Tuesday 4 November 2014, 8pm
Andrew Hamilton, new work
Juliet Fraser, voice
Maxime Echardour, percussion
LINA LAPELYTE SOLO SHOW
Soprano Juliet Fraser has a repertoire dominated by the very old and the very new. Juliet is an active commissioner of new music and has worked particularly closely with composers Rebecca Saunders, Bernhard Lang, Michael Finnissy, Matthew Shlomowitz, Sivan Eldar and Cassandra Miller. She regularly performs as a guest soloist with ensembles such as Klangforum Wien, Musikfabrik, Ensemble Modern, Asko|Schönberg, Remix, ICTUS, Plus-Minus and Talea, and has created duo projects with percussionist Maxime Echardour and pianist Mark Knoop. In 2015 she released her debut disc, Feldman's Three Voices (on Hat Hut); she has since released recordings of Andrew Hamilton's To the People (NMC), Bernhard Lang’s The Cold Trip, part 2 (Kairos), Michael Finnissy’s Andersen-Liederkreis (Hat Hut), Babbitt’s Philomel (all that dust, in binaural surround-sound) and a portrait disc of Cassandra Miller (all that dust).
Juliet is the founder and artistic director of the eavesdropping series and symposium in London, and co-director with Mark Knoop and Newton Armstrong of all that dust, a new label for new music.
Andrew Hamilton was born in Dublin in 1977. He studied in Ireland, England and the Netherlands, and his composition teachers included Kevin Volans, Anthony Gilbert and Louis Andriessen. His work has been performed internationally and at many festivals including Gaudeamus. Ultraschall Berlin, ISCM World Music Days, Dublin Fringe Theatre Festival, Sommer in Stuttgart, Huddersfield Contemporary Music Festival and the MATA Festival New York. Recently he has worked on new pieces with Juliet Fraser/Maxime Echardour, Crash Ensemble, Isabelle O'Connell, Ensemble Klang, CHROMA, the Irish Chamber Orchestra, the Ives Ensemble, EXAUDI, Endymion Ensemble, TILT Brass and the RTÉ National Symphony Orchestra. In 2012 he was an artist in residence at the Centre Culturel Irlandais, Paris and Civitella Ranieri, Umbria. Currently he is a visiting tutor in composition at the Birmingham Conservatoire.
Lina Lapelyte is an artist, composer, musician and performer. She says of her practice, ‘it can be placed ‘in-between’; in-between classical and experimental, music and fine art, composing and improvising.’ Initially trained as a classical violinist in Lithuania Lina showed an interest in experimental music from early on. Her experience playing with the likes of David Toop, John Butcher and Anton Lukoszevieze within the London improvised music scene in 2006 radically changed her way of composing, her pieces becoming frameworks for improvisations rather than finished compositions. Questioning the importance of musical training became another strand in her work leading her to incorporate untrained performers in unorthodox ways. Her opera Have a Good Day! examines issues of displacement, otherness and beauty through piano, electronics and text. It involves using actual cashiers from local supermarkets for the vocal strand of the piece. Another piece, Candy Shop, reworks the games of power embedded in rap songs, making them into lullabies while narrating a story about beauty, gender and the mundane. ‘Lina is working right at the edge of what popular music could become.’ Brian Eno