[microsound-announce] Bozen 4th-5th May 2012: MuseRuole - women in experimental music

Tue May 1 09:25:45 EDT 2012

*With apologies for cross-posting

*

MuseRuole - women in experimental music
*May, 4th - 5th 2012*   - Museion - Museum of modern and contemporary art
Bolzano / Bozen

Organized by Assessorato alla Cultura e alla Convivenza del Comune Bolzano
in collaboration with Transart
artistic director : Valeria Merlini

*
Program:*

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*4th May 2012   - 9 PM*
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Helena Gough (UK): laptop
Magda Mayas (DE): piano
The Secretaries (AUS / DE / IT): found sounds, electronics

FREE ENTRANCE

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*5th May 2012   - 9 PM*
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Éliane Radigue (FR): compositions OCCAM III / OCCAM IV / OCCAM River I
(World Premiere)

performed by Julia Eckhardt : viola | Carol Robinson : birbyne

FREE ENTRANCE

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*Museion - Museum of modern and contemporary art Bolzano / Bozen*
Hall Museion -1
Via Dante Strasse 6
39100 Bolzano / Bozen
Italy

http://museruole.tumblr.com

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* *

*Artists:
*

*Helena Gough | laptop |*

Helena Gough is an English sound artist currently living in Berlin. Her
work initially focused upon the collection and manipulation of ‘real-world’
sound material and the exploration of its abstract properties. Occasional
deviations into synthetic and instrumental sources are now developing into
more prominent ingredients. Each new sound-space is created by taking
everything possible from the tiniest element, working to make something
from nearly nothing. This reduction in means yields a density and richness
of results. As a solo (laptop) player she presents her music live on a
regular basis. Her performances are intended for dark spaces and involve
multi-layering and improvisation with her sound materials in order to
create a unique environment for each new event. Her debut solo album was
released at the beginning of 2007 by the London based label Entr’acte,
followed by a second album in 2010. Her most recent album began with the
simple idea of using only the cello as source material, and explored
improvisations made by cellists Anthea Caddy and Anton Lukoszevieze.
**

*helenagough.net <http://www.helenagough.net/>*

*
Magda Mayas | piano |*

Magda Mayas is a pianist living in Berlin. Developing a vocabulary
utilizing both the inside as well as the exterior parts of the piano, using
preparations and objects, she explores textural, linear and fast moving
sound collage. Lately she has also focused on the clavinet, an electric
piano from the 60s with strings and metal chimes, where she engages with
noise and more visceral sound material, equally extending the instrumental
sound palette using extended techniques and devices. Current projects are
“Spill”, a duo with drummer Tony Buck, a duo with Anthea Caddy (cello), a
duo with Christine Abdelnour Sehnaoui (sax), “Great Waitress”, a trio with
Monika Brooks (acc) and Laura Altman (cl) and different collaborations with
Andy Moor, Clayton Thomas and Peter Evans. Magda Mayas has performed and
toured in Europe, the USA, Australia and Lebanon with many leading figures
in improvisation such as  John Butcher, Peter Evans, Annette Krebs, Andrea
Neumann, Axel Dörner, Johannes Bauer, Christoph Kurzmann, Thomas Lehn and
Tristan Honsinge*.*

*magdamayas.jimdo.com*

 *The Secretaries* | Felicity Mangan, WJM, JD Zazie - found sounds,
electronics |

A new band formed in Berlin, The Secretaries bring together three strong
personalities to explore new musical directions and forms. Works are
composed and performed through the reproduction of recorded material whose
manipulation acquires a new meaning in a game of tensions and balances,
interweaving and setting of concrete sounds, environmental field
recordings, rhythms, impulses, noises, and mistakes.

*soundcloud.com/thesecretaries*

 *Eliane Radigue *| composer |

She was born and raised in Paris in a modest family of merchants at Les
Halles. Afterwards, she married the French-born American artist Arman with
whom she lived in Nice while raising their three children until 1967, then
in Paris. She had studied piano and was already composing before having
heard a broadcast by the founder of musique concrète Pierre Schaeffer. She
met him shortly thereafter in the early 50s and became his student while
working periodically during visits to Paris at the Studio d’Essai. During
the early 1960s, she was assistant to Pierre Henry, during which time she
created some of the sounds which appeared in his work. As her work gained
maturity, Schaeffer and Henry believed her use of microphone feedback and
long tape loops was moving away from their ideals, but her singular
practice was still related to their methods.

Around 1970, she created her first synthesizer-based music at NYU at a
studio she shared with Laurie Spiegel on a Buchla synthesizer installed by
Morton Subotnick. Her goal by that point was to create a slow, purposeful
“unfolding” of sound, which she felt to be closer to the minimal composers
of New York at the time than to the French musique concrète composers who
had been her previous allies. After presenting the first of her Adnos in
1974 at Mills College at the invitation of Robert Ashley, a group of
visiting French music students suggested that her music was deeply related
to meditation and that she should look into Tibetan Buddhism, two things
that she had very little familiarity with.

Upon investigation of Tibetan Buddhism, she quickly converted and spent the
next three years devoted to its practice under her guru Pawo Rinpoche, who
subsequently sent her back to her musical work. She returned to
composition, picking up where she left off, using the same methods and
working toward the same goals as before, and finished Adnos II in 1979 and
Adnos III in 1980. Then came the series of works dedicated to Milarepa, a
great Tibetan yogi, known for his Thousand songs representing the basis of
his teaching. First she composed the Songs of Milarepa, followed by Jetsun
Mila an evocation of the life of this great master; the creation of these
works was sponsored by the French government.

At the end of the 80s, beginning of the 90s, she devotes herself to a
singular three-hour work, perhaps her masterpiece, the Trilogie de la Mort,
of which the first part kyema Intermediate states follows the path of the
continuum of the six states of conscience. The work is influenced by the
Tibetan Book of the Dead Bardo Thodol and her meditation practice as by the
death of Pawo Rinpoche and her son Yves Arman. The first third of the
Trilogie, “Kyema”, was her first release recording, issued by Phill
Niblock’s XI label.

In 2000, she made in Paris her last electronic work l’Ile Re-sonante for
which she received in 2006 the Golden Nica Award at the festival Ars
Electronica in Linz. In 2001 upon request from the double bass and
electronic composer Kasper T. Toeplitz, she makes her first instrumental
work Elemental II, a work taken up again with the laptop improvisation
group The Lappetites she joined. She participated in their first album
“Before the Libretto” on the Quecksilber label in 2005. Since 2004 she
dedicated herself to works for purely acoustical instrument. First with the
American cello player Charles Curtis, the first part of the work Naldjorlak
was created in December 2005 in New York and later played in 25 concerts
across the U.S. and in Europe. The second part of Naldjorlak for the two
basset-horn players Carole Robinson and Bruno Martinez, was created in
September 2007 at the Aarau Festival (Switzerland). The three musicians
have completed with Eliane Radigue the last part of Naldjorlak and
presented the complete work “Naldjorlak I,II,III” on January 24, 2009 in
Bordeaux. In June 2011 the world premiere of her composition for solo harp
Occam I which was written for the harpist Rhodri Davies was hold in London.
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