London’s leading season-long series for new and experimental music, Kammer Klang, has announced its programme for the coming year. Once again, it looks a doozy, with musicians from all over the new music map – from Tuvan throat singer Ayan-ool Sam to modern composition stalwarts Michael Cox and Enno Senft – spread across nine events between now and June.
Here’s a full list; for more details see the Kammer Klang website.
26th-30th September 2016
Miles Cooper Seaton + friends residency in the Oto Project Space
Open studio daily, with free evening events to be announced
4th October 2016
Miles Cooper Seaton + ensemble (UK premiere)
Distractfold performs Liza Lim, Mauricio Pauly (UK premiere), Sam Salem (UK premiere)
Fresh Klang Martyna Poznańska
1st November 2016
12 Ensemble performs Alex Hills (world premiere), Ruth Crawford Seeger
13th December 2016
Presented by Kammer Klang in association with London Sinfonietta
Evol performs Hanne Darboven
Enno Senft (London Sinfonietta) performs Hanne Darboven
Michael Cox (London Sinfonietta) performs Samantha Fernando, Brian Ferneyhough, Kaija Saariaho, Georg Philip Telemann
7th February 2017
Christine Sun Kim
Plus-Minus Ensemble performs Cassandra Miller (world premiere)
Juliet Fraser performs Cassandra Miller (world premiere)
7th March 2017
Phaedra Ensemble performs Leo Chadburn
Plus special guests to be announced
4th April 2017
We Spoke presents Living Instruments (UK premiere)
Explore Ensemble performs Gerard Grisey, Fausto Romitelli
2nd May 2017
Scenatet performs Matt Rogers & Sally O’Reilly (world premiere)
6th June 2017
Apartment House performs Henning Christiansen (UK premiere)
Plus special guests to be announced
Manchester’s Kranichsteiner Musikpreis-winning ensemble Distractfold will be in London this Tuesday, playing at Swedenborg Hall, 20 Bloomsbury Way, WC1A. The programme looks fantastic:
Hanna Hartman (SWE), Borderlines, for violin and 2 object operators
Christian Winthers Christensen (DK), Trio
Daniel Blinkhorn (AU), frostbYte – wildflower, for loudspeakers
Steven Takasugi (US), Letters From Prison, for loudspeakers
Mauricio Pauly, Sky Destroys Dog, for electric guitar
Sam Salem, New Work, for 2 object operators, tape & video
If you can make it, I suggest you do. Tickets are £10 on the door or £7 advance booking and concessions.
Here’s a video of the group playing in Manchester earlier this year:
I loved Michael Oesterle’s all words when I first heard EXAUDI sing it last year, so I was delighted today to chance upon a recording from that concert on Soundcloud.
Here’s what I wrote in my Tempo review at the time (no. 272, pp. 72–4):
all words by the Canadian Michael Oesterle sets, in alphabetical sequence, all 1,015 three-letter words from the Official Scrabble Players Dictionary. On paper, unpromising material; in practice, anything but. The first brilliant thing Oesterle does is to draw out the inherent structural features of such a list. It will almost all (but, crucially, not entirely) consist of single-syllable words, which immediately carries a rhythmic implication. It’s also a lot of text, so the words will need to go by pretty fast. Furthermore, an alphabetical list of words contains its own internal rhythms and cycles: it will start with all the words beginning with ‘a’, then move to those beginning with ‘b’, and so on, creating 26 sections of different length, each with its own characteristic attack. Within each alphabetical section are up to 26 much shorter subsections – all the words beginning ‘ab’, ‘ac’, ‘ad’, and so on. Again, each of these has a particular sonic character. So the list is not an undifferentiated stream, but has a form and shape of its own. And then there are the words that leap out expeditiously for whatever reason: bum, CIA, emu. Finally, there are occasional moments where near-homonyms have the effect of almost pausing the flow altogether (cam, can; hem, hen; and … ant).
The music mirrors this mix of endless variety and predictable cycle with a tempo scheme that constantly fluctuates in great waves, as well as a pitch system that according to the composer is built upon triangular numbers, and that reminded me pleasantly of change-ringing. Oesterle is well-regarded in Canadian new music circles, and deserves to be here too.
