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KAMMER KLANG - HIT, SING / SQUEEZE

JULIET FRASER &

MAXIME ECHARDOUR IN A NEW WORK BY

ANDREW HAMILTON

/

LINA LAPELYTE IN A SOLO SHOW



+ a Fresh Klang by

BEN JAMESON

TUESDAY 4 NOVEMBER 2014 / DOOR 8pm, MUSIC 8:30pm / TICKETS: £7 ADV / £9 ON THE DOOR

At CAFE OTO
18-22 Ashwin Street, Dalston, London E8 3DL



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Tuesday 4 November Kammer Klang presents Juliet Fraser (voice) and Maxime Echardour (percussion) performing the London premiere of To The People by Andrew Hamilton and Lina Lapelyte singing her own work. The night will open with a Fresh Klang set with Ben Jameson performing an electric guitar version of Jacob Ter Veldhuis' Grab It!


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PROGRAMME:

FRESH KLANG

Ben Jameson, electric guitar - Jacob Ter Veldhuis, Grab It! (1999)

--

Andrew Hamilton - To The People (2014) (London premiere)

Juliet Fraser, voice
Maxime Echardour, percussion

--

LINA LAPELYTE SOLO SHOW


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FRESH KLANG

BEN JAMESON


Ben Jameson, private photograph

Ben Jameson is a guitarist and composer who was born in Gloucester, and is currently studying for a PhD in composition at the University of Southampton. Ben had a varied musical training, starting as a rock guitarist before discovering his interest in composing. In his recent work as a composer, he has attempted to draw together these interests, an approach that is complemented by his explorations as a performer of contemporary repertoire for the electric guitar. His solo performances have included works by Laurence Crane, Tristan Murail, Steve Reich, Jacob TV and Christian Wolff, and he also performs regularly as a member of Southampton University’s New Music Ensemble.

Jacob Ter Veldhuis, Grab It! (1999)

Grab It! (1999) is one of Dutch ‘avant-pop’ composer Jacob Ter Veldhuis’ (b. 1951) ‘boombox’ pieces for solo instruments with backing tracks made of samples from popular culture. The samples in Grab It! are taken from the documentary film Scared Straight (1978), which depicts prison inmates trying to frighten juvenile delinquents into avoiding a life of crime. The piece was originally for tenor saxophone, but has been successfully arranged for several different instruments, including this electric guitar version.


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JULIET FRASER | soprano

&

MAXIME ECHARDOUR | percussion



Maxime Echardour and Juliet Fraser, photograph by Laetitia Hedhen

Soprano Juliet Fraser has a repertoire dominated by the music from either end of the canon. She is principal soprano of EXAUDI which she founded in 2002 with composer/conductor James Weeks, and a regular member of the soloists of Collegium Vocale Gent, directed by Philippe Herreweghe, recently recording and performing Renaissance polyphony by Lassus, Vitoria, Gesualdo and Byrd. As a guest soloist, Juliet has performed contemporary repertoire with the BBC Scottish Symphony Orchestra, London Sinfonietta, Plus-Minus, Endymion, Ensemble intercontemporain and We Spoke: New Music Company. She has premièred well over 100 works, many of which have been written for her, and has worked particularly closely with composers Michael Finnissy, Christopher Fox, Frank Denyer, Stefano Gervasoni, James Weeks, Aaron Cassidy, Larry Goves, Matthew Shlomowitz and Andrew Hamilton.

Maxime Echardour studied percussion, zarb and piano at the CNR de Rueil-Malmaison, CNSMD de Lyon and subsequently at the Amsterdam Conservatoire. In 2003, he joined L’Instant Donné, the Paris-based ensemble specialising in contemporary chamber music. L’Instant Donné regularly appears at festivals such as Festival d’Automne (Paris), ManiFeste (Paris), Wittener Tage, Manchester International Festival, Musikprotokoll (Graz), Musica Strasbourg, and is Ensemble-in-Residence at Théâtre Garonne (Toulouse). Maxime is a permanent member of Ensemble Khaps, which performs traditional music and is formed of musicians from Africa, Japan and Europe. For ten years he also had a percussion trio, Trio de Bubar, which devoted itself to improvised works. Maxime has performed as a guest artist with KammerKonzert Holland, Opéra de Lyon, Ensemble Orchestral Contemporain, Ensemble Hostel Dieu, and Ensemble intercontemporain.


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ANDREW HAMILTON



Andrew Hamilton, photograph by Ingrid Hora

Andrew Hamilton was born in Dublin in 1977. He studied in Ireland, England and the Netherlands. His composition
teachers included Kevin Volans, Anthony Gilbert and Louis Andriessen. Recently he has worked on new pieces with Crash Ensemble, Isabelle O'Connell, Oliver Coates, Ensemble Klang, CHROMA, the Irish Chamber Orchestra, the Ives Ensemble, Exaudi, Endymion Ensemble, TILT Brass and the RTE National Symphony Orchestra of Ireland. 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. Future works are planned for a collaboration with Emma Martin Dance and Crash Ensemble, Exaudi and the Ives Ensemble.

https://soundcloud.com/andyfrankhamilton



Programme Notes

To The People (2014) derives in some way from my time spent in the USA. Over the past six years I have been to deserts in California three times and have fallen in love with the landscape which is so alien to someone who grew up in Ireland. A friend suggested that I read Baudrillard’s America (1986) as he writes so eloquently about Europeans experiencing the desert, and about American culture in general. I wanted to set parts of the book immediately on reading it. While choosing the text I remembered seeing the vast work To The People of New York by the German artist Blinky Palermo (1943-1977). It consists of 39 panels grouped into 15 subsets. This work gave me the impetus to create the 19 movements of the present work that interact with each other, share material or are nearly identical. You could hear the piece as a room full of many panels all talking to, and over, each other! (Andrew Hamilton)

This project was generously supported by Arts Council Ireland, RVW Trust and the Holst Foundation.


Text

I
Power.
II
(percussion solo)
III
Power has become impotent.
IV
Like the obese person who keeps on getting fatter, the record rotating endlessly in the same groove, the cells of a tumour proliferating, like everything that has lost the formula for stopping itself.
V
Immobility without desire. . . insane circulation without desire. The end of aesthetics.
VI
(percussion solo)
VII
Power has become impotent.
VIII
Speed knows nothing of the violence of love.
IX
The exhilaration of obscenity, the obscenity of obviousness, the obviousness of power, the power of simulation.
X
The terms of desire are turned upside down each day, and night annihilates them.
XI
The fascination of senseless repetition is already present in the abstraction of the journey.
XII
(wordless)
XIII
Power has become impotent.
XIV
Speed creates pure objects.
XV
Ravishing hyperrealism. Ecstatic asceticism. Multi-process tracking shot. Interactive multi-dimensionality. Mind-blowing.
XVI
No desire: the desert.
XVII
Like the obese person who keeps on getting fatter, the record rotating endlessly in the same groove, the cells of a tumour proliferating, like everything that has lost the formula for stopping itself.
XVIII
Today’s Eternal Return is that of the infinitely small, the fractal, the obsessive repetition of things on a microscopic and inhuman scale.
XIX
The terms of desire are turned upside down each day, and night annihilates them.

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LINA LAPELYTE


Lina Lapelyte


Lina Lapelyte lives and works in London and Vilnius. She is an artist, composer, musician and performer. In her recent operas such as Have a good Day! and Candy Shop she has been exploring the phenomena of song, using it as an object with which to examine issues of displacement, otherness and beauty. Along with Rie Nakajima, Richard Skelton and Jennifer Walshe, Lapelyte was shortlisted for the 2014 Arts Foundation award for experimental music.