The third edition of the Emerging Composers Forum wrapped on Wednesday 30 November. After an intensive and inspiring thee days of workshops and rehearsals the final concert offered a glimpse of what the future holds say music critic Graham Strahle in The Australian. Congratulations to all five finalists Mark Wolf, Leah Blankendaal, Dan Thorpe, Alex Turley and Mitchell Mollison.S1000018 Three commissions of $5000 each were awarded to Leah Blankendaal, Dan Thorpe and Mitchell Mollison.

A huge thanks to the four mentors Cat Hope, Alison Isadora, Gao Ping and Simon Emmerson.

Also to ABC Classic FM for hosting the Forum at Studio 520. Stay tuned for details on when the concert will be broadcast.

Untitled-2FREE CONCERT – RESERVE YOUR SEAT

The 2016 Soundstream Emerging Composers Forum gets underway from November 28 with the Finalists Concert being held at Studio 520 on November 30. The Finalists are Leah Blankendaal (SA), Mitchell Mollison (VIC), Daniel Thorpe (SA), Alex Turley (WA)  and Mark Wolf (QLD). Their works are scored for a selection of Soprano, Baritone, Clarinet, ‘Cello, Prepared Piano/Toy Piano and Electronics. Mentoring composers Cat Hope, Alison Isadora and Gao Ping were unanimous in their decision, despite the high standard of all submissions. The mentors commented: “The pieces chosen reflect an exciting diversity in compositional approaches and we are very much looking forward to working with the composers and performers in Adelaide.”

The Soundstream Emerging Composers Forum is open to all Australian composers residing around the world in their first five years of professional practice, or studying at Postgraduate level. The selected composers are flown to Adelaide to participate in open rehearsals of their work, workshops and lectures by the mentoring composers and with guest Professor Simon Emmerson, Music, Technology and Innovation, Leicester Media School, Faculty of Technology De Montfort University (UK). At the final concert, broadcast by Partner ABC Classic FM, three commissions of $5000 each will be offered.

Soundstream Emerging Composers Forum, presented by Soundstream in association with the Musicological Society of Australia and our broadcast partner ABC Radio.

Concert: Wednesday November 30, 7.30pm, Studio 520, ABC Collinswood.

ADMISSION FREE – registration is required

RESERVE YOUR SEAT

SUPPORTED BY

MERGED

 

ECF FLYERwebSoundstream is privileged to have four outstanding mentors to work with this years finalists:

Simon Emmerson came to De Montfort as Research Professor in November 2004 after many years as Electroacoustic Music Studio Director at City University, London. He originally studied sciences and music education at Cambridge before completing a PhD in Electronic Music at City.

As a composer he is committed to live performance with electronics and has now forty years of work reflecting the changing technology of music; commissions include works for the Smith Quartet, Philip Sheppard (electric cello), Philip Mead (piano) with the Royal Northern College of Music Brass Quintet, Darragh Morgan (violin) and Keynote+ (Jane Chapman and Kate Ryder – harpsichord and piano).  He has also completed purely electroacoustic commissions from the IMEB (Bourges), the GRM (Paris) and the Inventionen Festival (Berlin).

CDs of his works have been issued by Continuum (1993) and Sargasso (2007 and 2008).  He contributed to and edited The Language of Electroacoustic Music in 1986 (Macmillan, still in print) and Music, Electronic Media and Culture (Ashgate, 2000).  His book Living Electronic Music was published by Ashgate in 2007.  He has also contributed to Computer Music Journal, Contemporary Music Review and the Journal of New Music Research.

He was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004.  He is a Trustee of its successor organisation ‘Sound and Music’.  In 2009-2010 he was DAAD Edgar Varese Visiting Professor at the TU, Berlin.  In the summer of 2011 he gave the keynote addresses at the Australasian Computer Music Conference (Auckland) and the International Computer Music Conference (Huddersfield).

Born and bred in Aotearoa/New Zealand Alison Isadora (1962) studied political philosophy and music at the Victoria University of Wellington (NZ), before moving to the Netherlands in 1986 primarily to study violin (with Vera Beths) and thereafter composition (Gilius van Bergeijk and Theo Loevendie) at The Hague Conservatorium (1994, with distinction) and post-graduate performance theater at DasArts in Amsterdam.

She has been a performing composer or a composing performer within numerous Dutch groups including Hex, Gending, Nieuw Ensemble, the Maarten Altena Ensemble and the multi-medi duo SYNC. Her works have been performed by diverse ensembles in the Pacific, Europe and North America including Ensemble Klang, David Kweksilber Big Band, Matangi Strijkkwartet, Nederlands Blazers Ensemble, Array Ensemble (Canada) and STROMA Ensemble (NZ). As well as composing for music ensembles, Isadora also creates music-theatre performances, audio walks and installations.

In the last years she has become increasingly interested in the possibilities of connecting music to other disciplines. Isadora’s works often incorporate elements of story-telling and participation while addressing social issues.

In her capacity as music educator Isadora has explored elements of sound and composition with dance, choreography and theatre students at ArtEZ Institute of the Arts in Arnhem (NL).

