steve reich: radio rewrite
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DESCRIPTIONThe programme from the London Sinfonietta's world premiere performance of Steve Reich's 'Radio Rewrite' at Southbank Centre's Royal Festival Hall.
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1Steve Reich: Radio Rewrite TourTuesday 5 March 7.30pm London Royal Festival Hall, Southbank Centre
Wednesday 6 March 7.30pmBirmingham Town Hall
Steve Reich Clapping Music* 6
Steve Reich Electric Counterpoint# 15
Steve Reich 2 x 5 20
Steve Reich Radio Rewrite world premiere (London) 16
Steve Reich Double Sextet 22
Brad Lubman conductorSteve Reich performer*Mats Bergstrm guest electric guitar#
Sound Intermedia sound projection
There will be a short talk on stage with Steve Reich, immediately following the performance at Southbank Centres Royal Festival Hall, London.
Radio Rewrite is commissioned by the London Sinfonietta with support from LondonSinfonietta Entrepreneurs and Pioneers including Sir Richard Arnold, Trevor Cook, SusanGrollet in memory of Mark Grollet, and Richard Thomas; Alarm Will Sound and StanfordLive in honor of the Bonnie J. Addario Lung Cancer Foundation with generous supportfrom Van and Eddi Van Auken.
Thursday 7 March 7.30pmBrighton Dome
Saturday 9 March 9pmGlasgow Royal Concert Hall
Performance at Brighton Dome in association with:
The Steinway concert pianos chosen and hiredby the University of Sussex are supplied andmaintained by Steinway & Sons, London
The performance on Tuesday 5 March is being broadcast live on BBC Radio 3, on Live In Concert. It will be available to listen to via the website for a further seven days atbbc.co.uk/radio3
The London Sinfonietta isgrateful to the Aaron CoplandFund for Music for theirsupport of this concert.
2Welcome to tonights concert.
Its always a special occasion to welcome back SteveReich to work with the London Sinfonietta, and nomore so when we can premiere a new work by him.Radio Rewrite has such an exciting story behind itsince Steve first accepted the invitation to write for us again back in 2008. The way the piece hasevolved is a testament to a composer who is alwaysexploring new ideas, with the same energy,curiosity and enthusiasm that first led him to make his music in such a distinctive way.
The ensemble has become a dedicated advocate forSteves music, and we are proud to have recordedVariations for Vibes, Pianos and Strings, the previouscommission by the London Sinfonietta. In morerecent seasons, we have performed Music for 18Musicians with Steve as part of the ensemble. Sonow, it is particularly exciting to have supportedRadio Rewrites creation and to be giving the worldpremiere. The London Sinfoniettas collaborationwith Radiohead in 2005, and the performance ofone of Jonny Greenwoods first compositions,makes us feel part of a set of associations that are re-converging at this point. Its a great night to be part of.
Im particularly grateful to all the people who havecontributed towards the cost of this new work. Weve benefitted from donations of all sizes, and via a successful online funding campaign. Peopleclose to the London Sinfonietta and a wider audiencefrom all over the world who all share a passion forSteves music have given money. We hope they willbenefit from an on-going satisfaction and connectionwith the work, knowing they have made possible anew piece that will be played many times, tothousands of people, all over the world in years tocome. There may be many of you in the audiencetonight who are part of our now much widercommissioning network so thank you.
I hope you enjoy the evening. Do let us know what you think.
Andrew BurkeChief Executive
Steve Reich has been called Americas greatestliving composer (The Village VOICE), the mostoriginal musical thinker of our time (The NewYorker), and among the great composers of thecentury (New York Times).
His music has been influential to composers andmainstream musicians all over the world. He is aleading pioneer of minimalism, having in his youthbroken away from the establishment that wasserialism. His music is known for its steady pulse,repetition and a fascination with canons; itcombines rigorous structures with propulsiverhythms and seductive instrumental colour. It alsoembraces harmonies of non-Western and Americanvernacular music, especially jazz. Reichs studieshave included the Gamelan, African drumming atthe University of Ghana and traditional forms ofchanting the Hebrew scriptures.
Different Trains and Music for 18 Musicians haveeach earned him Grammy awards, and hisdocumentary video opera works The Cave andThree Tales, done in collaboration with video artist Beryl Korot, have pushed the boundaries of the operatic medium.
Over the years his music has significantly grown both in expanded harmonies andinstrumentation, resulting in a Pulitzer Prize for his 2007 composition Double Sextet.
