Festival Guide Sunday 8 December Southbank Centre
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Like a contemporary art show, our fourth New Music Show is full of new work. We hope that you will leave having experienced something that gets you excited. The programming is intentionally eclectic, and we want to give many emerging composers a chance to have works performed by the musicians of the London Sinfonietta. We are grateful again this year for the collaboration with Central Saint Martins College of Arts and Design in making the Hidden project, the Royal Philharmonic Society for their curation of the talks and debates forming a part of their Bicentenary celebrations, and of course to Southbank Centre as this day forms part of the final weekend of The Rest Is Noise festival. Andrew Burke @ab2102 Chief Executive, London Sinfonietta
Inspired by Alex Ross’s book The Rest Is Noise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th-century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise has been focusing on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre
NEW WORLD ORDER The New Music Show is part of New World Order – a weekend of talks, films and performances looking at classical music from 1989 onwards. The New Music Show ticket holders can get Sunday Passes for just £5 when they quote NEWMUSIC at the Queen Elizabeth Hall Ticket Office. Ask a member of staff for full details of the timetable.
We hope you enjoy your visit to Southbank Centre. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffe Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to make a comment following your visit please contact Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email customer@southbankcentre.co.uk. We look forward to seeing you again soon.
The New Music Show will be broadcast on BBC Radio 3 Hear and Now on Saturday 15 February
Baldur Brönnimann Conductor As a guest conductor, Baldur Brönnimann performs at the highest level with orchestras such as the BBC Symphony, Oslo Philharmonic, Helsinki Philharmonic, Royal Scottish National, Copenhagen Philharmonic, Royal Stockholm Philharmonic, and Seoul Philharmonic. As well as working regularly with the London Sinfonietta, Brönnimann is a regular with Klangforum Wien, and is Artistic Director of Norway’s contemporary music ensemble BIT20. In the opera house, Brönnimann has conducted three productions at English National Opera, including Ligeti’s Le Grand Macabre and Death of Klinghoffer by John Adams. He made his debut with Komische Oper Berlin in 2013, and in 2014 conducts Kaija Saariaho’s L’Amour de Loin at Norwegian Opera. Born in Switzerland, Brönnimann trained at the City of Basel Music Academy and at the Royal Northern College of Music in Manchester.
LONDON SINFONIETTA Michael Cox flute/piccolo/alto flute * ¥ Supported by Michael and Patricia McLaren-Turner
Philippa Davies flute/piccolo # David Cuthbert flute § Gareth Hulse oboe/cor anglais * ¥ † Timothy Lines clarinet ¥ Douglas Mitchell clarinet # Oliver Janes clarinet/bass clarinet ¥ Simon Haram saxophone * # ¥ † John Orford bassoon * ¥ † Michael Thompson horn * ¥ Supported by Belinda Matthews
Bruce Nockles trumpet/piccolo trumpet ¥ Daniel Jenkins trombone ¥ Douglas Coleman trombone § Thomas Gould violin ¥ † Joan Atherton violin * ¥ Paul Silverthorne viola * # Supported by Nick and Claire Prettejohn
hidden
Amélie Roussel viola ¥ German Clavijo viola § Lionel Handy cello ¥ † Zoe Martlew cello # Oliver Coates cello § Enno Senft double bass * ¥ †
For those of you with a curious mind and adventurous streak, discover new solo works by composers Aaron Holloway-Nahum, Adam Fergler, Amber Priestley, Andrew Thomas and Gregory Emfietzis, in Southbank Centre’s most secret backstage spaces, each transformed into an art installation by students from Central Saint Martins College of Arts and Design.
Elena Hull double bass § Helen Tunstall harp * ¥ John Constable piano/celeste/keyboard * ¥ Clive Williamson celeste/harpsichord ¥ David Hockings percussion * ¥ Oliver Lowe percussion ¥ Rafal Luc accordion ¥ Sound Intermedia sound projection * ¥ †
Hidden tours run throughout the day and spaces are allocated on a first-come, first-served basis. Sign up at the London Sinfonietta desk in the foyer. The new works featured in Hidden and Set 1 have been composed on the London Sinfonietta’s Writing the Future scheme, generously supported by the Boltini Trust, Anthony Mackintosh and Michael & Patricia McLarenTurner. The composers were selected in partnership with the Royal Philharmonic Society.
