Telling Stories: Performers(') Present International Artistic Research Symposium 2019

28 Programme

24 October 2019

Plenary Concert Once Upon A Spectral Time: Debussy and His Legacy Trio Khaldei - Pieter Jansen, violin/Francis Maurey, cello/Barbara Baltussen, piano 6:00-7:00pm, Orchestra Hall DEBUSSY Violin Sonata in G minor BREWAEYS Three Miniatures for violin and cello PETER EDWARDS

LiLoNo

SAARIAHO

Light and Matter

RAVEL Modere from Piano Trio

Since its first concert in 2011, Trio Khaldei has developed from a young, promising ensemble to a crowd favourite on Belgium's biggest stages. In 2013, the trio was one of the six ensembles nominated for the first edition of the Supernova competition.

Over the last few years. the trio has performed in many cultural centres throughout the country, in prestigious venues such as the Centre for Fine Arts (Brussels), AMUZ (Antwerp), De Bijloke (Ghent) and the Concertgebouw in Bruges, as well as at numerous festivals in Belgium and abroad, including the Ghent Festival of Flanders, Festival 20/21, En Avant Mars, Is Arti (Lithuania), the Spectrum Festival and the Arsana Festival (Slovenia), Eesti Kontsert (Estonia) and Baltais Fligelis (Latvia). The trio has also recorded for Belgian stations Canvas (television) and Klara (radio) and the Slovenian National Radio.

Trio Khaldei's first CD, dedicated to Shostakovich and Prokofiev, was released in spring 2017 by French label Paraty (distributed worldwide by Harmonia Mundi). It was very well received by the press and the audience. The second CD, dedicated to Hummel, Brahms and Schonberg, was released by the same label at the end of May 2019.

Trio Khaldei has a particular affinity with Russian music from the first half of the 20th Century, especially music by Shostakovich. The trio's namesake, Evgueni Khaldei, was the official photographer of the Stalin regime, and created striking portraits of all the great Russian artists of the time. The search for truth, authenticity and the nuances brought by this photographer to difficult moments throughout his life are a great source of inspiration for the trio.

Concert Fictions and Fantasies: Tales from the YST Diaspora Nigel Foo, harp/Timothy Tan, narrator/Cheryl Lim,jlute/Rachel Ho,jlutel Jana Ang Fries, harp/Sarah Wong, harp/Lin Xiangning, celesta/ Chloe Cortinovis, narrator/Lin Hengyue, piano/Wang Ji, piano 8:00-9:30pm, Concert Hall TIMOTHY TAN

Psaltria ignominiosa (The Disgraceful Harpist) (2013)

DEBUSSY Les Chansons de Bilitis, Musique de scene VIVALDI, arr. ANDERSON & ROE

Sento in seno ch'in pioggia di lagrime (/ feel within a rain of tears) from II Giustino

RACHMANINOV Suite No. 1 (Fantaisie-Tableaux) for Two Pianos, Op. 5 (movements II and Ill) BIZET, arr. ANDERSON & ROE Carmen Fantasy for Two Pianos

YST alumni present three different musical narratives, weaving together new and existing works, images and words.

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Programme

26 October 2019

'Popayan' by Henri Bok Duo Hevans Henri Bok, bass clarinet/composer/librettist Eleri Ann Evans, alto saxophone 11:15am-12:00pm, Steven Baxter Recital Studio 'Popayan' is Henri Bok's most recent composition and the first work which requires both duo members to not only play their instruments, but to also speak, sing, and act. This microtonal mini opera for alto saxophone and bass clarinet tells the story of the city that is the capital of Cauca province, Colombia. It was composed for the second edition of the BASSAX Festival and premiered on June 2, 2019.

In 'Popayan' combinations of microtonal systems are used, both even subdivisions (quartertones, eighth tones) and uneven subdivisions (31-tone, 41-tone). Root-overtone combinations and (micro) multiphonics also appear. Both Dr Evans and Dr Bok dedicated their PhD research to the microtonal possibilities of their single reed, closed-key instruments and are considered worldwide specialists and ambassadors of microtonal single reed playing.

In June 2018, when duo Hevans performed in Popayan as the first foreign musicians in many years, the warmth of the people in the audience and their hunger for culture was palpable. The philosophy behind the creation of 'Popayan' was to engage in a dialogue with the public and to explore cultural exchange.

The concert performance of 'Popayan' will show the end-result of the duo's microtonal and operatic itinerary, transforming the story of this beautiful Colombian city into a 'multi-sensorial' musical event.

Please refer to Pg. 24 for artist biographies.

Concert Paulo de Assis Explores Beethoven's Op. 61 Conservatory Orchestra/Lien Boon Hua, conductor 12:00-1:00pm, Concert Hall An experimental exploration of BEETHOVEN Concerto in D major, Op. 61 In Beethoven's catalogue, the number "61" refers to a concerto for violin and orchestra AND to a concerto for piano and orchestra. The first version of the violin concerto was composed in November-December 1806, the piano version in June 1807, and the violin version - as it has been printed - only in 1809. They all have differences and passages not completely clear if written down by Beethoven himself. Moreover, the character of the concerto seems to be upset by the original Cadenza Beethoven wrote for the piano version. Thus, this is a musical entity that poses a number of interesting questions: what is a musical work' How are musical works transmitted over time? What is the function of performance?

Is it the reproduction (of what?)? Is it the reenactment (of what?)? Or is it a mode of problematising what we think to know?

Active as a performer, composer, author, and researcher Paulo de Assis is the Principal Investigator of the research cluster MusicExperimentX. Working on the expansion of the conditions of music performance, he takes active part as pianist, conductor, and stage director in his artistic projects, which are contextualised and infused with scholarly research. With a broad range of transdisciplinary interests on Philosophy, Post-Structuralism, Psychoanalysis, and Epistemology, he is the founder and the Chair of the international conference series on Deleuze and Artistic Research (DARE).

He studied piano with Vitaly Margulis and Michel Beroff at the Hochschule fur Musik Freiburg i. Br. (Germany), and with Alexis Weissenberg in Verbier and Engelberg (Switzerland). He has a PhD on music analysis on the works of Luigi Nono (Venice/Salzburg, 1999-2004; supervised by Jurg Stenzl, Andre Richard, and Wolfgang Motz). Between 2003 and 2005, following a commission by the Foundation Giorgio Cini (Venice) he completed Camillo Togni's unfinished piano concerto, which he also premiered at the theatre La Fenice in Venice (2006). Between 2009 and 207 2 he was Research Fellow at the Centre for the Aesthetics and Sociology of Music (CESEM) at the Universidade Nova, in Lisbon.

He authored three books, including the upcoming "Logic of Experimentation: Rethinking Music Performance Through Artistic Research" (LUP. 2018), "Domani l'Aurora" (Olschki: Florence, 2004), and "Luigi Nonos Wende" (Wolke Verlag, 2006). As an editor, he published twelve volumes, including "Virtual Works-Actual Things.

Essays in Music Ontology" (LUP. 2018), "The Dark Precursor: Deleuze and Artistic Research" (LUP, 2017), "Experimental Affinities in Music" (Leuven University Press, 2015), "Emmanuel Nunes. Escritos e Entrevistas" (Casa da Musica, 2011), and "Pierre Boulez. Escritos Seletos" (Casa da Musica, 2012).

Between 2013 and 2018, he was the Principal Investigator of the European Research Council's project "Experimentation versus Interpretation: Exploring New Paths in Music Performance in the Twenty-First Century" (MusicExperiment21), hosted at the Orpheus Institute.

Please refer to pg. 50 for musicians list.