KAMMER KLANG SEASON SEVEN: TUESDAY MAY 2ND 2017 AT CAFE OTO

KAMMER KLANG SEASON SEVEN:
TUESDAY MAY 2ND 2017 AT CAFE OTO

Cafe Oto, 18-22 Ashwin Street, London E8 3DL

MATT ROGERS

The British composer Matt Rogers has written for and with a host of leading instrumentalists, ensembles and technologists, creating music and installations for concert halls, theatres, galleries and public spaces. He has received the Paul Hamlyn Foundation Award for Composers and has been Artist in Residence at the Southbank Centre and Tokyo Wonder Site. He was also the first composer to be commissioned by London’s Art on the Underground. Previous commissions include The Virtues of Things for Royal Opera, Aldeburgh Music and Opera North. Rogers is currently collaborating on new work with the American chamber orchestra Alarm Will Sound.

VIDEO

DAVID HEILBICH

David Helbich studied composition and philosophy in Amsterdam and in Freiburg. He has lived and worked in Brussels since 2002. He creates various experimental works on stage, on page, online and in public space. His trajectory moves between representative and interactive works, pieces and interventions, between conceptual work and actions. A recurring interest is in the understanding of an audience as active individuals and the search for an opening up of experiences in an artistically restricted space. Tonight he will perform No Music – A performative rehearsal.

No Music is no music, but still a musical experience. No music, still for your ears.

Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations.

I understand the this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances.

These interventions are entirely personal and therefore not so much interactive as ‘inner-active’, self-performative. The reader as the performer as the listener.” – DH


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