Pfeiffertag. Musarc Folk Meet on a Midsummer Day until Dusk IV
Saturday 24 June 2023
6.30–9.30pm
St Paul’s Bow Common Burdett Road London E3 4AR
New works and music by Ashmi Thapar, Jan Hendrickse, Neil Luck + Lin Chiwei, Olivier Messiaen and Terry Riley
Poetry by Anna Schabel, Amy Teh, Carol Mancke, Chrys Papaioannou, Ian Blake, Jeni Be, Joanna Ward, Judith Lösing, Łukasz Kopec, Paul Martin and Rebecca Faulkner
Foraging leaves by Derk Ringers, Mark Couzens, Neil Luck and Paul Martin
Food by Anna Schabel, Agnieszka Cybul, Alice Watson, Belen Duran, DanKnight, Derk Ringers, and Helene Lomenech
Glockenspiel Darius Paymai
Pfeiffertag (Piper’s Day) is Musarc’s fourth Folk Meet on a Midsummer Day Until Dusk. Doors open at 6.30pm to a space flooded by afternoon light. As evening falls, audience and singers attune to the darkness, their senses seeking out different, smaller sounds and other objects in the changing atmosphere of the auditorium. The event ends by candlelight, just after sunset.
The programme this year brings together works Musarc has traditionally performed on the occasion – including a solfège version of Terry Riley’s In C (Riley was born 88 years ago on the concert day), Olivier Messiaen’s O Sacrum Convivium and Lin Chiwei’s Tape Music, Score for Musarc (2015) – with new works by long-standing collaborators and members of the ensemble.
Composer and flautist Jan Hendrickse has written a new piece for choir and overtone flutes which he has been making with the choir from pvc pipe and wooden dowels. Neil Luck’s LIEF is a meditation on the efficacy of leaves and grasses as instruments – a new folk tradition, part lecture, part conversation. Ashmi Thapar has written a number poem for the choir that changes according to which hymns were sung during morning worship that day. The ensemble, which has been engaging in forms of social writing since 2016, has written a new text to be performed with the audience in a congregational reading.
Pfeiffertag takes place in one of the country’s most beautiful modernist churches. The performance starts at 7pm. The setting is informal and convivial. Breaks between performances offer time to talk and eat. There is no fixed stage, and the performance arrangements will change as the evening progresses. The audience is invited to move around, stand or sit on the floor. Blankets will be provided in addition to benches.
The bar and food stall will be open all evening. There will be no artificial lighting in the space. The audience will be given candles to illuminate the auditorium as darkness falls. The concert is expected to finish after sunset, which on the day is around 9.30pm.
Doors and bar open 6.30pm Performances 7–9.30pm
Doors and bar close 10.30pm
Pfeiffertag has been conceived by Joseph Kohlmaier, Musarc’s Artistic Director, in collaboration with the ensemble and artists. Patricia Auchterlonie is Director of Music for the programme. We would like to thank St Paul’s for being so generous and welcoming.
