Friday, 18 September 2015

MANTIS FESTIVAL 17-18 Oct 2015: Kees Tazelaar, Institute of Sonology, The Hague, Julian Elvira (flute) + International Works Curated by Metanast




FULL CONCERT PROGRAMME

Concert 1, 18.00 - 19.30 Saturday 17 October: New electroacoustic works by University of Manchester composers
The Silver Key (2015) Rosalia Soria
The Solemn White Breathing of a Nocturnal City (2015) Falk Morawitz
Reductions / Expanses (2015) Danny Saul
Pronomo's Space [e] (2015) [Fl + elec] Julián Ávila  // Flute by Julian Elvira (*)
Starboard (2015) David Berezan
Origin and Destination (2015) Richard Scott


Concert 2, 20.00 - 21.00 Saturday 17 October: Kees Tazelaar
This concert is part of http://dutch-uk.network
Le poème électronique (1957–1958) Edgard Varèse  (**)
Chatoyance 2 (2013–2014) Kees Tazelaar
Erwachen heiterer Empfindungen bei der Ankunft
auf dem Lande (2014) Kees Tazelaar (music) Marianne Dekker (images)
Berglandschap (2015) Kees Tazelaar
EQUALE (2013) Richard Barrett and Kees Tazelaar

Concert 3, 14.00 - 15.00 Sunday 18 October: New electroacoustic works by University of Manchester composers
Translucency II (2013-2014) [live image proc] Haruka Hirayama
Aguabajo (2014) Adriana Ruiz
Hydrotrilogy (2015) Epa Fassianos
Naufrage (2015) Guillaume Dujat des Allimes

Concert 4, 19.00 - 22.30 Sunday 18 October: Metanast @ Zoo Pub.
A.P. Vague, Adam Stansbie, Ake Parmerud, Fernando Alexis, Julie Mansion-Vaquié, Nikos Stavropoulos, Steve Davismoon, Gidouille, Manoli Moriaty & Gradient, Omer Eilam, Peter Furniss, Richard Scott, Darren Brian Adcock .  




(*) Julian Elvira (flute)
Julián Elvira is the creator of the Pronomos flute, and his name has become a reference for experimental and avant-garde flute music in Spain and throughout Europe. He has premiered a long list of important Spanish and other European composers, many of whom have dedicated their works to him. He has recorded for the Spanish Television (TVE), the Spanish National Broadcasting (RNE), Piccolo, Sello Autor, Verso, Plataforma LTW, Phonos and World Edition. His recordings as soloist include four CDs of music for solo flute as well as flute accompanied by electronics.
After completing his superior level studies at the Real Conservatorio in Madrid, Julián then received a Masters degree in flute performance at Corvin University of Budapest where he worked with Istvan Matuz (who conceived of the the “Complex” system). Since then he has focused his work on new trends and ways in flute performance. Julián Elvira is principal flute in the Symphonic Band of Madrid and he combines his work there with research and a solo performance career, giving lectures and concerts on an international level. 
One of his most important projects, 3.1.Culturas, has brought him to travel and perform in countries such as Japan, Siria and India to study their culture and music, taking what he has learned about the timbral possibilities of flutes from these cultures into practice on his Pronomos flute.

www.pronomosflute.com


(**) Le poème électronique (1957–1958), 8 minutes
Edgard Varèse5-channel reconstruction of the music: Kees Tazelaar

In January of 1956, Louis Kalff, Philips’ director of artistic affairs, contacted Le Corbusier in Paris about the company’s plans for a Philips Pavilion at the Brussels World’s Fair in 1958. At that point, there was not yet any indication of the extremely avant-garde character that the project would eventually assume. Kalff wrote: “The interior of Le Corbusier’s Chapel at Ronchamp apparently has elements that would also be applicable in the Philips Pavilion. We want to present a synthesis of light and sound in a completely new and modern form. The walls must offer a continually changing panorama of light and color set to the rhythm of modern stereo music, such that at the end of the six- minute presentation visitors will have witnessed a more or less abstract testimonial that symbolically represents the genealogy of Philips and its products.”Once Le Corbusier became involved in the project, however, it would develop in a totally different direction. Le Corbusier, who originally had only been asked to take care of the interior of the Pavilion, in fact took over the entire artistic supervision from Kalff and even imposed all sorts of conditions of his own. He refused to collaborate with other artists and architects, assuming responsibility for the entire Pavilion himself, including its interior with the interplay of light and color and its sculptural form. For the music, however, he made an exception: the commission absolutely had to go to the New York-based composer Edgard Varèse.The music was reproduced on a three-track tape, the tracks of which could be heard coming from different clusters of loudspeakers in opposition to one another or resounding in flowing movements along specific routes. The total loudspeaker system comprised 325 speakers, supplemented by speakers for the bass tones. The automatic movements of the sound were registered on a 15-track control tape, which contained a total of 180 command channels.


Biographies (Dutch Programme)
Marianne Dekker studied painting and graphic arts at the Royal Academy of Art in The Hague. Her work consists of drawings and paintings and digital animations based on stills and videos. Video work has been presented at Metropoliskino in Hamburg, Tesla Galerie in Berlin, the 2009 Shanghai Electroacoustic Music Week, the Contemporary Museum of the National University in Mexico City (MUAC), the Institute for Contemporary Interdisciplinary Arts at the University of Bath, Villa Elisabeth Berlin, Fylkingen in Stockholm and NK Berlin.
http://www.mariannedekker.com


Richard Barrett is internationally active as both a composer and an improvising performer, and has collaborated with many leading performers in both fields, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), the ELISION contemporary music group, for which he has composed and performed since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. He studied composition principally with Peter Wiegold, was a professor of composition at Brunel University in London between 2006 and 2009, and has twice been a member of the staff of the Institute of Sonology, between 1996 and 2001 and again from 2009 to the present. 
http://richardbarrettmusic.com


Kees Tazelaar followed courses in Sonology in Utrecht and The Hague, and later studied composition under Jan Boerman at the Royal Conservatoire in The Hague. He has been teaching at the Institute of Sonology since 1993 and has been head of the institute since 2006. His electronic music features a combination of formalization, richness of sound and a compositional approach to sound spatialization. As well as a composer, Kees Tazelaar is a historian, who has specialized in the early years of electronic music in the Netherlands and Germany. He has twice been the Edgard Varèse Guest Professor at the Technische Universität Berlin, where he earned his PhD in 2013 with the dissertation On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (ISBN 978-94-6208-065-2).

http://www.keestazelaar.com