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KAMMER KLANG - BACK FROM THE MINIMAL WORLD / RIGHT IN TIME



EXAUDI ENSEMBLE performing
CHRISTOPHER HOBBS,
TERRY RILEY

/

CEVDET EREK


Tuesday 14 April 2015 / Door 8pm, music 8:30pm / Tickets: £7 adv / £9 on the door (£5 students)

Tuesday 14 April Kammer Klang presents Exaudi Ensemble singing works by Christopher Hobbs and Terry Riley, and Cevdet Erek performing his own work.

We are sorry to announce that we had to remove the piece Composition 1960 #7 by La Monte Young at the composer's request. In most cases, La Monte Young requires his music to be performed in his presence and under his conditions, requirements we are unable to meet in the context of this series.
We trust the alternative piece One Note 1966 by Christopher Hobbs will represent equally well the music of that time.



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PROGRAMME:

FRESH KLANG

Daniel Wolff - Phones and Microphones (2014-15)

City University Experimental Ensemble
Michael Albert
Jordan Barnes
Elicia Casey-Winter
Ed Fish
Eloise Garland
Sam Kendall
Alex de Lacey
Kathyrn Mc Gee
Jamie Turner
Daniel Wolff




Christopher Hobbs - One Note 1966
Terry Riley - Olson III


EXAUDI Ensemble
James Weeks, director

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Cevdet Erek

SSS – Shore Scene Soundtrack, Theme and Variations for Carpet
performed by Cevdet Erek, Nefeli Skarmea and Serge Vuille

Çok Az, improvisation with bass drum

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EXAUDI ENSEMBLE


EXAUDI, phtography by Matthew Andrews

Founded by James Weeks (director) and Juliet Fraser (soprano), EXAUDI is based in London and draws its singers from among the UK’s brightest vocal talents. The ensemble typically works as a consort rather than a choir – usually one voice to a part, ranging from three to eighteen voices – and draws inspiration for its sound from that of early music ensembles, a strong but focused tone that is ideal for the performance of harmonically intricate contemporary music. Many EXAUDI programmes combine the new with the old, and the ensemble is equally in demand for its performances of music of the High Renaissance and early Baroque.
EXAUDI’s special affinity is for the radical edges of contemporary music, at home equally with maximal complexity, microtonality and experimental aesthetics. The newest new music is at the heart of its repertoire, and it has given national and world premières of Sciarrino, Rihm, Finnissy, Fox, Posadas, Eötvös, Gervasoni, Skempton, Ayres, Pesson, Poppe, Fox and James Saunders among many others. Through its new commissioning scheme, EXAUDI is particularly committed to the younger generation of composers currently in their twenties and early thirties, and is proud to champion the work of major emerging voices including Aaron Cassidy, Evan Johnson, Bryn Harrison, Amber Priestley, Matthew Shlomowitz, Joanna Bailie, James Weeks and Claudia Molitor.
EXAUDI has performed at leading venues and festivals both in the UK and internationally, including Spitalfields, Aldeburgh, Wigmore Hall, Huddersfield Contemporary Music Festival, Wittener Tage, IRCAM and Festival d’Automne amongst others. The ensemble has also collaborated with many leading soloists and ensembles including the London Sinfonietta, CBSO, Ensemble L’Instant Donné, Ensemble Modern and Ensemble InterContemporain. EXAUDI broadcasts regularly on BBC Radio 3, and has released critically acclaimed recordings of Michael Finnissy, Elisabeth Lutyens, Howard Skempton and Christopher Fox on the NMC, Metier and Mode labels. The ensemble gratefully acknowledges support from the PRS for Music Foundation.


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CEVDET EREK


Performance alongside the installation "Alt Üst", Spike Island, Bristol, 2014. Photograph: Stuart Whipps

Artist and musician Cevdet Erek (1974, Istanbul)'s work is characterised by a marked use of rhythm and site specificity. In his installations Erek combines sound, constructions, text and performance, often in an attempt to alter the viewer’s perception and experience of a given space. The result functions as a hypothesis, probing the viewer’s instinctive logic and thus appealing to the senses. Interestingly, Erek manages to combine rational components such as references to architecture and linear time with instinctive impulses thereby levelling the gap between two supposedly opposing spheres.

While studying architecture at Mimar Sinan University of Fine Arts, Erek worked at several design offices and played drums in Nekropsi. He left the Building Design Theories master's program he had started at Mimar Sinan for Istanbul Technical University's Center for Advanced Studies in Music (MIAM), where he studied Sound Engineering and Design and worked as a research assistant. Erek was an artist in residence at Rijksakademie in Amsterdam between 2005-2006. Recent solo exhibitions of his work were organized by Spike Island in Bristol, UK, titled Alt Üst (2014), and Week (2012) at Kunsthalle Basel, Switzerland. He has participated in dOCUMENTA (13) in 2012 with his project Raum der Rhythmen [Room of Rhythms], followed by a publication of the same title published by Walther König. Also in 2008, published another book titled SSS – Shore Scene Soundtrack, Theme and Variations for Carpet. He participated in the Istanbul, Marrakesh, and Sharjah Biennials. In 2014 his big scale work Room of Rhythms – Curva was shown at MAXXI in Rome as part of the exhibition Open Museum Open City; his series Rulers and Rhythm Studies were presented at Stedelijk Museum in Amsterdam as part of the collection and his installations SSS and Akla Kara were shown at Istanbul Modern in the exhibition Plurivocality. Cevdet Erek co-taught architectural design studio in the School of Architecture at Istanbul Technical University between 2011-13, offered sound design, production and electroacoustic music classes at the Conservatory of the same university. Among his most recent sound work are Monthly with Nekropsi, sound installations at Orhan Pamuk’s Museum of Innocence and sound & music direction for Kaan Müjdeci's feature length film Sivas (71st Venice Film Fest., Special Jury Award).

cevdeterek.com

From the press release of the book SSS – Shore Scene Soundtrack, Theme and variations for Carpet:

"SSS can be seen as an attempt to share a discovery. It explains in detail to the reader how one can mimic the sea, how this can be done simply for oneself or formally as a performance. In each case the emphasis is on delighting in this experience. The required state of mind for making the imitation is treated with the same precision as technique and necessary equipment.

Humorously but without irony, Erek constructs a subjective guide by passing from a contemplation on the imitation of nature, through a step-by-step manual to a form of sheet music."


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Kammer Klang gratefully acknowledges support from the Arts Council England, the PRS for Music Foundation and City University London.