Saturday 13 January 2018, 7.30pm
Fresh Klang: Joseph Houston performs Antonia Barnett-McIntosh
David Helbich, No Music – A performative rehearsal
Matt Rogers, Weep at the Elastic as it Stretches (world premiere)
Vicky Wright, clarinet
Gijs Kramers, viola
My Hellgren, cello
Scenatet was founded by artistic director Anna Berit Asp Christensen in 2008 and moves in a cross-genre field of music, drama and happenings towards areas with yet undefined genre. The ensemble aims to create conceptual art works where music is part of a larger whole. They work with many types of productions, in close collaboration with composers, directors, artists, filmmakers, festivals and art spaces. Scenatet consists of 12 permanent musicians and works with the younger generation of Danish and international composers, including Peter Ablinger, George Aperghis, Kaj Aune, Joanna Bailie, Jeppe Just Christensen, Christian Winther Christensen, Juliana Hodkinson, Jacob Kirkegaard, Simon Løffler, Jessie Marino, Sarah Nemtsov, Marianthi Papalexandri-Alexandri, Niels Rønsholdt, Francois Sarhan, Salvatore Sciarrino, Simon Steen-Andersen, Bent Sørensen, Manos Tsangaris and Jennifer Walshe. Scenatet has performed at festivals such as SPOR, Wundergrund, Klang and Pulsar in Denmark, Ultima, Bergen Festspillene and Borealis in Norway; Transit Festival in Belgium; November Musik in the Netherlands, MaerzMusik and Heroines of Sound in Germany, Nuit Blanche in France, Shanghai New Music Week in China and and the UK’s Huddersfield Contemporary Music Festival.
Scenatet is supported by the Danish Arts Council, the Danish Arts Foundation, Conductors Association, KODA, Sonning-Fonden and Wilhelm Hansen Fonden.
The British composer Matt Rogers has written for and with a host of leading instrumentalists, ensembles and technologists, creating music and installations for concert halls, theatres, galleries and public spaces. He has received the Paul Hamlyn Foundation Award for Composers and has been Artist in Residence at the Southbank Centre and Tokyo Wonder Site. He was also the first composer to be commissioned by London’s Art on the Underground. Previous commissions include The Virtues of Things for Royal Opera, Aldeburgh Music and Opera North. Rogers is currently collaborating on new work with the American chamber orchestra Alarm Will Sound.
David Helbich studied composition and philosophy in Amsterdam and in Freiburg. He has lived and worked in Brussels since 2002. He creates various experimental works on stage, on page, online and in public space. His trajectory moves between representative and interactive works, pieces and interventions, between conceptual work and actions. A recurring interest is in the understanding of an audience as active individuals and the search for an opening up of experiences in an artistically restricted space. Tonight he will perform No Music – A performative rehearsal.
“No Music is no music, but still a musical experience. No music, still for your ears.
Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations.
I understand the this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances.
These interventions are entirely personal and therefore not so much interactive as ‘inner-active’, self-performative. The reader as the performer as the listener.” – DH
Antonia Barnett-McIntosh is a composer, sound artist, performer and sometime curator with an interest in working across disciplines. She has collaborated extensively with musicians, theatre and filmmakers, dancers, visual artists and poets. Antonia’s compositional concerns lie in the specificity of sound gestures and their variation, translation and adaptation, often employing chance-based and procedural operations.
Antonia’s music has been performed in the UK, Europe, Scandinavia, New Zealand, and the United States: by Aurora Orchestra, Phaedra Ensemble, Chroma, Red Note Ensemble, Riot Ensemble, NorthArc, SoundPlay, and Tudor Consort; at the Wigmore Hall, Barbican’s Pit Theatre, Kings Place, Wellcome Collection, Robin Howard Dance Theatre, Chisenhale Dance Space, Traverse Theatre, and Strahler Berlin; at City of London Festival, Taste Festival Berlin, Festspillene i Nord-Norge (North Norway Festival), Capital Fringe Festival Washington D.C., 4 Days at Arnolfini Bristol, and as part of BBC 3’s Hear and Now concert for ‘Why Music?’.
Joseph Houston is a British pianist active in the fields of contemporary and experimental music. Based in Berlin, he performs a wide range of repertoire, recent performances including Feldman, Jennifer Walshe, Scarlatti, Rebecca Saunders, Ives, Klaus Lang, Bartók, Catherine Lamb, and Chiyoko Szlavnics. He plays regularly in festivals and venues across Europe both as a soloist and with other artists.
Joseph aims to create unique and immersive programmes that combine works from various musical worlds, generating a whole that is bigger than the sum of its parts, while involving himself as much as possible in the compositional process of new commissions. He believes music is fundamentally collaborative and is particularly interested in works that challenge the traditional composer-performer-listener triangle; use performance practice as a compositional parameter; and intensely explore the sonic possibilities of the instrument. He works on a project-by-project basis, building programmes that explore these ideas.
Recent highlights include solo performances at Donaueschinger Musiktage 2019, broadcast on SWR; duos with Sarah Saviet (violin) at Radialsystem as part of Sasha Waltz's ZUHÖREN #4; a CD of chamber music by Thomas Simaku with Quatuor Diotima on BIS; and a recording of Mark Barden's Études 1-3 on WERGO.