickets £18 (£15 concession / online) onomatopoeia, which are the basis of many of his graphic works, paintings, prints and Free Event Thurston Moore 12-string electric guitar ensemble at the time. Thurston had answered an performances. advertisement Glenn placed in the Soho Weekly Christian Marclay visuals Plus guests including: News calling for guitarists into ‘weird tunings’. This piece has an indeterminate duration. This version Shelley Hirsch voice James Sedwards 12-string electric guitar The two remained friends throughout the years will be approximately 20 minutes long. Jen Chochinov 12-string electric guitar with Thurston playing as a guest in Glenn’s In Zoom Zoom, Christian Marclay investigates Alex Ward 12-string electric guitar performances at the 2007 ATP Nightmare Before Produced by hcmf// supported by the Swiss Arts our relationship with secondary sound – the Jem Doulton percussion Christmas festival in Minehead, UK. Thurston, Council Pro Helvetia noises we see but never hear – with snapshot Deb Googe bass guitar in duo with guitarist James Sedwards, co-billed photographs of onomatopoeias found primarily on a concert with Glenn at La Machine in Paris, FR advertising, signs and product packaging. During Thurston Moore 8 Spring St NY NY in 2014. After Glenn passed away in the spring a performance with vocalist Shelley Hirsch, for Christian Marclay The Wind-Up Guitar of 2018, Christian Marclay, who was a musical whom this piece was created, Marclay selects and compatriot of Glenn’s from the early 1980s, projects a series of images to trigger her vocal A founding member of noise rock legends Sonic discussed with Thurston the idea of presenting improvisation in an ongoing call and response. Youth and a free improviser in his own right, an homage to this iconoclastic, visionary and Thurston Moore has spent the last 30 years significant figure in their shared history.8 Spring threading together a disparate network of guitar St NY NY is a piece entirely informed by the music. His tenure on the instrument is evident in experience of sonic downtown NYC 1980 guitar this concert, which includes a solo performance noise insurrection.© Thurston Moore of Christian Marclay’s Wind-Up Guitar (1994). Moore and his band will also perform a tribute Christian Marclay (USA/Switzerland, 1955) to late avant-garde guitarist Glenn Branca. A The Wind-Up Guitar (1994) pivotal figure in the New York No Wave scene of the 70s and 80s, Branca is famous for providing Christian Marclay’s Wind-Up Guitar is a guitar music with a template for modern classical customised acoustic instrument which Marclay composition in The Ascension. In this fitting has fitted with 12 music box mechanisms. homage, Moore brings his influence full circle. Blue Danube and Twinkle, Twinkle, Little Star are among the 12 melodies that can be played Thurston Moore (USA, 1958) 8 Spring St NY NY simultaneously, along with the guitar itself. The (2018) instrument blends readymade melodies with the live interaction of the players. The Thurston Moore Ensemble will premiere a composition by Moore entitled 8 Spring St NY NY This piece has an indeterminate duration. This version in dedication to the late composer Glenn Branca. will be approximately 20 minutes long. Thurston joined Glenn’s multiple electric guitar ensemble in 1981, touring Europe in 1982. Glenn Produced by hcmf// supported by the Swiss Arts had released the first three records of Thurston’s Council Pro Helvetia band Sonic Youth on his Neutral Records label. Thurston has titled this piece in memory of first visiting Glenn at his apartment on 8 Spring Street in New York City to audition to be in Glenn’s 62 EVENTS Wednesday 21 // November Wednesday 21 // November EVENTS 63

Aaron Cassidy (USA, 1976) I, for example, HISS@10 HISS@10 #2 (2017) 11’ HISS@10 #3 hcmf// toasts to 10 years of the HISS – the Phipps Hall, 4.30pm Richard Steinitz Building Atrium, 5.30pm “I, for example,” says the nameless narrator in Huddersfield Immersive Sound System. The Fyodor Dostoevsky’s Notes From Underground, legendary loudspeaker orchestra was created by Alex Harker (UK, 1983) Ad Lucem (2006) 10’ Owen Green (UK, 1975) Danger in the Air (2006- “would not be the least bit surprised if suddenly, Pierre Alexandre Tremblay in 2008, with a view to 2008) 12’ out of the blue, amid the universal future showcase the breadth and depth of contemporary Ad Lucem is based entirely on recordings of a reasonableness, some gentleman of ignoble or, electronic music practices. Its intricate and careful diatonic octave set of handbells exploring the This is a re-adaptation of my first live algorithm better, of retrograde and jeering physiognomy, design has created a wide range of opportunities timbral possibilities offered by different modes piece, started in 2006. It is an improvising should emerge, set his arms akimbo, and say to us for concerts to sound as involving, expansive and of playing. Whilst composing the piece, a set of space for a performer, interacting with the all: ‘Well, gentlemen, why don’t we reduce all this monolithic as they should. In an all-day concert bespoke software tools were developed, allowing computer through a Soundfield, surround sound, reasonableness to dust with one good kick, for the spanning two venues in the University’s music drastic manipulation of the recordings whilst microphone, with the aid of objects of limited sole purpose of sending all these logarithms to the building, the HISS team showcases the system’s either preserving, or else carefully adjusting, the musical potential. One of the original goals was devil and living once more according to our own ability to enhance the live experience of immersive harmonic overtones of the bells. © Alex Harker to make something hypersensitive to its acoustic stupid will!’ That would still be nothing, but what music, presenting compositions by the community environment, without resorting to trying to directly is offensive is that he’d be sure to find followers: of composers that have gathered around it through Michael Clarke (UK, 1956) Tim(br)e II (2009; model our surroundings. An upshot of this is that’s how man is arranged.” this first decade. revised 2013) 8’ 30’’ that my privileged position is diluted somewhat: From Our Delight in Destruction, Costica you’re all in there too. Meanwhile, the thing itself Tim(br)e II was the first new piece produced in the Bradatan, New York Times, March 27, 2017. wanders the territory between an instrument HISS@10 #1 SPIRAL studio at Huddersfield and spatialisation and an environment, sometimes steerable and Susie Green (USA, 1976 Transmutation Richard Steinitz Building Atrium, 3.30pm plays a crucial role. 12 layers of sounds each interactive, sometimes apparently autonomous. © have different spatial characteristics and styles of WORLD PREMIERE (2018) 8’ 23’’ Owen Green movement (which change over time). These layers Monty Adkins (UK, 1972) Music from Empire and their spaces play in counterpoint with each Transmutation is an exploration of the Gerard Roma (Spain, 1975) white goods WORLD PREMIERE (2018) 52’ other and the piece is to a large extent shaped by amalgamation of AI and the human soul. These WORLD PREMIERE (2018) 10’ their convergence and divergence over time. The two concepts act as threads weaving themselves In mid-2018 I created a live electronic score for work is derived entirely from digital processing of a together into one cord. We then follow the tether White goods and their noises provide us with Warhol’s Empire (1964). At over eight hours long, single 13-second recorded oboe phrase. of connectedness over time/space, tinkering with an intimate relationship with many of the and with so little happening on screen, the film © Michael Clarke rhythmic components, vocalisations, tonalities technologies that articulate the industrialised is, as Warhol wrote about witnessing the ‘passing and frequencies. As these elements intensify world. The piece is built around a collection of of time’. In the film the Empire State Building Pierre Alexandre Tremblay (Québec, 1975) the two entities meld together; robotics with recordings of diverse mechanisms and circuits stands like a bell tower, a beacon in the skyline. To Bucolic & Broken (2017) 12’ 30’’ consciousness. Body movement mapping shapes that surround me in my own habitat. The form structure the work I used a bell-ringing pattern the dynamics of the journey into the alchemical is improvised as a tense dialogue with an (Littleport Caters, first rung on 23 October 2016 This piece is an ode to the fragile beauty of process of machine/human interaction. Computer autonomous computer program. © Gerard Roma in New York). From this I created a nine-chord post-industrial rural England, crumbling in this science researcher David J Malan of Harvard harmonic sequence each with nine layers of sonic post-Brexit era (for a much longer time, some describes computers as dumb; processing simple Elias Merino (Spain, 1985) Synthesis of Unlocated material. This multichannel version presents might say) yet still holding together by some instructions extremely rapidly. Meanwhile, the Affections: irreductibles UK PREMIERE (2017) 10’ the prime sequence of materials with the nine strange magic, or by the force of habit. It is a sonic human mind processes exceptionally complex harmonic sections in their original order (1 to 9) commentary on my new home, the North, which input slowly. Transmutation examines the #thingness #xenorepresentation and concluding with a section of the sound for the is in effect in the middle of the Island that forms coalescence of the two as evolution into quantum #presence #brutalistmateriality tenth reel. © Monty Adkins most of the country in which I settled in with my computing. © Susie Green #defamiliarisation #postdigitalontology family 13 years ago, a divided kingdom. It is as #noornamentation #elasticity #wrongsublime a sort of anxious love song contemplating its #timeperspectives #unitary #disafection bucolic beauty, and a hug to its people, with their #partiallyconnectedessentiallyisolated resilience, composure, and stoicism, where a cup #displacingtheemitter #selftransformation of tea seems to put everything in perspective. #unusualemergentqualities © Pierre Alexandre Tremblay Co-produced by hcmf// and the HISS 64 PROFILE PROFILE 65 Malin Bång

fter you hear Kudzu, it will still be happening. Kudzu is typical of Malin Bång: a tale of A progression, transition and unending movement. A scathing protest song and a commentary on Climate change is a political concern so constant, modern geopolitics, it is not so much a piece as it but so sublimated in our lives, that we often is a process. Malin Bång wrote it in 2017, a year on perceive it as static, as though it has been decided from Trump – arguably the final nail in the coffin upon – happened, rather than happening. Through of our global environmental crisis. With it she Kudzu, Bång says the opposite: she describes created a rich political critique on the economic the destruction of earth as the living, breathing policies that continue, to this moment, to cause a problem it is. The piece does not exist in isolation – global meltdown. Describing her new piece, Bång coming at a time when those entrenched in power admits defeat: ‘it is not if, but when, will the world would deny its very themes, it is just one example as we know it collapse?’. Her subtitle for the piece of Bång’s new crop of deeply humanist work. is the Sixth Phase – it refers, quite simply, to the stage of extinction we find ourselves living in. Bång’s conservationist approach often manifests musical content. She makes use of acoustic It is not the first time Bång has written an objects to detail her surroundings, believing them apocalypse song. Her previous work Siku, to be valuable tools in shaping compositions. A performed by Karin Hellqvist at hcmf// 2017, choir of voices is used as a metaphor for seasonal is a meditation on the ecological turmoil of our change in slädspår. Bång also uses literal modern age. She used what she described as ‘four material, bringing swingsets, typewriters, metal musical materials’, each one serving as a sonic sculptures and kites into ensemble pieces as metaphor for the elements of fire, earth, water and their own agents of sound; in Kudzu, hourglasses air – ancient cornerstones of the world ‘shifting literally play with time, making us rethink our from their natural positions’ through generations attempts to structure it – to give it duration. of environmental pollution. It stood as a reminder of time – and how much of it we have left. As a champion of experimental instrumentation and composition, Bång made an excellent Rather than play on sensationalist, fearmongering choice as resident and co-artistic director narratives, Siku sounded precise and of Curious Chamber Players, an ensemble methodological – always interacting with the exploring acoustics, noise, sound installation and reality of its world. Kudzu is a sequel, in this sense. improvisation. Her use of objects – things you Bång uses current news stories and research as can find, pick up, even salvage – frames her as a musical material; instrumentalists represent both an experimental composer and a concerned ecological resources and their depletion as earth ecologist, wrestling her resignation to a polluted becomes a hostile, dying space. They’re joined by planet with the hope for a better future for it. ‘a choir of amplified hourglasses’ that interact Kudzu is about the destruction of our world, but with the sound of newspaper articles. People also the existence of it. And by making music from are represented, alongside the world we are the objects that exist in our lives, she invites us to neglecting, and the time we are taking for granted. better relate to our living, dying planet. It is at turns literal and metaphorical, a reflection © Robin Smith of how climate change is both blindingly obvious and terrifyingly subtle. 66 EVENTS Wednesday 21 // November Wednesday 21 // November EVENTS 67

