7th June 2018

7 p.m.

All Of This Has Happened Before @ Bagnolet

All Of This Has Happened Before @ Bagnolet

Premiere of All Of This Has Happened Before (2017) by performers from Ecole Paul-Langevin directed by Thierry Madiot, commissioned by Lutherie Urbaine  and Conservatoire de Musique Erik Satie. 

Also featuring songs 2011 performed by Thierry Madiot and Tim Parkinson, drum piece and melodica and percussion performed by Romeo Monteiro.

Château de l'Etang, 93170 Bagnolet, FRANCE

https://openagenda.com/lutherieurbaine/events/concert-still-life_993?lang=en">https://openagenda.com/lutherieurbaine/events/concert-still-life_993?lang=en

 

 

24th May 2018

7:30 p.m.

a quiet night in

a quiet night in

St Martin’s Church

Cathedral Close

Exeter EX1 1EZ

 

An evening of 

quiet, contemporary music

For solo, duo and quintet

 

 

Louis d”Heudieres     Laughter Studies 2

Tim Parkinson         violin piece 1999

Jeph Jerman         For Tony Whitehead

Charlie Sdraulig         Few

 

 

MUSICIANS

Dan Cray, Roz Hardling, Ruth Molins, Emma Welton, Tony Whitehead

 

pay what you decide on the door

 

part of Art Week Exeter

 

 

13th April 2018

7 p.m.

Cultuurcentrum Brugge

Cultuurcentrum Brugge

G.A.M.E. (Anne Zeuwts, Teresa Doblinger, Clara Levy, Caterina Roberti, Carlo Siega, Ward Ginneberge) will perform Opus 1, Opus 2 and Opus 4 from Time With People at the "Playtime" Exhibition at Cultuurcentrum Brugge.

De Bond, Buiten Smedenvest 1, 8000 Brugge

While all artists are not chess players, all chess players are artists.’ 
(Marcel Duchamp)


Cultuurcentrum Brugge’s 2017-2018 season is all about games. 80 years ago, Dutch historian Johan Huizinga published his famous book ‘Homo Ludens’ (Man the Player). Today, we cannot imagine cultural life today without games and gaming. According to Huizinga, the importance of games (and playing) as a cultural activity dates back to the beginning of mankind. People mainly want to play and games serve as a preparation for personal and social reality. 

The ‘Playtime’ exhibition connects the universe of games and gaming with the aspect of play in the creation and the performance of various art forms. The exhibition links visual arts with performances and music and makes a distinction between ‘play’ in a literal and in a metaphorical sense. 
American artist Craig Havens examines the social and economic aspects of the famous television game Wheel of Fortune. In a second work, he focuses on playgrounds behind the former Iron Curtain.  

With his interactive installations and performances, Belgian artist Joris Perdieus studies the various aspects of the stage machinery, the scenery and the stage that are used to perform a play in front of an audience.

Wim Wauman’s virtuoso wooden sculptures, photographic collages and participatory projects combine the play with shapes and themes on the one hand with modernist theatre and modernist film decors on the other, thus  creating a link between the literal and the metaphorical aspects of play. 

During the opening and the finissage, various performances will be presented by artists, performers and musicians. 
 

http://www.ccbrugge.be/evenement_detail.jsp?evenement=2646

 

 

24th March 2018

7 p.m.

At Cross-Purposes: Music for Cello and Piano

At Cross-Purposes: Music for Cello and Piano

8th Concert – At Cross-Purposes: Music for Cello and Piano
24 March 2018, The Project Cafe, Glasgow
7pm-8pm

Laurence Crane – Jurgen Hip
Alex Nikiporenko – 86 Permutations of Melancholia
Tim Parkinson – untitled cello and piano

Eva-Maria Houben – nur ein klang (5)
Gregor Forbes – Terraces/Boulevards
Emily Doolittle – Utah, 1996
Gregor Forbes – At Cross-Purposes

Performers:
Gregor Forbes with Filipa Portela (piano)
Adam Hall (cello)

After three years, Glasgow Experimental Music Series returns to The Project Cafe with a programme of fresh new music by local composers and friends, performed by adventurous Glasgow-based instrumentalists Adam Hall and Gregor Forbes. Come and hear the bright colours and simple forms of Laurence Crane’s ‘Jurgen Hip’; the serene mysteries of music by Alex Nikiporenko, Eva-Maria Houben and Tim Parkinson; the bird-song sonorities of Emily Doolittle’s ‘Utah 1996’ for solo cello; and the playful wit of compositions by Gregor Forbes.

 

23rd March 2018

7:30 p.m.

Music We'd Like To Hear in March

Music We

'Early to Late' CD Launch Concert

 

Magnus Granberg ‘How Vain Are All Our Frail Delights?’  (2017)

Jürg Frey ‘Late Silence’  (2017)

 

Ensemble Grizzana:

 

Jürg Frey (clarinet)

Magnus Granberg (celesta, harmonica & stones)

Angharad Davies (violin)

Mira Benjamin (violin)

Anton Lukoszevieze (cello)

Dominic Lash (double bass)

John Lely (electronics, harmonica & stones)

Richard Craig (flute & electronics)

Philip Thomas (piano)

Simon Allen (dulcimer & glass harp)

Dimitra Lazaridou-Chatzigoga (zither & electronics)

 

Two world premieres, both loosely based on two pieces of early music: Ockeghem's 'Deploration sur la mort de Binchois' and Byrd's 'Oh Lord How Vain'. From this common starting point, composers Jürg Frey and Magnus Granberg worked separately, producing fascinatingly different results, both haunted by distant echoes of the source material.

