Percussion Plus 2018.02.14 - 2018.02.18 Gender & Regrowth Program Welcome to Percussion Plus 2018! We, and our schools KMH and SMI, wish you a great visit here in Stock- holm experiencing new music, new relationships and the joy of meeting with old friends. Thank you Elina Edblom, Cecilia Österholm, Per Sjöberg, Anna Maria Koziomtzis, Cattis Eriksson and Ian Plaude for having made this possible. Saturday -Let’s get started! KMH invites for lunch and dinner 09:30 - 10:15 KMH, Nathan Milstein- salen Joakim Anterot & Anders Holdar Hans-Kristian Kjos Sörensen – clinic 10:30 - 11:30 KMH, Kungasalen Sabela Castro Rodríguez - solo recital 11:30 - 13:00 KMH, Erling-Pers- sonatriet Lunch 13:00 - 14:00 KMH, Kungasalen Wednesday Tampere Conservatory/TAMK concert 16.00 KMH, Entrance Hall 14:3015:15 KMH, Nathan Milstein- Registration teachers salen 18.00 KMH, Entrance Hall 1E102 Sisu/PERCelle - clinic Welcome Meeting, we look at the 16:0017:00 KMH, Kungasalen new house. Time for dinner and Se-Mi Hwang – solo recital getting together 17:3018:15 KMH, Nathan Milstein- Friday salen SMI day Vambola Krigul - clinic 10:00 - 11:00 SMI 18:1520:00 KMH, Erling-Pers- sonatriet Det Jyske Musikkonservatorium Dinner Thursday 11:30 - 12.15 SMI Teachers day 20:00 - 21:30 KMH, Kungasalen Henrik Larsen – clinic 9.30 KMH, Entrance Hall Final Concert Gathering 14:00 - 15.00 SMI RDAM och Percurama Percussion 10.00 KMH, Room 1D221 Ensemble Presentation 16:00 - 17:00 SMI 10.30 KMH, Room 1D221 SISU Percussion Gender – A no problem? 20:00 - 21:00 Musikaliska Sunday 12.30 KMH Djentophonic Ensemble (entré Concert day in collaboration with Time for lunch 100 SEK for festival participants) SPiS 14.00 KMH, Room 1E207 (Percussion Teachers in Sweden) Regrowth & the Future of the Festival. Sigrun Rogstad Gomnäs 10:00 - 11:00 KMH, Kungasalen & Fredrik Engdahl Sunday Concert 1 16.00 KMH, Entrance Hall 11:30 - 12:15 KMH, Nathan Registration students Milsteinsalen Hwang Se-Mi – clinic 18:00 KMH, Erling Perssonatriet Welcome drink 12:30 - 13:30 KMH, Kungasalen Sunday Concert 2 19:00 KMH, Kungasalen The Great Opening Concert 15:00 - 16:00 KMH, Kungasalen Sunday Concert 3 Thursday The Great Opening Norwegian Academy of Music Concert Ylva Rian Bråthen, Nora Sjøgren, Simen Brenden, Åsmund Moen, Alexander Long 19:00 Kungasalen Krogh, Kristo©er Almås Artistic leaders: Tomas Nilsson and Rob Music Schools in Stockholm: Väsby- Waring Saturday taiokon KMH invites for lunch and dinner Teachers: Maria Olsson, Jesper Lagström, Mark Cement Pollard 09:30 - 10:15 KMH, Nathan Milstein- Jacob Johannesson, Jon Skäre salen The Heavenly Muzak Machine, Hans-Kristian Kjos Sörensen – clinic mov. 2 10:30 - 11:30 KMH, Kungasalen Speech by Sabela Castro Rodríguez - solo recital Cecilia Rydinger Alin 11:30 - 13:00 KMH, Erling-Pers- Vice-Chancellor of KMH The Royal Danish Academy of Music, sonatriet Copenhagen Lunch 13:00 - 14:00 KMH, Kungasalen Speech by Anders Kann Elten, marimba Tampere Conservatory/TAMK concert Anna Maria Koziomtzis 14:3015:15 KMH, Nathan Milstein- Head of Department for classical music Domenico Scarlatti salen Sisu/PERCelle - clinic Sonata K1, K98, K198 16:0017:00 KMH, Kungasalen Royal College of Music in Stockholm Se-Mi Hwang – solo recital Andreas Nyström, Simon Tykesson, Simon 17:3018:15 KMH, Nathan Milstein- Landqvist, Henrik Wassenius, Rikard Johann Sebastian Bach salen Markstedt, Pau Villa, Eric Lennartsson, Alek- Prelude & Fugue sander Raknes Ulriksen Vambola Krigul - clinic in C minor from 18:1520:00 KMH, Erling-Pers- sonatriet Artistic leaders: Daniel Berg and Joakim ‘The Well-Tempered Dinner Anterot Clavier’ 20:00 - 21:30 KMH, Kungasalen Anders Kann Elten Final Concert Torbjörn Ivan Lundqvist Nicola Paganini, arr. J.Bridger: SISU (12’) Caprice no. 24 Estonian Academy of Music and Theatre Ivo Lain, Kaspar Ernesaks, Norwegian Academy of Music Karl-Johan Kullerkupp Artistic leader: Vambola Krigul Minoru Kobashi AHun, mov.2 (8’) Helena Tulve Ma kuulsin sind Intermission laulmas (I heard you singing) (14’) Sibelius Academy Royal College of Music in Stockholm Aino Nisula, Elmeri Uusikorppi, Henri Sak- Nebojsa Jovan Zivkovic ki, Jerry Piipponen, Karl Lattikas, Tiia Toivo- nen, Touko Leinonen, Valter Witick, Joanne Uneven Souls (18’) Chiang soloist: Alexander Raknes Ulriksen Artistic leaders: Antti Rislaki and Tim Ferchen Torbjörn Iwan Lundquist was a famous composer for ªilm and TV. SISU, written for Johanna Magdalena Beyer the Stockholm Percussion Ensemble 1976, (1888´1944) is one of the Swedish standard pieces for Percussion (12’) percussion. Ida Fahl, one of the new generation young Swedish composers, wrote the Meditation á deaux 2017 for the the percussion group Norwegian Academy of Music Rhythm Art Duo. Uneven Souls, composed 1992 by Nebojsa Minoru Miki Jovan Zivkovic, was commissioned by is a Toh (6’) piece whose title reªlects the character of the Slavic people from the Balkans and their soloists: Nora SjøgrenYlva, Bråten Rian ”uneven” souls. Mark Cement Pollard Helena Tulve is one on the most renowned