Friday, 8 February 2019

MANTIS FESTIVAL 2-3 March 2019 with guest violinist Darragh Morgan

Pictured above, Darragh Morgan Credits: Photography: Frances Marshall - 3D violinist and montage: Manusamo&Bzika
With Darragh Morgan (violin)

Martin Harris Centre for Music and Drama
Coupland Street
M13 9PL, Manchester, UK


Saturday 6pm Concert 1 (90 minutes)
Pierre Boulez: Anthemes II (Darragh Morgan, Violin + electronics)
Manuella Blackburn/Camden Reeves: The Eye of the Stars (Toy piano + electronics)
Manuella Blackburn: Landline (fixed media) 
(Interval 10)
Ricardo Climent: Duel of Strings (Darragh Morgan "non-virtual Violin" v.s "Virtual strings")
Luke Dobbin: Angle Cadence (fixed media)
Chris Rhodes: Musica Corporis (fixed media)

Saturday 8pm Concert 2 (60 minutes)
Hayley Suviste: In those Days/Community (fixed media) 
Adriana Ruiz: Vuelvo al sur (fixed media)
Tasos Asonitis: Concurrent.States.Becoming (audio visual)
Benoit Andre: Child’s Play (fixed media) 
Sarah Keirle: Okypete and Aello (fixed media)

Sunday 3 March

Sunday 1pm
RedDALSA CD Launch (Martin Harris Centre Foyer)
RedASLA is the Latin-American Network for Sonic Arts, an organisation started in 1995 and aiming to disseminate worldwide sonic creativity and research from its members.
From RedASLA’s viewpoint, Sonic Art amalgamates any artistic activity focused on sound as the means for creative expression, while providing technology with a primary role in the creative process.
RedASLA embraces Sonic Arts from an open perspective, consciously aiming not to set boundaries or constraints on the variety and broadness of any sonic expression or aesthetic consideration from its members. 

This double album is the Vth and VIth published CD since the Network started.

Sunday 2pm Concert 3 (60 minutes)
Hongshuo Fan: Handwriting - WuXing (Performer + electronics + video)
Seth Scott: Burnout/Anatomy of Three Velociities (fixed media)
Ryan Woods: Featherless Bipeds (fixed media)
Steve Summers: Eternal Cosmic Heat Dissipation (fixed media)
Simon Hellewell; Diverged at a Yellow Wood (Performer, Violln + electronics)

Biography: Darragh Morgan

Irish violinist Darragh Morgan has a hugely diverse career. Concerto highlights include working closely with Arvo Part, performing his Tabula Rasa at the RTE Living Music Festival, followed by over 20 performances with London Musici / Rambert Dance Company. Regular solo appearances with the Ulster Orchestra include the world premiere of Sir John Tavener’s Hymn of Dawn which he also performed with the Istanbul Symphony Orchestra, Dallapiccola's Tartiniana Seconda, world premiere of Bill Campbell’s Swim for Violin & Orchestra, live on BBC Radio 3 from Sonorities Festival and Samuel Barber’s violin concerto which Darragh also gave the South African premiere of with the KZN Philharmonic Orchestra. He has recorded Donnacha Dennehy’s Elastic Harmonic with the National Symphony Orchestra of Ireland, with whom he has also premiered Brian Irvine’s A Mon Seul Desir and gave the world premiere of Andrew Poppy’s Darwin’s Sin Draw with the Crash Ensemble. Other concerto appearances include Koln Kammer Orchester, Camerata Tinta Barocca Cape Town and Cyprus Symphony Orchestra.