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Agnieszka Cybul is a designer, maker and architect. She has been a member of Musarc since 2022. Agniezska is currently completing a postgraduate RIBA Part 2 Architecture degree at London Metropolitan University where her unit is working on an urban regeneration project in Florac, France led by Stephen Taylor Architects. Alice Watson is a maths teacher and a dancer. She likes playing accordion and cooking and numbers and walking in the sun. Amy Teh is halfway through her Architecture masters at Central Saint Martins. This year she has been researching ‘hairiness’ in terms of body politics, ecological empathy and straw construction. She loves making things from found materials - most recently wiring old glass bottles into lamps. Anastasia Glover is a inging Architect. When not singing Anastasia can be found on a building site in London, the countryside or a Greek island. Some days are spent teaching architecture with fellow Musarcians, Margit and Toby. In a previous life she was a Japanese and Chinese linguist. She is happiest bathing in a bubble bath of choral sounds. Andrew Price is an independent curator and gallery worker. He has worked on exhibitions, publications, commissions and live programmes for arts organisations including Lisson Gallery, Goldsmiths CCA, Barbican Art Gallery, Chisenhale Art Place and artists’ studios. Anna Schabel is an architect and director of Wilton Studio Ltd. She is a writer for architecture magazines and visiting university critic. She produced a film about women architects and chaired Women in Architecture UK. She is a school governor and trustee of the Hackney School of Food. Annelie Kops runs her own architectural practice and is a lecturer at Central Saint Martins. Beyond architecture, she has a passion for making beautiful objects, especially wheel-trown ceramics. As a long-standing member of Musarc she’s been involved in the inception, development and performance of many of its concerts and other rojects. Aranzazu Fernandez is an architect whose practice centres around public realm design and placemaking. She holds an MA in Narrative Spaces from CSM and a PG Dip in Integrative Arts Psychotherapy from UEL. She is passionate about transforming environments, internal and external, through relationship building and participation. Belen Duran is an adopted Londoner originally from Seville. She is a systemic psychotherapist working in an NHS organization. She is fascinated by the creative possibilities which evolves in diverse human systems. Belen joined Musarc in 2022 and relishes the opportunity to engage in the co-creation and performance of irreverent and subversive artistic expressions. After 25 years in architectural practice and 10 years teaching, Carol Mancke plays in the intersection of fine art and cities. Her collaborative projects engage different time
frames and use images, objects, physicality, humour, hospitality and conversation, to create clearings in the midst of everyday life. She would like to be an ocean or river mammal in her next life. Carolyn Roy is a dancer living in London with her son. She is an improviser, teaches at Trinity Laban and also writes. She would like to be a publisher and maker of books. Chrys Papaioannou is a critical theorist, activist, and facilitator living in London. They are currently engaged in a series of projects and collaborations, including the design of a fluvial soundwalk on the theme of hydrofeminism, and a dialogic autoethnography of the dance form of Contact Improvisation. Dan Knight is a multidisciplinary artist who studied sculpture at St.Martins and the RCA. He focusses on making large interactive sound sculptures and also makes films, paintings, music and performances. He’s finishing number seventy nine in a series of paintings of a being who is deeply connected with nature. Derk Ringers is a designer and researcher with a strong background in industrial systems. After completing his MA in Industrial Design at Central Saint Martins, he has been working on projects that reimagine systems of material production and social organisation. His work has a strong anthropological focus, and he uses aesthetic decision-making to engage with complexity. Through an analytical approach, playful investigations, and speculative provocations, Derk’s work aims to express deverse perspectives and imaging resilient futures. Dominic Thurston is a partner, a son, a friend, a brother, an uncle and a collaborator. Much of his life has been shaped by a fascination with people, how they connect and develop relationships, communities, organisations and cultures. He also likes word games, sea swims, yellow socks, weird music, and that perfect final mouthful of dinner that has all the best bits (not an exhaustive list). Douglas Cape can’t play anything, that’s why he’s in a choir. In his spare time he is a photographer, webmaster, blogger, grandfather and disco dancer. Founded z360.com Volcanologist by day and artist by night, Ginevra Chelli has a degree in earth sciences and is an editor and freelance science writer. She is passionate about music, she has been playing the flute since she was a child and sings in bands and choirs until the loving encounter with Musarc of which she has been part of since the beginning of 2019. She has also been a dancer since she was little, practising different types. However, contemporary dance has always been her favourite. To date Ginevra dances at the European College of Dance in London and she loves integrating her knowledge of the body and movement with other disciplines such as singing and the use of the voice, exploring the naturalness of movement as a call to inner voices. Hannah Zafiropoulos works as a researcher, designer and curator. She spends most of her time