Supported by Anthony Mackintosh
Supported by Penny Jonas
* London Sinfonietta Principal Player # Set 1 ¥ Sets 2 & 4 † Set 3 § Hidden Hal Hutchison concert manager Charlotte Templeman concert manager Lesley Wynne orchestra personnel manager Lighting designed by Ric Mountjoy
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12pm / Purcell Room Stage New Music, What Next? Chaired by Igor Toronyi-Lalic. With Andrew Burke, Zoe Martlew, John Chantler and Paul Morley. Igor Toronyi-Lalic, music critic, curator and co-founder of theartsdesk.com, chairs a discussion looking at the current state of classical contemporary music. Curated by the Royal Philharmonic Society as part of their Bicentenary celebrations: rps200.org.uk
set 1 1.15pm / Purcell Room Stage Geoff Hannan Lifeblood (world premiere and London Sinfonietta commission) for piccolo, clarinet, soprano saxophone and cello I originally wrote Lifeblood for clarinet solo, which Michele Marelli premiered in Italy in 2007. I had always intended to re-work the piece for ensemble, and the London Sinfonietta’s Writing the Future scheme allowed me the opportunity. The problem was how to proliferate a single line for four players. I decided mostly on informal canonic techniques, which result in a tightly woven mesh of similar-sounding lines. Formally, sections of the piece snap together like pieces of Lego, an approach I’ve been interested in for more than a decade. I often feel that my composing is like assembling a wardrobe from IKEA, but without the instructions. © Geoff Hannan
Samantha Fernando Positive/Negative Space (world premiere and London Sinfonietta commission) for flute, clarinet, alto saxophone and cello In architectural theory, space is considered positive if it has a definite shape and a sense of boundary between what is inside and what is outside. The unshaped space that results after the placement of objects is defined as negative space. People tend to dwell in positive spaces whereas negative spaces promote movement. I wanted to explore this architectural concept in composition.
What suggests movement and what suggests stasis? When do we begin to perceive a repetitive figure as more static than active? What is the nature of the boundary between positive and negative space? © Samantha Fernando
Matthew Kaner Chants (world premiere and London Sinfonietta commission) for flute, clarinet, viola and cello Chants is primarily a melodic work. It features almost no chords, and all the harmonies that can be heard were conceived in terms of the linear interaction between voices. The title refers to the plainchant-like writing heard moving in parallel harmonics in the viola and cello shortly after the opening. This material is loosely inspired in terms of its shape and syntax by some of the works of the 12th-century composer Guillaume de Machaut, especially his Messe de Nostre Dame, with its characteristic cadences in parallel fifths. Later in the work, another kind of ‘chant’ emerges: a long-breathed melodic line that weaves its way through the instruments of the ensemble to create subtle variations in hue and timbre, after which eventually unfolds into a richer three-, and then four-voice, polyphonic texture. © Matthew Kaner
Tristan Rhys Williams reduction form (world premiere and London Sinfonietta commission) for flute, clarinet, viola and cello The eight sections and the six clauses or ‘sides’ that make up each section of my work were informed by the structure of Mark Eaglen’s sculpture reduction form. The musical material consists of three material types: ‘grounds’, ‘punctuations’ (which are systematically whittled away) and ‘interruptions’. The first two categories appear within the first section and the third category is present from the second section until it consumes the work. All the material is presented early on before being subjected to mottled repetitions within the same casing (each of the eight sections are of equal length). The subsidiary ‘material types’ systematically take over with a cruel inevitability. © Tristan Rhys Williams
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set 2
B AT E E D & S TA L K
2.15pm / Queen Elizabeth Hall Stage
3.30pm / Queen Elizabeth Hall Stage
Mark Simpson Straw Dogs (London premiere)
Constants and Variables – Which Future for Music?
Straw Dogs is a reaction to the following passage from John Gray’s book Straw Dogs: “In ancient Chinese rituals, straw dogs were used as offerings to the gods. During the ritual they were treated with utmost reverence. When it was over and they were no longer needed they were trampled on and tossed aside: ‘Heaven and earth are ruthless, and treat the myriad creatures as straw dogs.’ If humans disturb the balance of the Earth they will be trampled on and tossed aside. Critics of Gaia theory say they reject it because it is unscientific. The truth is that they fear and hate it because it means that humans can never be other than straw dogs.” I take the ideas of reverence and destruction and apply them in a musical setting. Long, yearning melodies set against turbulent textural passages characterise the first half of the piece whilst the second half is more reflective and leads towards a destructive climax.
