Prof. Michael Clarke was a keynote speaker at the INTIME 2012 Symposium held at Coventry University on 19-20 October where the theme was Notations: composer/performer dialogue. Prof. Clarke presented his ongoing work with the ‘cellist Madeleine Shapiro towards a new piece in his Enmeshed series for solo instrument and live electronics. He also contributed to another keynote, presented by Amanda Bayley and Michael Finnissy, about ethnographic studies of Finnnissy’s recent String Quartets, discussing his work on the software created to present the findings of this research.
Composers around the CeReNeM sound laboratories (the studios and the HISS) are showcased in several international fora in October and November:
The Montréal-based international electronic music festival Akousma includes two concerts of CeReNeM members on 27 October 2012. Dr Tremblay has a concert playing music from his third release on Empreintes DIGITALes, intertwined by solo bass+laptop impromptus. Prof. Adkins will then play a full set with Huddersfield graduate Dr Paulina Sundin, blending glitch-ambient with electroacoustic and instrumental improvisation.
The prestigious concert series Nachtstrom, in Basel’s Gare du Nord, will host a HISS program on 8 November 2013 featuring the work of Dr Tremblay, Dr Alex Harker, Prof Adkins and Dr Einbond with performances by Huddersfield alumnus Dr Heather Roche (clarinet). The programme also includes a work by Canadian composer Sylvain Pohu that was composed in the Huddersfield studios in 2007. Finally, this work will also be presented at hcmf// on 17 November in a solo recital by Heather Roche playing works by Harker, Tremblay, Einbond, Pohu and current PhD student Chikako Morishita.
After launching a first album with his London-based duet light.box at the Vortex last month, Dr Pierre Alexandre Tremblay is preparing to present his research at La Sorbonne, Paris in November, as part of a symposium on 60 years of mixed music. His paper, entitled ‘Considérations pragmatiques en musique mixte: une approche systémique de la composition, de l’interprétation et de la technique’ (Pragmatic considerations in mixed music) considers the following areas:
‘With access to powerful real-time DSP languages now easier than ever, the new generation of mixed music composers are able to manage both sides of the coin: they have the programming skills and the compositional concerns that were traditionally the responsibility of two different persons. This brings more and more sophisticated integration of technical resources and compositional gestures. In the light of general comments on the seamless integration of technology in this piece, the author, by discussing how compositional and technical concerns interact in his process of creation, tries to pinpoint key considerations that help him achieve this. He proposes two major categories, portability and adaptability, and explains how they were addressed in this specific work.’
Prof. Liza Lim’s work was performed in a number of locations during October 2012: The Adelaide Symphony Orchestra gave 3 performances (25-27 October) of her orchestral fanfare Flying Banner (after Wang To), an exploration of Chinese ‘wild-cursive’ calligraphy in sound. Also on Oct 25, Ochred String (2008) was presented by Ensemble Phace in Vienna as part of the all-night series Wie Wir Wollen curated by Pia Palme in a collaboration between the Festival e_may and Wien Modern. ‘Cellist Séverine Ballon performed Invisibility (2009) in Essen and Oldenburg notching up 25 performances of the work since she premiered it.
The Akademie der Künste der Welt of which Prof. Lim is a founding member had its official opening on October 27th with a programme of events around the topical political subject of ‘circumcision’ (responding to the controversial Cologne court ruling earlier this year which banned the practice). The festival and conference ‘cutting edge’ received comprehensive press coverage and an overwhelmingly positive reception: Continue reading “Liza Lim, performances; music curator for opening of new institute in Cologne”
A concert presented at Rikkscenen in Oslo on 1st November 2012 is part of the ongoing collaboration between the Norwegian Centre for Music technology and CeReNeM. The concert will feature Dr Rose Dodd’s mobius ii for hardanger fiddle and electronics which was premiered at hcmf//2011 alongside a new electronic work entitled Island Music. A new multi-channel work by Anders Vinar composed in the SPIRAL research studio at the University will also receive its premiere. The concert is completed by works from Natasha Barrett and Prof. Adkins (Kyoto Rouchcut from the Four Shibusa cycle).
A recording of mobius ii performed by Britt Pernille Frøholm (hardanger with electronics) can be found at: mobiusii
Dr Aaron Einbond has had a number of premieres in the US and Europe recently: his Fromm Music Foundation commissioned work, Without Words for soprano, 11 instruments, and electronics was premiered by Ensembel Dal Niente in Chicago on 9 June 2012. Le Cabinet des Signes II was performed by Ensemble Mosaik, Manuel Nawri conductor, Acht Brücken Festival, Cologne, 2 May 2012 and was also broadcast on radio station WDR3. Silent Screen for prepared steel-string guitar and electronics was premiered by Kobe van Cauwenberghe (New York and Ghent) and Seth Josel (Berlin) during Spring 2012.
Aaron is an invited composer at Music21 Festival in Neidersachsen, Germany where his Post-Paleontology (2011) will be performed by Das Neue Ensemble on 10 November 2012.
Listen to Aaron interviewed on Daniel Vezza’s new podcast series: podcast 3-Aaron Einbond – Composer Conversations.
Prof. Monty Adkins’ work ‘Remnant’ (Audiobulb, 2011) with video by Jay Payne will be performed at the Musee d’Art Moderne et Contemporain de Strasbourg on Oct. 25th 2012.
His CD release ‘Four Shibusa’ continues to attract great reviews:
More recently Monty Adkins’ work has become increasingly minimal and introspective. This work focuses on encouraging a deeper immersive listening experience. Working with a reduced sonic palette the new works draw together elements from ambient, minimal electronica, acousmatic (sound one hears without seeing an originating cause) and experimental electronic music.
The description of Shibusa perfectly matches the four tracks on this album, remaining true to this concept from the first to the very last note. Subtle details, balancing simplicity with complexity, sounds you never tire of listening to….Four Shibusa presents a perfect match of form and content. I hate to use this reviewer’s cliché, but this is definitely one of the most beautiful albums I’ve have heard in a long time! ambient blog
One of the works from the CD, ‘permutations’, appears on the free CD of Gonzo Circus (the Dutch equivalent of The Wire) this month with a distribution of 2,500+.
On 26 October, Prof. Adkins gave a lecture on the work of Roberto Gerhard at CIRMMT, the Centre for Interdisciplinary Research in Music Media and Technology, McGill University in Montreal.