In 2016-2017 Isadora is the Creative New Zealand/Jack C. Richards Composer-in-Residence at Te Kōkī New Zealand School of Music.

Cat Hope’s music is conceptually driven, using mostly graphic scores, acoustic /electronic combinations and new score reading technologies. It often features aleatoric elements, drone, noise, glissandi and an ongoing fascination with low frequency sound. Her composed music ranges from works for laptop duet to orchestra, with a focus on chamber works, and in 2013 she was awarded a Churchill Fellowship to develop her work, as well as Civitella Ranieri (Italy) and Visby International Composers residency (Sweden) fellowships. Her practice explores the physicality of sound in different media, and has been discussed in books such as Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as The Wire, Limelight,and Neu Zeitschrift Fur Musik Shaft Her works have been recorded for Australian, German and Austrian national radio, and her work has been awarded a range of prizes including the APRA|AMC Award for Excellence in Experimental Music in 2011, 2014 and the Peggy Glanville Hicks composer residency in 2014.  She has founded a number of groups, most recently Decibel new music ensemble, noise improv duo Candied Limbs and the Abe Sada bass project. She has also founded and written pop songs for Gata Negra (1999-2006).

The son of musician parents, GAO Ping was born in Chengdu, in the Chinese province of Sichuan, in 1970. He studied piano and composition in Beijing, and then in the USA where he took his Doctorate in Musical Arts at the College-Conservatory of Music in Cincinnati. For several years from 2004 he taught at Canterbury University in Christchurch, New Zealand. In the ensuing decade, he developed significant ties between China, New Zealand and Australia. More recently, Dr Gao has returned to Beijing where he is currently Head of Composition at the Conservatory of Music – Capital Normal University, as well as composer-in-residence with the Forbidden City Chamber Orchestra, an ensemble of musicians who play mainly new compositions on traditional Chinese instruments.

Two albums of his music on the Naxos label have received critical acclaim. A critic with the international music journal Percorsi musicali described him as “one of the most important composers to emerge from China in recent years”.

Increasingly in demand as composer, pianist, teacher and lecturer, Dr Gao has received many prestigious commissions, performances and awards from noted performers, venues and festivals around the world.

His music draws its inspiration from the folklore of his native China, from ancient Chinese poetry and the oral tradition of story-telling from his childhood in Sichuan. “I have always thought of myself as a story-teller of sorts,” he has written, “but in place of words, I use music.” Many of his pieces for solo piano required the player to sing, hum and vocalize, and play prepared piano and other percussion instruments. Habitually, his pieces comprise a mélange of Chopin and Shostakovich, popular Chinese song and post-Mao revolutionary music.

Performers Melanie Walters (flute), Anna Coleman (clarinet), David Moran (cello) and Leah Blankendaal (electronics) invite you to an afternoon of improvisation exploring timbre, space and time. From static to breathe tones, silence and noise, this very special performance will utilize the full range of each instrument in an immersive setting.

Sunday October 9, 5-7pm
The Studio
82 Cremorne St. Malvern (off Cambridge Tce)
Entry by donation

Wines by Simon Hackett

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“The mind … can make a heaven of hell, a hell of heaven”.
Book I, John Milton, Paradise Lost (1674)
In an exclusive world premiere performance, sound artist, Chris Williams, uses cutting edge technology developed with leading audio researchers in Livorno, Italy, to create a listening experience unique to each audience member in the stunning architecture and acoustic of the Samstag Museum.

Thursday September 29, 6.30pm
Samstag Museum of Art, 55 North Tce.

John Milton’s epic poem Paradise Lost (1674) sealed his reputation as one of the greatest English poets of his time. Milton’s purpose was ‘to justify the ways of God to men.’ William’s adaptation, Sympathy for the Devil, created in collaboration with researchers at the cutting edge of spatial audio technology in Italy, is an exciting development in live radiophonic performance using immersive audio technology that will create a unique listening experience.

Christopher Williams, sound artist
Paul Blackwell, Ksenja Logos, and Rory Walker, actors
60 minutes duration with no interval

Venue
Anne & Gordon Samstag Museum
University of South Australia, 55 North Terrace, Adelaide
T 08 8302 0870, unisa.edu.au/samstagmuseu

Ticketing info
Tickets: Adult $45 / Conc $15
Booking https://www.trybooking.com/LTQC
Insert text from attached document on Sympathy for the Devil

ON THE TERRACE

ON THE TERRACE: A musical exploration

FREE TO THE PUBLIC – NOON TO 4PM

Take a stroll along North Terrace, between the Art Gallery of South Australia, South Australian Museum and State Library of South Australia, on Sunday 16 October and hear chamber musicians in solos, duos and trios, performing an intimate collection of 15-minute recitals between noon and 4pm. Their diverse programs reflect and complement the settings, drawing inspiration from the galleries, exhibits and collections of the North Terrace cultural boulevard.

Click to download pdf of Program/Map with details of individual artists and their performance schedule in each venue.