As a chamber musician and soloist Darragh has performed at many International Festivals including Warsaw Autumn, Wien Modern, Ars Musica Brussels, Maerz Musik Berlin, Festival d’Automne Paris, Klangspuren Schwaz, Osterfestival Tirol, Dubrovnik Summer Festival, Lucerne Festival, National Arts Festival South Africa, BBC Proms Chamber Music, Aldeburgh, Spitalfields, Cheltenham, Brighton, Huddersfield Contemporary Music Festival, ICMC, Ether Festival, City of London Festival and St Magnus International Festival. He is violinist and founding member of the Fidelio Trio with whom he has appeared at the Wigmore Hall, Shanghai Oriental Arts Centre, Symphony Space New York, Casa da Musica Porto, Johannesburg Musical Society and recorded Michael Nyman’s complete piano trios for MN Records. They are currently Artists in Residence at St Patricks College, Dublin. Previously as violinist with The Smith Quartet Darragh performed and recorded with as diverse artists as Philip Glass, Louis Andriessen, Gavin Bryars and Steve Reich. They appeared internationally at Seoul Arts Centre, Bang on a Can Marathon New York, The Phillips Collection, Washington D.C. and made an acclaimed recording of Philip Glass’ complete string quartets on Signum Records.

World-class international groups Darragh has led include Ensemble Modern, London Sinfonietta, Musik Fabrik, Birmingham Contemporary Music Group, Remix Ensemble, Athelas Sinfonietta and Red Note Ensemble, collaborating with conductors such as Pierre Boulez, Oliver Knussen, Heinz Holliger, Paul Daniel, Francois-Xavier Roth and En Shao. He has been invited to lead the Macau Orchestra, Les Siecles, Opus 20, English Touring Opera, BBC 2’s Genius of Beethoven series, English Session Orchestra and throughout the 2004 season was Artistic Director of Baroque 2000 in South Africa.

Darragh has recorded over 50 CDs for labels including Mode, NMC, Black Box, Altarus, Naxos, Nimbus, Signum and Delphian. He broadcasts regularly on BBC Radio 3, NPR, CBC, WQXR, RTE and WDR.

Darragh is currently professor of violin at The Royal Welsh College of Music and Drama, guest violin lecturer at Royal Conservatoire of Scotland and previously Director of The Junior Guildhall String Ensemble. Darragh is Course Director of Pro Corda Violin Course. He has taught chamber music and contemporary music performance at the Royal College of Music, Trinity Laban Conservatoire, Britten-Pears Young Artists Programme and Apple Hill Centre for Chamber Music. He has been invited to give masterclasses at Stellenbosch Conservatorium, Busk Aid Soweto, Hong Kong Academy of Performing Arts and Birmingham Conservatoire. In 2010 Darragh curated The Irish-American Series at Kings Place, London and has been Artistic Director of CoMA’s Open Score project and Music @ Drumcliffe in Ireland. Darragh has appeared as a mentor on the RTE series Classic Jam, working with a young string quartet and also as mentor to Katie Derham in the Sky Arts production, First Love.

Darragh has premiered music by Johannes Maria Staud, Michael Nyman, Arvo Part, John Tavener, Gavin Bryars, Kevin Volans, Howard Skempton, Yannis Kryakides, Emmanuel Nunes, Gerald Barry, Graham Fitkin, Mira Calix and Stephen Montague. Composers who have dedicated works to him include Michael Finnissy, Chris Newman, Donnacha Dennehy, Joseph Phibbs, Richard Causton, Joe Cutler, Deirdre Gribbin, Ed Bennett, Micheal O’Suilleabhain, Piers Hellawell, Andrew Poppy, Morgan Hayes, Dmitri Smirnov, Christopher Fox, Lukas Ligeti, Jonty Harrison and Simon Emmerson. He has collaborated with a wide range of artists including Rokia Traore, Thomas Ades, Emmanuel Pahud, John Tilbury, Joanna MacGregor, writer Alexander McCall Smith, French Horn player Richard Watkins and Jazz saxophonist Peter King.

Darragh studied with Detlef Hahn at the Guildhall School of Music & Drama, London. He has received chamber music coaching from The Amadeus & Takacs String Quartets, and participated in masterclasses with Sidney Griller, Yehudi Menuhin, Mauricio Fuks, Paul Zukofsky, Pinchas Zukerman, Yfrah Neaman, Pierre Amoyal and in the field of Irish traditional music during his formative years with the legendary Sligo fiddle player Joe O Dowd. Darragh plays an 1848 Giuseppe Rocca violin, generously on loan from the Morgan-Rocca Instrument Trust which is administered by The Royal Society of Musicians.