bringing people together to try and solve complex problems. Hélène LomenechIs a Breton in London since 1996. Nurse, Massage Therapist and currently Occupational Therapist in a psychiatric hospital. Interested in people, life and death, spirituality, philosophy, health and well-being and the intricate relationships between body-mind-predispositionenvironment-circumstances-habits, etc. Also studied ceramics in Camberwell, has a great appreciation for music and sounds –notably birds – and enjoys the silent presence of cats. Ian Blake writes music and words, and is continually surprised by everyday enchantment. In a former life he made records and toured a lot. Ilenia Cipollari is a theater artist and singer with expertise in experimental physical theater and choral singing. She holds an MA at Goldsmiths University that covers historical and philosophical bases of theater and performance practices from Asia, Africa, and Eastern Europe. Currently part of Musarc Choral Collective, she is due to start her PhD in Applied Theatre in September 2023. Jamie Wignall is a London-based sound artist and composer, whose work has been shown at the V&A, The London Festival of Architecture, Kings Place, and The Horniman Museum, among others. As a musician he has toured extensively in Europe and North America, and has played at festivals including Primavera Sound, Le Guess Who?, La Route du Rock, Paredes de Coura, and End of the Road. He is currently studying for a PhD in Music. Joanna Ward is a musician and artist. Her work ranges across score-making, sound-making, experimental performance, improvisation, writing words, and organising events and people. She also loves food, wine, swimming outdoors, and orange things. Jeni Be has a connection to horses and remembers most of her dreams. She sings and performs with Musarc, with her queer fam F*choir, on her bike & with bands Jenny Moore’s Mystic Business, Trash Kit and Rubie. She works in child rights advocacy and programming for the UN and occasionally in film production. She loves nature and people, in that order. She is an aunty, with open arms. Jeni is known for her salads and playlists. Jessica Smulders-Cohen is a garment repair specialist with a background in woven textiles and sustainable design. She specialises in visible mending and currently works for fashion and lifestyle brand TOAST. Jess considers herself a Londoner, having found a home here almost as long ago as she found this choir. Judith Lösing is an architect, joiner and gardener. She is a director at East and the first research fellow at the Architecture Foundation where she is working on a book called the London Arboretum, and curating Tree Talks at the Barbican. She also sings with F*choir. Łukasz Kopec Likes to play with words, sometimes sounds, once weekly with sourdough, and numbers.
Petrified petrochemical chor choir tri trick
Read on the occasion of Musarc’s Folk meet on a midsummer day until dusk IV, St Paul’s Bow Common, 24 June 2023
Anna Schabel
Amy Teh
Carol Mancke
Chrys Papaioannou
Ian Blake
Jeni Be
Joanna Ward
Judith Lösing
Łukasz Kopec
Paul Martin
Rebecca Faulkner
1 The callers speak the text rendered in a serif typeface
2 The audience speaks the text rendered in a bold typeface
3 Instructions for actions or how to speak are rendered in [ brackets ]
over a dried sea the firebrand we float through the lost time scattering sticks of yarrow, in the hot wind the moments stand still
bending to the rustle of sudden wings dipping and diving, smoke in through our skin, out with the old, olden days in gold, the white of burning chalk, smearing around the edges accumulating in the crevices, oily seeds, broken cracked scorched blank under a blank whiteness which won’t release its wet, screeching their sea brains fluttering pale shadows
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like knuckles thrown into the air, crisp reeds ticking under scuttling bugs fleeing away into their secretive dark boreholes,
the bow of the long-lost and forgotten hull stuck in the dried dust of the ancient mud, mud over centuries giving up its elasticity to fossilise its treasures in furrowed shells.
liquid, listening
nestled under the skull a long tide turns
liquid on walls
liquid in green blue growth
natural shells
bone deep urgent
liquid growth
depth
unplundered
no darkness
false flickers
what have I been eating?
midsummer trapped wildness
what can be pleasure here
safety of nacre and fossils and green
Emerging from a leaden sea, one winter morning I warm my hands at the fire of death
The shaggy one, to my left, Wonders
Aloud, in my direction: What lines do YOUR questions follow?
[ read slow and rising, questioning ] And,
What will happen to them when YOUR moment ends? Who will ask them after YOU merge into a fungal couch?
