This newsletter is a platform for PhD music students at the Centre of Research in New Music (CeReNeM), University of Huddersfield, to share their recent music activities and upcoming work.
2017 has been a busy year for CeReNeM’s graduate composer cohort, with the research centre hosting a wide range of performers and ensembles, including Garth Knox (viola) [GBR/FR], the duo of Aisha Orazbayeva (violin) [GBR/KAZ] & Joseph Houston (piano) [GBR/GER], Juliet Fraser (soprano) [GBN], Line Upon Line Percussion [USA], and the Quasar Saxophone Quartet [CAN], and guest lecturers including Michael Winter, Tim Rutherford-Johnson, Judy Dunaway, Sam Pluta, Jennifer Walshe, Ann Cleare, and Miller Puckette.
Contributors to this month’s newsletter are Lawrence Dunn, Solomiya Moroz, Jorge Boehringer, Linda Jankowska, Pia Palme, Tadej Droljc, Oli Larkin, and Abel Paúl. Their activities have spanned an exciting range of international festivals, commissions, and performances with major venues, ensembles, and presenters, including the BBC Scottish Symphony Orchestra, Quatuor Bozzini (Quebec), Wien Modern (Austria), BBC Radio 3, Darmstadt (Germany), hcmf//, Mixtur Festival (Spain), Café OTO, MADATAC (Spain), and Ars Electronica (Austria) as well as significant academic conferences in the USA, Finland, Germany, and the UK.
PhD Scholarship Recipients
We are excited to announce the recipients of our 2017 PhD Scholarship call:
The Jonathan Harvey Scholarship in Composition will be held by Hakan Ulus, a German-Turkish composer. Hakan has studied composition with Ernst Helmuth Flammer, Adriana Hölszky, Claus-Steffen Mahnkopf and Tristan Murail at the Mozarteum University Salzburg (B.A. 2013, M.A. 2015), at the HMT Leipzig (Erasmus), and Contemporary Music at the HfMDK Frankfurt (International Ensemble Modern Academy, M.M. 2016). He has also completed studies in musicology at the University Mozarteum Salzburg.
Hakan has won several stipends (e.g. Berlin-stipend 2017 of the Academy of Arts Berlin, Artist-in-Residence Istanbul 2017 of the Art-Foundation NRW Germany, International Ensemble Modern Academy 2015/16, DRK International Composers Residency Singapore 2015, Harvard Composition Institute Residency 2014, I-Park Foundation Residency 2015, Turkish Cultural Foundation 2014, Arbeitsstipendium Salzburg 2014, EMAS 2014) and prizes (impuls Competition 2017, Recherche Competition) and has received commissions from impuls Festival 2019, Ensemble Francaix of the ANAM 2017, IEMA 2016, City of Munich 2014, and Ensemblia Festival 2013.
His works are performed by many renowned ensembles, including Ensemble Recherche, Ensemble SurPlus, Ensemble intercontemporain, Klangforum Wien, Ensemble Aventure, Talea Ensemble, IEMA-Ensemble and Ensemble mise-en at international festivals of contemporary music (e.g. Salzburg Biennale, Klangspuren Schwaz, KlangNetz Dresden, ZKM Karlsruhe, ManiFeste Academy Paris). His writings have been published by Musik & Ästhetik, MusikTexte and Wolke Verlag. Currently he is Artist-in-Residence in the Istanbul-Studio of the Art-Foundation NRW, Germany.
The Denis Smalley Scholarship in Electronic Music will be held by James Bradbury. James has recently completed his Master of Music qualification with supervision from Dr. Chris Tonkin at the University of Western Australia. He follows a practice-based research approach and performs electronic music involving highly autonomous or interactive elements. James has won awards from the University of Western Australia, including the Callaway Medal and the Edith Cowan Prize in Music for the most outstanding undergraduate and highest ranked undergraduate student in music, respectively. James was also the 2016 Schenberg Fellow, an position that allowed him to travel to Europe to study at IRCAM, Paris, as part of the ‘Manifeste’ festival and with Dr. Kerry Hagan at the University of Limerick, Ireland. In 2017 he released recordings and Max/MSP patches from one of his systems, Biomimicry, as a digital product, which culminated in its first live performance with experimental West Australian vocalist, Sage Pbbbt.
The Duncan Druce Scholarship in Performance will be held by Sophie Fetokaki. Sophie has studied a variety of creative disciplines, including singing, acting, dance, literature, composition, and the music of oral traditions. She has studied at the Conservatoire of Amsterdam, City University London, University of Amsterdam, City Literary Institute, and Trinity Laban Conservatoire.