Supported by 



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CD 1          RedASLA
1. s.laag (8’43”) / 2016 - Ricardo Climent
2.  Homenaje a las ciudades invisibles (4’16”) / 2017 - Otto Castro
3. 4. 5. Sistemas volátiles / 2011 - Adina Izarra 
3. I. Convolución (4’23”) 
4. II. Chiuiui (3’24”) 
5. III. Refrán (3’46”)
6. Graffiti (6’00’’) / 2013 - Mauricio Fonseca López
7. Palabras vacías (6’23”) / 2017 - Ricardo de Armas
8.  La otra concertación (13’12”) /- Eduardo Cáceres
9. Words through the worlds (1’02”) / 1997 - Ricardo Dal Farra
10. Interlineal (10’46”) / 2017 - Rodrigo Sigal

CD 2          RedASLA
1. Repetition of perception (7’40”) / 2012 - Rodrigo Sigal
2. Líneas y puntos de otro tiempo (Sin Tiempo IV) (9’00”) / -rev. 2017- - Daniel Schachter
3. Residual I (7'23”) / 2017 - Daniel Quaranta
4. El sueño del GOUL  (5’15”) / 2004 - Eleazar Garzón
5. Fútbol (5’02”) / 2017 - Alejandro Brianza
6. Quedate con el cambio (1’24’’) / 2017 - Jorge Variego
7. Listening animals (8'00”) - Alejandro Albornoz
8. posdomingo 02.10.2016 (7'36'') / 2016 - Ana María Romano G.
9. Islas temporales – Asuntos del alma (a José Vicente Asuar) (9’41”) / 2017 - José Miguel Candela

RedASLA - The Latin American Network for Sonic Arts 

RedASLA is the Latin-American Network for Sonic Arts, an organisation started in 1995 and aiming to disseminate worldwide sonic creativity and research from its members.
From RedASLA’s viewpoint, Sonic Art amalgamates any artistic activity focused on sound as the means for creative expression, while providing technology with a primary role in the creative process.
RedASLA embraces Sonic Arts from an open perspective, consciously aiming not to set boundaries or constraints on the variety and broadness of any sonic expression or aesthetic consideration from its members. 
This double album is the Vth and VIth published CD since the Network started.

To incorporate new ideas and a diversity of working methodologies are among RedASLA’s primary objectives. More specifically RedASLA aims:

1) To consolidate spaces that foster collaboration and the exchange of ideas between artists who place sound at the centre of their methodology and creative thinking.
2) to fostering and promote worldwide Sonic Arts created by its Latin-American members and to showcase work from other Latin-American artists.
3) to establish institutional relationships and formal exchanges with other artistic associations with similar interests.
4) to organise meeting, concerts, seminars, recordings, publications and any other activity related to Sonic Arts in Latin-America.
5) to become a primary source of information for activities related to Sonic Arts on an international level and with particular reference to activities taking place in Latin-America.
6) to serve as a support centre and institution for artists in need of assistance and backing infrastructure.

The vast majority of pieces proposed for this cultural production can be divided into three types of works:
A first group of compositions that refer to everyday sounds and their sonic environment. 
A second type of pieces with a high level of sonic abstraction which apply highly processed electronics to sonic materials, making them unrecognisable; or which make use of electronic sounds that have no connection to the environment. 
Finally, there is a third group of works that combine the sounds of the environment with electronic sounds to create an interplay between the sounds of an "everyday" world and those of a "fictitious" one.
This last group shaped the curatorial line since it proposed a dialogue between the works carrying "everyday" sounds as opposed to the pieces that used a timbre palette far removed from the sounds of the environment. To explain it in another way, some works appeared to carry out a representation of "reality", while others projected their identity throughout the imaginary and the fictional.
Having said that, fiction is understood from the perspective of the first two groups. In the first one, "real" sounds project the author’s intentionality when constructing the sounds of its environment, while printing its subjectivity. On the other hand, "fiction" linked to electronic sounds can also be understood as a metamorphosis of the soundscape and it can even be seen as a representation of the unique imaginary of the artist.
The third group of pieces submitted to this call for works seems to negotiate everyday sound worlds and imaginary ones, taking to the liminal the theme of representation and including sound images that mostly come from inner worlds.
Otto Castro / Curator