Chattering teeth, chattering lights, chattering Words that fit and chafe
Birch bows and bones, Manuscripts burning
Along an uncomplaining life, Searching for fern flowers
I remember, those childhood hours when I was so afraid
[ speak with a sense of urgency ! ]
The wick always runs out of wax
The shaggy one, to my right, Wanders …
Emerging from the leaden sea, that winter morning I warmed my hands at the fire of life stalking *
[ make up a chant for the next four verses ]
yarroway, yarroway fare me well sort and gather cast and tell
yarroway, yarroway hold and deal loose and lighten hem and heal
yarroway, yarroway sun and shade hear and help me know the seed
yarroway, yarroway halven, whole moving, changing let it go
to be free is to be a single, solitary grain free from the grips of humanity to be wild, and untouched and untamed
[ read at your own pace, many voices, until ‘moontime’ ] a boat
afloat green a post-apocalyptic dream?
* of many grasslands clusters of white, flat-topped restore Widespread. a charm wounds from bleeding nosebleeds * danger do not climb
*unless you are a moonvine*
What are the mysteries of the Chateau of Dice?
The Triangular Cubist Garden? The throw of the dice?
Of course Man Ray can join the choir just as long as he doesn’t take the biscuit.
[ look around the audience, then yawn, and say to someone: ‘what are you doing here?’, then proclam, loudly and self-justified ] That was so …
myyy problem? the wick was just / like, y’know? the wick like totally totally ran out of wax y’know? that wick was totally out of whack
please please please give me one of your gnocchi please / please is sexier
Oh I’m just
chillin on the mattress
chillin on the mattress
chillin on the mattress after work
the girls were jolly good fun at work
chillin with my vinyls after work
we all typed real fast we all typed real swell the girls were such good fun today chillin on the mattress
chillin with my vinyls
chillin with my bitches after work
I [––––] myself across the dry and open narrows, My carriage plunging into green as if a [––––], Floundering through the [––––––] stretch. I pass [–] archipelago [–] coral yarrows.
It’s dusk now, [––] a road [––––] ancient barrows. I look up at the sky and [–––] for [–––] to catch. There distant clouds glint—there tomorrow starts to etch; The Dnieper glimmers; Akkerman’s lamp shines and harrows.
I stand [––––––] , hear the migratory cranes, Their [––– ––] wings beyond the reach of preying hawks; Hear where the sooty copper glides across the plains,
[––––––––––––––] writhes through stalks.
Amid the hush I lean my ears down grassy lanes And listen for a voice from home. Nobody talks.
In he comes, our sawel-child — gone all tipsing and toll in the addled gold of sunstead. Pendant, parlous, dangling day’s-eyes all in a chain as a hunter holds his win.
And what’s that in the garlanding? St John’s own touch-and-heal, to loft us time-wise out of the moody. Wreathing rose and vervain, caprifoy, stormflower, laurel, sage.
A tuck of wormwood, bittersweet, to mind us of the dark aside where beauty sits in ambush. There’s thorn apple for the flight.
[fortissimo, repeat a few times, gesticulate with your hands] Hoisk it high!
Raise a ring around our juicy star: spending his shine for us so valiant, hung tipharetic at the top of day as we tilt into the elder year.
A mazy dance, remembering. Our pale blaze ashed and embering, up to we hail and welcome night: a deeping meadow sown with light.
Draping geometry to catch the granite dribbles of pollarded heads whose felt tip spillages of orange blur into pine nut star scapes whilst tissue furnitures find themselves swimming amongst the terrazzo formed from the plasma of worms and shadows.
What goes in remains.
He was born here. She lived here. They died here.
Taking it all and leaving no trace
Draped in wisdom, how we are both.
The child heard it here first.
Hold that close. It matters more than you know.
I speak in this voice that was at once mine and someone else’s. Indeed all acts of love and pleasure are my ritual.
Noctilucent shimmer dances on the wall. Throws it’s light up in coral yarrow arms. We were in their world
Glass lamps glowing at the party
Together slowly.
We swell.
Join us in this keening dawn bird chorus
Welcome green light
You hold the torch and I’ll write. We can go together.
Listening to the image. To hear those within.