As a singer she has worked with Reinbert de Leeuw, Etienne Siebens, Arnold Marinissen, Alfredo Bernadini; with Asko/Schönberg and the L.A. Philharmonic in Louis Andriessen’s Theatre of the World with the Dutch National Opera; at Radio Kootwijk, Theater Carré, Bimhuis, Melkweg (Netherlands) and the Walt Disney Concert Hall (USA).
As a director and dramaturge she has worked with Ensemble Himeros at the Utrecht Early Music Festival, and at the Amsterdam Fringe Festival with her own performance art quartet Knot Applicable.
As a curator she works regularly on her interdisciplinary performing arts series DoorKruising (AFK funded), in which she explores performativity, embodiment, the boundaries between art forms, and the translation of concept into performance.
Lawrence recently finished making a piece for Juliet Fraser, entitled While we are both, a collaboration with poet Caitlin Doherty premiered in Huddersfield in February. Further performances were given in Chicago in April and again in London in late June.
He has also recently been working with Quatuor Bozzini in Montreal as part of their Composers’ Kitchen programme, with a new string quartet to be premiered in Aberdeen in October as part of the Sound festival. (Additionally, an arrangement of the Star-spangled Banner for string quartet was recently performed at the London concert series 840.)
In May, Lawrence’s orchestra piece Ambling, waking was premiered by the BBC Scottish Symphony Orchestra and Ilan Volkov at the Tectonics festival, Glasgow. It will be broadcast on BBC Radio 3, June 3. Lawrence also presented a paper at the Performing Indeterminacy conference in Leeds at the end of June.
In early July, Lawrence will be working with American violinist Sarah Saviet on a new solo violin piece as part of an Aldeburgh residency. Later in the year, Sarah will be performing Claribel, a piece for violin and piano written for Aisha Orazbayeva and Joseph Houston. New composition projects are also planned with the flautist Carla Rees, and the New York-based ensemble Loadbang.
Solomiya has had a number of creative projects over the past few months. In early May her piece On Fragments had its Canadian premiere, performed by the Quasar Sax Quartet in Montreal. Later this same month, Solomiya participated as flutist and composer in Keys, Wind and Strings Festival in Toronto and Montreal (May 24-26) with Thin Edge New Music Collective and Olivia Steimel, accordion premiering works of Canadian composers.
In June Solomiya attended the Klingt Gut! symposium in Hamburg, Germany, where she presented her paper Simulacra Studies and Composition with Gesture:
In this paper I discuss my process in composition with gesture while demonstrating examples from Simulacra Studies and from my recent work. In Simulacra Studies, I explored the drama of a missing piano interface while embodying physically the act of playing without the instrument itself. The piece is concerned with gestuality as a result of the instrumental behaviour where personal qualities are juxtaposed with the embodied capabilities of the performer. There is a video component to the piece which initially establishes real-time correlation with the performer, only to become amplified, disjoined and broken into other narratives as the piece progresses. Thus the physical gestural behaviour becomes magnified with mediatized video experiences of the pianist as a person playing with images of himself on himself as one does with gender, sexuality, power, fragility, superficiality, banality, etc.
Composer/performer Jorge Boehringer joined University of Huddersfield students Stef Connor, Xueyang Fang, Leah Stuttard, and Professor Rupert Till for a journey to New York City to present papers at the Sounds of Prehistory and Antiquity conference at City University of New York’s Center for Music Iconography. Jorge gave a talk -slated to be published later this year – about how some of Yorkshire’s local stone age artworks might be viewed as antecedents for contemporary sculptural and sound art practices. He also performed Son of a Waterbull, a piece for wood blocks and electronic tones, at both the conference and later in the week at a concert held in Brooklyn at the Sunview Luncheonette. The program for this concert also included his solo works Unnatural Isle and Spectral Lama.
Jorge has also recently returned from Prague where he and CeReNuM alumna Eleanor Cully were the invited artists for a workshop and exhibition hosted by Prague College. The exhibition, CyberSpace#2017, presented the results of a weeklong workshop researching new conceptual and technical bridges within experimental media art practice, network installations, kinetic sculpture, ambisonic and binaural sound, and music.
While in Prague, Cully and Boehringer also premiered their new musical duo Kneeling Coats at the Prague Headphone Festival. They also presented several solo and ensemble works alongside composer Ian Mikyska and the ensemble Margaretova Citrony, at a concert in the theatre of the Scout Institute on the Old Town Square in Prague.
Jorge performed pieces for viola and electronics on Sunday July 2 at Wharf Chambers in Leeds under his solo-pseudonym Core of the Coalman, alongside American percussion and guitar duo 75 Dollar Bill, and Leeds-based New Wave of Hysterical Mania, Guttersnipe.