Reichs music has been performed by majororchestras and ensembles around the world,including the New York and Los Angelesphilharmonics; London, San Francisco, Boston and BBC symphony orchestras; London Sinfonietta;Kronos Quartet; Ensemble Modern; EnsembleIntercontemporain; Bang on a Can All-Stars; andeighth blackbird. Several noted choreographers have created dances to his music, such as AnneTeresa de Keersmaeker, Jir Kylan, Jerome Robbins,Wayne McGregor and Christopher Wheeldon.
eres just a handful of living composers who can legitimately claim to have altered the direction of musicalhistory and Steve Reich is one of them. The Guardian
Reprinted by kind permission of Boosey & Hawkes.
Photo: Wonge Bergmann
4So said Steve Reich in an interview with Cole (now Nicole) Gagne in 1980. He repeated the point in 1994 in response to a question from the MusicalTimes about the future of music. Yet despite this, Radio Rewrite is in fact the first time Reich hasexplicitly worked with the materials of rock music.
The development of Steve Reichs music, from hisstudent works, through the early tape and phasingpieces, to masterworks like Music for 18 Musiciansand beyond, runs in parallel with the development of popular music from the 1960s to the 2010s. Many claims are made for his influence on pop, rock,house, techno and even rap, but how much of that isgenuine contact, and how much wishful revisionism?
In his student years, before he met Terry Riley in 1964 and discovered the tape phasing process in 1965,Reich claimed three major influences on his music:Bach, Stravinsky and jazz. The last of these was mostinfluential, particularly the playing of John Coltrane,whom Reich saw many times at San Franciscos JazzWorkshop club in the early 1960s. In particular, Reich has mentioned the importance of Coltranes1961 Africa/Brass album, and listening back its nothard to hear why.
In its patterns of repetition, flow and rupture, and its emphasis on the beatAfrica/Brass is typical of the music of the African (particularly West African)diaspora. To these Coltrane adds modality, an emphasison massed sound over distinct melody, harmonicstasis, and a way of building form by adding orsubtracting layers. In other words, many of the planksof Reichs minimalist style. Two further elements phasing and glittering tuned percussion came soonafter, as a result of Reichs experiments with tape loopsand his encounter with Ghanaian drumming.
These two elements are what usually signal theinfluence of Reich. But the fact that so much of hismusic is arguably built on a template derived fromColtrane and other Afro-diasporic musicians of the 60s, a template that in various forms underpins music from blues to rap, is what makes the Reichmeme so persistent.
There were signs of this a decade later, as thebreakthrough of Reich (as well as Riley and PhilipGlass) coincided with the height of disco. Thepremiere of Music for 18 Musicians in March 1976, for example, came just a month after the release of Donna Summer and Giorgio Moroders 17-minute masterpiece Love to Love You Baby.
It is possible to read (and has been done) Music for 18 Musicians in conjunction with disco. Certainly they share common features: a sprawling scale, aformal language of extended and repeating climaxesand releases, techniques of layering and cross-fading, and a relentless adherence to the beat. Indeed in1978 a live performance of Music for 18 Musicianssold out the Bottom Line club in New York, and the following year a Rolling Stone feature on Glassattempted to argue that minimalism actuallyprefigured disco. A 1984 article in Harpers magazineeven referred to Reichs music as a form of higherdisco. The coincidence of white art and black pop was not entirely arbitrary: the racial politics of discoand early techno was already leading black producerslike Derrick May to self-identify withsophisticated European aesthetics.
Yet how much Reich and disco really knew of eachother is beside the point. What is clear is that they were both attuned to similar musical andtechnological currents at the time Afro-diasporicbeats; the technology of the turntable, tape loop and cross-fader; and the possibilities ofaccumulative and layered musical forms.
However, there were easily documented points ofcontact. Perhaps the most important of these was in1973, when Brian Eno, until then a member of RoxyMusic, saw Steve Reich and Musicians at the QueenElizabeth Hall and introduced himself to thecomposer. Reichs influence on Eno was profound,and contributed to a change in direction in his workthat can be documented through solo albums likeAnother Green World, the Ambient and Discrete Musicseries, and his work as a producer.
The Steve Reich meme
e sounds that surrounded America from 1950 through 1980 jazz and rock and roll cannot be ignored. ey can be rened, ltered, rejected, or accepted in part, but they cant be ignored, or youre an ostrich; youre ill-informed.
5In 1976 David Bowie, who was working with Eno onhis Low album, attended the European premiere inBerlin of Music for 18 Musicians, and the pulsingmarimbas and vibraphones of that albums WeepingWall are an unmistakable homage. Bowie wasnt theonly rock musician to have felt minimalismsinfluence. The Who famously quote Rileysarpeggiated keyboard style on Baba ORiley, andReichs technique of building up textures throughclosely spaced canons can be heard through prog rock(a choice example is I Robot by The Alan ParsonsProject). To say nothing of Mike Oldfields TubularBells, itself enormously influential.