normally. The question is not if but when the world Matt Wright (UK, 1977) Fast Gold 15 Kudzu as we know it will collapse completely? 16 Fast Gold Butterflies Butterflies UK PREMIERE (2016) 14’ Bates Mill Blending Shed, 7pm Magic Rock Tap Room, 9.30pm Plants, on the other hand, have a very solid system made of shimmering wings Tickets £18 (£15 concession / online) and network that have worked for millions of Tickets £12 (£9 concession / online) distortion becomes clarity years, maintaining the sustainability of the planet. ears reading between lines Curious Chamber Players: Plants are far more complex and they might even Ensemble Klang: pressure becomes release Ann Elkjär piccolo flute be better at solving problems than us. They are Michiel van Dijk saxophones diagonal listening Dries Tack bass clarinet also more powerful in their presence on earth; Erik-Jan de With saxophones a cloud of flickering gold Martin Welander percussion if you would weigh everything alive, plants make Anton van Houten trombone © Matt Wright Magdalena Meitzner inside piano up 99.7%, while humans and animals represent Joey Marijs percussion Frederik Munk Larsen guitar only 0.3 %. The plants in focus here – bamboo Saskia Lankhoorn piano Pete Harden (UK, 1979) Berlin Bells UK PREMIERE My Hellgren cello and kudzu – are two of the fastest growing plants Pete Harden guitar (2014) 7’ Rei Munakata conductor on earth. Kudzu is a beautiful perennial vine that Malin Bång electronics climbs over trees and objects and grows so rapidly Matt Wright turntables / electronics Berlin Bells is a single line of trombone melody, Linus Andersson sound that everything underneath is threatened by its a single harmonic spectrum, a single arc of Anna Wemmert light heavy shading. Bamboos are the fastest-growing Matt Wright Fast Gold Butterflies UK PREMIERE cymbal swell. It is a single sheet of sound, a single plants in the world. Pete Harden Berlin Bells UK PREMIERE moment, in sharp focus, but spread and splayed Rei Munakata conductor Matt Wright Cold Highlife WORLD PREMIERE across a longer duration. The work had its origins Malin Bång electronics Reports from newspapers and fragments from Pete Harden Guiyu Guitars Upstream UK PREMIERE in a collaboration between Ensemble Klang and research articles interact with instruments Pete Harden Forming a petal from a piece of Amsterdam dub-metal duo Knalpot, but settled An ensemble of extremes, the Curious Chamber and objects in Kudzu. While a choir of amplified metal UK PREMIERE into its current iteration when we recorded the Players continue to knock on every door still to be hourglasses is lamenting our remaining time Pete Harden Steel Wounds & Beaten work for the album Precious Metals. opened, playing anything from chance music and on earth, we follow the expansion of kudzu – Sounds UK PREMIERE © Pete Harden modernism to works by the young composers of represented by cello and guitar – and the growth of Matt Wright Entanglement Laws UK PREMIERE our time. A conceptual sequel to Siku, performed bamboo – bass clarinet. The other ongoing path is Matt Wright (UK, 1977) Cold Highlife at hcmf// 2017, Kudzu critiques the political the destruction of the soil (percussion), the water Netherlands-based Ensemble Klang strive to keep WORLD PREMIERE (2016) 18’ and economic causes of our planet’s ecological (piano) and the air (piccolo) resulting in a gradually sound from finding a shape, making sure it never collapse, delivering the apocalypse genre the warmer climate. stagnates into one single style. A virtuosic group a huge, bright white expanse protest song it deserves. with curatorial interests – they work closely with frozen surface as far as the ear can hear Plants would endure this climate change better composers, and also run their own label – here beneath the surface: icicles of once warm music Malin Bång (Sweden, 1974) Kudzu /the sixth then humans. We also depend completely on they join forces with composer and sound artist a sudden commitment to survival phase/ UK PREMIERE (2017) 50’ plants and would in fact be extinguished within Matt Wright. With compositions for acoustic a climb a few weeks if they were to disappear. On the and electronic instrumentation, Wright threads a view Symptoms indicating that the planet is becoming other hand, plants like kudzu and bamboo would together his work as a composer with hours spent melting worn out are flooding in from everywhere be perfectly fine (if not even better off) without moonlighting at clubs. Alongside his pieces, © Matt Wright around the globe – Arctic glaciers are melting, a single human on earth. If the sixth phase of the ensemble deliver like-minded music from new summer heat records are set in India, the extinction becomes reality it would take less than a member Pete Harden. An artist whose music links Pete Harden (UK, 1979) Guiyu Guitars Kiribati islands are sinking into the ocean, the century until the traces our civilisation are invisible together natural and mechanical ecosystems, Upstream UK PREMIERE (2015) 7’ Amazonas are rapidly decreasing. Since the 50s and everything is covered in lush green… Harden’s piece Guiyu Guitars becomes its own many parameters that are important for human © Malin Bång setting, his instruments hanging on venue walls in According to Wikipedia, ‘Guiyu, China, is widely wellbeing show a dramatic accelerating change a performed sound installation. perceived as the largest electronic waste site – carbon dioxide, methane, deforestation, land Commissioned by Deutschlandfunk, supported by the in the world.’ It is where our mobiles, laptops, degradation, overfishing. The world population Swedish Arts Council TVs and computers go for ‘recycling’. It is one has grown from 2 million people around 10,000 of the most polluted places on the planet. The years ago to 7 billion today. We are at the moment Produced by hcmf// supported by STIM’s Council for two movements of Guiyu Guitars (Upstream and entering the sixth phase of extinction, with species the Promotion of Swedish Music, Export Music Sweden, Downstream) are textures created with guitar of animals disappearing 114 times faster than Kultur i Väst & Musik i Syd 68 EVENTS Wednesday 21 // November Wednesday 21 // November EVENTS 69 pedals, with only minimal input from a guitar at its due to the cost it would have taken to remove outset. Each guitar pedal, with their circuit boards, them. Like the penny coins, the piece deals with plastics and batteries will eventually end up in a this idea of interruption, or defacement, layers place like Guiyu for the extraction and repurposing of material scratched over the top of each other, of their small quantity of useful metals. I imagined where the defacement eventually takes on a the pedals, and the music they’ve carried, greater importance than the original object itself. arriving from upstream in Guiyu and emerging © Pete Harden downstream, post-processing, with key elements stripped back and while hopefully ready for new Matt Wright (UK, 1977) Entanglement Laws purpose they still hold memory of music past. This UK PREMIERE (2006) 15’ presentation of the work at hcmf// uses previous live iterations layered to create thicker streams of ‘You have this thing about separation and recycled materials. © Pete Harden entanglement and a set of beliefs I find perfectly bizarre and that I can’t comprehend or anticipate Pete Harden (UK, 1979) Forming a petal from a the results of’. piece of metal UK PREMIERE (2009) 14’ ‘You’re more a creature of ritual and habit than you Forming a petal from a piece of metal was inspired think you are’. by the Australian artist Fiona Hall. She explores © Iain Banks (from Dead Air) the relationships between natural ecosystems and man-made ones, in works that often shape Produced by hcmf// supported by Dutch Performing commercial, throwaway packaging (things like Arts; also supported by the City of Hague with thanks metal sardine tins) into intricately detailed, to Canterbury Christ Church University, Extra Normal delicate and deeply physical sculptures. The work Records & Little Brown Book Group (on behalf of Iain was originally commissioned by the Orgelpark, Banks) Amsterdam, whose four large, imposing, handcrafted organs flood the space with shiny metal pipes. I wanted to explore these ideas of scale and size, man-made vs handmade, that Hall’s work and the organs of the Orgelpark had triggered. In the piece I try to ‘mass-produce’ a fragile musical figure, watching (or listening) to how it grows and deforms through all its repetitions. © Pete Harden

Pete Harden (UK, 1979) Steel Wounds & Beaten Sounds UK PREMIERE (2002) 13’

Steel Wounds & Beaten Sounds was originally inspired by the penny coins defaced by the Suffragette movement at the turn of the 20th century. Around 1903, as part of their campaign of civil disobedience, they stamped ordinary 1 shilling coins with the words ‘Votes for women’ graffitied across the face of George V. These mass-produced objects, each handcrafted into something of great political power, remained in circulation for years 70 EVENTS Thursday 22 // November Thursday 22 // November EVENTS 71 17 Lori Freedman: Beyond Excess St Pauls Hall, 12pm

Tickets £12 (£9 concession / online)

Lori Freedman clarinets Paolo Perezzani (Italy, 1955) Thymos UK PREMIERE (2015) 9’ Lori Freedman To the Bridge UK PREMIERE Paolo Perezzani Thymos UK PREMIERE ‘Thymos’ for the Greeks had something to do with Lori Freedman Suite for the Unsighted UK PREMIERE the almost cosmic force that inhabits man. This Martin Arnold Flicker-Swing WORLD PREMIERE music itself desires to be ‘thymos’, and maybe it Lori Freedman Snaggle UK PREMIERE wants to be an invitation to the fury, to the desire Paul Steenhuisen Library on Fire UK PREMIERE of the body. The strength and the corporeal ardor Lori Freedman Locusts’ Trill UK PREMIERE necessary for this to happen is precisely what I had already perceived in Lori’s way of playing. Master of the low end clarinets, Canadian She knows how to be raging, even while following performer/composer Lori Freedman will present all the details of the writing: not to express a new works written for her by Martin Arnold, controlled delirium, but to give it more strength.

Paul Steenhuisen and Paolo Perezzani as well This music is dedicated to her. © Martin Morisette Lori Freedman as a selection of her own most recent creations. © Paolo Perezzani Lori Freedman (Canada, 1958) Snaggle Lori Freedman (Canada, 1958) Locusts’ Trill Traveling the thresholds of the instruments’ UK PREMIERE (2018) 6’ UK PREMIERE (2018) 1’ capacities and obscuring the divides between Lori Freedman (Canada, 1958) Suite for the written and improvised music, this 50-minute solo Unsighted UK PREMIERE (2018) 9’ Caught in a code mode. ‘How still it is spectacle will also be the UK CD launch of two A spewing tongue tale. Stinging into the stones recordings featuring her most recent solo work: A series of six miniatures, four of which are based Tell me what you know that is more than enough. The Locusts’ trill.’ Solor and Excess. on exactly the same pitch material but each having And I will tell you that it is The Museum of Nothing. From Oku no Hosomichi by Matsuo Bashō an entirely different ‘feel’. Two additional pieces © Lori Freedman Lori Freedman (Canada, 1958) To the Bridge of wildly contrasting sound and pitch spectra Produced by hcmf// supported by Canada Council for UK PREMIERE (2014) 10’ complete the suite, that which is very generally Paul Steenhuisen (Canada, 1965) Library on Fire the Arts & British Council Canada and loosely based on visual impairment: By heart, UK PREMIERE (2015) 10’ To the Bridge is a set of five miniatures connected Blind-sided, By ear, Voyeuriste, By touch, Third by four bridges. The bridge is the place of arrival eye. © Lori Freedman Library on Fire is in six sections ordered in any or departure and the miniature is the approach to of 720 possibilities. Inspired by a Boulez quote or from that place. As in ‘reality’, the bridge has a Martin Arnold (Canada, 1959) Flicker-Swing (‘I want to be a library on fire’), it also uses Brian composite and beautiful function: at the same time WORLD PREMIERE (2018) 5’ Jungen’s sculpture Shapeshifter as a point of that it connects one zone to another it also creates departure – a whale skeleton constructed from a new zone combining the three separate entities. Flicker-Swing: a title I found while looking at mass-market white plastic chairs. The cultural Playing music is equally about composition as the etymologies of both the words that make up and material hybridity of the Jungen extends it is about interpretation and the spontaneous teeter-totter. Flicker/swing/teeter/totter: all four into the resonant composite construction of the combination of the two – improvisation. As a bridge words might have something relevant to say about music – free and filtered improvisations by Lori is a connecting structure for an all-inclusive this piece I wrote for Lori Freedman long before Freedman, improvisations guided by text and form, each of these three musical elements are it had a name. And if I’m more attracted to the drawings of arches and spines, and music that is precisely necessary in my approach To the Bridge. meanings of teeter and totter as individual words, multiple, absorbed iterations of a submerged tune © Lori Freedman this piece is none-the-less a kind of play-machine (K’naan’s Wavin’ Flag). © Paul Steenhuisen for creating melodies. © Martin Arnold 72 EVENTS Thursday 22 // November Thursday 22 // November EVENTS 73 18 Kluster5 Phipps Hall, 4pm

Tickets £12 (£9 concession / online)

