A few moments with Ann Cleare

Next Thursday, 14 May, we will present the second of our two spring concerts at Goldsmiths College, London. As well as pieces by Pauline Oliveros (her almost forgotten string quartet The Wheel of Time, of which we gave the UK premiere at hcmf// last year), Clara Iannotta (Limun for violin, viola, and two page turners), and Patricia Alessandrini (her string quartet De profundis clamavi [hommage à Alban Berg]), we are very excited to be playing the world premiere of on magnetic fields by Ann Cleare in a stripped-back version for two violins and electronics.

Ann teaches at the University of York and Trinity College Dublin, but managed to find time to talk to Tim Rutherford-Johnson about magnetism, sonic sculptures, and the scarcity of arts spaces in rural Ireland.

Tim Rutherford-Johnson: I’m afraid I can’t resist starting with the pun: what attracted you to magnets?

Ann Cleare: Hah! I guess it had to do with dividing the large ensemble, which the piece was originally written for, into three smaller chamber ensembles, and then imagining ways that these ‘sonic places’ would connect. The groupings begin the piece as three, spatially separate, sonic entities, and as the piece unfolds some of their sonic language begins to ‘magnetically’ connect and bring them into dialogue. Technically, I see this ‘magnetism’ happening through harmonic and timbral structures that I have embedded in the piece.

TRJ: on magnetic fields was originally written for three chamber groups, but we will be giving the world premiere of a version of the piece for two violins and electronics. That’s quite a different setup – can you describe the relationship between the two versions? Are you compressing things, removing layers, or something else?

AC: At the centre of two of the spatially divided chamber groups lies a solo violin. I think of both solo violins as ‘electric currents’, wiry voices that magnetically charge the electricity of the ensemble that surrounds them, wrapping layers of various sonic materials around the violins, providing what I think of as an electric cloud for the evolving violin electricities to speak from. This type of expansion leads to a very densely orchestrated texture, and after hearing the large ensemble version I felt like the piece could also exist with only the solo violin lines, as they are the material from which everything else develops – that perhaps the ensembles around them comprised a type of protective layering that could be removed to reveal more.

The electronics take on the role of the third chamber group from the large ensemble piece. I refer to this in the score as ‘a box of light’, a mysterious force that has the power to intervene in the unstoppable temporal processes of the violin groups, and lead these parallel universes to moments of communication and realisation. In this new duo version, the box of light is represented by one loudspeaker placed in between the two violins.

TRJ: You often use sculpture as an analogy to how you work with sound. Can you say a little more about this – what aspects of sound are you sculpting, and how? And is a sculpture in three chamber groups different from one in two violins and electronics?

AC: Yes, I do use this analogy quite a bit! And I think it’s because composing to me feels like a shaping of sound, like a very tactile activity. Once I choose a pitch or a chord or a rhythm (perhaps, say, a raw material), I then apply dynamic, articulation, timbral, phrasing, registral details to it, in an attempt to imbue it with a strong sense of character and purpose. When I’m doing this, I feel like I have some type of physical material in my hands and I’m sculpting it until it resembles the shapes and colours that I’m thinking of.

In this vein of thinking, on magnetic fields presents three different sonic sculptures – I shaped each of these differently to create the sense of three different characters/places, though their differences allow them to build connections across these.

TRJ: Presumably the spatial arrangement of the instruments is also important? Your biography refers to an interest in ‘spatially choreographed chamber pieces’.

AC: Yes, the spatial element is important in communicating the idea of unity within groupings and the separation/distance between chamber groupings. To my thinking, my music has always been a place of invisible theatre. To many listeners it may seem completely abstract, but for me, it is a space that is alive with sonic characters and drama, and the visual spacing/choreography is an attempt to visually set this scene for an audience.

TRJ: Like a lot of composers these days you have roots in more than one country through your work and education – in your case, the US (via your PhD at Harvard University), the UK (as an associate lecturer at the University of York) and Ireland (your home country, and where you now teach at Trinity College, Dublin). How did you come to study at Harvard? Has this international perspective influenced your music, or do you even see things in those terms?