The contact between Reich and popular music coolsin the 1980s, as do both disco and prog. But the mostrecent and enduring phase of cross-influence waslaunched by a band who might be said to have helpedrevive both styles. The Orbs sampling of ReichsElectric Counterpoint for their 1990 single LittleFluffy Clouds simply made explicit the sympathybetween late 80s/early 90s rave culture and Reichsglittering, pulse-driven soundscapes. Raves biggestact, Orbital (who themselves drew on Reichiantimbres in the keyboard riff of Lush 3 and thelayered pianos of Kein Trink Wasser), made atechnical homage in their arch use of phasing speechloops for the intro and outro to their second(Brown) album of 1993.
While rave and techno have their roots in the sameAfro-diasporic elements as disco (and so share someof the same DNA as both Coltranes modal jazz andReichs minimalism), Reichs music in the 1990sappealed to a different mood. Instead of the newAfrica sought by Coltrane or May, techno andminimalism were connected by the general desire forself-sublimation that permeated popular music of thetime, from rave to Nirvana. Reichs appeal was nowthe ambient glow of massed sound, the totalabsorption of surface detail into a generalisedtexture, the effacement of the individual, and it canbe heard on albums as diverse as U2s The Joshua Tree(produced by Eno), My Bloody Valentines Lovelessand Aphex Twins Selected Ambient Works Volume II.Spiritualizeds Ladies and Gentlemen We Are Floating inSpace and Tortoises TNT in different ways even closethe circle between loops and Coltrane-esque jazz.
Towards the end of the decade, as techno maturedand its producers became more self-reflective, a newgenre minimal techno, or microhouse was born.
The Reich Remixed album of 1999 may have beendevised by Nonesuch records to attract a crossoveraudience to its Reich discography, but it struck achord nevertheless. Producers were creating a newform of techno that was more attuned to minuteprocesses of variation and evolution. Several of them,including Carsten Nicolai, Richie Hawtin andNobukazu Takemura have acknowledged theinfluence in particular of Reichs early music.Takemura (a contributor to Reich Remixed) samplesFour Organs on his Assembler/Assembler 2 album.Hawtins Concept series of 12 inches focused withReichian obsession on single rhythmic ideas; thesewere later remixed by Thomas Brinkmann into newrhythmic configurations by using a custom twin-armturntable to play the record against itself. Brinkmannhas taken Reichs phasing technique to an extreme onhis X100 record, which consists of just a click, a toneand a bass kick recorded on two slightly out of phasegrooves for the duration of one LP side.
In using two Radiohead tracks, Radio Rewritemightbe said finally to confirm the importance of rock thatReich spoke of back in 1980. The debt has alreadybeen paid the other way, when Jonny Greenwoodperformed a stunning version of Electric Counterpointin Krakw in 2011. It was at this concert that Reichand Greenwood met, and the idea of Radio Rewritewas born. The London Sinfoniettas involvementkeeps the circles turning in on each other. As well ascommissioning and giving the world premiere ofReichs Variations for Vibes, Pianos and Strings in 2006,it was the London Sinfonietta who co-commissionedReichs City Life (1995), his first piece to employdigital samplers of the sort used by musicians likeTakemura and The Orb. Greenwoods compositionalcareer, meanwhile, may be said to have beenkickstarted by the London Sinfonietta, whoperformed and recorded his first orchestral worksmear in 2005, which led to his score for the filmThere Will Be Blood and other compositions. And apath via Steve Reichs Drumming, Eno and Hawtinmay well take you to Radiohead tracks like Packt LikeSardines in a Crushed Tin Box or The Gloaming. Tosay nothing of Thom Yorkes Arpeggi, which theLondon Sinfonietta have already performed in a veryReich-like reworking. Radio Rewritemay beunprecedented in Reichs illustrious career, but it alsohas a satisfying inevitability.
Tim Rutherford-Johnson (2013)
Late in 1971, I composed Clapping Music out of adesire to create a piece of music that would need noinstruments at all beyond the human body. At first Ithought it would be a phase piece, but this turnedout to be rather inappropriate since it introduces adifficulty in musical process (phasing) that is out ofplace with such a simple way of producing sound.The solution was to have one performer remainfixed, repeating the same basic pattern throughout,while the second moves abruptly, after a number ofrepeats, from unison to one beat ahead, and so on,until he is back in unison with the first performer.The basic difference between these sudden changesand the gradual changes of phase in other pieces, isthat when phasing, one can hear the same patternmoving away from itself with the downbeats of bothparts separating further and further apart, whilethe sudden changes here create the sensation of aseries of variations of two different patterns withtheir downbeats coinciding. In Clapping Music it canbe difficult to hear that the second performer is infact always playing the same original pattern as thefirst performer, though starting in different places.Clapping Musicmarks the end of my use of thegradual phase shifting process.
