Day 1: 25/03/2004
15.00 St Paul’s Hall Broken Consort
19.30 St Paul’s Hall The music of Vinko Globokar
Day 2: 26/03/2004
10.00 Recital Hall Lecture by Rhodri Davies
13.00 St Paul’s Hall Electronic Yorkshire
15.00 M5/01 Lecture by Vinko Globokar
19.00 St Paul’s Hall Pre-Concert Talk – Rhodri Davies and James Saunders
20.00 St Paul’s Hall Broken Consort
21.30 St Paul’s Hall Three Piece Suite
Day 3: 27/03/2004
12.00 Recital Hall The Suicided Voice
13.00 St Paul’s Hall Peter Hill Perform
20.00 St Paul’s Hall Pre-Concert Talk – Roger Marsh
21.30 St Paul’s Hall Laborintus II
The music of Vinko Globokar
Vinko Globokar – Prestop II
We begin with the words of Edoardo Sanguinetti in the distance. The soloist comes closer, plays intimately to members of the audience, and then attemps to change gear with the help of a sound processor. PRESTOP II in Slovenian means ‘passage’, in this case passage from real world (outside) into the world of fiction (the concert hall).
Vinko Globokar – Corporel
Damien Harron amplified body percussion
Here the body represents both the performer and the sound source.
Vinko Globokar – Dos a Dos
This piece makes us think of a duel!
Vinko Globokar – Oblak Semen
The story is a catalogue of personal epiphanies. Above the Miserere sails a cloud of seeds.
Vinko Globokar – Ombre
A somewhat schizophrenic drummer suffers a descent as he veers between a rock persona and a more creative world that exists in the shadows.
Vinko Globokar – Discours II
Five trombonists explain that there are numerous points in common between the act of speaking and that of playing. There is an analogy in the manner of articulating vocal and instrumental sounds, as well as a resemblance between the timbres of vowels and consonants and those of sounds and of noises. We do no comprehend the ‘meta-language’ used by the quitet, but we sense that the five acolytes explain, interrogate, give orders, argue.
Ruth Duckworth – Steamtalk2
Chrissie Lockwood (vocals)
Katie Anderson (violin)
Chris Dowding (trumpet)
Paula Wilson (percussion)
Adam Harris (tuba)
The first version of Steamtalk was originally written for just tuba, voice and electronics in response to a call for works by spnm. Inspired by the proposed venue, ‘Wapping Hydraulic Power Station’, I did some source recordings of steam machines at Manchester Science Museum. Steamtalk1 was performed with Oren Marshall and Katina Kangaris and recorded in Wapping by the BBC in November 2003. The piece is now longer and also includes violin, trumpet and percussion. I would like to thank Machin(e)trigue for rising to the challenge of the improvisational elements that the overall frameworks contains.
Derrick Archer – Dreamcatcher
The Suicided Voice
The Suicided Voice – Mark Bokowiec & Julie Wilson-Bokowiec
For vocalist/performer, Bodycoder System with live MSP, computer graphics & live video streaming. (additional video footage courtesy Francesca da Rimini)
The title of the work is derived from Antonin Artaud who writing about the art of Vincent van Gogh suggested that an artist must ‘suicide’ – sacrifice and let go of the received conditions of his art and materials in order to reach a point of authenticity and innovation.
The Suicided Voice is the first in a cycle of three interactive vocal works. The piece explores the notion of voicing and the digital /physical embodiment of the voice beyond the larynx. Extended vocal techniques are coupled with live processing to expose the multiplicity, potency and depth of the voice’s digital Otherness.
There are no pre-recorded sound files used in this piece and no external sound manipulations. The piece is fully scored with few moments of improvisation. The performer is required to both generate the acoustic sound and process and manipulate on the limbs of the body multiple digital ‘voices’ and soundscapes while navigating a complex live interactive MSP environment. The piece requires a very distinct aural, technical and cross-model perception on the part of the performer that makes this a fascinating performance to witness as well as hear.
The Suicided Voice was made in residency at the Banff Centre in Canada and completed in the electro-acoustic music studio facilities at the University of Huddersfield. The piece had it’s first performance at the Sonic Arts Expo in 2005 and will be performed again in Montreal and New York in 2007.
Peter Hill Performs
Paul Archbold – Recoil
Recoil traces a labyrinthine path where the piano is disturbed by distorted reflections of its own voice. Recoil was commissioned by Peter Hill with funds from Yorkshire Arts.