AC: The years that I spent at Harvard were a gift, and a gift that I am immensely grateful for. It was such an engaging, critical, supportive, and fun environment. Thanks to my incredibly insightful composition teachers and colleagues, my music developed in ways that I could never have predicted. The resources in the Music Department are things that most composers could only ever dream of having access to. It’s a very positive environment, from administration to professors, full of extremely bright people who want to learn and teach and share.

How this has shaped my work? I would say that the music I write now is a lot more detailed than previously. Also, the forms within my pieces have expanded in scope. I have a much more critical relationship with my work now. Sometimes I wish that I didn’t have that, but I think it will be of much benefit to me in the long run. I would say that travel of any kind is so beneficial to an artist: rather than living in an environment that you know, spending time in a country that’s not your own and even where you don’t speak the language, helps you to understand who you really are, and that can only contribute towards forming the most focused and honest artistic voice that you can.

TRJ: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?

AC: Oh … just like my dreams, the answer to this question always somehow eludes me! As soon as I think I understand it, it has become something else that I can’t fully grasp … I wrote a chamber opera a few years ago and would love to turn this into a short film – I’m currently training myself in the skills of filming, editing, and directing, so that I can build towards this, and it will hopefully happen in the next few years. And then I have dreams of creating an outdoor performance space in the rural boglands, near to where I’m from in central Ireland. As you can imagine, it’s a bit of an artistic wasteland, and few artists emerge from there. As in many countries, access to the arts badly needs to be decentralized from urban areas, and I would love to build a new type of arena to do this – one that significantly relates to place and history, so that it’s not just another concert hall, but the location itself asks for new ways of thinking about art and new ways of including community and audience within that art.

(Photo credits: Magnetic fields, Windell Oskay, CC licence; County Offaly, Douglas Pfeiffer Cardoso, CC licence)

A few moments with Molly Joyce

Our first concert of 2018 is already almost here! On Friday 12 January we perform Elliott Carter’s legendary Double Concerto for harpsichord and piano at LSO St Luke’s, with Riot members Goska Isphording and Adam Swayne in the challenging solo roles.
This will not be the only highlight of the evening, however: the concert is completed with  works by two younger American composers, Molly Joyce and Pierce Gradone. Over the Christmas holidays Tim Rutherford-Johnson spoke to Molly about her Push and Pull, a new commission from our 2017 Call for Scores, and her work in general.
Tim Rutherford-Johnson: How did you start composing? Was there a particular moment, piece or person that inspired you to begin?
Molly Joyce: I was born and raised in Pittsburgh, PA, to a non-artistic but very supportive family. Musically speaking, I initially started on the violin. However, at the age of seven I was involved in a serious car accident after which my left hand was nearly amputated. After the accident, with the incredible support of my elementary music teacher, physical therapist, and mother, I was able to figure out a way of playing the cello instead –  backwards, so fingering with the right hand and bowing with the left hand (with a splint on the bow). I was always involved with music from then, also playing trumpet (including the ever-fascinating marching band) and occasionally singing in choir. However, once I was in high school I had access to computer notation software. Looking back I think what attracted me to composing at first was that there was no immediate physical limitation, and thus I felt that I could let my imagination run free. It also helped that the notation software all seemed like a big video game to me!
TR-J: What most recently has made a big impact on you?

MJ: While I feel like my answer to this changes every day, I think what has had the greatest impact on me in the past year or so has been meeting the singer, advocate, and entrepreneur Carla Canales. I have been very fortunate to get to know her as a close friend, mentor, and collaborator, and learning from and working with her has truly helped me reimagine my practice and career as one that not only strives for artistic truth and authenticity, but also social impact and awareness. Among her many activities, she is the founder and CEO of The Canales Project, a non-profit founded to create connections through culture, which I feel provides a very conscious and organic platform for artists to address social issues.

Additionally, she has really been the first collaborator to encourage me to sing in my work, which at first was a very scary step but now has truly been life-changing for my practice and output.

TR-J: How did Push and Pull come about? And what surprised you most when you were composing it?

MJ: Lately in many of my instrumental pieces I have been trying to confront my musical ‘guilty pleasures’ head on. These pleasures range from lots of reverb and constant rhythmic pulse, to wanting to quote every Florence + The Machine song …. With my work for Riot Ensemble, I wanted to wrestle with my love of downbeats, and to try to explore what would happen if the downbeat shifts from super obvious to super subtle, and then perhaps even inaudible at the end, allowing for a ‘pushing and pulling’ of it overall.