Steve Reich (Writings about Music)
Electric Counterpoint was commissioned by theBrooklyn Academy of Musics Next Wave Festivalfor guitarist Pat Metheny. It was composed duringthe summer of 1987. The duration is about 15minutes. It is the third in a series of pieces (firstVermont Counterpoint in 1982 for flutist RansomWilson followed by New York Counterpoint in 1985for clarinettist Richard Stolzman) all dealing with asoloist playing against a pre-recorded tape ofthemselves. In Electric Counterpoint the soloist pre-records as many as ten guitars and two electric bassparts and then plays the final eleventh guitar partlive against the tape. I would like to thank Pat
Metheny for showing me how to improve the piecein terms of making it more idiomatic for the guitar.
Electric Counterpoint is in three movements; fast,slow, fast, played one after the other without pause.The first movement, after an introductory pulsingsection where the harmonies of the movement arestated, uses a theme derived from Central Africanhorn music that I became aware of through theethnomusicologist Simha Arom. That theme is builtup in eight voice canon and while the remaining twoguitars and bass play pulsing harmonies, the soloistplays melodic patterns that result from thecontrapuntal interlocking of those eight pre-recorded guitars.
The second movement cuts the tempo in half,changes key and introduces a new theme, which isthen slowly built up in nine guitars in canon. Onceagain, two other guitars and bass supply harmony,while the soloist brings out melodic patterns thatresult from the overall contrapuntal web.
The third movement returns to the original tempoand key and introduces a new pattern in triplemeter. After building up a four guitar canon, twobass guitars enter suddenly to further stress thetriple meter. The soloist then introduces a newseries of strummed chords that are built up in threeguitar canon. When these are complete, the soloistreturns to melodic patterns that result from theoverall counterpoint, when suddenly the bassesbegin to change both key and meter back and forthbetween E minor and C minor and between 3/2 and12/8, so that one hears first three groups of foureighth notes and then four groups of three eighthnotes. These rhythmic and tonal changes speed upmore and more rapidly until at the end the bassesslowly fade out and the ambiguities are finallyresolved in 12/8 and E minor.
2 x 5
My first thought was that with two electric basses Icould write interlocking bass lines that would be
Notes on the programme
7clearly heard. This would not be possible on acousticbasses played pizzicato. I then began to think abouttwo pianos and two electric basses being the motorfor a piece that would use electric guitars and smalldrum kit as well. The classic rock combination oftwo electric guitars, electric bass, drums and pianoseemed perfect so long as it was a doubled quintetresulting in two basses, two pianos, two drums andfour electric guitars. This made possible interlockingcanons of identical instruments. The piece can beplayed either with five live musicians and five pre-recorded or with ten musicians.
2 x 5 is clearly not rock and roll. Like any othercomposition, its completely notated while rock is generally not. 2 x 5 is chamber music forrock instruments.
Were living at a time when the worlds of concertmusic and popular music have resumed theirnormal dialogue after a brief pause during thetwelve tone/serial period. This dialogue has beenactive, I would assume, since people have beenmaking music. We know from notation that it wasactive throughout the Renaissance with the folksong Lhomme arm used in masses by composersfrom Dufay to Palestrina. During the Baroqueperiod, dance forms were used by composers fromFroberger and Lully to Bach and Handel. Later wehave folk songs in Haydns 104th symphony,Beethovens 6th symphony, Russian folk songs inStravinskys early ballets, Serbo-Croatian folk musicthroughout Bartok, hymns in Ives, folk songs andjazz in Copland, the entire works of Weill, Gershwinand Sondheim and on into my own generation andbeyond. Electric guitars, electric basses and drumkits, along with samplers, synthesizers and otherelectronic sound processing devices are now part ofnotated concert music. The dialogue continues.
Steve Reich (2008)
Radio Rewriteworld premiere (London)
Over the years, composers have used pre-existingmusic (folk or classical) as material for new pieces oftheir own. This was particularly notable from thebeginning of the 15th to the end of the 17th centurywhen over 40 settings of the mass using the tuneLhomme arm as its point of departure were writtenby composers Dufay, Ockeghem, Josquin des Pres
and Palestrina among others. Lhomme arm was apopular folk song yet writing a mass was similar inscope then to writing a symphony in the Classical orRomantic period. Much later in the 19th century,Brahms wrote Variations on a Theme of Haydn and inthe 20th century we find Stravinsky reworkingPergolesi for his own Pulcinella. Radio Rewrite, alongwith Proverb (Perotin) and Finishing the Hat-TwoPianos (Sondheim) are my modest contribution to thisgenre.
