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Bozen 4th-5th May 2012: MuseRuole - women in experimental music

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  • Manuela Benetton
    *With apologies for cross-posting * MuseRuole - women in experimental music *May, 4th - 5th 2012* - Museion - Museum of modern and contemporary art Bolzano /
    Message 1 of 2 , May 1, 2012
      With apologies for cross-posting

      MuseRuole - women in experimental music
      May, 4th - 5th 2012   - Museion - Museum of modern and contemporary art Bolzano / Bozen

      Organized by Assessorato alla Cultura e alla Convivenza del Comune Bolzano in collaboration with Transart
      artistic director : Valeria Merlini


      4th May 2012   - 9 PM

      Helena Gough (UK): laptop
      Magda Mayas (DE): piano
      The Secretaries (AUS / DE / IT): found sounds, electronics



      5th May 2012   - 9 PM


      Éliane Radigue (FR): compositions OCCAM III / OCCAM IV / OCCAM River I (World Premiere)

      performed by Julia Eckhardt : viola | Carol Robinson : birbyne



      Museion - Museum of modern and contemporary art Bolzano / Bozen
      Hall Museion -1
      Via Dante Strasse 6 
      39100 Bolzano / Bozen





      Helena Gough | laptop |

      Helena Gough is an English sound artist currently living in Berlin. Her work initially focused upon the collection and manipulation of ‘real-world’ sound material and the exploration of its abstract properties. Occasional deviations into synthetic and instrumental sources are now developing into more prominent ingredients. Each new sound-space is created by taking everything possible from the tiniest element, working to make something from nearly nothing. This reduction in means yields a density and richness of results. As a solo (laptop) player she presents her music live on a regular basis. Her performances are intended for dark spaces and involve multi-layering and improvisation with her sound materials in order to create a unique environment for each new event. Her debut solo album was released at the beginning of 2007 by the London based label Entr’acte, followed by a second album in 2010. Her most recent album began with the simple idea of using only the cello as source material, and explored improvisations made by cellists Anthea Caddy and Anton Lukoszevieze.


      Magda Mayas | piano |

      Magda Mayas is a pianist living in Berlin. Developing a vocabulary utilizing both the inside as well as the exterior parts of the piano, using preparations and objects, she explores textural, linear and fast moving sound collage. Lately she has also focused on the clavinet, an electric piano from the 60s with strings and metal chimes, where she engages with noise and more visceral sound material, equally extending the instrumental sound palette using extended techniques and devices. Current projects are “Spill”, a duo with drummer Tony Buck, a duo with Anthea Caddy (cello), a duo with Christine Abdelnour Sehnaoui (sax), “Great Waitress”, a trio with Monika Brooks (acc) and Laura Altman (cl) and different collaborations with Andy Moor, Clayton Thomas and Peter Evans. Magda Mayas has performed and toured in Europe, the USA, Australia and Lebanon with many leading figures in improvisation such as  John Butcher, Peter Evans, Annette Krebs, Andrea Neumann, Axel Dörner, Johannes Bauer, Christoph Kurzmann, Thomas Lehn and Tristan Honsinge.


      The Secretaries | Felicity Mangan, WJM, JD Zazie - found sounds, electronics |

      A new band formed in Berlin, The Secretaries bring together three strong personalities to explore new musical directions and forms. Works are composed and performed through the reproduction of recorded material whose manipulation acquires a new meaning in a game of tensions and balances, interweaving and setting of concrete sounds, environmental field recordings, rhythms, impulses, noises, and mistakes.


      Eliane Radigue | composer |

      She was born and raised in Paris in a modest family of merchants at Les Halles. Afterwards, she married the French-born American artist Arman with whom she lived in Nice while raising their three children until 1967, then in Paris. She had studied piano and was already composing before having heard a broadcast by the founder of musique concrète Pierre Schaeffer. She met him shortly thereafter in the early 50s and became his student while working periodically during visits to Paris at the Studio d’Essai. During the early 1960s, she was assistant to Pierre Henry, during which time she created some of the sounds which appeared in his work. As her work gained maturity, Schaeffer and Henry believed her use of microphone feedback and long tape loops was moving away from their ideals, but her singular practice was still related to their methods.

      Around 1970, she created her first synthesizer-based music at NYU at a studio she shared with Laurie Spiegel on a Buchla synthesizer installed by Morton Subotnick. Her goal by that point was to create a slow, purposeful “unfolding” of sound, which she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies. After presenting the first of her Adnos in 1974 at Mills College at the invitation of Robert Ashley, a group of visiting French music students suggested that her music was deeply related to meditation and that she should look into Tibetan Buddhism, two things that she had very little familiarity with.

      Upon investigation of Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Pawo Rinpoche, who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same methods and working toward the same goals as before, and finished Adnos II in 1979 and Adnos III in 1980. Then came the series of works dedicated to Milarepa, a great Tibetan yogi, known for his Thousand songs representing the basis of his teaching. First she composed the Songs of Milarepa, followed by Jetsun Mila an evocation of the life of this great master; the creation of these works was sponsored by the French government.

      At the end of the 80s, beginning of the 90s, she devotes herself to a singular three-hour work, perhaps her masterpiece, the Trilogie de la Mort, of which the first part kyema Intermediate states follows the path of the continuum of the six states of conscience. The work is influenced by the Tibetan Book of the Dead Bardo Thodol and her meditation practice as by the death of Pawo Rinpoche and her son Yves Arman. The first third of the Trilogie, “Kyema”, was her first release recording, issued by Phill Niblock’s XI label.

      In 2000, she made in Paris her last electronic work l’Ile Re-sonante for which she received in 2006 the Golden Nica Award at the festival Ars Electronica in Linz. In 2001 upon request from the double bass and electronic composer Kasper T. Toeplitz, she makes her first instrumental work Elemental II, a work taken up again with the laptop improvisation group The Lappetites she joined. She participated in their first album “Before the Libretto” on the Quecksilber label in 2005. Since 2004 she dedicated herself to works for purely acoustical instrument. First with the American cello player Charles Curtis, the first part of the work Naldjorlak was created in December 2005 in New York and later played in 25 concerts across the U.S. and in Europe. The second part of Naldjorlak for the two basset-horn players Carole Robinson and Bruno Martinez, was created in September 2007 at the Aarau Festival (Switzerland). The three musicians have completed with Eliane Radigue the last part of Naldjorlak and presented the complete work “Naldjorlak I,II,III” on January 24, 2009 in Bordeaux. In June 2011 the world premiere of her composition for solo harp Occam I which was written for the harpist Rhodri Davies was hold in London.

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