Tuesday, 16 October 2018

MANTIS Festival 27 - 28 October 2018 - Guest artists: Brona Martin, Danny Saul, Dark Matter, Seed Studios

*** Concert 1: Saturday 27 October 18.00, John Thaw Studio Theatre, University of Manchester UK ***

Daichi Sugimura: Watertrails 
Sarah Keirle: Blue Lungs 
Chris Keogh: Les Espaces d'Abraxas 
Harry Ovington: The Chattox Dem 
Guillaume Dujat: Divine Cut 
Hayley Suviste: NGC4993 
Kelly Jones: la caverne á l'intérieur 
David Berezan: Lightvessels 

*** Concert 2: Saturday 27 October 20.00, John Thaw Studio Theatre, University of Manchester UK ***
Hongshou Fan: The Verse of Autumnal Wind (Gavin Osborne, flute)
Falk Morawitz: 56Fe 
David Berezan: Unearthed 
Adriana Ruiz: La Fiesta del Diablo 
George Stenos Frantzios: Reconstruction 
Steve Summers: Small Incredibly Big Container 

*** Concert 3: Sunday 28 October 14.00, John Thaw Studio Theatre, University of Manchester UK ***
Dark Matter (BEER)
Brona Martin: Sowing Seeds 
Tasos Asonitis: Topology of a Groove
Hayley Hedges: Motion in Stasis 
Danny Saul: Exaggerations/Scenes

*** Concert 4: Sunday 28 October 19.30, Beer Nouveau, Brewery Tap 75 North Western Street, M12 6DY, ***

Music and performances by Luke Dobbin, Alex Cook, Epa Fassianos, Guillaume Dujat/Joe Beedles, Steve Summers, Connor Haynes, and more
*** Work from Seed Studios (Trafford) workshop participants running throughout the festival (room G16, Martin Harris Centre, University of Manchester ***

Friday, 22 June 2018

EASTN-DC Manchester: A festival of Digital Creativity - Concerts with the MANTIS System


Martin Harris Centre for Music and Drama

with the
MANTIS Diffusion System
55 Genelec Speaker surround!


18:00 – 19:30 Concert 1

Next City Sounds - Hofmann / Kempf / Pich / Wilcox
Did I Sleep? - Edward Campbell
TABÚ - Rosalía Soria
Le voci del mondo - Giuseppe Gavazza
B is for Bird - Ricardo Climent
Machinic Propositions - Mongrel (Henrik Frisk / Anders Elberling)
La Fiesta del Diablo - Adriana Ruiz
Night Escape - Brona Martin

20:00 – 21:00 Concert 2
Javaari - Manuella Blackburn
Dense - Kim Hedås
Spin - Brümmer / Lintermann
Blue Lungs - Sarah Keirle
Fontana Remix - Gianluca Verlingieri


09:00 – 11:00  Workshop 1: Diffusion workshop with 55 genelec

14:00 – 15:30 Concert 3

Divine Cut - Guillaume Dujat
In Those Days / Community - Hayley Suviste
Karst Grotto - Nikos Stavropoulos 
Chromatocosmos - Epa Fassianos
Unearthed - David Berezan
Requiem da Ballo - Gianluca Verlingieri


Friday, 8 December 2017

MANTIS Sonification Festival and NWCDTP Symposium Call for works

Data Sonification in Music Composition and Humanities Research
3-4 March 2018 - Manchester, UK
NOVARS, Manchester University, England

Submission deadline: 15 January 2018, 5pm GMT
What do molecules sound like? Are musical timbres encoded in DNA? Can social networks evolve audio?

