The 100th anniversary of the ISCM (International Society for Contemporary Music) will be celebrated with performances and concerts by Chloé Bieri, Ensemble WeSpoke, Ensemble Nikel and Pierre Sublet at Dampfzentrale.
6.15 pm: Chloé Bieri (CH)
Chloé Bieri is a Swiss singer, performer and composer in the field of chanson, contemporary and experimental music. As a performer, she specialises in music theatre, vocal performances with electronics and interdisciplinary collaboration.
Her contemporary performances utilise materials from an array of fields, including jazz, poetry, pop, burlesque and French chanson, which she incorporates as a counterpoint to her vocal, physical and experimental performances, videos and electronic music. For the ISCM’s anniversary concert «100 Years of Contemporary Music», she is busy developing three short performances that will be staged as intermezzi in the foyer/bar and in the concert hall between the three main concerts, thereby merging the individual events into one.
Interlude 1: John Cage – Solo for Voice 31 from Song Book 1 (1970)
Song Books (Solos for Voice 3-92) is a collection of short works by John Cage and contains pieces for voice and theatrical performance that may include electronics; «each of these pieces may be performed by one or more singers».
In this solo, the singer must choose a series of actions and parameters. The structure of the piece and the combination of actions is then determined by a random calculation system, so that each performance is completely different depending on the performer and the context.
6.30 pm: Ensemble WeSpoke
Winnie Huang: Tick Tock iiiii (2021)
Jeppe Ernst: Offertorium (2018)
Christian Kesten: Zunge lösen (1999)
Hanna Hartman: Termite Territory (2019)
WeSpoke is a contemporary-music company based in Lausanne and London. It was founded in 2009 by percussionist Serge Vuille who remains its director. The ensemble name merges the desire to convey the complexity and beauty of contemporary music («we speak») with the intention to position it in a wider cultural context («bespoke»). Inspired by the strict tradition of classical chamber music, WeSpoke develops new scores and arrangements of pre-existing material of contemporary music.
8.10 pm: Chloé Bieri (CH)
Interlude 2: Gala (UA)
«Petit drame de chambre» for a solo performer, live electronics, objects, vinyl and a glass. «She was invited to a gala evening and her mother told her to wear a nice suit to make a good impression. It is a fantastic opportunity for her career, there will be lots of influential people there and she hopes to impress them!»
8.30 pm: Ensemble Nikel
Sarah Nemtsov – Sh’virah, for saxophone, electric guitar, percussion and piano (2020)
Didem Coskunseven – Ext. The Woods. Night, for saxophone, electric guitar, percussion and piano (2021)
Matthew Shlomowitz – Graveyard Slot, for saxophone, electric guitar, percussion and piano (2019)
Ensemble Nikel is an international quartet consisting of saxophone, electric guitar, drums and piano that explores spectral and artistic listening destinations.
By mixing traditional and contemporary instruments, the acclaimed group, founded in 2006, form an alternative chamber music output where electric and acoustic sounds are fused into a unified sonic organism built on a wide, yet discerning musical vocabulary. The continual search for new musical ideas is not based on aesthetic prejudice or dichotomies of well-known musical genres, but on passion and devotion to making and performing great musical works.
Ensemble Nikel initiates new conceptual projects with various partners, soloists and other ensembles, as well as new works written by leading composers.
10.30 pm: Chloé Bieri (CH)
Interlude 3: Carlo Barbagallo – Dal Sottosuolo
For solo voice and electronics on a text freely adapted from Fyodor Dostoyevsky’s «Notes from the Underground» (2014).
The composition is a personal interpretation and internalization of the words of the monologue from Dostoevsky’s masterpiece, filtered through an inspired but uneducated vocal style. The piece represents a spontaneous attempt to fuse the sounds and attitudes of experimental and avant-garde music, both cultured and popular, through the integration of acousmatic composition, computer programming, and vocal theatrical improvisation. The tape was made from vocal material processed primarily, but not exclusively, with granular synthesis techniques. Other materials: improvisations with an algorithmically controlled sampled piano, an inverted electric guitar, self-constructed oscillators, and feedback audio devices.
11.00 pm: Pierre Sublet (Bern, CH)
Morton Feldman: Triadic Memories (1981)
Pierre Sublet is a piano and contemporary chamber music lecturer at Bern University of the Arts. In Feldman’s composition «Triadic Memories», the relations of time become blurred, leading the listener into a new world of perception of time and sound. Feldman provided pianists with a work that allows them to obtain ultra-subtle tonal gradations and the most delicate notes from their instrument, particularly when playing multiple pianissimo. It is about the emergence, disappearance and simultaneous flow of the tones – in an expanse of silence. «Triadic Memories» transports the audience into a state where time is no longer perceivable as time and allows us to imagine what eternity could in fact be like.
Brian Archinal, Perkussion (Bern, CH), Yaron Deutsch, E-Gitarre, Antoine Françoise, Piano & Patrick Stadler, Saxofon
WE SPOKE: HANDS&FACE
Julien Annoni, Gwen Rouger, Hannah Walter, Fanny Anderegg, João Carlos Pacheco