I think what surprised me most when composing it was how nervous I was and still am about the orchestration of it. I always feel incredibly insecure about orchestration, specifically because it’s so hard for me to tell how exactly it will sound; and once I do hear the music live it can sometimes be too late to make any major changes.

 TR-J: What is your composing routine like? Do you have a dedicated space and/or particular time of day to write, for example?

MJ: My composing routine generally follows the motto ‘anywhere and everywhere … with a coffee – light Starbucks frappuccino if possible.’I almost always compose directly onto my computer, and if possible with my toy organ by my side. When I’m not travelling I generally try to compose in the morning, as I feel that’s when I’m most focused and it’s overall a great way to start my day. When I am travelling I will compose anywhere – on the plane, in the train, and so on. My favourite practice is to find a Starbucks to camp out at (preferable seat near an outlet with nice window view) and binge on light frappuccinos.

TR-J: I’m detecting a frappuccino-based theme! So what’s next on your agenda?
MJ: My next major project is my debut solo album, which will feature my own voice with what is perhaps my favourite instrument, my electric vintage toy organ. Bought on eBay about five years ago, this instrument has quickly become a primary focus in my work, not only because of the unique sound and tuning that it produces, but because it physically fits my body as a performer well due to my physically-impaired left hand.
Thus with the organ and the music I compose for it, I aim to engage and challenge my impairment, an act which I hope will allow for a true ‘breaking and entering’ of my body to a realm beyond ability in and of itself. The album is not concerned with the functional or dysfunctional, but rather all the in-betweens and multitudes of possibilities that emerge from such a source.
TR-J: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?

MJ: Along the lines of the previous question: right now my fantasy piece would at least involve myself singing and performing on the organ, most likely in a very resonant church or similar venue as I very much love reverb. I would also envision this as perhaps a collaboration with a lighting and/or projection designer, to add to the theatrics of the work and performance space.

And for the encore a huge dance party would immediately follow.
TR-J: Good times! I’m fascinated too to hear what comes out of your explorations of physical impairment. Thank you for your time, Molly, and we look forward to giving the first performance of Push and Pull.

A few moments with Pierce Gradone

Our first concert of 2018 is already almost here! On Friday 12 January we perform Elliott Carter’s legendary Double Concerto for harpsichord and piano at LSO St Luke’s, with Riot members Goska Isphording and Adam Swayne in the challenging solo roles.
This will not be the only highlight of the evening, however: the concert is completed with  works by two younger American composers, Molly Joyce and Pierce Gradone. Over the Christmas holidays Tim Rutherford-Johnson spoke to Pierce about his To Paint Their Madness, which will receive its UK premiere, and his work in general.