Now, in the early 21st century, we live in an age of remixes where musicians take audio samples ofother music and remix them into audio of their own.Being a composer who works with musical notation, I chose to reference two songs from the rock groupRadiohead for an ensemble of musicians playing non-rock instruments. The two songs chosen wereEverything in its Right Place and Jigsaw Falling IntoPlace. The story is as follows:
In September 2011 I was in Krakow for a festival of my music. One of the featured performers wasJonny Greenwood of Radiohead who had prepared all the backing tracks for my piece Electric Counterpoint,and then played electric guitar live against thosetracks in concert. It was a great performance and webegan talking. I found his background as a violist andhis present active role as a composer extremelyinteresting when added to his major role in such animportant and innovative rock group. Even festivaldirector Filip Berkowitz suggested I listen toRadiohead. When I returned home I made a point togo online and listen to their music and the two songsmentioned above stuck in my head.
It was not my intention to make anything likevariations on these songs, but rather to draw on theirharmonies and sometimes melodic fragments andwork them into my own piece. This is what I havedone. As to actually hearing the original songs, thetruth is sometimes you hear them and sometimesyou dont.
Radio Rewrite is in five movements played withoutpause. The first, third and fifth are fast and based onJigsaw and the second and fourth are slow and basedon Everything. The piece is scored for flute, clarinet,two vibes, two pianos, string quartet and electric bass.It was co-commissioned by the London Sinfoniettaand Alarm Will Sound and is about 16 minutes induration. It was completed in August 2012.
Steve Reich (2012)
There are two identical sextets in Double Sextet.Each one is comprised of flute, clarinet,vibraphone, piano, violin and cello. Doubling theinstrumentation was done so that, as in so manyof my earlier works, two identical instrumentscould interlock to produce one overall pattern. For example, in this piece you will hear the pianosand vibes interlocking in a highly rhythmic way to drive the rest of the ensemble.
The piece can be played in two ways; either withtwelve musicians, or with six playing against arecording of themselves.
The idea of a single player playing against arecording of themselves goes all the way back toViolin Phase (1967) and extends though VermontCounterpoint (1982), New York Counterpoint (1985),Electric Counterpoint (1987) and Cello Counterpoint(2003). The expansion of this idea to an entirechamber ensemble playing against pre-recordings ofthemselves begins with Different Trains (1988) and
continues with Triple Quartet (1999) and nowDouble Sextet. By doubling an entire chamberensemble, one creates the possibility for multiplesimultaneous contrapuntal webs of identicalinstruments. In Different Trains and Triple Quartetall instruments are strings to produce one largestring fabric. In Double Sextet, there is more timbralvariety through the interlocking of six differentpairs of percussion, string and wind instruments.
The piece is in three movements fast, slow, fast and within each movement there are four harmonicsections built around the keys of D, F, A flat and B or their relative minor keys B, D, F and G sharp. As in almost all of my music, modulations from one key to the next are sudden, clearly setting off each new section.
Double Sextet is about 22 minutes long and wascompleted in October 2007. It was commissioned by eighth blackbird and received its world premiereby that group at the University of Richmond in Virginia in March 2008.
Steve Reich with Principal Percussionist David Hockings
Conductor/composer Brad Lubman is founding co-Artistic Director and Music Director of Ensemble Signal, hailed by The New York Times as one of the most vital groups of its kind.
Brad Lubmans guest conducting engagements includemajor orchestras such as the Finnish Radio Symphony,Orchestre Philharmonique de Radio France and the StPaul Chamber Orchestra. In addition, he has workedwith some of the most important ensembles forcontemporary music, including Klangforum Wien,musikFabrik, and the Los Angeles Philharmonic NewMusic Group.
Brad Lubmans work includes a number of CDrecordings. A new CD with first recordings of orchestral works by Morton Feldman was released with the Deutsches Symphonie-Orchester Berlin in October 2011 at Mode Records, receiving greatacclaim by the international press.
In the 2012/13 season, Brad Lubman is working onceagain with the DSO Berlin and the RKF and he will make his debut with the NDR-Sinfonieorchester,Hamburg. To mark the 100th anniversary ofStravinskys Le sacre du printemps, he will conduct theNew York based Orchestra of St. Lukes in a guestperformance in North Carolina.
Brad Lubman is Associate Professor of Conducting andEnsembles at the Eastman School of Music in Rochester,New York where he has directed the Musica Novaensemble since joining the faculty in 1997. He is also on the faculty of the Bang-on-a-Can Summer Institute.
His own music has been performed in the United Statesand Europe and can be heard on his first portrait CD,insomniac, on Tzadik. He has also recorded for Albany,BMG/RCA, New World, Nonesuch and OrangeMountain amongst others.
Mats Bergstrmelectric guitar
Guitarist Mats Bergstrm, born in Gvle in 1961,grew up in Stockholm in a family of musicians. After graduating from the Royal College of Music in Stockholm and spending a year in London where he made his debut at the Wigmore Hall, he mainlyworked as a session musician on the electric as wellas the acoustic guitar during the 1980s. Two yearsas a post-graduate student at the Juilliard School in New York at the beginning of the 1990s werefollowed by a conscious effort to concentrate on chamber music. Today, he is often heardaccompanying one of our greatest singers or as a boundless soloist and ensemble musician. InAugust 2011 he made his BBC Proms debutperforming Steve Reichs Electric Counterpoint at the Royal Albert Hall.