With George Benjamin and Tom Service. Join two of the UK’s foremost musical thinkers as they discuss the future of classical composition. Curated by the Royal Philharmonic Society as part of their Bicentenary celebrations: rps200.org.uk
© Mark Simpson
set 3 5pm / The Front Room Sinfonietta Shorts New works by today’s leading composers commissioned, recorded and released by the London Sinfonietta. A short introduction to each piece will be given by the performers from the stage.
Harrison Birtwistle Duet 3 for cor anglais and bassoon Mark Bowden Parable for solo saxophone Jonathan Harvey Little Duo for violin and cello Chambered, as in compartmentalized and as in a limited or Dai Fujikura es for solo double bass even locked up space. The piece consists of “chambered” Anna Meredith Axeman for solo bassoon and amplifier musical elements in various interpretations of the word. Available for download from NMC Recordings at nmcrec.co.uk/sinfonietta-shorts Francisco Coll Ad Marginem (world premiere and London Sinfonietta commission) Simon Steen-Andersen Chambered Music (UK premiere)
Paul Silverthorne solo viola Commissioned by the London Sinfonietta, Ad Marginem, “At the margin”, is the vestige of a concertante-piece for viola and ensemble, in which the viola functions as a leader of a mass culture rather than an individual. As I did before with my piano concertino, I have tried now with Ad Marginem to express again my social concerns and obsessions through the sonic medium. I find a kind of parallelism between the individual versus the mass and the soloist versus the ensemble. The piece is written in four independent movements: Chaccone-Hymnus-Ballata-Kanon. © Francisco Coll
Ad Marginem is generously supported by the London Sinfonietta Pioneers.
set 4 6pm / Queen Elizabeth Hall Stage Rebecca Saunders Stirrings (UK premiere) “Light infinitely faint it is true since now no more than a mere murmur.” Samuel Beckett: Company, 1980, John Calder Publisher, London. “The strokes now faint now clear as if carried by the wind but not a breath and the cries now faint now clear. As he stood there all bowed down and to his ears faint from deep within again and again oh how something and so on was he not so far as he could see already there where never till then?” Samuel Beckett: Stirrings Still, 1986–89, John Calder Publisher, London. “In dark and silence to close as if to light the eyes and hear a sound. Some object moving from its place to its last place. Some soft thing softly stirring soon to stir no more. To darkness visible to close the eyes and hear if only that. Some soft thing stirring soon to stir no more. By the voice a faint light is shed. Dark lightens while it sounds. Deepens when it ebbs. Lightens with flow back to faint full. Is whole again when it ceases.” Samuel Beckett: Company, 1980, John Calder Publisher, London. Edmund Finnis Seeing is Flux (world premiere and London Sinfonietta commission) Clear and direct linear patterns of sounds are variously heard in sequence, superimposed and threaded through the ensemble; subtle pulsations and sustained resonances act like grids and flat planes of sound that these patterns flow across, overlap and intersect with; the instruments make lines that intertwine, dovetail and shadow one another.
The title of this piece is lifted from a Siri Hustvedt novel. While composing I was thinking about parallels between listening and seeing, reflecting particularly on experiences of looking at the line-based drawings and paintings of the artists Nasreen Mohamedi and Agnes Martin. I had in mind the kind of friction that exists between the calm, iterative clarity of their work and the complex act of perception itself, which elicits memory, shifts focus and is perpetually in flux. Seeing is Flux is generously supported by Michael & Patricia McLaren-Turner. Marko Nikodijevic music box / selbstportrait mit ligeti und stravinsky (und messiaen ist auch dabei) (UK premiere) The composition was designed and realised using digital technology. The computer was used as a tool for developing, investigating and testing possible compositional scenarios. A fractal self-replicating model generates all the notes. Another algorithm generates structural models that process this endless stream of information into known syntactical models, and thus echoes of Ligeti, Stravinsky and Messiaen shine through the score but the presence of these “musics” is an illusion created by the computer. What we “hear” is actually not “present”, just a “random” crossing of data, a “butterfly effect” trick on our perception. The title music box / selbstportrait mit ligeti und stravinsky (und messiaen ist auch dabei) refers to this innate mechanicity of the compositional procedure, the composition being a “cookbook”, or a “music box” of some compositional techniques of 20th century music. Also it was my attempt to somehow “get rid” of this Ligeti / Stravinsky inferiority complex.