Adrian Moore – Piano and tape
In the Autumn of 2003 Peter Hill asked me to write him a piece for Electric Spring 2004. This was indeed a challenge. To write again for instrument and tape (not to mention for an internationally renowned pianist), and to find the time to complete something that was both fitting and worthy during a period when I had two French tape premieres was quite daunting. My research was quite focused towards fusing piano and tape through pitch whilst keeping the pitch material quite flexible. Influences included Smalley’s Piano Nets and Scriabin’s Piano Sonata No.6, op 62, a work Scriabin never played in public because of its ‘devilishness’. In some respects Piano and tape has a similar ‘dark’ feel to it. The tape part should at times act as a ‘wash’, the pianist quite clearly having the dominant role. At other times however, the tape acts as a ‘shroud’ through which the pianist forces his image. The piece builds to a climax around 4:00 through a series of long phases of up to one minute. A reprise of the climax at 6:00 and a return to the opening harmony heralds the conclusion of the work.
Olivier Messiaen – La Buse variable
In the Dauphiny, la Matheysine. The broad open countryside of Petichet, at the end of Lake Laffrey, beneath the bald mountains of the Grand Serre.
Introduction: The cry of the Buzzard as it cries to and fro. It circles, the orbits of its flight covering the whole landscape. It descends slowly.
1st couplet: Chaffinch, Yellowhammer, Mewing of the Buzzard. Refrain of the Mistle Thrush.
2nd couplet: The same, with the Goldfinch also. Refrain of the Mistle Thrush.
3rd couplet: The Swallows. A red-backed Shrike gives the alarm. Combat: six Carrion Crows mob the Buzzard for its prey. Deep ferocious cawings from the one, grated fluttering and weird mewing from the other. Refrain of the Mistle Thrush. Hurried strophes of the Whitethroat.
Coda: The cry of the Buzzard; it circles slowly, soaring upwards.
Olivier Messiaen – Le Courlis cendré
The island of Ushant (Enez Eusa), off the west coast of Brittany. On the headland of Pern one can see a large bird with streaked plumage and russet markings, a grey brown bird standing upright, with a long beaked curved like a sickle or yataghan: the Curlew! This is its song: sad, slow tremolos, chromatic ascents, wild trills, and a mournful repeated glissando which expresses all the desolation of the seashore. On the headland of Feunteun-Velen, lashed by the noise of the waves, the cries of water birds: the cruel call of the Black-headed Gull, the rhythmic horn calls of the Herring Gull, the fluted melody of the Redshank, the repeated notes of the Turnstone, the piping trills of the Oystercatcher, and others besides: the Little Ringed Plover, the Common Gull, the Guillemot, the Little Tern and the Sandwich Tern. The water extends as fas as the eye can see. Little by little, the fog and the night spread over the sea. All is dark and dreadful. From amidst the jagged rocks, the lighthouse of Créac’h lets out a dismal boom: it is the alarm! Again a number of birds calls, and the lament of the Curlew repeating as it flies far away… Cold, black night, the splash of the surf…
Adrian Moore – Piano and tape
Paul Archbold – Recoil
Monty Adkins – Aerial
Aerial is a sonic photograph of the hills and mountains that surround where I currently live in the north of England. The work is not an attempt to depict one particular location but a response to the landscape as a whole. Throughout the work the listener is lead through various vistas that are sonic equivalent of a camera zooming in and out. The work was composed in July 2002 at the studios of INA-GRM, Radio France, Paris.
Thomas W Mudd – Cave Drone
Andrew Croft – Storm Warning
Scott Hewitt – Trumpet Roll Call
Exploring texture through live sample and hold.
David Moore – Zero Point Field
I based this piece on a book The Hunt for the Zero Point Field. The zero point field can be thought of as a background sea of electromagnetic radiation in space. In the first part of the piece I had this in mind. The second part is more rhythmical but still uses the same theme.
Geoff Cox – I’m Not Elvis
Luciano Berio – Laborintus II
for voices, instruments and tape
Text by Edoardo Sanguineti
Laborintus II, composed in 1965, was commissioned by the French Television to celebrate the 700th anniversary of Dante’s birth. It takes its title from the poetic collection Laborintus by Edoardo Sanguineti.
The text of Laborintus II develops certain themes from Dante’s Vita nuova, Convivio, and Divina Commedia, combining them – mainly through formal and semantic analogies – with Biblical texts and texts by T. S. Eliot, Pound and Sanguineti himself.
The main formal reference of Laborintus II is the catalogue, in its medieval meaning (like the Etymologies of Isodore of Seville, for instance, also appearing in Laborintus), which combines the Dantesque themes of memory, death and usury – that is, the reduction of all things to market value. Individual words and sentences are sometimes to be regarded as autonomous entities, and sometimes to be perceived as part of the sound structure as a whole.
The principle of the catalogue is not limited to the text: it underlies the musical structure as well. Laborintus II is a catalogue of references, attitudes and elementary instrumental techniques; a rather didactic catalogue, like a school book dealing with Dantesque visions and musical gestures. The instrumental parts are developed mainly as an extension of the vocal actions of singers and speakers, and the short section of electronic music is conceived as an extension of the instrumental actions.
Laborintus II is a theatre work; it can be treated as a story, an allegory, a documentary, a dance. It can be performed in a school, in a theatre, on television, in the open air, or in any other place permitting the gathering of an audience.