Kluster5: My goal in nocturne series: 8 (written for the Jan-Peter de Graaff (Netherlands, 1992) 56 years later, Aart Strootman has written Daan van Koppen saxophone wonderful Kluster5) is to create an ethereal, Reeks&Progressie UK PREMIERE (2016) 10’ Shambling Emerge for Kluster5. He based the Isa Goldschmeding violin immersive ‘night-song’ from the juxtaposition of piece on a short film about Mengelberg made by Jennifer Heins percussion three spaces – the performance space that the In Reeks&Progressie (‘Series and progression’), Bas Andriessen. After a concert in the Bimhuis on Wiek Hijmans guitar ensemble inhabits, the riverbed of the Blanco in there is a series of 17 chromatic tones that 1 June 2014, Misha, dressed in an orange jacket Tim Sabel piano Wimberley, Texas (specifically when it was dry assume different guises throughout the piece. and black cap, sits down at the piano in the cafe. in the summer of 2012), and driving in my car Beginning as a chromatic line,the series develops After about a minute, Emily Glerum, the daughter Chaz Underriner Nocturne series: 8 UK PREMIERE down Texas highways with my windows down more and more into a melody that moves through of ICP bass player Ernst Glerum, joins him at the Graham Flett of a beast UK PREMIERE (while making field recordings). Concerning the whole piece. In addition to horizontal lines, a piano, and an extraordinary duet ensues. Jan-Peter de Graaff the representation of reality, nocturne series: series of chords develops in which several tones Reeks&Progressie UK PREMIERE 8 is an attempt to step into the mimetic surreal from the sequence are struck again and again in The duet is an example of informal music, such Celia Swart Boven Hoge Gebouwen UK PREMIERE by combining noncompatible spaces into a different combinations. The ‘progression’ then lies as Mengelberg heard in the late 40s during Aart Strootman Shambling Emerge UK PREMIERE simultaneous acoustic environment. This is in the course of the piece, in which in two parts – the interval of a Duke Ellington concert in the another step in the ongoing interest I have to one slow and one fast – are explored, sometimes Concertgebouw. Ellington’s totally spontaneous With an unorthodox assembly of instruments and create a mimetic version of Haruki Murakami’s resulting in melody, sometimes in a rhythmic way of making music and the fact that it was wayward influences from jazz and pop, Kluster5 ‘over there’ or ‘other world’ in sound. construction, and sometimes in a wave of sound, possible to make music so informally made a deep eschew the typical expectations placed upon © Chaz Underriner interspersed with moments of rest and reflection. impression on the young Misha Mengelberg. contemporary ensembles. In this programme, they © Jan-Peter de Graaff The ‘afterparty’ film in turn made a deep more than prove their versatility, performing five Graham Flett (Canada, 1978) of a beast impression on Strootman: ‘This duet, involving an contrasting pieces written for them by emerging UK PREMIERE (2016, revision) 10’ Celia Swart (Netherlands, 1994) Boven Hoge old man consumed by Alzheimer’s and a young, composers. These works range from ethereal tone Gebouwen UK PREMIERE (2017) 10’ playful, innocent girl, was for me the purest music poems to geographical surveys of the Hague, the Written specifically for the unique instrumentation I’d heard in years.’ The title is not only a reference ensemble’s hometown, alongside a startling ode to of Kluster5, of a beast is based on musical ideas Dedicated to The Hague’s skyline, Swart wrote this to Mengelberg, but also to the figure of Emily the Dutch jazz pianist Misha Mengelberg, focusing which had been in my compositional drawer for piece for Kluster5, inspired by her observations ‘shambling’ shyly towards the piano. © Kluster5 on a duet the Alzheimer’s-suffering composer over a decade. Luckily, the opportunity to work while cycling through The Hague, seeing different played with a young performer in the final days of with Kluster5 presented a great opportunity to rhythms between the high buildings that form a Produced by hcmf// supported by Dutch Performing his life. frame this type of wild and erratic music. of a different composition from every angle. © Kluster5 Arts beast presents an amalgam of stylistic languages: Chaz Underriner (USA, 1987) Nocturne series: 8 a forward-moving dialogue with pronounced Aart Strootman (Netherlands, 1987) Shambling Parts of this concert will be broadcast UK PREMIERE (2017) 10’ shifts in direction, whereby groove-oriented- Emerge (2017) UK PREMIERE (2017) 9’ by BBC Radio 3 on Saturday 1 dissonances flow into other nuanced musical December 2018 The nocturne series is a group of pieces that moments (often requiring a virtuosic amount The title Shambling Emerge is an anagram of investigate the possibilities of combining chamber of rhythmic execution). The overall effect of the the name of the famous Dutch composer Misha music, environmental sound, and field recordings piece highlights both timbral distinctions as Mengelberg, who died on 3 March 2017. He was of the Blanco riverbed in Texas hill country. The well as complementing sonorities of the group’s a composer, pianist, improviser and co-founder series is an exploration of ‘in-between-ness’; instrumentation; moreover, this is done within a of the Instant Composers Pool Orchestra. sounds in between music and environment, musical exchange which clearly pays tribute to He made his name primarily in the field of between representation and reality. some major musical influences from the second free improvisation, but he was also a credible half of the 20th century. © Graham Flett composer: he won the Gaudeamus Award in 1961 for his work Musica Per 17 Instrumenti. 74 EVENTS Thursday 22 // November Thursday 22 // November EVENTS 75 19 A History of the Voice St Pauls Hall, 7pm

Tickets £18 (£15 concession / online)

HYOID Contemporary Voices: guttural groans? And is it Dufay, and Dunstable, Fabienne Seveillac mezzo and Perotin? And is it Tom Cruise’s laugh when he Els Mondelaers mezzo talks about Scientology? And is it your mother’s Andreas Halling tenor voice, heard through bone and blood? And is it Tiemo Wang baritone artificial intelligence that can predict how pre- modern really sounded by studying the facial Wannes Gonnissen sound engineer expressions of singers in paintings? And is it the Jennifer Walshe composer / video / stage sound of someone quietly crying over the phone? direction And is it Ultimate Warrior’s roar? And is it a 21- year old woman who didn’t get hired because of Brussels vocal collective HYOID Contemporary her vocal fry? And is it a ‘still small voice’ or is that Voices mark their hcmf// debut with a test of ‘roar which lives on the other side of silence’? And endurance and will from the ever uncompromising is it that people who ‘hear’ voices usually hear Jennifer Walshe. A composer known for her male voices? And is it that man who walks the immensely visceral work, Walshe’s new piece Piccadilly to Metropolitan line change at King’s interrogates the voice, considering the limitations Cross Station singing Bryan Adams so loudly he and expectations that come with opening our weaponises the sound? And is it Gwyneth Paltrow’s mouths. A piece of musical anthropology, A voice cracking as she gives her Oscar acceptance History of the Voice gets up close with the norms speech? And is it that dude on the self-help tape of pop music, the politics of broadcasting, the who sounds totally high? And is it a doomsday appropriation of accents and the people inside cult? And is it a dog saying ‘sausages’? And is it a our phones – all the while using HYOID as an small child screaming ‘show picture of baby rabbit experiment in the potential reaches of the human swimming’ at Siri? © Jennifer Walshe instrument. Commissioned by HYOID Contemporary Voices with the Jennifer Walshe (Ireland, 1974) A History of the support of the Ernst von Siemens Musikstiftung Voice UK PREMIERE (2018) 60’ Co-produced by hcmf//, HYOID & TRANSIT with the ‘The ‘grain’ is the body in the voice as it sings, the support of WALPURGIS hand as it writes, the limb as it performs... I shall not judge a performance according to the rules of interpretation... but according to the image of the body given to me.’ Roland Barthes, The Grain of the Voice

And is it a woman teaching a dolphin how to talk? And is it 3D printed versions of the human vocal tract? And is it that the brain privileges vocal sounds above others? And is it Britney Spears’s HYOID Ensemble & Jennifer Walshe © Judith Vindevogel Walshe & Jennifer Ensemble HYOID 76 EVENTS Thursday 22 // November Thursday 22 // November EVENTS 77

John Butcher is joined by drummer Mark Sanders 20 Christian Marclay: and multi-instrumentalist Steve Beresford, Screen Play + responding to the visual cues of Christian Okkyung Lee Marclay’s video score Screen Play – preceded by a solo performance by celebrated experimental Bates Mill Blending Shed, 9pm cellist Okkyung Lee.

Tickets £18 (£15 concession / online) Christian Marclay (USA/Switzerland, 1955) Screen Play (2005) 30’ Okkyung Lee cello This projected musical score is made from John Butcher saxophone carefully edited black-and-white images overlaid Mark Sanders percussion with brightly coloured computer-animated Steve Beresford piano graphics reminiscent of the dots and lines of traditional music notation. These visual cues Okkylung Lee solo improvisation suggest emotion, energy, rhythm, pitch, volume, Christian Marclay Screen Play and duration to the musicians. Although no instrumentation is specified, the score is meant Three progenitors of the British avant-garde for a small ensemble. tradition come together in a resounding collaboration that stretches their talents of Produced by hcmf// supported by the Swiss Arts interpretation and improvisation. Saxophonist Council Pro Helvetia Screen Play © Christian Marclay, courtesy of the artist courtesy Marclay, Play © Christian Screen Marhaug Okkyung Lee © Lasse 78 EVENTS Thursday 22 // November Friday 23 // November EVENTS 79

impossible to grasp how changes actually occur. features and metadata for a million contemporary 21 Quatuor Bozzini Our sense of time is confused, and we are drawn 22 Mimitabu popular music tracks. If observed from a purely Bates Mill Photographic Studio, 11pm deeper into listening to the textural qualities of the Phipps Hall, 12pm parametrical perspective, those are: reduction and sound. © Emanuelle Majeau-Bettez homogenisation of pitch and texture, increase in Tickets £12 (£9 concession / online) Tickets £12 (£9 concession / online) loudness, repetition and finally density. Density is, Éliane Radigue (France, 1932) Occam Delta XV in this case, transferred back to the musician(s) Quatuor Bozzini: UK PREMIERE (2017) 35’ Mimitabu: by pushing their concentration to the limit by Clemens Merkel violin Ann Elkjär Gustafsson flute ‘overwhelming’ them with information and micro- Alissa Cheung violin At the core of Radigue’s project Occam Océan is Heather Roche clarinet mechanics of perfection. sugarcoating #2 takes Stéphanie Bozzini viola the principle of Medieval philosopher William of Martin Salomonsson percussion a step toward examining the properties of digital Isabelle Bozzini cello Ockham: ‘multiples should not be used without Jonas Olsson piano / keyboard information, which can be summed up in five necessity’. If a section of the piece turns out to be Emelie Molander violin terms: synchronisation, formal language, errors, Phill Niblock Disseminate as Five String less intense than what was planned, it is best for My Hellgren cello copying, granularity and compression. Quartets UK PREMIERE performers to skip to the next section rather than Sara Svensson objects © Sara Glojnarić Éliane Radigue Occam Delta XV UK PREMIERE try to ‘fix’ something. Reversely, if a section sounds Johan Svensson electronics marvellous, musicians are encouraged to sustain Hanna Hartman (Sweden, 1961) THE BOILER In keeping with their commitment to the radical it as long as possible. Each section of the piece Rei Munakata conductor ROOM UK PREMIERE (2018) 12’ fringes of sound, Quatuor Bozzini perform is partly determined by the simplest solution. We works by two pioneering forces of electronic are not talking of scored music, but of an ‘intuitive Sara Glojnarić sugarcoating #2 UK PREMIERE Hexagon screws, square neck screws, hanger music. Éliane Radigue and Phill Niblock compositional process’ (Sonami, 2017). Hanna Hartman THE BOILER ROOM UK PREMIERE bolts and roofing nails. Attraction. have permanently revolutionised long-form Johan Svensson ampèrian loops part III © Hanna Hartman composition, their interest in the hidden When first meeting Radigue, musicians choose UK PREMIERE ripples, tones and harmonics of sustained a water-related image. This image is personal Joakim Sandgren corps étrangers UK PREMIERE Commissioned by Mimitabu with support from the music eschewing common understandings of to each musician, and behaves like a scaffolding Swedish Arts Council ‘ambience’. in the piece’s construction, replacing the written Exploring the work of visionary composers score. Once the piece is well structured, the image emerging from Sweden and Croatia, Mimitabu Johan Svensson (Sweden, 1971) ampèrian loops – Phill Niblock (USA, 1933) Disseminate as Five may be ‘left behind,’ like a score when one knows combine acoustic instruments with electronic part III (2017) UK PREMIERE (2017) 14’ String Quartets UK PREMIERE (2017) 23’ a piece of music by heart. Each musician has devices, considering the compositional grey areas their own solo, named Occam. Combined, Occam found at our modern intersection of serve and self- ampèrian loops – part III is the third and final Originally for orchestra, Disseminate was River duos are formed, Occam Delta for trios and serve. While Artistic Director Johan Svensson’s piece in the cycle ampèrian loops. All the pieces in arranged specifically for the Quatuor Bozzini, or quartets, Hexa for quintets, up to Occam Océan new work uses both traditional instruments and the cycle are written for ensemble and electro- rather, for ‘multiples’ of it: 20 different tracks are for large orchestra. As Radigue puts it, it is the stand-in mechanical forms, Sarah Glojnarić’s mechanical devices and have computer controlled mixed in each piece, the equivalent of five string beginning of a cycle creating an oeuvre ‘by nature sugarcoating #2 uses digital information to break solenoids as a core element of the music. A quartets. The music is a work on the shifting unfinished, because [it is] unfinishable’. down the supposed simplicities of pop music to a solenoid is a device consisting of an inductive coil nature of overtone patterns that arise from © Emanuelle Majeau-Bettez molecular level more in tune with our overloaded around a movable steel or iron slug. When the acoustic instruments. lives. Joakin Sandgren’s corps étrangers and electro-magnet is switched on, the slug goes out. Commissioned by the Quatuor Bozzini Hanna Hartman’s THE BOILER ROOM complete Sounds are created when the solenoid slugs hits Niblock scored a distinct set of microtonal the programme. the objects. In part III, the ensemble is surrounded intervals. The players are indicated how sharp Produced by hcmf// supported by Conseil des arts et by all the devices from the previous parts, and the or flat they should play. A sense of range is des lettres du Québec, Canada Council for the Arts and Sara Glojnarić (Croatia, 1991) sugarcoating #2 big ensemble-machine is treated as a meta- given around each chromatic pitch – every bow Counseil des Arts de Montreal UK PREMIERE (2017) 10’ instrument. The different kinds of sound sources stroke partly determines the microtones. All are grouped together in various ways and musical 20 ‘instruments’ are then recorded to produce Parts of this concert will be broadcast sugarcoating #2 is the second piece in the elements from part I and II are picked up and led the piece. Mixed, the microtonal intervals come by BBC Radio 3 on Saturday 8 sugarcoating series, which was initially based on into new directions. © Johan Svensson together to create clouds of rich, beating, and December 2018 re-adapting major sound fetishes in pop music. shifting sound. It takes time for the overtone This was based on data provided by Million Songs patterns to emerge. As a listener, it is practically Dataset – a freely available collection of audio 80 EVENTS Friday 23 // November Friday 23 // November EVENTS 81