Tim Rutherford-Johnson: How did you start composing? Was there a particular moment, piece or person that inspired you to begin writing music?
Pierce Gradone: I started music as a bassist, mostly playing in church and in bluegrass and rock bands in the rural Appalachia region in the US. My composing, or at least some version of it, began when I was around nine years old. I heard Elton John’s ‘Benny and the Jets‘ on the radio, and since I had no money to buy a record, I tried to recreate it on my family’s upright piano. Having figured the song out, I began to realize that I could manipulate the chords and rhythms to my liking, thus beginning a brief tenure writing pop tunes at the piano. As I grew older, I began to listen to more and more classical music, but it was mostly limited to that of the eighteenth and nineteenth centuries. This changed when I was about 18. I spotted an album with an intriguing cover and a name I’d only vaguely heard before: Béla Bartók. It was Edith Farnadi and Hermann Scherchen’s recording of the Second Piano Concerto, and I’ll never forget the moment I heard that opening movement, as two things occurred to me: first, I was ecstatic to discover that music like this existed at all; second, I knew that I wanted to be a part of it. That’s when I began to seriously explore contemporary music and composition.
TR-J: What most recently has made a big impact on you?
PG: At a recent festival, I was introduced to the music of Hanna Eimermacher, a composer living and working in Berlin. Her works are intensely theatrical and ritualistic, but somehow manage to marry a striking sense of mise-en-scène with an equally compelling sound world. For me, her music reaffirmed the importance of performance and performing bodies, especially in a musical economy so heavily weighted toward creating the perfect aural document. I would particularly recommend Luftpost and In Vivo.
TR-J: How did To Paint Their Madness come about? And what surprised you most when you were composing it?
PG: To Paint Their Madness was commissioned by the Fromm Foundation at Harvard University for Ensemble Dal Niente, a group I had worked with in the past, and whose members had become colleagues and friends. In short, I wanted the piece to be about the people playing it, so I decided to thematize the experience of performance in the piece itself. The title is taken from a passage of Denis Diderot’s Le Paradoxe sur la comedien, in which he argues that the greatest actors feel no true emotion on the stage, but instead create a reproducible copy. Thus, I thematize this sense of artifice through musical pantomime, in which players looks like they should be creating sound, but are in fact making none whatsoever, creating a kind of paradox within the performance, These moments recur throughout the piece, but culminate in the final measures, where the entire ensemble has taken to pantomiming musical gestures, but creating only a shadow of sound.
I think I was most surprised by how quickly I was able to write it – about one month!
TR-J: What is your composing routine like? Do you have a dedicated space and/or particular time of day to write, for example?
PG: My routine often varies, with the one constant being coffee and interruptions to walk my dog. I usually sketch on paper or by recording myself playing the piano or bass, and vocalizing figures and sounds that don’t translate well to traditional notation. I then do a kind of rough analysis of my material, trying to find new connections between seemingly disparate ideas. After that, I usually compose and engrave at the same time. Since my composing process involves a lot of revision, I find that I waste less paper and time by simply working directly into Finale and avoiding the playback button at all costs. I often have to get started in the morning, and ideally work for about 6-8 hours when I’m not teaching. I often work in my home office, with my beagle-basset hound, Marlon, sitting beside me and providing a nice accompaniment of howling at passing police sirens. What I like about the space is the sense of organization and purpose that comes with sitting at a desk to work, especially if it’s a nice day and the windows are open. Some composers may hate this, but I love being surrounded by the sounds of an urban environment (Chicago, where I live), so much so that I’ve actually created harmonies in my pieces based on a pitch I happened to hear outside.
TR-J: What’s coming up next for you?
PG: I’m currently writing a concerto for trombone and ensemble for my dear friend Steve Parker (based in Texas) and Ensemble Dal Niente. Farther on the horizon are pieces for saxophone/electronics, orchestra, and viola, flute and harp trio.
TR-J: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?
PG: My dream project would be an operatic adaptation of China Mieville’s Embassytown, a fantastic novel that deals with linguistics, colonialism, and the nature of truth. A unique quality of several characters in Mieville’s novel would require that some parts be sung by two singers simultaneously, creating a really fascinating musical premise. I imagine it would be for chamber orchestra, with a much larger cast of singers and some electronic components as well. It’d be premiered at any opera house willing to spend a fortune on costumes!
TR-J: Sounds fantastic! Let’s hope we have a chance to see it happen one day … Thanks Pierce, and we look forward to playing To Paint Their Madness later this week.

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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A few moments with Mirela Ivičević

On Saturday, we will be at St Nicholas’ Church in Brighton, giving the world premiere of Baby Magnify/Lilith’s New Toy by the Croatian composer Mirela Ivičević, one of our 2017 call for scores commissions. (Also on the programme: another call for scores commission by Sylvain Marty.) This week Mirela took some time out of her busy travelling schedule to answer a few questions from us about her work.

Mirela Ivečivić

Tim Rutherford-Johnson: Hi Mirela – thank you for speaking to us! Your piece Baby Magnify/Lilith’s New Toy has a really intriguing title that raises a lot of questions. To start us off, can you tell us what it means?

Mirela Ivičević: Thank you! The piece follows the contours of the Magnum Opus, the alchemical process of working with starting material to create the so-called philosopher’s stone, which according to Carl Jung corresponds to the transformative process of the psyche.