By collaborating with composers and rearrangingsongs and instrumental works for the guitar, he renews and expands the repertoire for theinstrument. His discography is extensive. He hasbeen a member of the Royal Swedish Academy ofMusic since 2006 and in 2011 was awarded theLitteris et Artibusmedal.
Mats Bergstrm lives in the heart of Uppland with his wife and three children as well as a varying number of hens.
Photo: Eric Camping
Photo: Per-Erik Adamsson
London Sinfonietta making new music
The London Sinfonietta is one of the worlds leading contemporary music ensembles with areputation built on the virtuosity of its performancesand ambitious programming. It is committed to placing new music at the heart of contemporaryculture and continually pushing boundaries, regularly undertaking projects with choreographers,video artists, film-makers, electronica artists, jazz and folk musicians. The ensemble is ResidentOrchestra at Southbank Centre with its headquarters at Kings Place.
Famed for its commitment to the creation of newmusic, the London Sinfonietta has commissionedover 250 works since its foundation in 1968, andpremiered many hundreds more. World and UKpremieres in 2012/13 include, among others, SteveReichs Radio Rewrite (a London Sinfonietta co-commission), David Fennessys 13 Factories (UKpremiere), Pelle Gudmundsen-Holmgreens Run(world-premiere) and a new work by Luke Bedford (London Sinfonietta commission).
The London Sinfoniettas pioneering young artist programmes include Blue Touch Paper, ascheme which promotes the next generation ofpartnerships across a variety of artistic disciplines;the Writing the Future programme, which enablesyoung composers to work with London Sinfoniettamusicians as they make new music; and theLondon Sinfonietta Academy, which gives the UKsfinest young musicians the opportunity to cometogether to further their performance experienceand training in an intensive week-long course.
The London Sinfonietta Label and releases on NMC Recordings and Signum Records present a recordings catalogue of the finest new musicperformed by the London Sinfonietta. The latestreleases include the New Music Show, ThomasAds: In Seven Days, Jonathan Harvey: BirdConcerto with Pianosong and Louis Andriessen:Anas Nin/De Staat.
Sound Intermedia alias Ian Dearden and DavidSheppard is dedicated to realising visionary newart works through live performance and cutting-edge technology. Their trail-blazing initiatives andartistic collaborations continually push past theaccepted boundaries of composition, sound design,live sound, music technology and interactivemultimedia. Internationally respected both ascomposers and performers, they collaborate withmany of the worlds most influential artists and organisations.
Michael Cox*flutesupported by Michael and Patricia McLaren-Turner
Paul Silverthorne* violasupported by Nick and Claire Prettejohn
Tim Gill*cellosupported by Sir Stephen Oliver
Enno Senft*bass guitarsupported by Anthony Mackintosh
John Constable* pianosupported by Michael Conroy
Huw Davieselectric guitar
Steve Smithelectric guitar
*London Sinfonietta Principal Players
Sound Intermediasound projection
The London Sinfonietta Academy is central to the LondonSinfoniettas commitment to working with young musicians. A week-long summer course enables 30 students and threeconductors from across the UK to learn skills specific toperforming new music from the ensembles Principal Players.The London Sinfonietta Academy 2013 will be conducted byworld-renowned composer, conductor and performer GeorgeBenjamin, and culminate in a public performance on Saturday13 July. Keep an eye on our website and social media channelsto find out how to reserve tickets.
The Writing the Future scheme continues to pair composerswith London Sinfonietta Principal Players to develop newchamber compositions that will be performed throughout theseason. Projects for the composers also include creative cross-artform collaborations with students at the Central SaintMartins College of Arts and Design.
The ground-breaking Blue Touch Paper programmecontinues into another round of developing inventive cross-artform work. During the forthcoming year, composer EdwardJessen will be working with director Joseph Alford, composerLuke Carver Goss will be working with writer Jacob Polley, andcomposer Dan Stern will be working with set designer AurelianKoch. These works will receive their preview performance onTuesday 14 May at Village Underground, London.
Get closer to the London Sinfonietta andcontemporary classical music with activities that give you the opportunity to create, curate andperform with a world-class ensemble. As part of the Steve Reich: Radio Rewrite tour in March 2013,the London Sinfonietta presented a RepeatingPatterns Schools Concert, produced by, and for,young people. With nearly 2000 pupils at the RoyalFestival Hall, Steve Reich and the KX Collectivepresented works including Electric Counterpoint,which features in the GCSE curriculum.