If you pay attention, all things glisten and take their shape. This boat upon a sea of green nettle weed grasses. You name it. Not rubbish though. Bobbing. Observed from above; a freedom. Of some kind.
Looking for a fern flower or rather, romantic seclusion in this dying forest. Neat neat all in a row. The same in their difference. The fire of bones at which we warm our hands.
I can still smell you on my clothes and how you lit me up, made me curl at the edges.
That they crossed each other’s paths. Criss crossed. In their difference and played their part and danced within their ecosystem, it makes me weep. We trash that which was only ours to borrow for a fleeting moment; the time it takes for a buffalo falling to land in catastrophic grace.
it’s later than I thought
out on the wanton green: it’s all a blur nobody passing this way any more while the unemployed angels lean into the air and fall away sunward, clicking and whirring
I remember your skin through the edge of my own so I come to the core all unshod and alone walking the blades as they cut and caress in the cool of the day, in their keen tenderness
finding my way by the cant of the turf: feel it cling to my sole as I cleave to the earth, craving connection, loth to depart: like I’m stepping on sundew and butterwort
[for all our devices are fated to fail. so I keep myself simple: I keep to the trail]
and here at the heart I can lay myself down with an eye to the sky and an ear to the ground the better to dwell upon all She might say:
She says: rest, and be glad — for I cannot be tamed
Mark Couzens (they/he) is an artist from the mud flats of Essex who is exploring their voice. Marks also sings shapes with London Sacred Harp Choir and is a member of the South London band Bulkwash.
Mercedes Vicente is a curator, writer, researcher and lecturer of Critical and Contextual Studies at London Met. She previously taught at the Royal College of Art and held positions at Whitechapel Gallery, Govett-Brewster Art Gallery in New Zealand, and the Whitney Museum in New York. Nancy Costello is generally creative and wants to keep being creative. Natalie Savva is an Architect, educator, exhibition designer and scenographer. She has always lived on an island and finds peace in scuba diving and sweltering cross country road trips. An alumna of the Cooper Union, she cofounded multidisciplinary design house Studio naama and teaches Architecture at Oxford Brookes University with a focus on collective and sustainable housing.
Paul Martin Art School: Painting, Reliefs, Sculpture, Environment & Performances with fellow students including electronic tape. Sculpture: Tape Pieces (with fan) Film: River Film, Mist on Mountains etc.
Competitions: Botanic Gardens Station, Glasgow; Bellevor Tor, Dartmoor; River Crossings, London. Book: Spirals through Eye. Exhibition: Along the Roman WallLYC Museum, Banks (photographs). Sound: Crossness Pumping Station. Field Studies
2012 and following with Davide Tidoni, Aki Onda and Akio Suzuki, Joseph Kohlmaier and others. Musarc Choir since 2013. Unbuilt roads. Rebecca Faulkner is a sea-loving Norfolk-dumpling, on occasion she sings, boogies, collects, compiles, writes, teaches, ponders, gardens, designs, draws, drifts, walks, reads, cries, laughs and breathes. Sam Belinfante is a London-based artist. Along with filmmaking and photography, his practice incorporates curating, sound and performance. Recent exhibitions include On the Heights, Yorkshire Sculpture Park (2017); This is a Voice at MAAS Sydney and Wellcome Collection, London (2016-17) and To the tintinnabulation that so musically wells, Radar at Loughborough’s Carillion (2018). Recent performances include The Long, very long Journey with Laure Prouvost at Kunshalle Wien, Vienna; Feedback at Palais De Tokyo, Paris (2017) and On the One Hand and the Other at Camden Art Centre where he was artist in residence 2015-16.In 2021 Belinfante presented On the Circulation of Blood, a major sculptural and performance commission for Creative Folkestone Triennial. He is currently Artist in Residence at Sir John Soane’s Museum, London (2023). Sandra Djukic is a visual artist, designer and educator from Serbia/ Croatia/UK. Intertwining thoughts, emotions and play in design, art and craft, the goal is producing authentic and engaged results both in her own practice
and helping nurture a student’s path to find those qualities as well. Telling stories on her piano, Saori Miraku is a self-created pianist composer, improvisor and performer. Her musical work includes her piano solo, improvisation based collaborations with instrumentalists and sound artists. She also appears in short films, videos and photographic projects. As for her piano fairy duties, she teaches piano and dreams full time! Sara Mognol is an Italian book designer, illustrator and visual artist with a talent to find meaning and beauty in the most irrelevant things. She designs children’s books at Little Tiger and occasionally lectures at the London College of Contemporary Arts. Her projects have been exhibited in Italy and London. Toby O’Conor enjoys swimming, sound recording, vocal performance and ceramics. He is interested in exploring relationships between humans and nature and is currently teaching and practicing architectural and urban design in universities and local authorities in London. Toni Gutman, happily in Hackney since 1973, now spends her time in Musarc, and Maspindzeli (the London Georgian Choir), gardening - on her balcony and in Hackney Tree Nursery, Balkan dancing, chatting to neighbours, and (in vain) trying to keep up with all the music, theatre etc. that London offers.