Originally, the Magnum Opus had four main stages: nigredo or blackening, a phase of chaos, shadow, of ‘massa confusa’; albedo or whitening, washing away of impurities; citrinitas or yellowing, ‘transmutation of silver into gold’, or symbolically, accumulation of wisdom based on previous experience; and finally rubedo or reddening, the wholeness, the phase in which the material (or a person) achieves their maximum potential. I believe these stages will be pretty identifiable in the piece.

It’s a ‘baby’ because it’s only about eight minutes long and because it is my first ensemble piece exploiting this concept consciously.

And the Lilith archetype is always around my pieces as a hidden narrative. Her seemingly frightening and uncompromising character and undisputable power comes closest to the energy of those strong women creators I am happy to see more and more in field of composition nowadays. In this piece Lilith is a baby, playing somewhat carelessly yet curiously with raw material to make sonic magic.

TR-J: Previous pieces of yours have confronted big themes. Sometimes in quite an ironic fashion, as in your musical heritage in Phantom no. 3 and the problem of CVs and musical biographies in Orgy of References. In others, you address more serious issues of diversity, co-existence and violent oppression. Can we expect anything similar in Baby Magnify/Lilith’s New Toy?

MI: Actually, Baby Magnify is one of a few pieces of mine whose direct background is of a non-political, ‘timeless’ nature. The way the composition is structured on a macro and even more on micro level I think still shows my ongoing fascination with trying to find a way for diversities to creatively coexist in a shared space. This is always a conscious, politically inspired choice, although it is probably rooted in my subconsciousness as well, being raised a multicultural family in a multicultural patchwork country. It also simply feels right.

TR-J: You were born in Croatia but now you live in Vienna. When did you move to Austria, and what encouraged you to move?

MI: I live kind of nomadically at the moment, mostly between my hometown of Split, Zagreb and Vienna, which I guess is not unusual for a musician nowadays. I moved to Vienna originally because I wanted to broaden my knowledge in electroacoustics as well as in composing for various media, as well as simply to move and experience the world from another point of view. It’s something which I’d recommend to any artist, there’s nothing more crucial and more rewarding then setting yourself into unknown, physically or metaphorically.

Vienna is an inspiring place and still one of the most artists-friendly cities in Europe. And it’s also reasonably close to the Mediterranean, without whom I wouldn’t want to live!

TR-J: In your biography you mention that your music makes use of the ‘side-products of media-dominated reality’. Can you explain what you mean by this? Will we hear any of these elements in your Riot commission?

MI: It means that rather then escaping the everyday sounds I get exposed to through various media, I use them as my starting material. I said ‘side-products’ as a polite alternative to trash. They are not always trash: some I find valuable as they are, but often I also use sounds I don’t value or whose original context or source affects me negatively. Sometimes I work deliberately with the sounds and their respective contexts, and such pieces are more theatrical. Sometimes though, as in case of Riot commission where I used, among other things, various human breathing gestures, I exploit them more hermetically: they are just a source of basic material from which to create something contextually independent.

TR-J: Your music is full of exciting and original sounds. How do you discover them? Do you experiment with the instruments, talk to players, or collect them from other pieces you’ve heard?

MI: I enjoy getting my hands ‘dirty’, so I have a bunch of different instruments I bought cheap on the flea-market. It is also a huge advantage that I’m a part of Black Page Orchestra, with absolutely amazing, adventurous musician friends with whom to discuss any idea I might have.

Ideally, I love writing not for mere instruments, but for musicians’ personalities. Working closely with a fellow musician, getting to know their character, preferences and even hidden talents opens so many additional possibilities, makes me more adventurous in terms of trying out new things and usually produces my best works.

But then again, sometimes it happens that you compose for people you haven’t yet met, and they sweep you off your feet with the magic they do with your score. Like a soulmate you first meet on Facebook.

TR-J: Now that you’ve finished this piece for us, what is next on your agenda?

MI: I’m currently working on an electronic solo set for a November festival of experimental music Sine Linea in Greta Gallery in Zagreb, a new piece for piano, electronics and video for pianist Alfredo Ovalles, and a theatre piece for children commissioned by the Jeunesse Austria to be premiered at the Mozarthaus in Vienna in April. The last one I am especially looking forward to because it approaches the youngest audience while dealing with a very sensitive, very personal and – unfortunately for a lot of kids – very current theme of exile and trying to find a place for oneself in a new, foreign land.