On the Terrace: A musical exploration is a collaboration between Chamber Music Adelaide, the State Library of South Australia, South Australian Museum and Art Gallery of South Australia

ART GALLERY OF SOUTH AUSTRALIA   Ensemble Galante and Various People Inc
STATE LIBRARY OF SOUTH AUSTRALIA Kegelstatt Ensemble and The Firm
SOUTH AUSTRALIAN MUSEUM   Recitals Australia and Soundstream

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Blue Touch series – Grand Silence
Sunday, September 11, 5 –7pm
The Studio, 82 Cremorne St., Malvern, off Cambridge Tce
Tickets at the door: $15
Bookings: info@soundstream.org.au
Simon Hackett wines will be provided

There is no such thing as silence. Something is always happening that makes sound.
—John Cage

Grand Silence uses as its departure point Jonty Semper’s landmark recording, Kenotaphion. In Kenotaphion, Semper spent four years collecting every surviving recording of the two-minute silences at the Armistice Day and Remembrance Sunday ceremonies at the Cenotaph in London. The earliest is from a British Movie-tone newsreel of 1929.

Derek Pascoe, Brad Cameron and Gabriella Smart have created an hour long improvisation exploring the unfolding qualities of sound, within this emotive and charged political context.

Help us to support the Project with your tax- deductible donation. Due to its inaccessibility, Titjikala Community does not currently have music tuition. Soundstream will facilitate the employment of a teacher to visit the community to give regular music lessons, towards long-term performance projects.

The Titjikala Project has been endorsed by the Australian Cultural Foundation (ACF).

Donations can be made through the ACF website: www.australianculturalfund.org.au/projects/titjikalaproject

What Is the Titjikala Project

Gabriella Smart has a 50 year connection with Titjikala Community through her foster brother, Lincoln Boko, and his family. The Titjikala Project is an initiative by Titjikala Community (NT) in partnership with Soundstream that aims to address crucial concerns and key future aspirations of this remote Aboriginal community through a holistic approach that is centred on cross-cultural music making.

The Project’s vision is to develop a sustainable and long-term culture of empowerment and dignity through arts for health, with the Titjikala community. It builds on several previously successful projects that demonstrate the capacity of this community to achieve meaningful and positive outcomes if given the necessary level of support.

In recent years, Titjikala has increasingly become recognised as a community that possesses the people and leadership potential required to address the significant social and economic issues facing Anangu peoples living in remote communities in the Northern Territory. This is reflected in their significant and long-term partnership with Tidy Towns. This association began in the 1990s and culminated in 2013 and 2014 with Titjikala being named the Territory Tidy Town. In 1999, Titjikala School was awarded the Garth Boomer Award (honouring the memory of Garth Boomer, who promoted the cause of collaborative teaching and learning).

Respected Aboriginlal and other artists will be invited to develop events in full consultation with the community, including Warren H Williams, Trevor Adamson, Gurrumul Yunupingu, APY Choir, Elena Kats Chernin, Cathy Milliken, Derek Pascoe, Jon Rose, and Meryl Tankard.

The development of a Ruined Piano Sanctuary at Titjikala not only provides locals with a community park to gather in the evenings (at present no such location exists), but a ready-made outdoor amphitheatre for music events, drawing tourists, visitors from Alice Springs and the local population.

titjikala 014Photographs courtesy of Nick Shimmin

Artistic Director of Soundstream, Gabriella Smart, has an enduring connection with the Community spanning 50 years. In her own words, Smart outlines her vision of the Project:

“I envisage empowerment of the Titjikala Community, spanning a generation or more, through engagement with the arts that reflects the spiritual beliefs and aspirations of the community. This transformation is not limited to the education, creation, performance and touring of music. It will develop the infrastructure of the community to create employment opportunities through tourism and audience development.

 It will allow members of the community to engage with the outside world on their own terms, with the confidence that comes of education and practical advocacy; to have cultural engagement with others that places their own culture at the centre; and to put Titjikala on the map. The outside world will know the community through their rich culture, creativity, success, and strength.”

 About Titjikala Community

Titjikala is a small Aboriginal community located approximately 110 kilometers south of Alice Springs on the route of the Overland Telegraph Line (1872); the Great Northern Railway (Ghan) line (1926-1980) and the present day 4×4 tourist routes to Chambers Pillar. Titjikala community has a population of around 200 people made up of a number of Anangu groups including Pitjantjatjara, Yankunytjatjara, Luritja, and Southern Arrernte people.

Titjikala has struggled to overcome issues associated with unemployment and the negative social characteristics that emerged in this context: alcoholism, family violence, poor educational outcomes and a culture of passive welfare entitlement. Despite these setbacks, the people of Titjikala have demonstrated a strong desire to break free of this cycle and to empower their future.

Enquiries: info@soundstream.org.au

Supported by:

Unley Physiotherapy has become a proud sponsor of the Titjikala Project.
They are sourcing second hand instruments for the community, and supporting a campaign to raise money for music lessons through the Australian Cultural Foundation.

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