Joakim Sandgren (Sweden, 1965) corps étrangers UK PREMIERE (2018) 13’ 23 MUTED Huddersfield Town Hall, 2pm / 4pm I wrote corps étrangers (for six musicians and computer) for ensemble Mimitabu during the Tickets £18 (£15 concession / online) spring and summer of 2018. It is the third and last piece for sextet and tape in a bigger cycle of Monica Germino performer 15 pieces written for solo, trio, sextet and nonet Floriaan Ganzevoort stage design & lighting formations and four channel tape. corps is written for the pierrot lunaire formation: flute, clarinet, MUTED is a musical prescription. It is written violin, cello and piano plus one percussionist, in sympathy for performer Monica Germino: making two instruments from each instrument suffering from hearing problems, the violinist has group: string, wind and percussion. In the been incapable of playing her usual repertoire composition I have organised the instruments due to its loud volume. Composer collective Louis into two groups: high and low, each with one Andriessen, Michael Gordon, David Lang and Julia string, wind and percussion instrument in it. The Wolfe responded by crafting this unconventionally tape is made with grain technics and is a kind of quiet solo piece, one that deconstructs solo electroacoustic shadow behind the instrumental concert conventions and considers our vulnerable parts. The shadows can be long or short and more relationship with sound. MUTED is a work that or less distorted and the mix of the instrumental reveres sound, considering not just its use as art and electroacoustic parts is this music’s raison form, but also its force as nature. The concert’s d’être. © Joakim Sandgren setting is a crucial character, epitomising the piece’s concepts of protection and insulation. Commissioned by Mimitabu with support from the Swedish Arts Council Louis Andriessen (Netherlands, 1939), Michael Gordon (USA, 1956), David Lang (USA, 1957), Julia Produced by hcmf// supported by STIM’s Council for the Wolfe (USA, 1958) MUTED UK PREMIERE (2018) 50’ Germino © Anne Reinke Monica Promotion of Swedish Music, Export Music Sweden, They measured the decibel levels of different There’s a passage from Igor Stravinsky’s Poetics Kultur i Väst & Musik i Syd Text excerpts from Archy and Mehitabel by violin mutes (a.k.a. sourdine, sordino, demper), of Music: ‘My freedom will be so much the greater Don Marquis giving estimates and advice about a multitude of and more meaningful the more narrowly I limit Parts of this concert will be broadcast issues. Many thanks to experts NJ Versfeld and JP my field of action and the more I surround myself by BBC Radio 3 on Saturday 8 The specialists were unanimous: my ears are Kronemeijer, and Oorwerk’s Stijn Hoogeboom in with obstacles. Whatever diminishes constraint December 2018 highly sensitive to sound. ‘Geluidsgevoelig,’ in Hilversum. diminishes strength. The more constraints one Dutch. It sounded almost positive to me, ‘sensitive imposes, the more one frees one’s self of the to sound.’ It’s also not uncommon. But a high Confronted with the fact that it would be reckless chains that shackle the spirit.’ sensitivity to sound means that my ears are more to continue exposing my ears to a high level of prone to damage. A person standing next to me decibels, I had to make choices. I was lucky that Limits inspire creativity. MUTED opens doors for a could be exposed to exactly the same sounds, yet I learned this sooner rather than later. I consoled new voice. There’s power in quietness and strength not be affected. The advice was clear: I needed to myself with that knowledge while evaluating in speaking softly. protect my hearing by significantly reducing my the decibel levels of treasured and prospective © Monica Germino exposure to high decibel (dB) levels. collaborations. I said farewell to click tracks, bass drums, and high-volume soundtracks. I sifted Co-commissioned by The Doelen Rotterdam, Oranjewoud Decibel levels and the key concept of duration: through pieces that were simply too loud for me Festival, New York Philharmonic Orchestra, Music on what is considered safe? How many dB for how now, many of them close to my heart, and started Main Vancouver and hcmf//. long? Impossible questions to answer infallibly, the process of finding them new homes, new but working with the Audiologisch Centrum interpreters. Produced by hcmf// supported by Dutch Performing Hilversum brought clarity to a complex situation. Arts 82 PROFILE Friday 23 // November EVENTS 83

