Date: Tuesday 8th May
Venue: Deptford Town Hall (SE14 6AF)
Date: Tuesday 8th May
Date: Tuesday 8th May
Venue: Deptford Town Hall (SE14 6AF)
Date: Friday 26th January, 8.00pm
Venue: Iðnó (Reykyavik)
We come to new music in a lot of ways here. You’ve already been introduced to Yukiko and Lee, the two winners of our 2016 Call for Scores competition. This Saturday’s concert will also feature more than a dozen World Premieres from New Music Brighton composers – whom we collaborate with in Brighton annually. Laurence Osborn is a composer we got to know, in large part, because we saw him at a lot of concerts – ours and lots of other people’s, too. As soon as we heard his music we knew he was somebody we’d like to work with and so we’re thrilled to have commissioned a new piece from him and poet Joseph Minden: Micrographia.
In this interview Laurence discusses his life and music with our artistic director Aaron Holloway-Nahum. Both Laurence and Aaron will be at the concert this Saturday at 5pm – and the afterparty – so do come say hello if you make it down!
1. What’s happening in your life?
This evening I got back from Sainsbury’s just in time to see a mouse emerge from a box of cornflakes on the kitchen counter, so at the moment, mouse problems.
2. What’s happening in your music?
I’m writing a 90-minute opera for Mahogany Opera Group. The opera is called The Mother and it’s based on the work of a Polish playwright, painter, and prolific substance abuser called Stanisław Ignacy Witkiewicz. Witkiewicz’s work has had a huge influence on my music – particularly his theory of dramatic form, which he calls pure form. I’m interested in creating music-dramatic forms from apparently disparate or unconnected elements that hang together in the same space, so that the story of a piece or a scene is revealed in its overall composition rather than observed through linear narrative. The third act of the opera is made in this way: it comprises twenty-four very short sections intermingled with a standalone choral piece that has been cut up arbitrarily and superimposed on top of it all.
I’ve been listening to and watching a lot of things that work with this principle – Kurtag’s chamber music, and some of Peter Greenaway’s films from the ’80s. And I’m reading Infinite Jest, which does similar things. I’m also obsessed with the new Danny Brown album, Atrocity Exhibition – Danny Brown is amazing at juxtaposing different voices and sound-worlds in order to create an overarching narrative, I think. He’s a total genius.
3. Your piece is inspired by magnified images of tiny particles in substances including blue mould and urine. Are you at heart a true romantic?
Yes, I’m very soppy. But to be honest, it’s possible to get sentimental about virtually anything when it’s viewed through a microscope. The piece is based on Robert Hooke’s Micrographia, which was written in 1665, and details the author’s observations of various things through the microscope. The book contains lots of beautiful observational drawings.
Joe’s text really gets to the heart of Hooke’s love for the tiny worlds contained within everyday things, I think. The poetry is so colourful and evocative in itself that the composition of this piece came very naturally to me. Micrographia is much gentler and hazier than the stuff I usually write.
4. So what’s the first note?
It’s a chord! A cheeky little four-note chord on piano and vibes!
5. And what’s the last note?
An F natural. Not very interesting. But the last word of Joe’s poem is ‘hunger’.
6. What happens in between?
The piece is in six small movements, and each movement focusses on a different phenomenon viewed through the microscope – the point of a needle, salt crystals, urine, and so on. For me, the composition of each movement was a little game of magnification and/or reflection. So material is often magnified during a movement either through rhythmic augmentation, or the proportional widening of the intervals in particular chords, or sometimes both.
But (depending on the movement) you also find material reflected in various ways, in retrograde, inversion, and so on. There is no discernible system for this in movements 2–5. Movement 6, however, is a direct inversion of the magnification process used for movement 1. These two would probably make more sense sat next to one another, rather than at opposite sides of the piece. But also, each movement has its own specific sound-world that relates to the physical qualities of the phenomenon represented – I think the audience will be able to hear this when it’s performed.
We can’t wait to perform it! Thank you very much Laurence!
Date: Friday 20th November
Venue: Blending Shed at Bates Mill, Huddersfield
We are absolutely thrilled to make our HCMF debut with the wild and bizarre worlds of Jagoda Szmytka, Samantha Fernando & Lee Hyla. The concert includes UK premieres of Szmytka’s Game Boy and Empty Music, along with Hyla’s 30-minute retrospective My Life on the Plains. Samantha has created a new version of her piece Positive/Negative Space especially for this concert. All of the music is deeply personal & characterful, and the concert will be ‘guided’ by an audio tour created by Szmytka especially for the night.
We’re so excited to be making our London festival debut with Spitalfields Music. In this evening concert we intersperse solo movements of Bach among music by Djuro Zivkovic (2014 Grawemeyer Winner), Spanish composer Helga Arias Parra (a fourth composer chosen from our 2015 Call for Scores) and ten-year-old Marie-Louise Ptohos (our foreSOUND Young Composer of the Year).
Date: Wednesday 11th November, 1pm
Venue: Guy’s Chapel, Guy’s Hospital, London Bridge
In our 9th concert with Breathe AHR – a charity dedicated to improving health and outcomes for patients, staff and communities – three Riot musicians perform a concert of music reflecting on war & peace.
Date: Tuesday 17th November, 7.30pm
Venue: Brixton East 1871
A concert jam-packed with new music from new composers. More than 150 composers from 14 countries applied to the Riot Ensemble’s 2015 Call for Scores. Three composers – Thanasis Deligiannis, Jessica Rudman & Patricia Alessandrini were chosen by Riot’s musicians to write new works for this concert. We also perform a brand-new work by Jose Manuel Serrano (our 2015 composer-in-residence), give the UK premiere of Amy Beth Kirsten’s beguiling L’ange Pâle and premiere a virtuosic harpsichord solo from Drew Schnurr.