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PIONEERS 
The Pioneers are vital to the success of the London Sinfonietta and enjoy a close relationship with the ensemble. Support our world-class Principal Players and Emerging Artists or put yourself at the forefront of new music and help fund works by composers such as: Michel van der Aa, Sir Harrison Birtwistle, Edmund Finnis, Francisco Coll, Mica Levi. Choose from three levels of membership starting at just £35 per year (less than £3 per month).
The new works performed in Set 1 and Hidden have been composed on the London Sinfonietta’s Writing the Future scheme. You can help support these new works by making a donation via your mobile. TEXT/SMS: Send LSF001 followed by your donation amount (£3, £5, or £10) to 70970 e.g. LSF001 £5 Or scan here:
Contact Claire Barton, Development Manager on claire.barton@londonsinfonietta.org.uk or visit londonsinfonietta.org.uk/pioneers Lead Pioneers Sir Richard Arnold, Trevor Cook, Susan Grollet in memory of Mark Grollet, Leo & Regina Hepner, Penny Jonas, Anthony Mackintosh, Belinda Matthews, Robert & Nicola McFarland, Michael & Patricia McLaren-Turner, Andrew Mitchell, Sir Stephen Oliver QC, Nick & Claire Prettejohn, Richard Thomas & Caroline Cowie, Paul & Sybella Zisman Creative Pioneers Ian Baker, Andrew Burke, Robert Clark, Jeremy & Yvonne Clarke, Rachel Coldicutt, Susan Costello, Anton Cox, Dennis Davis, Patrick Hall, Nicolas Hodgson, Andrew Hunt, Frank & Linda Jeffs, Alana Lowe-Petraske, Stephen Morris, Julie Nicholls, Simon Osborne, Patricia O’Sullivan, Ruth Rattenbury, Lord Stevenson of Coddenham, Iain Stewart, Anne Stoddart, Sally Taylor, Barry Tennison, David & Jenni Wake Walker, Fenella Warden, Estela Welldon, John Wheatley, Jane Williams, Stephen Williamson, Michelle Wright Plus those generous Lead and Creative Pioneers who prefer to remain anonymous. Thanks also to the London Sinfonietta Pioneers.
Find out more about Writing the Future on our website londonsinfonietta.org.uk/writing-future Your donation is to the National Funding Scheme (registered charity no: 1149800), see nationalfundingscheme.org/donor-terms or call 020 3287 0971 for further details.
Talks & Debates / 12pm / Purcell Room Stage New Music, What Next? Chaired by Igor Toronyi-Lalic Curated by the Royal Philharmonic Society Set 1 / 1.15pm / Purcell Room Stage World premieres of new chamber pieces by Geoff Hannan / Samantha Fernando / Matthew Kaner / Tristan Rhys Williams Set 2 / 2.15pm / Queen Elizabeth Hall Stage Mark Simpson Straw Dogs (London premiere) Simon Steen-Andersen Chambered Music (UK premiere) Francisco Coll Ad Marginem (world premiere) Talks & Debates / 3.30pm / Queen Elizabeth Hall Stage Constants and Variables – Which Future for Music? With George Benjamin and Tom Service Curated by the Royal Philharmonic Society Set 3 / 5pm / The Front Room Sinfonietta Shorts: solo and duo pieces by Sir Harrison Birtwistle / Mark Bowden / Jonathan Harvey / Dai Fujikura / Anna Meredith Set 4 / 6pm / Queen Elizabeth Hall Stage Rebecca Saunders Stirrings (UK premiere) Edmund Finnis Seeing is Flux (world premiere) Marko Nikodijevic Music Box (UK premiere) All sets are of a limited capacity and seating is allocated on a first-come, first-served basis. Hidden / throughout the day Solo world premieres in secret spaces around the site curated by students from Central St Martins College of Arts and Design. Music by Aaron Holloway-Nahum / Andrew Thomas / Adam Fergler / Amber Priestley / Gregory Emfietzis Hidden tour slots are allocated on a first-come, first-served basis. Sign up at the London Sinfonietta desk in the foyer.
Presented by the London Sinfonietta and Southbank Centre as part of Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’ book The Rest Is Noise. The London Sinfonietta is grateful to the Holst Foundation and the RVW Trust for their support of The New Music Show. @Ldn_Sinfonietta #NMS londonsinfonietta.org.uk facebook.com/londonsinfonietta londonsinfonietta.wordpress.com