COMA Fest: Side by Side

Date: Saturday 3rd March | 8pm
Venue: The Chapel, University of Chichester, (PO19 6PE)

A collaborative concert where we perform alongside COMA members in Louis Andriessen’s Workers Union and Drew Baker’s Nox.  You can use this form to register with COMA, and perform alongside us!

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COMA Fest: Riot!

Date: Sunday 4th March | 4.30pm
Venue: The Chapel, University of Chichester, (PO19 6PE)

We’ll take the stage to give performances to Louis Andriessen’s Zliver and Mirela Ivičević’s Baby Magnify/Lilith’s New Toy, before we’re joined by members of COMA for a new work by Nigel Osborne.  You can use this form to register with COMA, and perform alongside us!

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A few moments with Bára Gísladóttir

We’re in Reykjavík today, and ready to make our Icelandic debut at Dark Music Days with music in our ‘Approaching Dutilleux’ project, built around his chamber masterwork Les Citations.  This concert features a new addition to the repertoire from Icelandic composer Bára Gísladóttir.  Bára is en route to Iceland to work with us today, but Aaron Holloway-Nahum caught up with her earlier to ask her about her new work Seven heavens (of different heights (and depths)), and her work in general.

 

Aaron Holloway-Nahum: You’ve written us a new pieced called Seven heavens (of different heights (and depths)). Could you tell us a little bit about the inspiration behind it?

Bára Gísladóttir: The piece deals with seven layers of different dimensions, both time-wise and texture-wise – that is – both vertical and horizontal (and everything between those).

AHN: In addition to composing, you play the double bass. This new piece includes double bass. Do you ever perform in your own compositions?

BG: Yes, I do! I mainly perform my music solo, but have also performed some of my compositions with different ensembles.

AHN: We’ve been enjoying listening to your new album, Mass for Some in which you play double bass and sing.  Can you tell us a bit about your work as a performer, and how it influences your compositions?

BG: I think I am a much more diverse performer than composer, and enjoy performing various types of new and old music. Performing my own music vs. others’ is something I experience as two very different things, mostly because I feel more freedom and a stronger link towards my own stuff. It is simply more personal.

I think the most characteristic influence when it comes to my compositional approach as a performer is that I’m constantly occupied with the performer while composing – somehow automatically leading to effects of motion and breath. I guess one could say that I compose “through” the performer most of the time. However, the same applies to my compositions as performing, writing for others vs. myself is something quite different – primarily I try to be more clear when it comes to writing for others, I take more time to considerate every little detail. When I compose for myself, I don’t spend too much time on expressing details, i.e. via notation, since I already know what I want. Hence, I’m not sure if the music I write for myself is on a sufficient format for others to perform.

AHN: We first came into contact at Nordic Music Days in 2017, where we played Suzuki Baleno, a work with a strong autobiographical inspiration. Do many of your works take events and/or memories as starting points?

BG: Actually, I think Suzuki Baleno is my only piece that is built on a truly autobiographical experience. Mostly, I build my pieces on ideas about space, mass and layers. I always try to find every possible aspect of an idea/word/event and try to place all of those aspects into an overall unity, that becomes a musical piece.

AHN: Now that you’ve finished this piece for us, what’s next?

BG: I’m working on a piece for solo saxophone, string quintet and three percussionists, commissioned by my friend Anja Nedremo, a Norwegian superhuman and outstanding saxophonist. The piece is called Yung Leo, and is built on young love, Prokofiev’s Romeo and Juliet, young Leonardo DiCaprio, lions, the zodiac sign Leo, thugs, Yung Lean, milestones and more.

AHN: We certainly look forward to hearing that, and to seeing you in Iceland!

BG: Thanks so much for the questions, can’t wait to work with you very soon!

Seven Heavens: Dark Music Days, Iceland

Date: Friday 26th January, 8.00pm
Venue: Iðnó (Reykyavik) 

Riot Ensemble makes our Icelandic Debut at Myrkir Músíkdagar (Dark Music Days) with a new work by Icelandic composer (and performer) Bára Gísladottír for the same forces as Henri Dutilleux’s chamber masterpiece Les Citations.  Riot will also give Icelandic premieres to works for the same forces from Arlene Sierra, Jose Manuel Serrano and Chris Roe, along with the European Premiere of Aaron Holloway-Nahum’s Like a Memory of Birds.

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Carter Double Concerto

Date: Friday 12th January, 8.00pm
Venue: LSO St. Luke’s (EC1V 9NG)

We’re hugely excited to kick off 2018 with a rare performance of Elliott Carter’s masterful Double Concerto, with Riot soloists Adam Swayne (Piano) and Goska Isphording (Harpsichord).  Carter’s work will be placed alongside two varied emerging American composers.  Molly Joyce, one of seven composers chosen in our 2017 Call for Scores will have a world premiere of a new work in this concert, and we will give the UK Premiere of Pierce Gradone’s To Paint Their Madness.  The concert will last an hour and will be followed by a drinks reception with the artists and composers.

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Ayre: BBC Radio 3 Open Ear

Date: Saturday 11th November, 7.30pm
Venue: Broadcast on BBC Radio 3, Live from LSO St. Luke’s (EC1V 9NG)

As part of the regular BBC Radio 3 programme Open Ear, we perform the London premiere of Ayre: Towed through plumes, thicket, asphalt, sawdust and hazardous air I shall not forget the sound of by Chaya Czernowin next two Clara Iannotta’s The people here go mad, they blame the wind and Mirela Ivičević’s Baby Magnify/Lilith’s New Toy – one of our 2017 Call for Scores commissions.

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Mix Tape

Date: Saturday 25th November, 10pm
Venue: Bates Mill Blending Shed (HD1 3ER)

As part of hcmf//’s 40th Anniversary Festival, we’re bringing two Pauline Oliveros pieces to their closing weekend ‘mix-tape’.  We continue our ongoing interpretations of Pauline’s text scores, with Sarah Dacey’s performance of The autobiography of Lady Steinway (which we gave the UK premiere of earlier this year) alongside one of Pauline’s most rarely performed pieces: The Wheel of Time, for string quartet and tape.  We tracked down the tape part via the Kronos Quartet, and we’re really grateful to them for sharing the performance material with us for this performance!
This concert is produced as part of the Arts Council England International Showcase.

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Ctrl

Date: Friday 24th November, 7pm
Venue: St. Paul’s Hall (HD1 3DH)

We’re hugely excited to return to hcmf// for the 40th Anniversary Festival with a programme exploring gender and identity in 2017.  Laurence Osborn’s Ctrl – (commissioned with funding from the Arts Council and PRSF) written on the theme of the crisis of masculinity and the persistence of outdated and oppressive notions of manliness, as highlighted in the writing of Grayson Perry – is placed alongside searing and searching works by Katherine Young, Nikolet Burzynska (a joint Riot Ensemble and HCMF commission via our 2017 Call for Scores) and Stephanie Haensler.
This concert is produced as part of the Arts Council England International Showcase; supported by the Swiss Arts Council Pro Helvetia; also supported by the Adam Mickiewicz Institute as part of the Polska Music Programme

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