Francesco Filidei (Italy, 1973) Finito ogni gesto Salvatore Sciarrino 24 Divertimento (2010) 13’ Ensemble: Sciarrino t was curiosity that made a composer out of to touch me’, he told VAN Magazine – it just as ‘Quando è finito ogni gesto d’amore’ (When every I Salvatore Sciarrino. Born in Palermo in 1947, well describes his work, its breathless silences St Pauls Hall, 7pm gesture of love is over): this line from Edoardo he began interacting with music young, and and oppressed arrangements. A New York Times Sanguineti’s Novissimum Testamentum deals on his own terms, starting to experiment with concert review of Sciarrino works old and new Tickets £25 (£19 concession / online) very effectively with love, and the death of love. sound at the age of 12. He is one of contemporary uses adjectives like ‘twitchy’ and ‘anxious’, From this line I took the title of my cello concerto, music’s rare, independent upstarts: a self-taught describing the visceral nature of his work, the way Divertimento Ensemble: Ogni gesto d’amore, a slow descent to hell, composer, his first substantial contact with it manifests emotion and sensation as the same Lorenzo Missaglia flute woven around the chromatic scale, with a final academics came years later, as a teacher. Music, thing. Luca Avanzi oboe glimpse of light. Sanguineti died suddenly from for Sciarrino, started in free rein. Maurizio longoni clarinet an aneurysm on 18 May 2010, a few days after the Making these direct, tangible connections Michele Colombo bassoon piece was premièred, an unbridgeable loss for In an interview with Brooklyn Rail, Sciarrino notes with the audience is key. Since the early 1970s, Alfredo Pedretti horn our devastated Italian cultural landscape. After the almost coincidental way in which he fell into Sciarrino has also been writing music-theatre, Mario Mariotti trumpet useless efforts to ignore the scar that Ogni gesto a music career. Initially he wanted to be a visual believing in the genre’s potential as a social Adrián Albaladejo trombone d’amore had created in me, I decided to follow the artist, but living in ‘a house filled with music’, and act. He wants to leave his listeners affected. Maria Grazia Bellocchio piano same path, building the form and melody on the a brother who collected LPs by Stockhausen and In recent years, Sciarrino has been devoted to Antonio Magnatta percussion I descending chromatic scale, all the way to the Luigi Nono, turned his ear. At the same time, he innovating the music-theatre genre, emphasising Ettore Marcolini percussion II turning point where I had hesitated the first time. was hearing Beethoven and the canon, building new ways of interacting with a fair-weather Lorenzo Gorli violin I a singular style that was informed by – and also contemporary audience. Between 2006 and 2008 Federica Severini violin II Then I went the other way. contradicting – the disparate traditions and he composed La Porta Della Legge, an abstractly Daniele Valabrega viola © Francesco Filidei conventions he had heard. moving adaptation of Franz Kafka’s story Before Martina Rudic cello the Law. 2010’s Superflumina is centred on a Emiliano Amadori double bass Francesca Verunelli (Italy, 1979) Cinemaolio After giving his first concert as a teenager, political narrative about the violent erasure of (2014) 21’ Sciarrino spent the 1960s developing his identity homeless people, Sciarrino’s vulnerable music Sandro Gorli conductor as a composer. He attained some supervision style providing a profound backdrop to the text’s ‘The organ, supplied by a steam engine, emitted a and guidance, but kept his pursuits open-ended, meditation on the social fragilities of modern Francesco Filidei Finito ogni gesto pungent oil odour and a likewise pungent ultimately remaining autonomous as he reconciled times. Francesca Verunelli Cinemaolio music’. These words from HG Wells in L’homme learning with creating. Throughout the 1970s, he Salvatore Sciarrino Archeologia del telefono invisibile (1897) describe a shack in an English wrote pieces that showed a deep refinement of Sciarrino remains as prolific as ever. At hcmf// Salvatore Sciarrino Il sogno di Stradella village, which was later turned into a cinema. his craft: marked by subtlety and a disquieting 2018, a wide range of concerts showcase vital UK PREMIERE This image of a machine that produces an illusion softness, his pieces implemented startling new material. He has written Cosa Resta for the through a voluminous mechanism, which one can dynamics, often operating at extremely low Arditti Quartet and countertenor Jake Arditti, Divertimento Ensemble unravel the disquieting see and even smell, is unlike the modern cinema, volumes. Within this framework he experimented exemplifying his ability to compose intimate vocal world of Italian composer Salvatore Sciarrino. as film keeps the spectator on the ‘outside. It gives with the utility of silence, extended techniques and material. Divertimento Ensemble will present a A master of inhabiting space and pronouncing the title to the piece Cinemaolio (literally ‘cinema a unfamiliar harmonics. Reinforcing his style was premiere of Il sogno di Stradella, a work which silence, Sciarrino’s music is marked by its olio’ [oil cinema], as one would say ‘petrol engine’). his approach to scoring – using diagrams with focuses on ‘resonances, near and distant’, sparsity, becoming louder and more intense for © Francesca Verunelli symbolic directions, his writing style was novel, furthering Sciarrino’s approach to creating music its restraint. Past works have included chamber instructing different kinds of musical structure. that is opaquely explosive. And the immense song music, opera and theatre – unsettling works that Salvatore Sciarrino (Italy, 1947) Archeologia del cycle Carnaval visits the UK for the first time via focus on the shadows reflected from our realities. telefono (2005) 13’ What does his music actually sound like? Touch. EXAUDI and Explore Ensemble, utilising genreless His use of dissonance in romantic frameworks Sciarrino has talked of his work’s intimate, arrangements to consider the composer’s makes him one of contemporary music’s most The archaeology of the present helps us create sometimes uncomfortable sense of contact. He personal experiences with making art. This deep fascinating composers, an artist whose work can a good short-circuit of the mind. Our days, that believes hearing music can resonate as physical into his relationship with sound and silence, be as beautiful as it is harrowing. Works by Italian we deem ‘modern’, suddenly belong - in this new feeling, perfectly summing up why we are just Sciarrino is still discovering what’s out there, in composers Francesco Filidei and Francesca perspective - to the realm of the inanimate. Irony as likely to be comforted by a piece of music as the margins between them. © Robin Smith Verunelli open proceedings. then rediscovers objects, and makes them alive someone else is to be repulsed by it. ‘I want music 84 EVENTS Friday 23 // November PROFILE 85 again, as they are the subject of a glance that essence of language/thought. As an instrument Initially, the location and movement of sounds comes from the outside, maybe from the future: in of consciousness, art can transform us. As I Stockhausen, Space in space did not share the same importance fact, life, without death, is not complete. In a way, wrote years ago: ‘Music is the emanation and and Spirituality as the other parameters; no doubt because it everything needs to ‘become’ in order to reach our ornamentation of silence. The transfiguration is difficult to move some instruments around conscience. A side light is necessary to render its of sound, the approach of the obscure, causes ood music is spiritual – not hidden but during performance. But with the development of identity free from banality. Meowing, chirps, old anxiety: that of not knowing how to distinguish ‘Gaudible.’ electronic music – especially works like Gesang telephone rings: a rich showcase of short ‘sound between presence and absence.’ The anxiety der Jünglinge and Kontakte – and then the use of finds’, ambitious and ephemeral, to impress your of learning is essential for the discovery of the Karlheinz Stockhausen, 2005 microphones and multiple loudspeaker systems, neighbor. I keep imagining these devices when, universe, which is parent to us all. the location and movement of sound became fully sad and triumphant, they will lay on the shelves of © Salvatore Sciarrino (translated by the Cleveland Serialism came to Karlheinz Stockhausen as an integrated into Stockhausen’s serial methodology. a museum. © Salvatore Sciarrino Orchestra) epiphany, as a kind of divine revelation, rather The movement of sound in space became as than as a slow and steady process of development, important as all the other musical parameters. Salvatore Sciarrino (Italy, 1947) Il sogno di Produced by hcmf// supported by hcmf// Benefactors progress and evolution. POLES, for two players, composed in 1970, is a Stradella UK PREMIERE (2017) 21’ Roz Brown & Colin Rose perfect example of these ideas and can be heard at In 1951, he was a student on the composition the Festival this year. Not a concerto of sounds, but of resonances, near Part of this concert will be broadcast course at the Darmstadt Summer School. There and distant. The soloist withdraws, denies his by BBC Radio 3 on Saturday he joined the Belgian composer Karel Goeyvaerts Unity and balance were paramount and, usual superiority, to reaffirm it on other levels. 1 December 2018 in a performance of the middle two movements of for Stockhausen, this was a spiritual quest, This does not seem to be a strange idea, for it Goeyvaerts’ own Composition No 1: Sonata for Two all throughout his life. In 1961, in his text touches upon and speaks to the transcendent Pianos. This work took 12 note techniques from ‘Invention and Discovery’, he wrote ‘To bring the Webern’s Piano Variations Op.27 and extended revolutionary and conservative powers of the spirit them to structure duration and dynamics. In into equilibrium will always remain the essential addition, Goeyvaerts had also devised a rigorous task. True utopia is balance.’ And in the film of the system to control register within the piece. This Helicopter String Quartet, made in 1995, he said meticulous and scrupulous organisation of ‘Through music, my spirit continues to develop several musical parameters, not just pitch, greatly through the discovery and invention of spiritual impressed the young Stockhausen. Also, while forms and through a continuing expansion of on that composition course, he heard a recording acoustics, my acoustic space and of my ability to of Messiaen playing his own piano piece, Mode hear… this is a goal that has no end.’ de Valeurs d’Intensités, composed in 1949. This was the first European work to utilise a numerical Through music, the inner space of Stockhausen’s system to organise and control pitch, duration, spiritual quests was forever connected with the dynamics and mode of attack (timbre). Because of workings of the cosmos. In his conversations with its highly pointillist nature, Stockhausen described Jonathan Cott, published in 1971, he said, ‘The it as ‘fantastic star music’ spirit will be the music itself... but the stars too are sounding.’ For him, the periodicity of celestial At this time, both Stockhausen and Goeyvaerts objects, the orbits of planets and moons along with were devout Catholics and felt that serialism the inner workings of the atom, at the other end of provided a method of organising musical material the scale, all connected with music. ‘Since I began in an almost divine, perfectly balanced way, with to compose, I know that tones are like atoms, all elements present and having equal status planets and moons’. in an ever changing swirl of permutations and combinations, similar to the cosmos and the In another sphere, Telemusik and Hymnen, from heavens above. They saw it as a way of unifying all the mid 1960s, integrate ancient music from the parameters of music: pitch, noise, duration, many different cultures with electronic music dynamics, sonority and the location of sounds in techniques, including spatialisation, that were physical space. new and radical in those days. This use of ethnic Salvatore Scarrino © Luca Carrà © Luca Scarrino Salvatore 86 PROFILE Friday 23 // November EVENTS 87 music was not simple appropriation but, in Invasion from the opera Dienstag aus Licht which Stockhausen’s words, ‘… an attempt to compose features at this year’s festival. 25 Stockhausen: models of brotherhood of mankind, transcend Oktophonie nationality but underline the wealth of national But we must remember that underpinning all differences.’ Here, cultural, ethnic and historical of Stockhausen’s fascinations, preoccupations Bates Mill Blending Shed, 9.30pm elements feed into the music and contribute to the and devotions, from the frantic thrum of the divine unity that Stockhausen strived to create. sub-atomic to the farthest reaches of the Tickets £18 (£15 concession / online) firmament, including the religions, cultures and These themes of cosmology, spiritual workings, histories of the peoples of this planet, is the fact Thomas R Moore trombone Signale zur Invasion (1992) is performed the coming together of cultures and histories, that Stockhausen was a composer and that he Klaas Verpoest video simultaneously with Oktophonie (1991). (Both along with radical new methods of composition composed music not so much for himself but for Patrick Delges sound engineer pieces are part of Dienstag from Stockhausen’s (which are nonetheless always underpinned by those who were and are prepared to listen; and monumental Opera Cycle Licht.) The trombonist Serialism) all glue together his vast opera cycle that the process of listening reveals something of In this expansive audio-visual collaboration, plays and walks amongst the audience whilst Licht that includes Octophonie and Signale zur the listener to themselves. © Robert Worby Thomas R Moore and Klaas Verpoest create the video artist divides onlookers into equal a maximalist tribute to the work of Karlheinz protaganists. Stockhausen. It is a chance to hear two of the German composer’s pieces, albeit simultaneously: The 3 Signals play out an invasion and then battle Signale zur Invasion and Oktophonie come from between two epic protaganists: Lucifer and Stockhausen’s Deinstag aus Licht, a ‘modular Michael. Originally (in Dienstag) these figures were opera’ from the larger song cycle Licht, in which represented by two troupes of musicians. However, separate pieces can interact with one another as at the request of Michael Svoboda, Stockhausen segments or layers. In this concert, filmmaker penned a version in which a solo trombone Klaas Verpoest provides grand, moving shapes interprets all 252 Signals from Invasion both that consume the figure of trombonist Thomas R sequentially and sometimes polyphonically. Moore, who walks into the audience while playing, © Thomas R Moore & Klaas Verpoest emphasising the nonlinear space sound occupies. Produced by hcmf// co-produced by Muziekcentrum Karlheinz Stockhausen (Germany, 1928) De Bijloke, Ghent and Centre Henri Pousseur, also Signale zur Invasion (1992) & Oktophonie (1991) 45’ supported by Goethe-Institut London

‘Also I would probably play Public Enemy and Stockhausen remixes to entertain the republicans.’ Moby

Karlheinz Stockhausen was a radical, an extremely important but also controversial innovator. He is also one of the most important musical minds of the past century. His electronic music inspired several generations of musicians, even outside the realm of so-called art music. He broke rules and traversed boundaries. His music was extremely complex, but in all the abstraction it is also sensual and engaging. John Lennon and Paul McCartney were original fans (listen to Revolution # 9), the young Björk wrote him letters, and Moby also seems to appreciate the subversive artistic character of the German sound wizard. Oktophonie © Klaas Verpoest Oktophonie 88 EVENTS Friday 23 // November Saturday 24 // November EVENTS 89

Starting with a list of Mandhira, Patrick, Rich title for this piece. My hope is to bring a little bit of 26 Christian Marclay + 27 Ligeti Quartet and Val’s favourite quartets I embarked on a the land to future musicians through this piece. Okkyung Lee + St Pauls Hall, 12pm listening and learning adventure, expanding my There’s a disconnect in the human condition, a Mats Gustafsson knowledge of this important genre not only with disconnect from nature, and it has caused a great Tickets £12 (£9 concession / online) musical scores, but with articles, interviews, deal of social anxiety and fear, as well as a lack of Bates Mill Photographic Studio, 11pm essays and book chapters, several extracts from true meaning of health, and a lack of a relationship Ligeti Quartet: which have found their way into the piece. Part with what life is, so maybe this piece can be a little Tickets £12 (£9 concession / online) Mandhira de Saram violin contemporary string quartet, part theatre piece, bit of a wake-up. © Tanya Tagaq Patrick Dawkins violin part essay about the contemporary string quartet, Christian Marclay objects Richard Jones viola Singing Strings is also a response to the frequently Commissioned by the Kronos Quartet for 50 for the Future Okkyung Lee cello Val Welbanks cello made observation that a string quartet is ‘like a Mats Gustafsson saxophone conversation’ and sees the members of the Ligeti Christian Mason (UK, 1984) Muttos (from the Stef Conner Singing Strings Quartet discuss and debate the particularities Sardinian Songbook) (2018) 9’ Christian Marclay (USA / Switzerland, 1955) / Christian Mason Ezir Kara of their performance craft, inhabiting a range of Okkyung Lee (South Korea, 1975) / Tanya Tagaq Sivunittinni colourful personalities along the way. I fell in love with the remarkable singing of the Mats Gustafsson (Sweden, 1964) Christian Mason Muttos © Stef Conner Tenores di Bitti on hearing their recordings as a Found In Huddersfield WORLD PREMIERE student. Their uniquely intense vocal timbre, their The Ligeti Quartet deliver a concert that poses Commissioned by the Ligeti Quartet with the generous harmony which seemed pure and rough at once, Since 2015 Marclay has put aside his vinyl records existential questions of contemporary music: who support of the RVW Trust and the sense that this music was, at root, not so and turntables to focus on acoustic sounds as a is it by, and who is it for? Stef Conner’s Singing much about performance as simply being together reaction to our environment, where every sound Strings is a stand-up comedy skit on string Christian Mason (UK, 1984) Ezir Kara (from the in the world. Sardinian Songbook is the second in is mediated and amplified. Using everyday quartets, a piece that bites back at appropriate Tuvan Songbook) (2016) 10’ a cycle of works for the Ligeti Quartet, all based objects, the artist coaxes noise out of non-musical compositional norms in a musical shouting match. on transcriptions of music from different throat- ‘instruments’ not ordinarily associated with The piece is complemented by works by Christian It was the practice of throat singing – following singing traditions. sound-making, focusing our attention on the real Mason, focusing on Tuvan and Sardinian vocal workshops with Michael Ormiston – that first scale of sound such things produce. Found in traditions, and a performance of throat singer attracted me to Tuvan music, and this Songbook is Like string quartets, the tenores usually sing Huddersfield is an improvisation-based musical Tanya Tagaq’s stark and potent Sivunittinni, the first in a series that I am writing for the Ligeti in groups of four voices, but being free from performance in which the sounds of instruments rounding off a programme that challenges the Quartet, each engaging with a different overtone instruments they stand very close together blend with noises made by using everyday objects filters and purposes of contemporary art. singing tradition. enabling the resonances of their voices to blend he has collected during his stay in Huddersfield. and interact in a special way. The quartet, of Performing along with him are South Korean Stef Conner (UK, 1983) Singing Strings (2017) 13’ The traditional Tuvan songs that I have transcribed course, can only sit so close before their bows cellist Okkyung Lee and Swedish saxophonist and and recomposed are all known to me from the Ay clash, so I have chosen instead to reflect this reed player Mats Gustafsson, creating a free-form The Ligeti Quartet conceived the quirky idea that Kherel CD The Music of Tuva Throat Singing and physical closeness inversely, by getting the players composition that mingles music with acoustic and this composition developed out of and on receiving Instruments from Central Asia (2004, Arc Music). to stand increasingly far from one another as the visual stimuli, while the space itself is activated the brief, I must admit to having been a little According to the notes from that CD, this is what piece progresses. The initial state of sonic blend by the performers. Unlike Music Concrete, where frightened by what they had asked for: ‘sort of a the song is about – Ezir-Kara (‘Black Eagle’): ‘This gives way to hocketing lines, opening up the sense sounds are recorded and distorted in playback – by Young Person’s Guide to the Contemporary String was the name of a horse, who became a legend of space. © Christian Mason slowing or speeding up the recording, or highly Quartet’. Not being a string or chamber music through his remarkable strength and speed.’ amplifying it – Marclay believes in the natural player myself, I felt a little out of my depth trying © Christian Mason Commissioned by, and dedicated to, the Ligeti Quartet acoustic potential of any object and will not to pin down the essence of the contemporary with the generous support of the Britten Pears amplify them. A musician without instruments, he string quartet, but I think that, in the end, my lack Commissioned by, and dedicated to, the Ligeti Quartet Foundation and the City Music Foundation. skillfully composes a concerto in which every noise of expertise may well have been a blessing. The with the support of the Britten-Pears Foundation, the is music. piece became a journey of discovery, not just for RVW Trust, and St John’s Smith Square Produced by hcmf// supported by hcmf// Benefactors the audience – ‘young persons’ or otherwise! – but Mr & Mrs Mervyn & Karen Dawe Produced by hcmf// supported by the Swiss Arts for me too. Tanya Tagaq (Canada, 1975) Sivunittinni (2016) 9’ Council Pro Helvetia; also supported by STIM’s Council Sivunittinni, or ‘the future ones,’ comes from a part for the Promotion of Swedish Music, Export Music of a poem I wrote for my album, and is the perfect Sweden, Kultur i Väst & Musik i Syd 90 EVENTS Saturday 24 // November Saturday 24 // November EVENTS 91

