Old Fire Station, 40 George st, OX1 2AQ
The solo is an instrument – a composite of bassoon, microphones, speakers and room. The bassoon is used in deconstructed form; miniature microphones are placed in its six parts (bell, long joint, wing joint, boot, bocal and reed), making audible the different resonant spaces of the instrument through feedback. At times, the performer uses her breath, altering the loop, joining her own hollow space to the cavities of the bassoon. The solo sits on a tipping point between noise amplification and frequency, control and volatility, willful gesture and passive observation.
Dafne is a bassoon player who explores sound through contemporary music performance, improvisation and sound installations. Dafne has dedicated herself to an in-depth instrumental practice, emerging from an intuitive experimentation into the complexities of the bassoon’s acoustical properties. Her work has translated into long-term collaborations with a handful of composers engaged in music that demands a high degree of critical interpretation (Éliane Radigue, Catherine Lamb, Jakob Ullmann, Peter Ablinger, Klaus Lang, Tashi Wada), leading to the creation of a significant body of solo pieces. Her work has been presented in Huddersfield Contemporary Music Festival, UK; Musikprotokoll, Graz; Blurred Edges, Hamburg; El Nicho, Mexico; Tectonics, Glasgow/Adelaide/Athens; Ultima, Oslo; Konfrontationen, Austria; No Idea, Texas; Tsonami, Chile; Documenta 14, Athens.
Solo violin and 4 bass amps was commissioned by Counterflows Festival in 2015. It is a piece that explores the deeper sonorities of the violin with live processing and manipulation. Angharad and Sebastian, both experienced improvisors, challenge the conventional duo by presenting a more indeterminate piece which slowly unravels itself and the instrument. Although the piece has been performed many times with prerecorded track this will be it’s third live performance where the process will be happening in real time.
Angharad Davies is a Welsh violinist working with free-improvisation, compositions and performance. Her approach to sound involves attentive listening and exploring beyond the sonic confines of her instrument, her classical training and performance expectation. Much of her work involves collaboration. She has long standing duos with Tisha Mukarji, Dominic Lash and Lina Lapelyte and plays with Apartment House, Cranc, Common Objects, Richard Dawson’s band and Skogen. Has been involved in projects with Tarek Atui, Tony Conrad, Laura Cannell, Jack McNamara, Eliane Radigue, Juliet Stephenson and J.G.Thirlwell. Her album Ffansïon | Fancies was voted in the top 12 albums for Radio 3’s Late Junction. angharaddavies.com
The composition of Is-y-coed develops the blending of three distinct elements: water, the voice, and pitch. The vocal component is taken from field recordings of children playing. The pitched element takes the form of folk songs and the manipulated sounds of pitched instruments. Is-y-coed then proceeds to explore the relationships between these pitched sonorities and more ambiguous sounds.
Chime Particles is based on field recording of Agate Wind Chimes made in Port Stanley, Australia. This recording was then fragmented and reassembled using software written specifically for this purpose. The composition’s aim is to explore the sound’s relationship to its original condition once it has been subverted and reassembled. The contrast between its past and present states forms the basis of the composition’s structure. Removed from both the original location and environment, the Agate Wind Chimes take on new life and challenge our perception of what it is we expect to hear.
Paul Dibley is a composer and sonic artist, and is also Principal Lecturer and Programme Lead for Music at Oxford Brookes University. He founded Sonic Art Oxford which morphed into Audiograft. As well as composing electroacoustic compositions (often specializing in using the human voice), he creates compositions for instruments and live electronics (MAX/MSP and Pure Data). Recent projects include working with Okeanos, Jane Chapman and Jos Zwaanenburg. His work has been performed in Europe, Australasia and America.
Brett Gordon is a Doctoral candidate in the final year of his PhD at the University of Hull under supervision from Dr. Rob Mackay and Dr. Mark Slater. He is a composer and performer of electroacoustic and acousmatic music that sometimes incorporate visual elements. The use of interactive controllers plays a significant role in both his compositions and performances. His research into the composer, performer and sound material relationship in electroacoustic music is ongoing. He has performed and presented papers at numerous conferences and seminars including ICMC2013 in Perth, Australia, ICMC2015 in Denton, USA, The RMA Conferences 2014 & 2015, MUSLAB2015 in Mexico City, IFIMPaC 2014 and iscMME2015 among others. brettgordon.co.uk