Ashmi Thapar is an architect, maker and performer, driving sustainable design with a social purpose. Alongside her practice in innovative housing, she furthers the discourse by curating events, teaching, participating in expert panels and writing. She is passionate about the body in sound, exploring this with Musarc since 2019. Darius Paymai is an IranianAmerican composer and performer currently based in London. He recently completed his BMus at the Guildhall School of Music and Drama, learning with Paul Newland and Paul Whitmarsh. He will continue his studies there in the autumn. He has had the good fortune to work with such ensembles as the London Chamber Orchestra, Britten Sinfonia, and Quatuor Bozzini, and have his music performed at St. John’s Smith Square, Hundred Years Gallery, and The Courtauld Gallery. His work often engages with static, cyclical, re-used, and severely limited musical material in various forms of ‘open’ scores. As a performer he is interested in experimental repertoire, drone, and group improvisation, often with harmonium, percussion, or live electronics.
Jan Hendrickse is an artist, performer, researcher and educator, receiving commissions for concert performance, installation works and dance scores. He has appeared with a range of artists from electronic and freely improvised musics, such as Ornette Coleman, Mark
Fell, Rian Treanor and David Toop, as well as featuring regularly as a soloist on traditional instruments for major film scores. He designs, makes and modifies instruments for performance and workshop processes. He trained as a western Classical flute player, but has researched and studied many other flute traditions. He now performs mostly with self-made and traditional instruments including Turkish Ney, Tanzanian Filimbi, Chinese Xiao and Dizi as well as Rajasthani Satara and Alghoza. He has taught Turkish Ney at the Yunus Emre institute in London as well as in private classes. Jan teaches socially-engaged practice and practicebased research at the Guildhall School of Music & Drama and has also led creative projects for in communities around the world including Gambia, Thailand, Germany and Gaza and the West Bank. His PhD research examined the epistemic models adopted in creative practice. He is experienced in facilitating conversations and interviews and has chaired discussions with the musicologist Georgina Born and artists Mark Fell, Michael Gordon and CC Hennix, amongst others. He has recently been a visiting lecturer at ZKM in Karlsruhe as well as Trinity Laban in London. He has just returned from Nepal where he was collaborating with leading UK electronic producers and Nepali musicians. Neil Luck is a musician based in the UK. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Neil’s work takes a range of forms from music-theatre, to concert works, radio, public projects and recordings. Neil is the founder and director of the music-theatre ensemble ARCO, and a co-founder of artist cooperative squib-box. He performs with artist Jennifer Walshe in the duo WACK. Independently, he has also worked with and written for people and ensembles in the UK and abroad, and presented work at music venues, festivals, and galleries internationally including the ICA, Whitechapel Gallery, MATA Festival (NYC), Tate Britain, Tate Modern, BBC Proms, Palais de Tokyo (Paris), in Vilnius and Aarhus Capital of Culture festivals, and the Tokyo Experimental Festival. His music has been released on several labels including Entr’acte, Nonclassical, Accidental Records, and squibbox. Joseph Kohlmaier is the founder of Musarc and has acted as creative director for the ensemble since 2008. Joseph’s interdisciplinary practice, which brings together performance, research and teaching, curatorial projects, design, and publishing, has been a driving force in the development of the choir and the foundation of its open, experimental and research-led approach. Joseph is Associate Professor in Critical and Contextual Studies at the School Art, Architecture and Design,