NOVARS Research Centre solicits works for its symposium and concert series on artistic data sonification, exploring the methodologies and results emerging at the intersection of science and music.

Details of the event and how to submit are shown below.
The symposium will include keynote speaker/s, presentations on current sonification research, fixed media concerts, sound installations and live performances.

What are we looking for?:
We welcome submissions in the form of paper presentations and musical compositions from any creative artistic and scientific background. As a NWCDTP network collaboration, we especially encourage postgraduate students to apply, and welcome submissions from early career and independent researchers.

We encourage a broad range of submissions exploring the artistic and scientific use of sonification, with a special focus on the following sub-themes (although not limited to):
  • Sonification and social networks and metadata
  • Molecular sonification (sonification of chemical and physical systems)
  • Sonification of cryptocurrencies, blockchain and cryptography audio
  • Environmental data sonification
  • Aesthetics of sonification
  • Sonification from gesture recognition devices
  • Music and sports sonification
  • Sonification with Smart Cities data

Musical Works:
The Mantis festival will host 3 concerts (Saturday 6-7pm and 8-9pm, Sunday 2-3pm) and is calling for works for its main Saturday concert. Composers may submit one work in any of the following categories:
  • Works for fixed media with up to eight channels
  • Works combining live electronics and acoustic instruments (the organisation will not provide performers for the accepted submissions)
  • Audio-visual works
Duration: preferably under 12 minutes
Symposium paper sessions:
We encourage submission of paper presentations on one of the topics specified above (or related) using sonification as a key methodology for music composition or to gain insight into data using sonification in a non-music discipline. It is possible to accommodate extended sound demonstrations or full music pieces in the presentation, if desired. Paper sessions will be held Saturday the 3rd, 11am-5pm.

Symposium submission/registration Fee: There is no submission or registration fee.
Attendance: required.

Important: The organisation regrets not to be able to attend the costs of the transport, accommodation, etc for participants whose works were accepted. The organisation will not provide performers for the accepted submissions.

Method: Accepted submissions via or dropbox only.

 All submissions must include: 
- Contact details of the participant (e.g. name, email, affiliation if any).
- 300 word biography of the main applicant and also for other attendees (e.g. performer)
- Technical Requirements (*)

Music and audio-visual submissions: 
- Music only in stereo wav, aif or flac format (e.g. 48 kHz/ 24 bit). Multichannel submissions accepted but needs to also provide a stereo reduction. Audio-visual submissions only on .mov or vimeo link
- 300 words about the piece – please tell us how it relates to the symposium theme of sonification

Paper Session submissions: 
Provide a 300-word abstract. Full papers also accepted but you need to make clear the main topics being connected / discussed.

(*) Technical Requirements:
- The concerts will run using the MANTIS System (up to 24 channel genelec surround). We also provide video projection, mixing console, microphones, cabling and equipped room for the ‘paper’ sessions.
- In case of live performances composers / performers should bring all additional gear necessary to realise their works (e.g. computers, sound cards, etc) and provide a detailed stage map. 

Review Panel: 
Staff and PGs at NOVARS Research Centre 


3-4 March 2018

Co-organised by NOVARS Research Centre and the North West Consortium Doctoral Training Partnership (NWCDTP)

Experiencing Data in Sound: What do molecules sound like? Are musical t imbres encoded in DNA? Can social networks evolve audio?     

John Thaw Studio Theatre 
Martin Harris Centre for Music & Drama
Coupland Street
The University of Manchester, UK

NOVARS Research Centre pushes the boundaries of musical expression throughout the sonification and musification of a broad range of data.