Manasamitra (James Cave, Duncan Chapman, Canopy of Voices Supriya Nagarajan) Canopy of Voices St Peter’s Church, 4pm WORLD PREMIERE (2018) 14’

Free Event Canopy of Voices is a new work composed and facilitated by Manasamitra – composers James Peyee Chen soprano Cave, Duncan Chapman, and Supriya Nagarajan Christopher O’Gorman tenor – in the spirit of the experimental works of Cage, Jonathan Hanley tenor Cardew, Ives and Terry Riley, inspired by the Ben Howarth bass poem Painted Rainbows by York-based poet James Cave cello / composition Shash Trevett. The piece evokes the coming of Duncan Chapman live electronics / composition the monsoon, weaving together drones, clusters, Karin De Fleyt flute rounds, and simple songs to create a tapestry Lucy Nolan harp of sound, and draws on two ragas, reethigowla Beau Stocker percussion and yaman. It has been developed through a workshopping process with the choirs involved, Canopy of Voices is the world premiere of Supriya working closely with members of HOOT Creative Nagarajan’s Pleiades ne Maia, presented Arts, Stonegate Singers, and the University of alongside a performance by four local choirs. Huddersfield’s choirs. Pleiades ne Maia is inspired by the luminous seven -star cluster present in world cultures. Middle- Supriya Nagarajan (UK/India) Pleiades ne Eastern phrases intermingle with Buddhist Zen Maia WORLD PREMIERE (2018) 20’ while a traditional church anthem sits at the core forming an effortless bridge between cultures, This piece is inspired by the luminous seven- genres and traditions. Working with HOOT star cluster known as ‘The Big Dipper’, which is Creative Arts Choir, University of Huddersfield present in many world cultures. In Hindusim it is Choirs, a choir made up from the refugee and known as the seven sisters Krithikka, mothers of asylum seeker community and York Stonegate the Hindu God Lord Karthikeya. The piece captures Singers, Canopy of Voices will create a programme Indian classical notes and juxtaposes them with inspired by the connections between Indian and sounds of the world around us. Middle Eastern contemporary classical music. phrases intermingle with Buddhist Zen and a traditional church anthem, forming an effortless Na Hey 3’ / Seal Calling 3’ bridge between cultures, genres and traditions. © Supriya Nagarajan These songs are both from the Hebrides, and were collected by Scottish singer Marjory Kennedy Commissioned by hcmf// Fraser. The tune for Sea Calling comes from a book published in 1909, Songs of the Hebrides, Co-produced by hcmf// & Manasamitra; supported by and Na Hey is a mourning song. The harmonies Arts Council England Lottery Project Grants were arranged by Jess Baker. Supriya Nagarajan © Shanaz Gulzar Nagarajan Supriya 92 EVENTS Saturday 24 // November Saturday 24 // November EVENTS 93 28 Sciarrino: Carnaval St Pauls Hall, 7.30pm

Tickets £25 (£19 concession / online)

EXAUDI: Salvatore Sciarrino (Italy, 1947) The final two madrigals (No 10 and 12) have a reference. I welcome a homage to Schumannn, Juliet Fraser soprano Carnaval UK PREMIERE (2010-12) 60’ different character, their nature more, so to speak, with whom Towitara strangely conforms (for Lucy Goddard alto concertante. Their texts sat in the document Towitara art is an unlimited substance obtained David de Winter tenor Nos 1-9 - Così dice lo scultore di prue holder behind my back for over 10 years before from dreams). This music could show far-off Simon Whiteley baritone No 10 - Lasciar vibrare making it to my desk for a second time and finally affinities with Schuman, for its surprising and Jimmy Holliday bass No 11 - Stanze della pioggia being clothed in sound. Both of them I drank from contrasting cyclical fragmentation of form and No 12 - Liuto senza corde Chinese sources, the old premises of Zen. homogenous variety that enliven the sequence of Explore Ensemble: pieces. Taylor MacLennan alto flute When Maurizio Pollini asked me to compose Let it resonate (No 10) is a two-part canon that Richard Craig bass flute another piece for him, he wished to leave flexes from the female to the male domain. At the Carnaval: a crowd of strange figures from which a Alex Roberts bass clarinet 1 me completely free from any limitations. He end, bearing the metallic stigmata of the central final gathering of titles, reflections and portraits is Benjamin Mellefont bass clarinet 2 insisted that I place myself outside of any formal section, we climb back, from male to female. distilled. An observatory. An intimate space for the Rory Cartmel trombone 1 framework, in order to create something as imagination. Ian Sankey trombone 2 intimate and personal as I desired. The piano solo leads us into the Rain Rooms George Barton percussion 1 (No 11). The five pairs of players, who until this © Salvatore Sciarrino (translation by Lucy Angela Wai-Nok Hui percussion 2 I have to thank my friend for having expressed the point were limited to being presences and auras Goddard). This is an edited version of the Deni Teo cello 1 gift of his commission in this way; without such shrouded in darkness, surround it: alto and bass composer’s full text. Colin Alexander cello 2 an impulse Carnaval would not have come into flute, two bass clarinets, two trombones, two Nicholas Moroz artistic director existence, since it resists categorisation into any percussion sets and two cellos. In this music, Produced by hcmf// supported by Arts Council existing musical genre. which simultaneously occupies nearby and England’s National Lottery Project Grants & Emmanuelle Fleurot piano solo distant spaces, landscapes are created whose hcmf// Benefactor Martin Staniforth James Weeks conductor This work portrays a journey in 12 sections about discontinuity permits its own meaning. In an artistic creation, its birth and its fleeting existence. intermittence of light and dark environmental London-based vocal ensemble EXAUDI are Let us call the vocal sections in Carnaval backdrops (some of which are rustling and among the stars of the European new music concerted madrigals. The first group of nine, dripping) we hear opposing principles collide. scene. Complemented by the vision and energy entitled Thus says the sculptor of prows, are based The processes deviate or invert, and the writing of the young Explore Ensemble – returning to on a peculiar text: gradually becomes dialogic and impassive, dense hcmf// for their third consecutive year – they and rarefied, subdued and explosive. deliver the UK premiere of Salvatore Sciarrino’s Kitawa Island, New Guinea, in the middle of the Carnaval, a work in 12 movements written for last century: the land of ceremonial boats with And when the extended instrumental interlude five voices, solo piano and ensemble. One of the extended, openwork prows. Towitara, an old ends, Lute with strings arrives like a recitative composer’s major recent statements, Carnaval is sculptor, gives a poem to his student to initiate him epitaph, suspended in a dim light: the voices have a collection of ‘concerted madrigals’ framing an into the art. It evokes first of all two figures (onto come to inhabit the resonating chambers of the extended movement for solo piano and ensemble, which he and the student are projected), bent over piano. Rain Rooms. Sciarrino describes Carnaval as the water as if to read into it. Together they glean ‘a crowd of strange figures from which a final dream from dream, the dream of water, water as Why Carnaval? I know that the word, reclaimed gathering of titles, reflections and portraits is mirror and lens of the world, of other worlds. The by Schumann, is certainly weighed down by a distilled. An observatory. An intimate space for the transparency of imagination creates joy for their plethora of character pieces. Does my music have imagination’. friends: it will allow the young man to become a something to do with the fantasy repertoire? I am master. in fact composer for whom the elaboration of titles plays a non-insignificant role, if only as a point of 94 PROFILE Saturday 24 // November EVENTS 95

and Leroy Jenkins, Abrams and Braxton were Julius Eastman 29 hcmf// mixtape frequent collaborators. Here, Hawkins laces Bates Mill Blending Shed, 10pm together their legacies with his own piece, It here was so much to Julius Eastman. He compositions appear on the retrospective Unjust Should Be a Song, considering the debt he owes to T was an incredible singer and a provocative Malaise: Gay Guerrilla, Crazy Nigger, and the Free Event their practiced play. performer. He played uptown music at university immense Evil Nigger, originally for four pianos. and downtown disco with Arthur Russell. He A staple of the hcmf// programme, our annual Okkyung Lee is a cellist renowned for her vigorous loved jazz but helped develop minimalism. He is Along with The Holy Presence of Joan d’Arc, mixtape reimagines performance as playlist. improvised excursions; her breathless record one of the greatest composers of our times, but these pieces were characterised by Eastman’s Ghil was made in collaboration with composer remains an obscurity. His life is now remembered conception of what he called ‘organic music’, The Arditti, Bozzini and Ligeti quartets combine and producer Lasse Marhaug, who emphasised in specific revisions, speaking to the oppressions containing stringent and repetitive phrases with into a dozen to perform a startling rendition of her scratchy, unrelenting approach. For the he experienced from his unique position in parts that he wanted to realise separately, and Julius Eastman’s ferocious opus Evil Nigger. mixtape, she joins saxophonist and reeds player contemporary music. then cultivate together in their final act. They are Having taken on a much-deserved legacy in recent John Butcher, who’s improvised with just about marked by a shared verve; the most intense pieces years for his striking approach to minimalism everyone – and everything. His work considers In the early stages of his career, Eastman was he ever wrote, Kyle Gann described them as ‘high- and the conception of what he called ‘organic’ the ever-changing resonances that come from composing from within the University of Buffalo’s energy’ and ‘phenomenally powerful’, relating how music, this work represents a turning point in different instruments, environments and contexts. music school. From this vantage point, he began captivating Eastman could be when arranging the his career. Unflinching, confrontational and Joined by the distinctive musical language of Lee, to stand out as a singular performer: beyond his simplest things. sonically relentless, it is also a deeply political his sound will morph once more. early compositions, he was enlisted to play King act, reckoning with the way work was billed and George III in Peter Maxwell Davies’ Eight Songs The titles of these pieces are of upmost presented in the predominantly white music Ahead of her upcoming performance of POLES, for a Mad King, a grandiose music-theatre. In importance: they are staunchly political works institution Eastman occupied. The piece speaks to Camilla Hoitenga presents further travels in the the book Gay Guerrilla, Renée Levine Parker that focus Eastman’s identity as a queer, black an essential voice that’s long gone missing. world of Stockhausen, performing two pieces from highlights Eastman’s incomparable intensity and man onto the largely white institution to which the cycle AMOUR. One of Stockhausen’s most bravado in the role, his matching of musical talent he belonged. The titles were not initially printed, Written a decade into Eastman’s career, which personal works, each piece in this often melodic with fearless imagination. but Eastman considered them, and their wider sprawled a daisy-chain of aesthetics and ideas, and narratively driven cycle was written for a connotations in history, a foundational part of his Evil Nigger was initially conceived for four pianos loved one. Initially conceived as a clarinet work, In the early 70s, Eastman composed beautiful music. R Nemo Hill says Eastman ‘insisted they – but Eastman noted it could be played on any Stockhausen revisited the piece in 1981, crafting pieces marked by deep-diving repetition and submit to [the titles] if they wanted to hear the number of similar instruments. The piece has a new flute version specifically for Hoitenga, with shimmering melody. Stay On It is one of his most music’. In a concert speech, Eastman said the received numerous reinterpretations in recent whom he worked extensively. Their close musical resonant works. With its alchemical melody, titles ‘attain a basicness, a fundamentalness’, years, including a version for three pianos at relationship shows in these pieces, which join Eastman guided minimalism towards pop music pointing to a black experience that censorship was Unsound 2015, and another by Polish composer other works written for Hoitenga by Peter Eötvös for the very first time. As Matthew Mendez notes, writing out of him. Tomas J Opalka, performed by the Arditti Quartet and Mike Svoboda. the piece combined repetition with a freedom and an accompanying tape of string music that was intrinsically relative to it: ‘he aspired to The titles were part of the listening: printing them at Sacrum Profanum 2017. In this blistering More artists are yet to be added to this action- spontaneity native to jazz and other improvising was hearing him, as directly and transparently performance of Opalka’s version, Evil Nigger is packed edition of hcmf// mixtape. traditions, scores functioning as more or less as the music itself. As reappraisals of Eastman’s recast for three live string quartets. disposable mnemonic devices’. The piece seldom work continue, it is too easy to describe his Please note: this is a free event but tickets are changes, but does so dramatically, remaining demise – an innovator, dying homeless and Composer, pianist and bandleader, Alexander limited. They can be booked in advance online or thrilling for its full 25 minutes. Femenine disconnected at 49 – as ‘tragic’. This would be Hawkins believes in the ‘fundamental reassertion via the Box Office. (1975) again revealed this style – a mellifluous shirking responsibility. Being a queer, black man of composition within improvised music’. This arrangement of a single aphorism, with serene made Eastman an outsider in his institution; stylistic convergence is reflected in a programme As this is a live broadcast, audience members jazz aesthetics. his later work instructs that his situation not of works by Muhal Richard Abrams – an artist as must be seated by 9.45pm. be considered an anomaly, for those things that well known for arrangements as he was for his But it is the late 70s and early 80s that Eastman were fundamental to him were fundamentally work with the fiercely free-spirited Art Ensemble Produced by hcmf// is best known for. This was a period of fruitful misunderstood. Eastman’s work is now celebrated of Chicago – and Anthony Braxton, who placed jazz but controversially received music, made shortly for what it is: utterly breathless in the moment, improvisation into a contemporary framework. This concert will be broadcast live by before he was made homeless and largely and thought-provoking well after the fact. Alongside innovators such as Wadada Leo Smith BBC Radio 3 marginalised from the music world. These © Robin Smith 96 EVENTS Sunday 25 // November Sunday 25 // November EVENTS 97

