Tuesday 3 April 2018, 7.30pm
Joanna Bailie, Last Song From Charleroi (2017), for 4 electric guitars and tape, 17′
Earle Brown, December 1952 (1952), 15′
John Dowland, Semper Dowland, Semper Dolens (1605), 10′
Caterina Barbieri (b. 1990) is an italian composer and performer of electroacoustic music. Living at the romantic intersection between analog and digital, organic and binary, human and artificial, her music is a sonic utopia about emerging machine intelligence, human desire of pattern detection and rips of love in the invariable texture of the matrix. Her minimalist focus arises from a meditation on primary waveforms, overtone-centered patterns and the polyrhythm of harmonics, mainly rooted in the exploration of the polyphonic and polyrhythmic potential of voltage-controlled sequencers. Recursive sound patterns as a medium of perceptual insight and mental training are one of the main inspiration of her current sonic research. Using synthesis, psychoacoustics and repetition as key concepts, the italian composer stylizes the dancing of wave cycles in severe geometries of time and space on the boundary between minimalism, drone and techno in multichannel listening environments.
Zwerm was founded in 2007 and has collaborated with many artists including Fred Frith, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides, François Sarhan, Mark Vanrunxt, Sheila Anaraki, Etienne Guilloteau, Stefan Prins and Serge Verstockt.
Zwerm is Toon Callier, Johannes Westendorp, Bruno Nelissen and Kobe van Cauwenberghe.
The British composer Joanna Bailie was born in London in 1973 and now lives in Berlin. She studied composition with Richard Barrett, electronic music at the Institute of Sonology, Royal Conservatoire of The Hague, and in 1999 won a fellowship to study at Columbia University. She completed her PhD at City, University of London in 2018.
Her music has been performed by groups such as Klangforum Wien, Ensemble Contrechamps, The Ives Ensemble, Ensemble Nadar, Ictus Ensemble, Asamisimasa, L’instant Donné, EXAUDI, Ensemble Mosaik, Explore Ensemble, Ensemble Musikfabrik, KNM Berlin, Zwerm, Neue Vocalsolisten Stuttgart, The BBC Scottish Symphony Orchestra, and The SWR Vokalensemble. She has written solo pieces for Mark Knoop, Francesco Dillon, Heloisa Amaral and Gunnhildur Einarsdóttir.
She has been programmed at events such as the Donaueschinger Musiktage, Musica Strasbourg, Darmstadt, ECLAT, Wien Modern, Huddersfield, SPOR Festival, MaerzMusik, Rainy Days Festival Luxembourg, Venice Biennale, November Music, Borealis Festival, and Ultima.
Her recent work includes chamber music and installation, and is characterized by the use of manipulated field recordings and other sound media together with acoustic instruments. She is also interested in the interplay between the audio and visual as evidenced by her works incorporating camera obscura, and film.
Together with composer Matthew Shlomowitz, Joanna founded Plus-Minus Ensemble in 2003. In May 2010 she was the guest curator at the SPOR Festival in Aarhus, Denmark and in September 2015 she curated and produced the Cut and Splice Festival for BBC Radio 3. She has taught composition at HMDK Stuttgart, the Luxembourg Composition Academy, the ReMusik online composition course, The Royal Academy of Music in Aarhus, City, University of London, and at the 47th edition of the Darmstadt International Summer Course for New Music. In 2016 she was a guest of the DAAD Artists-in-Berlin- program.
Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form, a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s and generations of younger composers.
Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields.
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as “Come, heavy sleep” (the basis of Benjamin Britten’s 1963 composition for guitar solo, Nocturnal after John Dowland), “Come again”, “Flow my tears”, “I saw my Lady weepe” and “In darkness let me dwell”, but his instrumental music has undergone a major revival, and with the 20th century’s early music revival, has been a continuing source of repertoire for lutenists and classical guitarists.