Price: £8.50 / £5.50 / £3 
special 2 - concert rate: £12 .80 / £8.80 / £4.80 
special 3 - concert rate: £19.20 / £13.20 / £7.20   

Tuesday, 7 November 2017

MANTIS FESTIVAL - Special Edition - @ New Music North West. 13 November 2017

The MANTIS (New Music North West) concert programme on 13 November 2017 @ 5 pm features some of the works from the recent Festival, as well as new additions as follows:

Après moi, la pluie (2017)                                                      Guillaume Dujat
Lescun (2017)                                                                        Sarah Keirle
Rondo on Canvas (2017)                                                       Chris Keogh
Offshore (2017)                                                                      David Berezan
Finland, as experienced by the sea (2017)                            Falk Morawtiz
Kinesis (2017)                                                                        Hayley Suviste
Study for White Noise and Sine Tones (2017)                       Seth Scott
The Accusation Live (2017)                                                   Stephen Summers

13 November 2017
Starts: 17:00 13 Nov 2017
Ends: 18:00 13 Nov 2017
What is it: Music concert
Organiser: Martin Harris Centre
How much: Free

Who is it for: University staff, Adults, Current University students, General public.

This event is presented as part of New Music North West 2017, a major festival showcasing new music in our region. Full details of the Festival can be found here:

Thursday, 12 October 2017

MANTIS Festival 28 - 29 October 2017: JONTY HARRISON & Manchester composers

MANTIS Festival 28 - 29 October 2017

MANTIS (Manchester Theatre in Sound) presents concerts of new electroacoustic music, featuring guest artist Jonty Harrison presenting a full concert of his work Going / Places, as well as new works by Manchester composers. The Festival features the large-scale MANTIS sound diffusion system for an exciting and immersive listening experience.

John Thaw Studio Theatre, Martin Harris Centre, University of Manchester

Facebook:     MANTIS Manchester
Twitter:           @MANTIS_Festival    

28 October 18:00 - 19:30 Concert 1
Mark Pilkington TBC (15:00)
David Berezan Offshore. 4-channel fixed media (9:00)
Sarah Keirle Lescun. Stereo fixed media (8:00)
Chris Keogh Rondo on Canvas. Stereo fixed media (4:16)
George Stenos-Frantzios Babel. Stereo fixed media (5:16)
Adriana Ruiz La fiesta del Diablo. 8-channel fixed media (10:00)
Guillaume Dujat Après moi, la pluie. Ambisonic fixed media (10:00)
Yuwin Qin Pot/Line/Block. 4-channel audio-visual (5:00)
Hayley Suviste Kinesis. Stereo fixed media (7:40)

28 October 20:00 - 21:00 Concert 2
Jonty Harrison Going / Places (60:00)

29 October 14:00 - 15:00 Concert 3
 Seth Scott Deuchar Study for White Noise and Sine Tones stereo fixed media (6:00)
Epa Fassianos Land of the Sirens. Stereo fixed media (27:00)
Sophie Delafontaine Ressort spiral. Stereo fixed media (10.49)
Harry Ovington I... Audio-visual (ca. 8:00) 
Hayley Hedges Freezing Point v2.0 Stereo fixed media (4:48)

Monday, 20 February 2017

MANTIS SPRING 2017: Van Gorkom (, MacKay and Blackburn

Marij Van Gorkom (*) - Bass Clarinet and Electronics Programme
Julián Ávila - Worstward (2017) 8'
Richard Scott - Black Wood Dialogues (2017) 5'-15'
Falk Morawitz - Inner Resonance (2017) 7'
Rosalía Soria - Kronos (2017) 5’
Ricardo Climent - s.laag (2016) 15’ 

(*) Marij Van Gorkom (dutch-uk network project) is supported by:
Research Network Fund. School of Arts, Histories and Cultures, University of Manchester, UK

Wednesday, 26 October 2016

MANTIS FESTIVAL 29-30 Oct 2016 - Oikawa, Stavropoulos, Dhomont, Weaver

MANTIS Festival Oct 2016
Oikawa, Stavropoulos, Dhomont, Weaver and NOVARS composers from the University of Manchester, UK

Three concerts, 1 Masterclass, 1 MANTIS workshop and 1 sound installation.