here the two outer sections restrict action within tells that Orpheus tamed the wild animals and of Andrea del Sarto. ‘The list’, he writes, has 30 Arditti Quartet + the barest of harmonic fields, the central section even moved stones – he surpassed the barriers been reduced and adapted so that it takes on the Jake Arditti bound to rhythmic unison alludes to the lyrical. of life. Imagine how ridiculous it would have been, character of one last vanitas, multiple and virtually if he had wanted only to demonstrate his self- antiphonal. So many years later, some items St Pauls Hall, 1pm The work is dedicated to Sumanth Gopinath and confidence, or even worse, limited himself to the had begun to rot, some had disappeared; but the Beth Hartman. © James Dillon notes? word that recurs most frequently is ‘essere’ (here Tickets £25 (£19 concession / online) translated as ‘present’), countering the sense of Salvatore Sciarrino (Italy, 1947) Quartetto No 7 © Salvatore Sciarrino (translated by Noah Zeldin). loss, contradicting the sense of loss.’ Arditti Quartet: (1999) 9’ Printed with kind permission of KAIROS/paladino Irvine Arditti violin media, Vienna. James Dillon (UK, 1950) String Quartet No 9 Ashot Sarkissjan violin The elaboration of my vocal style has been one of WORLD PREMIERE (2017-2018) 20’ Ralf Ehlers viola my chief compositional goals, remaining in the Clara Iannotta (Italy, 1983) dead wasps in a jam- Lucas Fels cello foreground of my work. This task has taken me 10 jar (iii) UK PREMIERE (2017) 14’ Begun at the same time as the 8th Quartet, the 9th years, and the same again to verify the results. It is organised into three continuous parts and sub- Jake Arditti countertenor is necessary to free the voice from inert imitation dead wasps in the jam-jar (iii) is born from a desire divided into 16 sections. After a short introduction, by instruments, from clumsy banality; but above to explore depth. For a long time my music has the 1st part always con sordino consists of small James Dillon String Quartet No 8 UK PREMIERE all, it is necessary to give the song back all of been about creating a surface on which things ever-changing micro-gestures, almost entirely Salvatore Sciarrino Quartetto No 7 its power without returning to old motifs which move, blend, but mostly hide what is underneath in rhythmic unison with very few interval changes Clara Iannotta dead wasps in a jam-jar (iii) are insignificant, for these produce a superficial them. A surface is nothing more than a reflection, between instruments. In the 2nd part rhythmic UK PREMIERE pleasure that runs contrary to the actual and I was constantly veiling the real mirrored unison freely moves between solo, duo, trio and Salvatore Sciarrino Cosa Resta expression. image, probably also because I was (and still am) tutti; here gestural patterns are more expansive. James Dillon String Quartet No 9 WORLD PREMIERE not sure yet of what this image was, even though The 3rd part is the longest, once again statistically Recently, I have been applying these little vocal I knew what its shadow looked like. The three dominated by tutti (rhythmic) unison, reflecting The venerable Arditti Quartet graced last year’s discoveries to instruments. In these works, I pieces that form the cycle dead wasps in the jam- part 1 however this time it combines with the more festival with a series of UK premieres; this year, wanted to avoid virtuosity, which is an extension jar — for solo violin (i); string orchestra (ii); and expansive and wider ranging gestural shapes of they debut works from established hcmf// of competition, adhering instead to the intimate string quartet (iii) — try to investigate this matter. part 2, shifting constantly between regions of low collaborator and 2014 Composer in Residence and renowned tradition that Beethoven initiated While working, I pictured a kind of deep-sea to high concentration. © James Dillon James Dillon, performing two new compositions with his Adagio movements. For me, this was not environment, the lowest layer in the ocean, where for string quartet. Accompanying these pieces an obvious choice and so it may come to some constant pressure and perpetual movement seem Produced by hcmf// supported by the hcmf// Friends are a UK premiere of Clara Iannotta’s dead as a surprise. In fact, my music is the opposite of to shape the stillness of time. wasps in a jam-jar III – a composition concerned virtuosic. I always ask the interpreters to take on Parts of this concert will be broadcast with movement, pressure and perpetual states more responsibility, which creates an obstacle This piece is dedicated to Joséphine Markovits. by BBC Radio 3 on Saturday 8 – and Salvatore Sciarrino’s Cosa Resta, with and a principal difficulty: the rest is merely © Clara Iannotta December 2018 countertenor written for and performed by Jake consequential. I would like every performer to Arditti. achieve some things that are not given to others. Commissioned by Festival d’Automne à Paris, with the support of the Ernst von Siemens Foundation and the I’m not talking about miracles: transforming Proquartet Association. James Dillon (UK, 1950) String Quartet No 8 yourself, the venue and the listener requires a UK PREMIERE (2017) 20’ minimal level of interpretation. If this magic is Salvatore Sciarrino (Italy, 1947) Cosa Resta not created, it is useless to play, because the (2017) 15’ Symmetrically arranged in three movements, both therapeutic power, which is characteristic of outer movements unfold through episodic blocks music, does not materialise. of material, the 1st is dominated by the iteration of ‘It often happens’, writes Sciarrino ‘that, while searching for less obvious texts, a door opens, and a dense pitch row, tightly packed linear action, the Expression and direct involvement are the rd strange fragments rush in, impossible to set to 3 movement by a kind of ‘rhythmic parallelism’ fundamentals. Every one of us has something to st music. I ceaselessly put my vocal style to the test.’ where the rate of change is faster than the 1 say. Otherwise, how could certain street musicians nd movement. The 2 or central movement is slow, fascinate us? Hence, self-criticism and self- Sciarrino finds his material forCosa Resta (‘What more homogenous in character and is marked improvement… the search for the other. The myth ‘austere’, ‘distant’, itself arranged symmetrically, remains’) from an inventory of the possessions 98 EVENTS Sunday 25 // November Sunday 25 // November EVENTS 99

POLES is a so-called ‘open score’, music notated Davies, Yol and TOPH – and she’ll also be rounding 31 POLES with a system invented by Stockhausen which hcmf// special brew off the night with a freewheeling DJ set. Bates Mill Blending Shed, 4pm consists of +’s and -’s instead of normal notes Magic Rock Tap Room, 7pm and which allows for various instrumentation. Soprano Peyee Chen joins us to deliver three Tickets £18 (£15 concession / online) Camilla Hoitenga and Taavi Kerikmäe have made Free Event staggering vocal pieces reaching above and a version for flutes with the rare 1970s Serge beyond the ordinary. Her performance features Camilla Hoitenga flutes modular synthesizer once belonging to composer Join us at hcmf//’s wrap party! Hosted at Jennifer Walshe’s Three Songs by Ukeoirn Taavi Kerikmäe modular synthesiser (and sometime copyist for Stockhausen) Michael Huddersfield’s finest brewery, Magic Rock, we O’Connor, incorporating a ukulele and a graphic Francisco Colasanto sound diffusion Manion which is combined with current sound toast 10 days of new music with one final victory score made by drawing pictures of mouths – the diffusion possibilities. lap, bringing together festival friends for some positions in which the performer should sing – Karlheinz Stockhausen (Germany, 1928) Sei extra special performances and DJ sets. on to photos of landscapes. Also on display are wieder fröhlich (from Amour) (1974-1976) 2’ The underlying idea of this piece is that the players Erin Gee’s Yamaguchi Mouthpiece I, a musical don’t play notes written out by the composer but Matt Wright’s discourteous turntablism weaves meditation on phonetics and pronunciation, Karlheinz Stockhausen (Germany, 1928) that they react to unknown sounds according together scratch and loop in a noisy set that, if you and Michael Finnissy’s Same as We, a dramatic POLES UK PREMIERE (1970) 45‘ to exact rules laid down by the composer. The want, will damage your records irreparably. Bring ‘theatrical monologue’ that creates new unknown/unfamiliar sound material that should down leftovers, hand-me-downs and the most characters and scenes with each performance. With POLES, Karlheinz Stockhausen created an trigger a reaction from the performer is found regretted purchases from your collection – Wright ‘open score’ in which music was reduced to polar as the performers fish out interesting sounds will use them in his plunderphonic performance hcmf// is also thrilled to welcome back funtime positions, with all notes transcribed as either from a short-wave radio. They then react to them, Fracture Mix, a live set of stop-start bombast and duo Christian Weber and Joke Lanz. A beguiling pluses or minuses. This reduction of process according both to various sound-symbols and joyful noise. combo with an ever-changing set-up, they graced opened performances up to simple but effective to their fellow players, for example by changing 2017’s programme with an improvised set for variations, the score ultimately becoming a long different characteristics or parameters of the Next on the decks is Mariam Rezaei, performer, double-bass and turntables. Their plans for our series of interactive inputs. The work was crafted music, such as dynamics, range or length of the composer and chief of TOPH. Rezaei’s special brew are tantalisingly TBA, but will likely for two players and sound diffusion, offering a heard event. improvisational inclinations make her a be full of chance action and intrigue. flexible instrumental set-up; in this concert, formidable turntablist. This performance debuts flautist Camilla Hoitenga and synth player Produced by hcmf// supported by the Mexican Centre her first solo turntable releaseBLUD , a cascade of Produced by hcmf// supported by the Swiss Arts Taavi Kerikmäe deliver a historically faithful for Music and Sonic Arts, also supported by Goethe- bastardised noises with contributions from Rhodri Council Pro Helvetia performance, suggesting both the potential Institut London deviations and inevitable constraints that exist in Stockhausen’s composition. Camilla Hoitenga & Taavi Kerikmäe © Tarvo Varres Kerikmäe © Tarvo & Taavi Camilla Hoitenga Weber Lanz © Christian & Joke Weber Christian 100 INFORMATION 101 hcmf// would like to thank the following Members Buying Your Tickets for their support: Please note: online discounts are available To Book Your Tickets on a limited number of tickets and are Online: www.hcmf.co.uk Benefactors Friends only available until Sunday 21 October at Phone: +44 (0)1484 430528 Monday–Saturday Roz Brown & Colin Rose Mr Nicholas Meredith the latest (or earlier if limits are reached 10am–5pm. Minicom users can also phone this Peter Bamfield Ms Rona Courtney before that date). Please book early to number. (no booking fee) Mervyn & Karen Dawe Mr & Mrs Vic & Alison Slade avoid disappointment. Post: hcmf// Box Office, Lawrence Batley Theatre, Professor Mick Peake Mr Richard Chalmers Queen’s Square, Queen Street, Huddersfield Mr Martin Staniforth Dr Anthony Littlewood Festival Saver HD1 2SP Professor Emeritus Richard Steinitz OBE Miss Mary Black Admission to all events £499 In Person: Monday–Saturday 10am–5pm at Mr Gordon Sykes Online £399 Lawrence Batley Theatre Patrons Mr Graham Moon Sir Alan Bowness Mr & Mrs David & Phillida Shipp Weekend 1 Saver Paying For Your Tickets Barnaby & Maria Woodham Mr Derrick Archer (18 + 19 November) Cheque: payable to: Lawrence Batley Theatre Dr M R Spiers Dr Margaret Lucy Wilkins Admission to all events £140 Card: Visa, Mastercard, Solo, Switch or Delta (no Mrs Shirley Bostock Dr Roger M W Musson Online £110 booking fee) Mr John Moffat Mr Bryn Harrison Martin Archer Mr Philip Bradley & Ms Geraldine Kelly Weekend 2 Saver Reservations can be held for four working days but Mr C W Dryburgh David Hanson (25 + 26 November) must be paid for one week before performances. Graham Hayter & Kevin Leeman Judith Serota OBE Admission to all events £75 Dr Colin G Johnson Rob Vincent Online £60 Please check your tickets as soon as you receive Ms Rosemary Johnson Mr David A Lingwood them. The Box Office may be able to resell your Joe Kerrigan & Christine Stead Andy Hamilton Group Discounts ticket (applies to sold-out performances only) for Terence Thorpe Gregory & Norma Summers (tickets must be bought in one transaction) a charge of 50p per ticket. Tickets for resale must Mr Alex Bozman John Bryan Parties of ten or more – 10% discount. be returned to the Box Office the day before the Mr Paul Hubert Colin Stoneman performance at the latest. Laurence Rose James Saunders Education and Community Group Discounts Peter John Viggers Piers Quick (tickets must be bought in one transaction) Please Note Ian Partridge James Weeks Parties of five or more – 10% discount. Latecomers to performances will not be admitted Dr E Anna Claydon Marie Charnley Groups of ten or more – 20% discount. until, and if, a suitable break can be found in the Susan Burdell John Truss programme. hcmf// will do everything reasonable Liza Lim & Daryl Buckley Nikki & James McGavin Discounts for 17 – 29 Year Olds to ensure the performance of the published Jonathan Lissemore Dr Richard Fox A limited number of tickets available for all events programme but reserves the right to change Mr Adrian Fry Dr Anthony Littlewood at a price of £4 offering huge savings of up to £21 artists and programmes or cancel a concert in the Miss Harriet Richardson on normal ticket prices (tickets must be booked in event of circumstances beyond its control Anonymous advance and will not be available on the door)

