On Magnetic Fields

Date: Thursday 14th June, 2018
Time: 8pm
Venue: Great Hall, Goldsmiths (SE14 6NW)

In our second 2018 performance at Goldsmiths we perform music with electronics by Ann Cleare (On Magnetic Fields), Patricia Alessandrini (De profundis clamavi [hommage à Alban Berg]) and Pauline Oliveros (Wheel of Time)

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Arrangements of Five

Date: Tuesday 8th May
Time: 8pm
Venue: Deptford Town Hall (SE14 6AF)

In the first of two 2018 concerts at Goldsmiths University, SIX Riot Ensemble performers arrange themselves in various groupings in the music of Patricia Alessandrini (Hommage à Purcell), Morton Feldman (The Viola in My Life), Matthias Pintscher (Janusgesicht) and Aaron Holloway-Nahum (Arrangements of Five).

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Tampere Biennale: My Life on the Plains

Date: Wed 11th April, 2018
Time: 7pm
Venue: Pakkahuone, Finland

Riot Ensemble travels to the Tampere Biennale with Lee Hyla’s masterwork My Life on the Plains, alongside Daniel Kidane’s Inner Voices (co-commissioned with Sound and Music in 2015) and Freya Waley-Cohen’s live score for Joris Iven’s 1929 film, Regen.

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Helsingborg Commissions

Date: Saturday 14th April, 2018
Venue: Dunkers Kulturhus, Helsingborg, Sweden

As part of our 2017 Nordic Music Days residency, and in conjunction with our 2017 Call for Scores, we have co-commissioned six new pieces which we will premiere in Helsingborg.  The composers of the new works are Asta Hyvärinen, Donghoon Shin, Georgia Rodgers, Ansgar Beste, Aaron Einbond, and Marcela Lucatelli.

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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!

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.