1 £8.50/£5.50/£3
2 £12.80/£8.80/£4.80
3 £19.20/£13.20/£7.20

Pictured above Junya Oikawa

Saturday 29 October 2016

18:00 - 19:30 Concert 1 
Featuring Morawitz, Fassianos, Rhodes, Ruiz, Scott, Morawitz/Dujat, Jones/Weaver

20:00 - 21:00 Concert 2 
Dhomont, Hermann, Omahan, Berezan, Stavropoulosx2) 21:00 Dinner in Rusholme

Sunday 30 October 
12:00 - 13:00 Diffusion System workshop 

13:00 - 13:30 Junya Oikawa masterclass

14:00 - 15:00 Concert 3 (Junya Oikawa) 

Tuesday, 1 March 2016

Highlights 2016: MANTIS Festival - Terri Hron (Canada, recorder and electronics)

Starts: 18:00 5 Mar 2016
Ends: 19:30 5 Mar 2016
What is it: Music concert
Organiser: Martin Harris Centre
How much: £8.50 / £5.50 / £3
Who is it for: University staff, General public

MANTIS (Manchester Theatre in Sound) presents concerts of new electroacoustic music, featuring guest performer Terri Hron (Canada, recorder and electronics). 
Local and guest composers will present their work using the large-scale MANTIS sound diffusion system for an exciting and immersive listening experience.

Terri Hron (contrabass recorder) performing the Bird on a Wire II, Greenwich Music House, New York City. © eContact!

Friday, 18 September 2015

MANTIS FESTIVAL 17-18 Oct 2015: Kees Tazelaar, Institute of Sonology, The Hague, Julian Elvira (flute) + International Works Curated by Metanast


Concert 1, 18.00 - 19.30 Saturday 17 October: New electroacoustic works by University of Manchester composers
The Silver Key (2015) Rosalia Soria
The Solemn White Breathing of a Nocturnal City (2015) Falk Morawitz
Reductions / Expanses (2015) Danny Saul
Pronomo's Space [e] (2015) [Fl + elec] Julián Ávila  // Flute by Julian Elvira (*)
Starboard (2015) David Berezan
Origin and Destination (2015) Richard Scott

Concert 2, 20.00 - 21.00 Saturday 17 October: Kees Tazelaar
This concert is part of
Le poème électronique (1957–1958) Edgard Varèse  (**)
Chatoyance 2 (2013–2014) Kees Tazelaar
Erwachen heiterer Empfindungen bei der Ankunft
auf dem Lande (2014) Kees Tazelaar (music) Marianne Dekker (images)
Berglandschap (2015) Kees Tazelaar
EQUALE (2013) Richard Barrett and Kees Tazelaar

Concert 3, 14.00 - 15.00 Sunday 18 October: New electroacoustic works by University of Manchester composers
Translucency II (2013-2014) [live image proc] Haruka Hirayama
Aguabajo (2014) Adriana Ruiz
Hydrotrilogy (2015) Epa Fassianos
Naufrage (2015) Guillaume Dujat des Allimes

Concert 4, 19.00 - 22.30 Sunday 18 October: Metanast @ Zoo Pub.
A.P. Vague, Adam Stansbie, Ake Parmerud, Fernando Alexis, Julie Mansion-Vaquié, Nikos Stavropoulos, Steve Davismoon, Gidouille, Manoli Moriaty & Gradient, Omer Eilam, Peter Furniss, Richard Scott, Darren Brian Adcock .  