Concessions Students, under 17’s, senior citizens, disabled, those claiming unemployment or supplementary benefits and Kirklees Passport holders. Proof of eligibility is required – send a photocopy of the relevant document or present the document at the Box Office. 102 INFORMATION

Information British composers Focus on Accessibility Travel Information Concessionary rates are available for attendees National Rail Enquiries with a disability, plus one free ticket for a +44 (0)8457 484950 www.nationalrail.co.uk companion if required. Support dogs are welcome. Limited parking is available for attendees with a National Express disability outside each venue and on the University +44 (0)871 781 8178 www.nationalexpress.com TH campus. Call +44 (0)1484 472900 to reserve a HIGHLIGHTS OF 20 CENTURY place on campus. West Yorkshire trains and buses BRITISH MUSIC Metroline +44 (0)113 245 7676 www.wymetro.com Bursaries First Huddersfield Available to assist students and those with limited +44 (0)1484 426313 www.firstgroup.com means to attend the Festival. West Yorkshire Journey Planner Call +44 (0)1484 472900 or visit www.hcmf.co.uk www.metrojourneyplanner.info for further details. WILLIAM ALWYN SIR MALCOLM ARNOLD For more information about Huddersfield visit 1905-1985 www.hcmf.co.uk 1921-2006

ADAM GORB Get involved with hcmf// There are lots of ways you can *1958 choose to support hcmf//: As a registered charity, your support makes a huge difference to hcmf// in our work to bring // donations of any amount can be made at any the very best of contemporary music and visual time through www.hcmf.co.uk ALUN HODDINOTT DAME ELIZABETH arts to our audiences in Huddersfield each year. MACONCHY // our new Membership Scheme will be launching 1929-2008 Over 35% of the funds we raise goes directly to 1907-1994 soon, offering a choice of levels of support and composers, artists and performers – and, during benefits the 10 days of the Festival alone, hcmf// generates £1.2 million for the local economy each year. // become a corporate donor or sponsor EDMUND RUBBRA // supporting our fundraising campaigns for 1901-1986 When you support hcmf// you are helping us to: specific projects // commission new works // leaving a gift in your Will or giving an // work in partnership with other festivals and in-memory gift venues to ensure repeat performances BERNARD STEVENS // bring together artists, composers, performers // volunteering as a Festival Steward ROBERT SIMPSON and programmers to create innovative 1921-1997 1916-1983 collaborations and creative partnerships // create opportunities for young children, Visit hcmf.co.uk for more students, community groups, older people, families, amateur musicians and composers to information, or to get in touch, participate in and benefit from our award-winning give us a call on 01484 472900 or Learning & Participation projects. email [email protected] 9 Byram Arcade, Huddersfield, HD1 1ND Join us to celebrate 50 years of Opening hours British Music Collection during (half) Food served to 4:30pm daily. HCMF 2018 at Heritage Quay Mon – 8 – 6pm Tues – 8 – 6pm Weds 21st November Wed – 8 – 6pm Thurs – 8 – 6pm 2pm - Free Entry Fri – 8 – 6pm Sat – 9 – 6pm Sun – 10 – 4pm

Speciality coffee / breakfast / lunch / brunch / craft beer / cocktails

£1.50 coffee Mon – Fri 8am – 10am

Everything we do is music by Barry Russell

More than fifty fun, thought provoking and hands-on Explore items from the NEW FORMS activities. collection and to share Most projects require no prior memories of the collection 7 NOVEMBER 2018 – 16 JANUARY 2019 knowledge of now and over the past 50 years. SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL “Everything we do is music” Cross-curricular experiments in sound reading music based on the music of John Cage by Barry Russell or playing an WORLD PREMIERES instrument. Discover new works and NEW DIRECTIONS HISTORY IN THE MAKING A vital classroom composer online: resource for MAGNUS LINDBERG specialists and PASCAL DUSAPIN non-specialists alike. britishmusiccollection.org.uk BERIO HELEN GRIME Suitable for all STRAVINSKY EP 68500 Key Stages. MARTINU˚ JANÁCˇ EK

LPO.ORG.UK/NEWFORMS Available from all good music shops or direct from www.editionpeters.com Huddersfield Contemporary HCR is distributed by NMC Records

Bozzini+ Hudderseld Contemporary Records are fast Quatuor Bozzini becoming guilty of releasing more excellent discs Philip Thomas than one can possibly keep up with. Sarah-Jane Summers Tim Rutherford-Johnson, The Rambler Bryn Harrison Mary Bellamy Monty Adkins Perhaps the most consistently and fearlessly challenging of UK new music labels ... releasing some + Bozzini Premiere recordings of new of the most unforgettable stuff I’ve heard this year. Quatuor Bozzini Bryn Harrison quintets pairing Montreal’s Philip Thomas Mary Bellamy Simon Cummings, 5:4 Sarah-Jane Summers Monty Adkins famed string quartet with piano and Highland fiddle.

Philip Thomas Apartment House

John Cage | Concert for Piano and Orchestra Christian Wolff | Resistance

Beyond Pythagoras CC Phantom Images The wreck of former boundaries Stockholm Saxophone Quartet, Apartment House, Philip Thomas Katherine Young, Chris Mercer, ELISION Ensemble Monty Adkins, Paulina Sundin, John Cage, Christian Wolff Charmaine Lee & Sam Pluta, Liza Lim and Aaron Cassidy Jonny Axelsson Aaron Cassidy

Music for people La Terre est un Homme Below the Belt Andrew Hamilton Brian Ferneyhough Philip Venables “The nearest thing to a smash hit that one is “Massive and mesmerising ... one of the most “A smelling-salts wake-up to the dangers of likely to encounter in contemporary music remarkable orchestral achievements of the last cultural complacency” circles” Journal of Music half-century.” The Guardian BBC Music Magazine

New releases on Visit the NMC store at NMC Recordings www.nmrec.co.uk

NMC’s mission is to connect listeners across the world with the best contemporary music from the British Isles. NMC’s work was recognised in 2015 by the Royal Philharmonic Society, which awarded the label the prestigious Leslie Boosey Award for “its outstanding contribution to the furthering of contemporary music in Britain”. NMC Recordings is a registered charity (328052). HCR is a project of CeReNeM, the Centre for Research in New Music at the University of Huddersfield in association with hcmf// and distributed by NMC. Enquiries: CeReNeM Manager, Sam Gillies - [email protected] CeReNeM CONCERTS 2018–19 Discover MUSIC OF THE MODERN ERA inspirational This season we perform cutting-edge repertoire by composers including: Gavin Higgins, Cheryl Frances-Hoad, Thomas Larcher, Paweł Szymánski, stories, stunning Augusta Read Thomas and Raymond Yiu plus Mark-Anthony Turnage’s opera The Silver Tassie as part of our In Remembrance Total Immersion day. art & heritage TOTAL IMMERSION • Fascinating exhibitions • Relaxing gardens & parks • Great coffee & unique gifts

IN REMEMBRANCE: GYÖRGY LIGETI LILI AND NADIA Tolson Museum | Huddersfield Kirklees Museums & Galleries WORLD WAR I SATURDAY 2 MARCH BOULANGER 10 & 11 NOVEMBER SATURDAY 6 APRIL Huddersfield Art Gallery @KirkleesMuseums Bagshaw Museum | Batley Oakwell Hall | Birstall Find out more: bbc.co.uk/symphonyorchestra For further details: www.kirklees.gov.uk/museums

Image: Andrew Fox Neal Heppleston Double Bass Maker

We are Birmingham Contemporary Music Group, one of the world’s foremost new music ensembles. Over three decades we’ve developed the music of today for the audiences of tomorrow.

Discover concerts, workshops and more at bcmg.org.uk Heppleston Double Basses facebook.com/bcmgfans twitter.com/bcmg @bcmg www.hepplestondoublebasses.com Become a music host and join the Kirklees world class music movement ‘ground- Are you a local resident who would be interested breaking’ in renting out a spare room, flat or even an entire home during a whole host of local events and 16 – 20 Jan 2019 festivals such as Huddersfield Contemporary SoundState Music Festival and Marsden Jazz Festival? Five days of cutting-edge performances and contemporary sounds from around the world, Become a music host and give visitors a with featured artists Claire Chase, Rebecca Saunders and Du Yun. home-from-home experience, share your local knowledge and help us extend a warm Yorkshire 21 & 22 May 2019 welcome! Donnerstag aus Licht Stockhausen’s epic story of sound, movement and light returns to the UK for the fi rst time since 1985.

southbankcentre.co.uk/classical Interested? Visit www.kirklees.gov.uk/musichost HEAR AND NOW AT HCMF// 2018 Saturday nights from 10pm on BBC Radio 3 Catch festival highlights on BBC Radio’s new music show, Hear and Now. Listen live or online for 30 days after broadcast bbc.co.uk/radio3

BROADCAST DIARY

24 November (LIVE) 15 December Including music by Julius Eastman Rebecca Saunders: Yes (UKP) performed by three string quartets: Juliet Fraser (soprano) Arditti, Bozzini and Ligeti Quartets Musikfabrik conducted by Enno Poppe 01 December Plus United Instruments of Lucilin plays Nick Morrish Rarity Divertimento Ensemble plays music by Salvatore Sciarrino Ensemble Babel plays music by Christian Marclay Kluster 5 plays young Dutch composers

08 December Elaine Radigue: Occam Delta XV (UKP) Bozzini Quartet James Dillon: String Quartet no.9 (WP) Arditti Quartet Plus Mimitabu plays young Swedish composers

bbc.co.uk/radio3