Éliane Radigue: OCCAM
Éliane Radigue is one of the composers in focus at Ultima 2017. Through concerts plus a seminar and screening we will examine the life and music of one of the last surviving generation of French electronic musicians whose careers were profoundly influenced by musique concrète pioneers such as Pierre Schaeffer and Pierre Henry.
In collaboration with Ultima, nyMusikk will present two exclusive events at the Emanuel Vigeland Mausoleum in Oslo 8.9 and 9.9. These concerts will display a total of five works in her OCCAM series (including one world premiere), composed in the past decade for harp, contrabass recorder and bassoon, solo and in combination.
In the astonishing acoustics of the Emanuel Vigeland Mausoleum, with its long revereration time, Radigue’s mystical and deeply resonant work can be heard at its very best, played by Rhodri Davies (harp), Pia Palme (contrabass recorder) and Dafne Vicente Sandoval (bassoon).
OCCAM XIII (2015) for bassoon
OCCAM XVIII (2014) for Contrabass-recorder
OCCAM I (2011) for solo harp
See programme for September 9th.
Welch harpist Rhodri Davies is a seasoned improviser and player whose frequent collaborators include John Butcher, David Toop, Lee Patterson, Common Objects, John Tilbury and many others. New pieces for solo harp have been composed for him by: Eliane Radigue, Philip Corner, Christian Wolff and others. In 2008 he collaborated with the visual artist Gustav Metzger on ‘Self-cancellation’.
Pia Palme is a composer, performer, and experimental artist. In her compositions she centres on vocality, often exposing the voice in scenic arrangements. She works with texts, installations, objects, and electronic media. As a performer, Pia Palme uses her contrabass recorder (built by Kueng of Switzerland) and currently explores the format of a performance-lecture in a distinctive way.
Dafne Vicente-Sandoval is a bassoon player, who explores sound through improvisation, contemporary music performance and sound installations. Her instrumental approach is centered on the fragility of sound and its emergence within a given space by testing the threshold between instability and control.