7pm 9pm
Section I
Petrified petrochemical chor choir tri trick Congregational Reading
Jan Hendrickse, Respiratory intra-actions, 2023
Section II
Ashmi Thapar, Ringing Figure Hymnal, 2023
Neil Luck, LIEF, 2023
Section III
Terry Riley, In C, 1964
Section IV
9pm Olivier Messiaen, O sacrum convivium, 1937
Lin Chiwei, Tape Music, Score for Musarc, 2015
10–20 minute intervals between sections
London Metropolitan University, and the founding director of graphic design practice Polimekanos (2001–2020). Patricia Auchterlonie is a passionate performer of new, experimental and unheard music, equally at home on the opera stage, in the concert hall, and beyond. She is interested in playing with the voice, experimenting with performance practice and cross-arts collaboration as well as more traditional forms of music-making. She is Canadianborn but living and working in the United Kingdom. Selected ecent work includes premieres of the role of Superfan in Oliver Leith’s Last Days for ROH Linbury and of new works for voice and piano by Evan Johnson at Huddersfield Contemporary Music Festival with pianist Ben Smith, Knussen’s Where the Wild Things Are with Shadwell Opera and the Bamberg Symphony Orchestra, Stockhausen’s Sternklang with Birmingham Contemporary Music Group, and covering the title role in Violet by Tom Coult for Music Theatre Wales & Britten Pears Arts. She has performed with Birmingham Contemporary Music Group, London Contemporary Music Festival, An Assembly, Borough New Music, Orpheus Sinfonia, Illuminate Women’s Music, and
in the LSO’s 2018 This Is Rattle Festival. Patricia has also been broadcast on BBC Radio Three and Resonance FM’s Sound Out. She has performed in venues all across the UK including Wigmore Hall and The Barbican Centre while regularly working in non-traditional performing spaces including Colourspace, the Courtauld Gallery, The Drawing Room and APT Deptford. Patricia was the 2017/18 Carne Junior Fellow at Trinity Laban. She holds a master’s degree with distinction from the Guildhall School of Music and Drama and a Bachelor of Music from the University of Toronto with honours. Patricia is also an avid reader, an amateur seamstress, indomitable knitter, and a shameless lover of the banjo (which she plays with enthusiasm rather than skill).
Musarc is one of the UK’s foremost experimental choirs. Founded by Joseph Kohlmaier at the School of Art, Architecture and Design, London Metropolitan University in 2008, the ensemble has developed a distinct reputation for its interdisciplinary, openminded and research-led approach to music and performance, and the space it affords artists and singers to experiment with new
ideas. Since its inception, the choir has collaborated with more than 100 artists and composers, including Jennifer Walshe, Peter Broderick, Lin Chiwei, Jack Sheen, Laure Provost, Ed Atkins, Jenny Moore, Lina Lapelyte, Sam Belinfante, Fritz Hauser, Neil Luck and many others; and numerous festivals and arts organisations in the UK and abroad – including the BBC Proms, London Contemporary Music Festival, Palais de Tokyo (Paris), the Royal Academy, CCA Goldsmiths, Post Disaster Rooftops (Italy), Museum of London, Extra City (Antwerp), Serpentine Gallery, MK Gallery, Wysing Polyphonic, STUK (Leuwen) Cafe OTO, Bold Tendencies and Whitechapel Gallery. Musarc us open to everyone and does not audition. Over the years, the choir has enabled more than 300 singers to wbe part of contemporary art and music in the making. Musarc is based at and supported by the School of Art, Architecture and Design, London Metropolitan University. The choir rehearses near Aldgate East on Tuesday evenings from September–July. To find out more about the choir visit musarc.org