I was pleased to make it out last night for the first concert in 840’s 2015–16 series. Throughout this year and without much fanfare Alex Nikiporenko and Nicholas Peters have been building up this small series of small concerts of what I am tempted to call, in the least non-disparaging way possible, ‘small music’. Music by composers like Luiz Henrique Yudo or Laurence Crane. Music that doesn’t have any pretensions to be more than it is, that doesn’t seek to fill a space or a time outside of its own container, but that fills what it has just perfectly.
On this occasion all the music was for two or three cellos, played by Tre Voci, and every piece – except for Richard Glover’s Duo from 2012 – was newly written. Yudo, whose beautiful little sonic carvings are always a joy, was represented by CLARIFICATION, a polyphony of repeating pulses and sustained tones. Sergei Zagny brought another perfect miniature in his Studies on Rhythm BACH, written on the first five notes of the C minor scale. Timothy Cape’s NEED was a humorous look at the roles of advertising, self-promotion and anxiety in new music. Thematically it was the ‘biggest’ piece of the night, and in that respect slightly out of tune with its materials, but it raised and earned plenty of laughs. Eleanor Cully‘s tutto dietro il ponticello, as its title suggests, was played wholly behind the bridge of the three cellos, between it and the tailpiece – but if that suggested a Penderecki-esque noise-fest, what we got was a delicate study in bouncing bows and softly pinging pulses. Glover’s Duo is a quintessential study in ‘small music’, just a single perfect cadence zoomed in on and blown up with slow glissandi that drew out every tiny microtone or sonic ‘artefact’ that lurks beneath the most simple and foundational gesture in Western art music. Peters and Nikiporenko both wrote new pieces too, and I was especially taken by the latter, which seemed perfectly balanced in all directions.
This, by the way, is my new favourite programme note:
(Click for the background to the Secret Music listings.)
Plus-Minus ensemble present five new works by postgraduate Guildhall composers, and a rare opportunity to hear Peter Ablinger’s experimental Amtssee bei Regen.
The 10th season of Music We’d Like to Hear gets underway, with new support from Sound and Music (as co-producers) and as always a lush programme of three concerts on three Fridays curated by three composers. First up is Tim Parkinson’s concert, Drums and Piano: pieces by Matteo Fargion, Jonathan Marmor (whose Cattle in the Woods was a memorable feature of last year’s programme), Makiko Nishikaze, Chiyoko Szlavnics, Kunsu Shim and Christian Wolff, played by Adam Morris (percussion) and Parkinson (piano).
Music for string quartet (with or without percussion) at the Cheltenham Music Festival: Steve Reich, Different Trains; new piece by Graham Fitkin; Steve Martland, Starry Night.
More Martland: York’s Late Music Ensemble (specially formed for the occasion) will perform a tribute concert to the late composer, who died last May featuring performances of his Reveille, Remembering Lennon and Kick, as well as pieces by Louis Andriessen, Jeremy Dale Roberts, Roger Marsh and James Whittle.
Cheltenham again, for the premiere of Nicola LeFanu’s new multi-media chamber opera Tokaido Road, set in 19th-century Japan and following the story of the artist Hiroshige. Created and commissioned by Okeanos, with a libretto by Nancy Gaffield.
Second instalment of Music We’d Like to Hear, curated by Markus Trunk. Pieces for string quartet by Joanna Bailie, Carola Bauckholt, Matteo Fargion, Jo Kondo and Luiz Henrique Yudo (another highlight from last year). All played by the Ligeti Quartet.
Apartment House give the UK premiere of Harley Gaber’s legendary The Winds Rise in the North (1973–4) for amplified string quintet, described by Keith Fullerton Whitman as ‘one of the holy grails of early minimalism’.
Launch concert for Apartment House’s long anticipated double CD of Laurence Crane’s chamber music (another timbre). Concert to include several pieces from the CD, performed by Apartment House.
Review of this (very special) CD to follow soon.
Third instalment of Music We’d Like to Hear, curated by John Lely. Music for viols and objects by Antoine Beuger, William Lawes, Alvin Lucier, Taylan Susam and Christian Wolff. Played by Phantasm and the MWLTH ensemble.
A pre-65th birthday concert of works by Dave Smith performed by the composer. Programme to include Ogive 1, African Mosaic, Guaracha, Frivolous and Vexatious and 8 pieces from the 1st Piano Concert.