Estonian contemporary composers. Her The Heavenly Muzak Machine, music is mostly described to have medita- mov. 4 tive time ªlow, sound and structural coher- ence as central agents. It also has impulses from Oriental culture, Gregorian chant and Royal College of Music in Stockholm European avant-garde music. This piece is inspired by text by Estonian writer Tõnu Õn- nepalu - poetry blog, where he shares his Ida Fahl thoughts and feelings about Estonian nature Meditation á deaux (5’) and the constant change of seasons. Eric Lennartsson, Daniel Berg The Heavenly Muzak Machine by Mark Clement Pollard (b. 1957) is a work in 6 movements that was commissioned and premiered by Speak Percussion (Melbourne). Norwegian Academy of Music The composer says: ”it is inspired by heav- Mark Cement Pollard enly sounds and the sacred and sometimes machine like ritual of performance”. Three of The Heavenly Muzak Machine, the six movements will be performed, scat- mov. 6 tered throughout the program. Minoru Miki (b. 1930) composed Toh in 1967. It is part of a series of works which are heavi- ly inªluenced by traditional Japanese culture. The wood and skin instruments refer to the musical tradition of the Noh theater, a form Estonian Academy of Music and Theatre of classical musical drama that has been performed in Japan since the 14th century. In AHun, for ªive timpanists, Minoru Kobashi (b. 1928) speciªies precise choreography of gesture and arm movement and many vo- cal e©ects are incorporated. The piece was composed in 1975. Composer and pianist Johanna Beyer stud- ied with Henry Cowell, Charles Seeger, Ruth Crawford Seeger and Dane Rudhyar. Beyer composed eight percussion ensembles be- tween 1931 and 1943 and many of her works reªlect their ultra-modernist aesthetic. Per- cussion from 1935 consists of 5 short move- ments. Beyer was one of the ªirst composers to use non-speciªied instrumentation, so the work has the possibility to use an in- ªinite combination of color. The pieces are by modern standards extremely simple in terms of technique, but use, possibly for the ªirst time in percussion music, accelerandos and ritenutos creating a constantly undulat- Norwegian Academy of Music ing current of rhythm. Royal College of Music in Stockholm Royal Academy of Music Aarhus/Aalborg, Denmark Sibelius Academy Friday between letters and sound, text and music, Det Jyske one language and another. Musikkonservatorium Loïc Destremau (b. 1992) is a French-Danish composer based in Aarhus, working in the 10.00 SMI space of instrumental and multi-media mu- sic in constellations from solo-performers to Royal Academy of Music Aarhus/Aalborg, larger ensembles. The last years’ production Denmark includes explorations in ªields such as au- Jonas Weitling, Ninna Morsing, Maria Rul- dio-visual perception, extended instrumen- lestad Teigen, Marius Paschke, Eppu Hi- tal physiology, distorted folk music and lin- etelahti, Carl David Österberg. go-musical semantics & phonetics. Artistic leader: Henrik Larsen Laura Bowler Mansoor Hosseini One point (20’) (Scandinavian Co¦ee Time (4’) Premiere) Co­ee Time, composed in 2010, was pre- Soloist- Henrik Knarborg Larsen miered at Teatro Galileo by Neopercusion. One point is a collaboration between per- It is a theatrical piece played with cups, cussionist, Henrik Knarborg Larsen, and spoons, sugar, co©ee machine and a table, British composer, Laura Bowler. This new preferably ampliªied. It was originally com- 20 minute chamber percussion concerto posed as a semi-improvised piece as part draws it’s central ideas from Henrik’s re- of a longer music show, composed for his search into the application of Kí Aikido prac- own group, the Themus Ensemble in Goth- tice to his practice as a Percussionist. This enburg, Sweden. work aims to magnify the implications of this Mansoor Hosseini, a Swedish avant-garde research physically and musically through composer, studied composition at Paris Mu- an overtly physical work enhanced through sic Conservatory, the Royal Music Conserv- the use of video and vocal ampliªication. The atory of Brussels and at Gothenburg Music work will seamlessly incorporate the physi- Conservatory. He also studied ªilm music at cal movement from Henrik’s Aikido practice Gothenburg University and script writing at into the musical language for the work. His Gothenburg ªilm University. Many of his art set up is purposely written to magnify these ªilms are about composers such as Witold elements, with an Aluphone placed central- Lutosławski (Letter To L.) and Giacinto Scelsi ly between two orchestral bass drums and (UFO, Unidentiªied Flashing Oscillations). gongs; these opposing instruments are then used as a way to choreograph the move- Loïc Destremeau ment of Aikido into the musical material that moves from one side to the other. Typed-Tex-Tile (10’) The overall work explores the state of “the (§irst performance) correct mind and the confused mind” as documented in Takuan Soho’s, The Unfet- 2 percussionists, video & elektronics tered Mind.