Date: Monday 15th June, 7pm
Venue: The Cockpit Theatre, Marylebone
A chance to see a new chamber opera in the making. As part of Rough for Opera, a scratch night for new opera hosted and curated by Second Movement, four scenes from this new opera will be presented as a work-in-progress followed by a Q&A with audience feedback.
Created by Riot Ensemble’s Artistic Director Aaron Holloway-Nahum and librettist Peter Jones, the opera will star baritone Benedict Nelson and countertenor Rupert Enticknap in the single, tragic character of Donald Crowhurst.
See a full press release here.
Date: Tuesday 14th October; 7.30pm
Venue: The Friend’s Meetinghouse in Brighton
The Riot Ensemble returns to Brighton to present an exciting array of contemporary music for various combinations of flute, clarinet and string quartet. The concert includes the world premiere of Artistic Director Aaron Holloway-Nahum’s Arrangements of Five – commissioned by Timothy Orpen with funds from the RVW Trust and Britten Pears Foundation. Other music includes the UK premiere of Augusta Read Thomas‘ Mansueto Tribute, ‘double helix’, Helen Grime’s To See the Summer Sky and an array of pieces from composers in the New Music Brighton Collective.
Today – 20th May – is the (first) culmination of our Les Citations project. Programmed in memory of Henri Dutilleux, tonight’s concert is at The Forge, and we repeat the concert tomorrow in Cambridge. Among an array of World and UK premieres, we are very pleased to be presenting Wired, by emerging English composer Chris Roe.
We first played Chris’ music on our Transatlantic Collaborations concert last year, with his fantastic saxophone solo Schism, and it was my pleasure to ask Chris a few questions about Wired – and his work in general – ahead of these performances.
Aaron HN: Hello again Chris! It’s wonderful to have you with us for the Les Citations project and thank you for your new piece, Wired. We commissioned this work for a project including Dutilleux’ Les Citations. Did his music effect/influence you at all as you composed your new piece?
Chris Roe: Thanks! It’s fantastic to work with the Riot Ensemble, and wonderful to get a chance to engage with Dutilleux’s music, which I was first introduced to while studying with Ken Hesketh (also featured in this programme). I think two of the most persistent influences on my composition have been from jazz and early 20th-Century French music, so I was immediately drawn to Dutilleux and I’m sure that he’s in there somewhere in this piece! But I think the most conscious link between Wired and Les Citations is in its ritualistic, almost obsessive quality.
AHN: This isn’t the first Riot Ensemble performance of your work, as we performed Schism last year in our Transatlantic Collaborations project. Wired is another concise title for a piece – how do you go about naming your pieces?
CR: Yes, thanks for asking me back! I usually decide on a title about half way through the writing process, and I find it always propels me forward to finish the piece. I think the title has a crystallising effect for me a this stage, and makes what can be vague ideas more concrete and ‘meaningful’ in some way. I think the directness of a short title is therefore as useful for me in writing the piece as for the audience. I don’t want the title to spell out everything, so I’m always drawn to words with more than one meaning; in this case Wired reflects the relentless, ‘caffeinated’ energy of the music, as well as the constant, unbroken thread which I tried to join through the whole piece.
AHN: The Harpsichord is a rather unusual instrument in contemporary music. Certainly not unheard of, but still generally unfamiliar. How did you go about writing for the instrument? Do you normally have a set routine around your composing?
CR: It was certainly unfamiliar to me, and one of the most challenging things at first was to work how it would sit with the rest of the instruments. I think my breakthrough came when working on the piece in a practice room at one of the schools I teach at (fortunately a student hadn’t turned up so I had a half-hour window!), and there happened to be a harpsichord sitting in the corner. It was incredibly out of tune with one key playing several strings at once, but it made me see the instrument in a different light, as more of a percussion instrument. I also find it fascinating how there is a definite attack at the start and end of the note, and the effect this can create when writing rhythmically for the instrument.
AHN: I think it would be fair to say that your music focuses on ‘musical’ parameters (pitch/rhythm/melody/form/etc…) eschewing extra-musical things such as noises (rustling paper, key-clicks, breath sounds, etc….) But composers are surrounded – both in everyday life and more and more in the repertoire – by sounds. Do they influence you and are they in any way significant for your compositional work?
CR: I don’t think I deliberately avoid extra-musical noise, but yes I think that’s fair to say that I often focus more on the conventional parameters of music. However, whilst the written music on the page it may look like completely ‘notes-based’ music, without extended techniques etc., the main impetus for this piece was the harsh, rattling sound of the low harpsichord at the start (borrowed from that faulty practice room harpsichord!). Whilst the pitches in this section are still important to me, the harmony is obscured by the low cluster chords, and we do focus more on the sound, rather than how each note leads to the next I think.
AHN: Well we’re certainly looking forward to recording and performing it over the next two days. Just before we go, tell us, what other projects are you working on/do you have coming up in 2014?
CR: I’m currently finishing work on a large chamber piece for the London Graduate Orchestra Chamber series, premiering at the Forge next month. Then my next projects are a piece for baritone, organ and cello, and a large orchestral piece for the City of Cambridge Symphony Orchestra as part of the Adopt a Composer Scheme. It’s one of my longest pieces, and I’m also incorporating electronics into the piece for the first time, so I think it’s going to be a busy summer!