LORE LIXENBERG (UK) performs WOLMAN
Born in the UK Loré Lixenberg’s career began with Theatre de Complicite, working with Simon Mcburney. Following this, her work spans from performing on concert platforms and opera scenes to new installations and vocals performances with experimental visual and sound artists like Stelarc, Bruce Mclean, David Toop. She has worked with and performed the works of composers such as Georges Aperghis, Bent Soerensen, Helmut Oehring, Mark-Anthony Turnage, György Ligeti, Karlheinz Stockhausen, Beat Furrer, Harrison Birtwistle, Earle Brown, Luc Ferrari, Gerald Barry, Pauline Oliveros, Frédéric Acquaviva, Phill Niiblock , Denis Dufour, performing with many ensembles like New Music Projects Wien, Appartement House, Ensemble InterContemporain in contemporary music festivals worldwide. She has also performed many classics of the contemporary repertoire such as the first complete recording on CD of John Cage’s ‘Songbooks’ for Sub Rosa and will be touring in China with ‘Looking for courage‘, a new opera by Niels Ronshold and Zhang Lin in 2015. Loré Lixenberg is also director (Kagel, Sciarrino, Berio, Wishart…) and performer of her own works, using hyper-extentions of the voice in pieces such as ‘Bird’ or ‘The end of the civilisation as we know it’ or her series of “Singterviews”. She published an artist book ‘Memory Maps’ with a postface of David Toop and the CD ‘The afternoon of a phone’ (£@B), as well as a version of her own ‘Bird’ in ‘CRU#1’. She runs the artist space La Plaque Tournante in Berlin with composer Frédéric Acquaviva. https://lorelixenberg.wordpress.com/
Mégapneume (1963), 5’
Esprit de suite | Berlin [23'45] All pieces follow each other without breaks.
Recorded on march 24, 1963 and published in the artist record ‘Poésie Physique’, this mégapneume has been carefuly notated for the first time by Loré Lixenberg who will then perform for the first time on earth a “megapneume” of Wolman, replacing Wolman as the striking pionner he was, from 1950, giving birth to sound poetry, not mentionning actual improvisators more than half a century in advance.
Et des hommes (ca.1973), extract, 5’
“Et des hommes” is an artist book made of collages of comics on a piano score, which has been published for the first time by Editions AcquAvivA (#27) and will be interpretated by Loré Lixenberg also for the first time tonight.
Hém-Ish (1987) is an experimental composer / sound artist working with fixed media (aural cinema, audio art, radiophony) and live performance art (instrumental, mixed, live-electronics). His work is rooted in an actual perception and semiotical structures rather than conventional paradigm or technological impulse. In a perpetual voyage initiatique : disenchanted by an uninvolved professionalism, redundant prolificacy, intellectualism resulting in the imperceptible, a superficial radicalism, an impoverishing globalisation, industrial standardisation, non-generosity of the human culture, etc. — he seizes existence with a spirit for relentless renewal. https://sites.google.com/site/hamishhossain/
Homme-Omini (2015), 6’, (dedicated to Zubin Hossain)
genre : aural cinema format: monophonic performances: FRANCE, Thursday 11 June 2015, Musiques à réaction 6.3, Auditorium of the Bibliothèque Buffon, Paris, by Barbara Perincic on the Motus loudspeaker orchestra. GERMANY, Saturday 19 September 2015, La Plaque Tournante, Berlin. ITALY, October 2015, Festival di Musica Elettroacustica, Salerno.
Homonymy is the relationship between sounds that have the same form but different meanings. Through various short scenes, one hears the human and the animal in juxtaposition. They don't sound so different from each other. It is their dramaturgical contexts that lead us to some surprising or provocative reflections. This first short attempt in aural cinema is dedicated to my brother who had introduced me to semiotics. Without it, I would have been a decorative muttonhead.
K's Noisette (2015), 6’, (dedicated to Frédéric Acquaviva, commissioned by: Denis Dufour), extract
genre : performance art instrumentation : monophonic performance: GERMANY, Saturday 19 September 2015, La Plaque Tournante, Berlin, by Hém-Ish on his Gramophone-instrument, voice and cassette deck.
K's Noisette (pseudo-french for ‘little noise’) finds its ‘K’ in Frederic Acquaviva's monumental K Requiem. Unease is a form of liberation/migration – that is, only if one takes pleasure in ex-change. That's another way to repeat: nothing is not what we thought it was, it isn't what we think it is and it won't be what we want it to be – and who cares a fuck, when there's so much laughable absurdity to deal with first. An immigrant (or a die-hard heretic) crosses the frontier several times before death and takes pleasure in each resurrection.
DENIS DUFOUR (FR)
Denis Dufour (1953, France) is a composer renowned in the field of instrumental as well as electronic creation for concert with nearly
180 works to his credit. As one of the pioneers of the 'morphological' and expressive approach to sonic writing, his works employ a wide spectrum
of parameters in all sonic dimensions, contributing to the emergence of a genre that decisively connects the arts with his interdisciplinary approach to
composition and pedagogy. He is at the origin of several structures, collectives and instrumental ensembles that continue to irrigate the musical life in
France and worldwhile (Motus, Futura, Syntax, TM+, Les Temps Modernes…). http://denis.dufour.pagesperso-orange.fr/
Fragmentations from Bocalises  03'26
Composed exclusively from sounds of glass jars, Bocalises became a classic and marked the debut of the composer.
Thème from Variations acousmatiques  01'06
A sculpted, undulating and baroque theme of 66 seconds, very characteristic of the "morphological" and expressive approach to sonic writing.
Accordéon  03'24
Mixed-media work for voice and soundtrack from the cycle “Plis de perversion”. Mezzo-soprano : Loré Lixenberg
Hentai  10'32
Text by Thomas Brando (translation by Shoko Takahashi, reading by Kasumi Handa).
In the Fukushima Dai-ichi nuclear disaster, “a blinding white light, pale pink and then blue” where “even dust did not mean anything to us”.
Si tendre, si funeste  05'17
What's it that we hear?
TREVOR WISHART (UK)
Trevor Wishart (1946) is an English composer, based in York. Wishart has contributed to composing with digital audio media, both fixed and interactive. He has also written extensively on the topic of what he terms “sonic art,” and contributed to the design and implementation of software tools used in the creation of digital music; notably, the Composers Desktop Project. He was educated at the University of Oxford (BA 1968), the University of Nottingham (MA 1969), and the University of York (PhD 1973). Although mainly a freelance composer, he holds an honorary position at the University of York. He was appointed as composer-in-residence at the University of Durham in 2006, and then at the University of Oxford Faculty of Music in 2010–11, supported by the Leverhulme Trust. Wishart's compositional interests deal mainly with the human voice, in particular with the transformation of it and the interpolation by technological means between human voice and natural sounds.This is most evident in his albums Red Bird/Anticredos (composition period: 1973-77, publishing date: 1992) and VOX Cycle (1980-1988, 1990), and also in the compositions Tongues of Fire (1993-93, 2000), Globalalia (2003-2004, 2010), Two Women (1998, 2000), and American Triptych (1999, 2000).
He is also a solo voice performer and an improviser of extended vocal techniques, using the recordings of his own improvisations to compose his electroacoustic pieces as well, like he did for Red Bird and Vox 5. Wishart has written two books On Sonic Art and Audible Design. On Sonic Art puts forth his theoretical and philosophical ideas while Audible Design deals mainly with the practice and technique of composing with digital audio.
Performance of electro-acoustic pieces, and live vocal performance (ca. 20’)