| | | PROGRAMME 27 April SL8 Sonic Lab

 

 

Jonathan Impett - Speak (c10’00’’) for trumpet and live electronics Jonathan Impett – trumpet and live electronics JONATHAN IMPETT Bio

Trumpet-player and composer Jonathan Impett has given premieres of solo works by Berio, Scelsi, Finnissy and Harvey at venues such as IRCAM and the BBC Proms, as well as playing with contemporary groups such as London SInfonietta and Apartment House, improvised music and jazz with the groups of Paul Dunmall and Amit Chaudhuri. His compositions include orchestral and chamber works. An important focus of his work is the technologically-mediated relationship between performance, improvisation and composition; his extended metatrumpet has evolved over twenty years. A recent project Lets Dance Architecture looks at the generating of musical form through movement and improvisation. He is also a member of the Amsterdam Baroque Orchestra and The Orchestra of the Eighteenth Century; his performance of Haydn’s Trumpet Concerto features in Phil Grabsky’s new film In Search of Haydn. Jonathan Impett teaches at Middlesex University, where his current research includes a book on the musical thought of Luigi Nono and a new project The work without content.

 

 

Nicolas Collins - Venezia 1600 (c.9’00’’) for cornetto and live electronics Jonathan Impett – trumpet, cornetto

NICOLAS COLLINS Bio New York born and raised, Nicolas Collins studied composition with Alvin Lucier at Wesleyan University, worked for many years with David Tudor, and has collaborated with numerous soloist and ensembles around the world. He lived most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music Journal, and since 1999 a Professor in the Department of Sound at the School of the Art Institute of Chicago. The second edition of his book, Handmade Electronic Music – The Art of Hardware Hacking, was published by Routledge in 2009. Collins has the dubious distinction of having played at both CBGBs and the Concertgebouw.

www.nicolascollins.com

 

 

Justin Bennett - Raw Materials (23’00’’) 2011 In Raw Materials Justin Bennett asks what it is possible to hear within field recordings. The protagonist types a letter while listening to sounds from his archive. He writes of the ability of sound to trigger memories, to conjour up events, places and emotions. He is playing a game with himself and the audience, implicating us: “Do you remember? You were there too.”

Can we listen to a sound archive as a personal diary, as a fictional narrative or as legal evidence? Is the maker a listener, an actor or an author? And which tapes did he erase, and why?

JUSTIN BENNETT Bio Justin Bennett, (1964 UK)

Bennett’s work focuses on our urban surroundings at every level of detail, from architecture, urban development and public space, to urban myths, rumours, and layers of history.

Thematic projects are based on field recordings, drawings, video and photographs which are then developed further in the studio. The working process often spawns works in different media – installation, audio-tours, performance, video and cartographic drawings, which are shown both in art spaces and in public space.

He often works with artists from other disciplines including the performance group BMB con. He is a faculty member of the Institute of Sonology, Den Haag.

More information and an exhaustive CV can be found at http://www.justinbennett.nl

 

 

Matthew Whiteside - Vociferous Palpitation (7’22’’) Vociferous Palpitation explores mechanical rhythm with voice like implications. MATTHEW WHITESIDE Bio Matthew Whiteside is a composer based in Glasgow, Scotland. His interest lies in the combination of acoustic and electronic domains through both the physical combination of both and being influenced by electronic genres such as Glitch music. Through this he explores aural phenomena such as beating effects in complex sounds and space within a room. When using electronics he is careful to give them a distinct personality in order for them to be an integral part of the ensemble which the piece would be incomplete without. www.matthewwhiteside.co.uk