In February we led a Clapping Music Workshopinspired by our ongoing exploration of
minimalism. Principal Percussionist David Hockingsled the workshop, where members of the public learnt Steve Reichs famous piece Clapping Music anddiscovered first-hand what makes this composition so thrilling; not only to watch, but to perform.
The KX Collective, a dynamic group of young peoplefrom Kings Cross and surrounding areas, continue tocreate and perform new music, collaborate withprofessional musicians, produce events and find outabout music being made today.
For further details of future opportunities, pleasecontact [email protected]
Photo: Briony Campbell
Photo: Briony Campbell
Photo: Briony Campbell
The London Sinfonietta is a registered charity andrelies on the considerable generosity of many trusts,foundations and individuals to continue to create andperform outstanding new music.
London Sinfonietta Pioneers
Do you share our passion for new music? Join theLondon Sinfonietta Pioneers and you will play acrucial role in making new music happen.
Membership starts from just 35 per year (less than 3 per month) and will support all areas of the London Sinfoniettas new music-making and help us to remain at the forefront of contemporaryclassical music.
You might like to direct your support to a major newcommission with an annual gift of 200 and aboveand gain an insight into the creative commissioningprocess. Recent Pioneer supported commissions have
included In Broken Images by Sir Harrison Birtwistleand Radio Rewrite by Steve Reich.
A gift of 1,000 and above per year will support one of our world-class Principal Players for a season and give you a close connection with theperforming ensemble.
Your support, at any level, is enormously valuable to the London Sinfonietta and all Pioneers enjoy an engaging relationship with the ensemble, with regular opportunities to meet our players and attend specific supporters events.
Help us continue to lead the way, sparking the greatest innovations in music andnurturing the best musical talent as we go.Become a Pioneer today and help us make new music happen.
Find out more by contacting our Developmentteam on 020 7329 9340, by emailing [email protected] or visiting londonsinfonietta.org.uk/pioneers
Photo: Wonge Bergmann
Andreas AffentrangerCarmen AlznerGraham AndersonRichard ArnoldEleanor AshtonLizzie AtanassovaIan BakerClaire BartonStephen and Maureen BartonAndrew Brixey-WilliamsHannah BujicAndrew BurkeG BuxtonJonathan CanePeter CarpenterHenrik CeliusTrevor CookAdrian CosgraveKatriona CoughlinElizabeth Davies
Dennis DavisMonica DuttaAlexander FitchJosh FordeAmy FretwellSarah GeeSusan Grollet (In memory of Mark Grollet)
Robin HaighWill HarrissKatherine HattersleyJohn Holland Deirdre HollingsworthJK HolmanCharles HumphriesJonathan JamesJV JohnstonPenny JonasClaire JordanMr and Mrs KaraszkiewiczAnn King-Musza
Hoi-Cheong LamMarianne LamponDominic LeitnerAnnabel MarslandMr and Mrs McDadeDamian McVeighPhilip MeadenAshil MistryStephen MorrisMr and Mrs MorrisEsther MulhollandYasushi OgasawaraNatalie OlivadotiR ONealeMartin Patefield-SmithClaudia PayneEJ PicardKieran QuirkeEmma ReaKarl RichardMark Rickerby
Keith SalwayPedro SegundoJoan SheppardRoy StewartPete StolleryRoz SurteesAlan TederBarry TennisonRichard ThomasAgeno ToshimitsuGraham VernonThorsten ViethBS WayJohn WheatleyRonan WhitternAllan WilsonBarry WitherdenAJ Wittenberg
Steve Reich: Radio RewriteWe are hugely grateful to the London Sinfonietta Entrepreneurs, Pioneers and supporters from around theworld who have helped make this work happen:
John BirdSir Harrison BirtwistleAlfred Brendel KBESir George Christie cH
Sir Richard ArnoldTrevor CookSusan Grollet in memoryof Mark GrolletLeo and Regina HepnerPenny JonasAnthony MackintoshBelinda MatthewsRobert & Nicola McFarlandMichael & PatriciaMcLaren-Turner
Sir Stephen Oliver QCNick & Claire PrettejohnRichard Thomas & Caroline CowiePaul & Sybella Zisman
Ian BakerAndrew BurkeRobert ClarkJeremy & Yvonne ClarkeRachel ColdicuttSusan CostelloAnton CoxDennis DavisDeborah GoldenPatrick HallNicolas HodgsonAndrew HuntMaurice & Jean JacobsFrank & Linda Jeffs
Alana Lowe-PetraskeJane McAuslandStephen MorrisJulie NichollsSimon OsbornePatricia OSullivanGeoff PeaceRuth RattenburyDennis StevensonIain StewartAnne StoddartSally TaylorBarry TennisonDavid and Jenni Wake WalkerEstela WelldonJohn WheatleyJane WilliamsStephen WilliamsonMichelle Wright
Plus those generous Pioneers whoprefer to remain anonymous