Another project coming up that I’m very excited about is new piece for percussion and solar panels. Friends of mine, the Croatian artists’ duo Lightune.G discovered a way to translate light into sound using solar panels – what they call luminoacoustics. I’ve already tried it out in a piece I made for them and percussionist Kaja Farszky last year, and it was an amazing experience that I can’t wait to continue. After that a new piece for Black Page Orchestra and music for Peter Tscherkassky’s experimental movie Dreamwork with Ensemble Nikel.

TR-J: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?

MI: I love diversity, I love depths, I love noise, and I love bringing together extremes, so I guess it would be an ensemble of lots of different bass and soprano instruments, electronics, solar panels, probably also a skilful soprano/actress for some word play. And the dream venue for the premiere: definitely the abandoned submarine port from the Yugoslav era in Rogačić bay on the island Vis, one of the places I like to call home. At night, with the audience listening from boats on the sea. But of course, this is just a dreamy frame: what’s always more important is what a composer would fill this frame with.

TR-J: Sounds like a beautiful concept! Maybe one day … Until then, we look forward to playing Baby Magnify/Lilith’s New Toy in Brighton. Thank you, Mirela.

A few moments with Sylvain Marty

On Saturday, we will be at St Nicholas’ Church in Brighton, giving the world premiere of Block Mouvementa by the French composer Sylvain Marty, one of our 2017 call for scores commissions. (Also on the programme: another call for scores commission by Mirela Ivičević.) Sylvain is currently very busy with pressing compositional deadlines, but he managed to find time to answer a few questions from us.

Photo du 60128790-08- à 16.42

Tim Rutherford-Johnson: Hi Sylvain! Thank you for taking the time to speak to us. The piece you have written for us is called Block Mouvement. Can you tell us a little about the inspiration behind it?

Sylvain Marty: The title reveals a precise place (and moment) in the compositional architecture. This is a moment when the ‘musical flow’ is circumscribed in blocks or fragments, and when I am able to consider complex textures differently.

TR-J: Many of your pieces, including Block Mouvement, I think, use loops as a way of extending and developing your material. But your music is not in any way ‘minimalist’. Can you say a little about what you like about loops, and about how you use them?

SM: Even if it is present in several pieces, loops are not fundamental to my work (in fact they disappear quite quickly). I use them to create a sensation of the persistence of the cell, generating materials and vectors of movement. However, I love working with the ideas of groove and echo, which allow me to use repeating cells.

TR-J: Your work often uses quite ‘dry’ sounds. You have described these as having a ‘tragic’ quality. Can you explain what you mean by this description?

SM: It was a director friend who spoke of tragic sounds in some passages of my pieces. That may be true. In any case, even when I study a sound analytically – when I study its spectrum, its typology – I don’t exhaust its expressive content. Sounds, when they appear in an effective composition, are presented as irreducible entities. What we experience is their unveiling.

TR-J: Do other types of sound have emotional qualities like this for you? Can you give some examples?

SM: I don’t think there is an a priori emotional quality to a sound. It is the composer who contextualizes the sound in an organizing network and gives it expressive power.

TR-J: Both new commissions in this concert were commissioned to be performed alongside Ayre by Chaya Czernowin. Was this work in your mind at all when you were composing?

SM: Chaya Czernowin is a very great composer, and when I learnt this I was first afraid that my piece would appear weak next to Ayre. But soon I forgot this fact, I just composed as I often do: Continue my musical path. I try to do a good job while taking risks.

TR-J: Now that you’ve finished this piece for us, what is next on your agenda?

SM: It’s not yet official – I don’t know if I can say …

TR-J: Finally, if you could choose anything, what would be your dream line-up of instruments and/or voices to write for? And where would you like the premiere of this fantasy piece to take place?

SM: I would like to write for a ensemble in which all the families of instruments are present – 14 instruments seems good to me! Where? In a place where the sound of the hall is good, the audience is curious and where the academic spirit is not too heavy. There are lots of possibilities!

TR-J: Thank you very much for your time, Sylvain – we look forward to performing your piece!

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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