(*) Julian Elvira (flute)
Julián Elvira is the creator of the Pronomos flute, and his name has become a reference for experimental and avant-garde flute music in Spain and throughout Europe. He has premiered a long list of important Spanish and other European composers, many of whom have dedicated their works to him. He has recorded for the Spanish Television (TVE), the Spanish National Broadcasting (RNE), Piccolo, Sello Autor, Verso, Plataforma LTW, Phonos and World Edition. His recordings as soloist include four CDs of music for solo flute as well as flute accompanied by electronics.
After completing his superior level studies at the Real Conservatorio in Madrid, Julián then received a Masters degree in flute performance at Corvin University of Budapest where he worked with Istvan Matuz (who conceived of the the “Complex” system). Since then he has focused his work on new trends and ways in flute performance. Julián Elvira is principal flute in the Symphonic Band of Madrid and he combines his work there with research and a solo performance career, giving lectures and concerts on an international level. 
One of his most important projects, 3.1.Culturas, has brought him to travel and perform in countries such as Japan, Siria and India to study their culture and music, taking what he has learned about the timbral possibilities of flutes from these cultures into practice on his Pronomos flute.

(**) Le poème électronique (1957–1958), 8 minutes
Edgard Varèse5-channel reconstruction of the music: Kees Tazelaar

In January of 1956, Louis Kalff, Philips’ director of artistic affairs, contacted Le Corbusier in Paris about the company’s plans for a Philips Pavilion at the Brussels World’s Fair in 1958. At that point, there was not yet any indication of the extremely avant-garde character that the project would eventually assume. Kalff wrote: “The interior of Le Corbusier’s Chapel at Ronchamp apparently has elements that would also be applicable in the Philips Pavilion. We want to present a synthesis of light and sound in a completely new and modern form. The walls must offer a continually changing panorama of light and color set to the rhythm of modern stereo music, such that at the end of the six- minute presentation visitors will have witnessed a more or less abstract testimonial that symbolically represents the genealogy of Philips and its products.”Once Le Corbusier became involved in the project, however, it would develop in a totally different direction. Le Corbusier, who originally had only been asked to take care of the interior of the Pavilion, in fact took over the entire artistic supervision from Kalff and even imposed all sorts of conditions of his own. He refused to collaborate with other artists and architects, assuming responsibility for the entire Pavilion himself, including its interior with the interplay of light and color and its sculptural form. For the music, however, he made an exception: the commission absolutely had to go to the New York-based composer Edgard Varèse.The music was reproduced on a three-track tape, the tracks of which could be heard coming from different clusters of loudspeakers in opposition to one another or resounding in flowing movements along specific routes. The total loudspeaker system comprised 325 speakers, supplemented by speakers for the bass tones. The automatic movements of the sound were registered on a 15-track control tape, which contained a total of 180 command channels.

Biographies (Dutch Programme)
Marianne Dekker studied painting and graphic arts at the Royal Academy of Art in The Hague. Her work consists of drawings and paintings and digital animations based on stills and videos. Video work has been presented at Metropoliskino in Hamburg, Tesla Galerie in Berlin, the 2009 Shanghai Electroacoustic Music Week, the Contemporary Museum of the National University in Mexico City (MUAC), the Institute for Contemporary Interdisciplinary Arts at the University of Bath, Villa Elisabeth Berlin, Fylkingen in Stockholm and NK Berlin.

Richard Barrett is internationally active as both a composer and an improvising performer, and has collaborated with many leading performers in both fields, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), the ELISION contemporary music group, for which he has composed and performed since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. He studied composition principally with Peter Wiegold, was a professor of composition at Brunel University in London between 2006 and 2009, and has twice been a member of the staff of the Institute of Sonology, between 1996 and 2001 and again from 2009 to the present.

Kees Tazelaar followed courses in Sonology in Utrecht and The Hague, and later studied composition under Jan Boerman at the Royal Conservatoire in The Hague. He has been teaching at the Institute of Sonology since 1993 and has been head of the institute since 2006. His electronic music features a combination of formalization, richness of sound and a compositional approach to sound spatialization. As well as a composer, Kees Tazelaar is a historian, who has specialized in the early years of electronic music in the Netherlands and Germany. He has twice been the Edgard Varèse Guest Professor at the Technische Universität Berlin, where he earned his PhD in 2013 with the dissertation On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (ISBN 978-94-6208-065-2).