Arts Council EnglandThe Aaron Copland Fund for MusicThe Angus Allnatt Charitable TrustThe Boltini TrustThe British CouncilThe Britten Pears FoundationThe Derek Butler TrustThe City of London Corporations City Bridge TrustColumbia Foundation Fund of the London Community Foundation
The DOyly Carte Charitable TrustFidelio Charitable TrustThe Goldsmiths Company CharityThe John Ellerman Foundation
Esme Fairbairn FoundationFenton Arts TrustThe Holst FoundationJerwood Charitable FoundationThe Stanley Thomas Johnson FoundationThe Leche TrustThe Leverhulme TrustThe Marple Charitable TrustMusicians Benevolent FundPRS for Music FoundationRVW TrustThe Harold Hyam Wingate FoundationYouth Music
London Sinfonietta Patrons and Pioneers
London Sinfonietta is immensely grateful to the following trusts
and foundations for their support:
Board of Directors
Andrew BurkeRachel ColdicuttIan DeardenDavid HockingsPenny JonasAlana Lowe-PetraskeBelinda MatthewsPhilip MeadenSir Stephen Oliver QCMatthew PikePaul SilverthorneSally Taylor
Andrew Burke Chief Executive
Sarah TennantHead of Concert Production
Natalie Marchant Concerts & Touring Administrator
Tina SpeedParticipation and LearningManager
Claire BartonDevelopment Manager
Amy ForshawSenior Marketing Officer
Claire LamponMarketing & DevelopmentAssistant
Elizabeth Davies Head of Administration and Finance
Viktoria Mark Finance Assistant
Sarah TuppenProjects Intern (Surrey University ProfessionalTraining Placement)
Freelance andConsultant Staff
Hal Hutchinson Concerts Manager
Lesley Wynne Orchestra Personnel Manager
Julie NichollsConsultant Accountant
Michelle Wright for Cause4Fundraising Consultant
London Sinfonietta is grateful to its accountants: Martin GreeneRavden LLP and its auditors MGR Audit Limited for theirongoing support.
In Portrait: Luke Bedford
Wednesday 22 May, 7:45pm Purcell Room at Royal Festival Hall
Luke Bedford has fast become one ofthe most important composers of hisgeneration, in part on the evidence ofpast work for the London Sinfonietta.This new ensemble composition is amajor 25-minute work, which will beperformed for a second time after theinterval to give the rare instantsecond chance for an audience to getto know this brand-new composition.The programme also includes anensemble arrangement of the 2011double-soloist and string ensemblecomposition Wonderful No-HeadedNightingale, and music by GrardGrisey, whose music holds afascination for Bedford.
Luke Bedfords new work iscommisioned by the LondonSinfonietta with the generoussupport of Michael and Patricia McLaren-Turner.
15(6.50 U26, 4.50 students)
0844 847 9910southbankcentre.co.uk
Mauricio Kagel: The Pieces of the Compass Rose
Saturday 1 June, 7:30pmQueen Elizabeth Hall
e sound references are neverused anecdotally; every one ofthem is integrated by Kagelsextraordinary harmonicimagination into a world in which nothing is what it seems,and in which every new vistacontains a genuine surprise.The Guardian
Discover Mauricio Kagels The Piecesof the Compass Rose, a musicaltravelogue taking you from the northeast of Brazil, to the Gulf of Finlandand the South American Andes usinginstruments from piano andharmonium to a full range ofpercussion. An Argentinian composerwhose cultural and musical outlookembraced a life lived crossingcontinents, The Pieces of the CompassRose is Kagels response to the diversesoundworlds evoked by geography,language and ethics.
9, 15, 22(6.50 U26, 4.50 students)
0844 847 9910southbankcentre.co.uk
Darkness and Light: Georg Friedrich Haas in vain
Friday 6 December, 8pmQueen Elizabeth Hall
Georg Friedrich Haas in vain,writtenin 2000, is an exploration of a musicalsound outside the standard tonalsystem of composition, and anadventure for the listener. As well asthe microtonal harmonic sound-world that pervades the work, thenormal concert experience is alteredfor the audience and the performers,as parts of the performance are givenin pitch-black, according to a series ofcarefully planned lighting changesthat alter and heighten the listenerssenses. This extraordinary work hasbeen performed many times inEurope and now has its much awaited premiere in London.
Presented by the London Sinfoniettaas part of Southbank Centres The Rest is Noise, inspired by Alex Ross book The Rest is Noise.
10, 20(6.50 U26, 4.50 students)
0844 847 9910southbankcentre.co.uk
Upcoming London Sinfonietta concerts
at the Southbank Centre
Photo: Briony Campbell
Photo: Briony Campbell