A Traveling Concert Series for Experimental Music

Een Reizende Concertserie (in het Nederlands hieronder)

 

Immerse yourself in the unusual sound-world of Modelo62. During the Intercity Sessions you not only listen to music, but you also may participate with your voice or instrument. The eclectic mix of musical tastes and colors take you on a trip into your imagination. Let your ears be refreshed by the enthusiasm and energy of these specialists in experimental contemporary music.

This year’s line-up is broad and colorful: with works by Austrian composer Peter Ablinger, Dutch-New Zealand composer Alison Isadora, Dutch composer Gilius van Bergeijk and American electro-acoustic composer and improviser Alex Sigman.

 

14 November The Hague – 15 November Amsterdam – 16 November Rotterdam – 17 November Utrecht

 

NEDERLANDS

Laat je onderdompelen in de ongewone klankwereld van Modelo62. Tijdens de Intercity Sessions concerten kun je niet alleen luisteren naar muziek, je kunt zelf ook meedoen! De eclectische mix van muzikale smaken en kleuren nemen je mee op een trip in je verbeelding. Laat je oren opfrissen door het enthousiasme en de energie van deze specialisten in experimentele hedendaagse muziek.

De line-up van deze concerten is afwisselend met werken van Peter Ablinger (AUT), Alison Isadora (NL/NZ), Gilius van Bergeijk (NL) en de electro-akoestische componist en improvisator Alex Sigman (USA).

14 November The Hague – 15 November Amsterdam – 16 November Rotterdam – 17 November Utrecht

 

PROGRAM

‘Instruments and phonographies’ (selection) – Peter Ablinger

‘Landschap met Rode Wolk’ – Gilius van Bergeijk

‘Together #5’ – Alison Isadora (audience participation)

dIXsf – Alex Sigman

About the program

The motivation for van Bergeijk’s composition, Landschap met Rode Wolk (2012) comes from his fascination of Mondriaan’s artwork by the same name. In his description of the painting, the roughly painted horizon lays slightly lower than the mid-point, with above it a loosely painted blue sky, and under it a greenish meadow also painted in an almost sloppy way. He would have found it to be a dull and uninteresting picture were it not for a big red blot in the sky: the red cloud. This suddenly turns the whole thing into an almost abstract, exciting and strong picture. This inspired him to compose non-tonal ‘blots’ in a naked, beautiful environment of tonal material.

A selection from Instruments and phonographies by Peter Ablinger. Each piece is a stereo “phonography” (field recording) grounded by a single ensemble tenuto. The ensemble tenuto should not be heard really – although there should be a delicate difference when the ensemble would NOT play!”. This piece explores creating an ‘image’, just like van Bergeijk uses a painting to create his Landschap met Rode Wolk. But in this case, Ablinger goes for a more static approach. An instant in the sound that is prolongued and creates the illusion of time stopping.

Together #5  (with public participation) is one of a series of works that Isadora is initiating which consider the creative relationships between the composer, musician, audience, performance situation and score. How does the space we are in influence our perception of the work? Where do we situate ourselves in the space as a musician/ audience member/ participant? In Together #5, we consider the shared connection we have through our heart beat and are encouraged to explore listening both to the other and ourselves. What if we decided that we are all in this together?

dIXsf, by Alex Sigman (USA). This piece is the final installment in the VURT cycle, which revolves around the 1993 cyberpunk science fiction novel of the same name by the British author Jeff Noon. Set in a dystopian Manchester, Vurt (the novel) chronicles the (mis)adventures of a gang of so-called Stash Riders, who travel between Manchester and a parallel universe called Vurt (pronounced “virt,” as is “virtual”). The boundary between the universes remains permeable throughout, as Vurt (and Vurt/Earth hybrid) creatures and events materialize on Earth. The sound materials employed in dlXsf include elements evocative of the decaying urban and industrial environments described by Noon, as well as songs by Manchester bands of the 1980s-early ‘90s that were influential upon the author’s writing.

 

Intercity Sessions is realised with the generous support of Gemeente Den Haag, Gemeente Rotterdam, and Fonds Podiumkunsten

 

Banner by Clemens den Exter