Photo courtesy of Anna Baštýřová.
In 2016/17 Linda was primarily busy co-curating and co-producing the Cut and Splice Festival in Manchester. Cut & Splice is as an acclaimed international festival of sound art and experimental music presented by Sound and Music and BBC Radio 3. Performances and artist interviews are broadcast on Radio 3’s flagship contemporary music show, Hear and Now.
The Festival happened in the North for the first time since its inception and welcomed an array of international artists such as Hanna Hartman, Steven Kazuo Takasugi, and Christina Kubisch. It focused on the idea of digital presence, omnipresence and ambiguity. Distractfold Ensemble presented a carefully selected range of mixed media, electroacoustic, sound art and music theatre works making for a two-day feast of focused listening.
Earlier in August 2016 together with Distractfold Ensemble she returned to Darmstadt to present two programmes of music at the Central station and co- curated a CD featuring remixes and reworking based on the festival’s 70-year archives. Interested in extended performance practice she challenged herself to learn the percussion part for Michael Pisaro’s Concentric Rings in Magnetic Levitation.
In April 2017 together with Distractfold Ensemble she was in residence at Stanford University. Linda also performed at hcmf//, Rainy Days in Luxembourg and Kammer Klang at Café OTO.
Photo courtesy of Dimitri Djuric.
Last November, Pia Palme’s VOM RAUSCH IM SCHWARM III, a work for ensemble and wind-machine, was premiered by ensemble Kontrapunkte at the Wiener Musikverein during Wien Modern, Vienna’s biggest and oldest festival of contemporary music. In the same month, Pia Palme received the Ernst-Krenek-Preis for contemporary composition, a biennially awarded prize from the City of Vienna. Recently, Pia Palme held a series of performance-lectures, a format she uses to merge vocality, instrumental performance (with her Kueng contrabass recorder), electronics, video, and more theoretical explorations. Performances were held in academic contexts at the Vienna University of Applied Arts, at the 16th annual congress of the GMTH in Hanover, Germany, and at the Vocality/Instrumentality symposium at the University of Huddersfield, but also at Vienna’s renowned jazz club Porgy&Bess.
In spring 2017, Pia Palme finished her thesis The Noise of Mind: A Feminist Practice in Composition under Prof. Liza Lim and Prof. Monty Adkins; she is currently working on a number of commissions (for the Manchester-based trio ATEM, festivals Klangspuren Tirol, BTzM Austria, and Wien Modern) to be premiered in fall 2017. A number or experimental performances complete Pia Palme’s activities, including a performance with German vocal artist Ute Wassermann and double bass player Margarethe Maierhofer-Lischka at the V:NM festival for experimental music in Graz.
After almost two years of developing various tools, techniques and compositional strategies Tadej Droljc finally finished his 23 minutes long audiovisual piece entitled Capillaries Capillaries that represents the core of his PhD portfolio. The piece was performed at Electric Spring Festival in Huddersfield (UK),MADATAC 08 festival in Madrid (ES), Radeon Amsterdam (NL) and Sajeta Festival in Tolmin (SI), and received some very positive critiques in Tempo, 5 against 4, and Radio Student. The first movement, which also exists as a self standing work entitled Capillaries, won a Most Promising Video Artist Award at the MADATAC 08 festival in Madrid. The full version (Capillaries Capillaries) is currently in the final selection (top 5 in its category) for a Lumen’s Meural Student Prize.
Tadej will be performing at several upcoming festivals, including Kamfest (15.8., Kamnik, SI) and Ars Electronica (7.9., Linz, AT).
Creative coding lab PhD student Oli Larkin is researching abstract sound synthesis techniques for spatial audio platforms. In June he presented some of the experimental software he has been developing at the annual Sounds in Space symposium at The University of Derby on a 3D with-height ambisonic sound system comprising 28 speakers. The event was live streamed on YouTube in a binaural format so remote listeners could hear the 3D sound via headphones.
In July he was selected to take part in the Sound and Music Computing (SMC) summer school and conference at Aalto University in Helsinki, which featured four days of lectures from world experts on acoustics and signal processing. Later in the year, Oli is scheduled to present a poster at the Roli Audio Developers conference in London.
Abel’s work Room & Elbow was awarded the SGAE Young Composer’s Prize (one of Spain’s most important composition prizes) in November last year, while his work Nombre y Vacío, commissioned by Vertixe Sonora Ensemble, was premiered in Santiago de Compostela (Spain) last December. More recently, Abel’s work Mano y Mente, a commission of the Mixtur Festival, was premiered last March in Barcelona.