 

Magnus: ''How Vain Are All Our Frail Delights?' consists of: a temporal framework; sets of musical materials from which the performers choose what to play; and some suggestions as to how to treat the materials. The resulting piece can be described as an environment in which the properties of the environment itself, as well as the different choices, interests and natures of its inhabitants, regulate the final outcome of the music. Whether the outcome is to be considered vain, frail or delightful is, as in life itself, up to each one of us, listeners and performers alike.'

 

Jürg: 'The material is raw but delicate. The language is non-rhetorical and precise. The form has a clear architecture; sounds and sections become present and disappear but don't dissolve. The work of the composer is elemental – as is its absence when the composer lets the music go on without any interference. Tonality is vaguely touched on, a soft, slightly wavering light in the music. Silence, memory, presence – this triad shimmers in the background and keeps the piece in a balance of clear decisions and wide horizons.'

 

£12 advance, £15 on the door
http://www.musicwedliketohear.com">www.musicwedliketohear.com
 

This event is supported by the Swiss Arts Council Pro Helvetia.

Venue: St Mary at Hill, Lovat Lane, London, EC3R 8EE

Nearest Tube: 
Monument (Fish Street Hill exit)
Bank (exit 5)
London Bridge

 

12th March 2018

8 p.m.

Spread

Spread

la dee and nana na na na from songs 2011 performed by some kind of duo (Catherine Laws and James Whittle), a duo who perform some things together, now and then.

 

If you’re free on Monday evening 12th March, come down to The Crescent Community Venue to hear/see The Assembled, ish, skittles, Emile Flower, some kind of duo, and Squeakygate

Includes some improvisation, some devised pieces and film.

7.30pm doors first performance 8pm, £3 on the door
There’s a bar (with good beer)

The Crescent Community Venue, 8 The Crescent, YO24 1AW York, UK

https://www.facebook.com/events/420620525039445/

Performers:
The Assembled is a group of musicians who devise performances collaboratively, either from scratch or in response to open notations of different kinds: instructions scores, graphic scores, etc. For SPREAD they will be developing a version of oneiricon by Yannis Kyriakides, working from an interactive tablet score.
some kind of duo (Catherine Laws and James Whittle) are a duo who perform some things together, now and then.
Squeakygate are an improving duo of Simon Roth (drums) and Val Persona (violin) 
ish (Rebecca Burden - cello, Lynette Quek - electronics, Gaia Blandina - cello, Beau Stocker - drums, Rich Powell - violin, William Barnardo - accordion, Jim McIlwrath - viola) is a free improvisation ensemble 
skittles' (Gaia Blandina, Barrington Brook, Desmond Clarke Lynette Quek) main focus is free improvisation and devised music.
Emilie Flower is a film maker and multimedia artist, with a particular focus on video portraiture and storytelling.

spread is run by Gaia Blandina, Catherine Laws, Valerie Pearson and Lynette Quek

 

 

27th February 2018

8 p.m.

Time With People @ Ghent

Time With People @ Ghent

Performed by GAME in Kunstcentrum CAMPO, Ghent

Part of 

Sound & Participation - a two day conference featuring Bill Dietz, Tarek Atoui, James Saunders, Tim Parkinson, Caroline Chen, David Helbich, Edyta Jarzab, Anna Raimondo, Jaume Ferrete, Brandon LaBelle, Care of Editions, Manuela Naveau, Federic Leroy, with Q-02, Ictus, KASK & CONSERVATORIUM School of Arts Gent, an event in the framework of the European network Interfaces. 

https://www.ictus.be/symposium

 

 

27th October 2017

8 p.m.

Music We'd Like To Hear in October

Music We

windfell

by James Weeks


a new hour-long work for solo violin


realised by Mira Benjamin

st mary at hill
lovat lane
london ec3r 8ee

£10 (£8) https://www.eventbrite.co.uk/e/music-wed-like-to-hear-in-october-windfell-tickets-38001331004

 

 

22nd October 2017

3 p.m.

Time With People @ Iowa

Time With People @ Iowa

Performed by a.pe.ri.od.ic

Time With People (2013) is not an opera in the traditional sense. There are no characters, costumes, or even orchestral instruments. Instead, the stage is set with trash and other assorted objects. The soloists and chorus speak, dance, chant, and drum. And the only “classical” music comes from a recording.
Alternately funny, playful, perplexing, and sad, the work challenges audiences to reconsider their preconceived notions of the nature of music. Writing about the world-premiere performance, Lawrence Dunn remarked, “This is a world in which music is a kind of memory—something that must be reconstructed from the ground up, and afterwards returned to the same ground.”
The piece hearkens back to the traditional sense of an opera as a collection of works, yet upends tradition by largely removing music and the orchestra, leaving behind only fragments, both musical and literal: recorded excerpts of Handel and Rossini begin and end the work, while a trash-strewn set serves as an orchestra of found objects as the performers wade through it.
The performance group a.pe.ri.od.ic, led by Nomi Epstein, is a collective of composers, instrumentalists and vocalists with experience in myriad experimental music practices. The group has a history of interpreting distinctive pieces using a collaborative rehearsal process, deriving meaning and intention from oblique prose scores with great sensitivity.

Presented by the UI School of Music

https://arts.uiowa.edu/events/aperiodic-time-people-trash-opera/2017-10-22

Voxman Music Building

93 East Burlington Street, Iowa City, IA 52240

Stark Opera Studio

 

15th October 2017

noon

The Ambrosia Rasputin Show

The Ambrosia Rasputin Show

New series with Ivor Kallin, whose special guest this week is composer Laurence Crane, sharing a selection of his compositions and some of the music which inspired them. Featuring No.1 2016 by Tim Parkinson, performed by Zubin Kanga.