Neue Klangwelten für Cembalo und Elektronik


Neue Klangwelten für Cembalo und Elektronik
Mi, 29.01.2014, 19:30 Uhr

Essl Museum

Neue Klangwelten für Cembalo und Live-Elektronik, präsentiert vom POW Ensemble Den Haag mit Goska Isphording, Luc Houtkamp und Chad Langford.

POW Ensemble Den Haag
Goska Isphording: Cembalo
Luc Houtkamp: Elektronik
Chad Langford: Elektronik

Werke von Luc Houtkamp, Chad Langford, Jorrit Tamminga und Karlheinz Essl

In diesem Konzert wird das altehrwürdige Cembalo gegen alle Regeln der Kunst als unkonventioneller Klangerzeuger verwendet. Mit Hilfe der Live-Elektronik werden diesem historischen Instrument neue Klangwelt abgefordert, jenseits aller Erwartungen. Das Den Haager POW Ensemble hat für dieses Gemeinschaftsprojekt Werke in Auftrag gegeben, die  nach einer Tournee durch die Niederlande nun auch im Essl Museum zu hören sein werden.

Karlheinz Essl (* 1960): Sequitur XII for harpsichord and live electronics (2009)

Luc Houtkamp (* 1953): The Snippits Code (2012)
I.  Chords and Harmonies
II. Cycles
III.The Snippits
IV. Echoes & Cadenza
Chad Langford (* 1973): CLVRSTRND (2014) premiere

Jorrit Tamminga (* 1973): Lilleke Spiekerbak (2012)
I. Part one
II. Part two

All pieces (except Essl’s) have been composed in 2012 especially for POW Ensemble.
Programme notes

Karlheinz Essl  Sequitur XII, version for harpsichord and two computers

In this composition, the harpsichord is played in a highly unconventional manner. Except for the end of the piece, no keys are touched. Instead, the sound board and the lowest string of the instrument (1F) are excited in different manners. A contact microphone mounted on the sound board acts like an acoustic lense that amplifies sounds that are normally inaudible. The interaction between the harpsichordist and the live-electronics creates a kind of meta-instrument. Its novel sounds and expressions purposely avoid the typical percussive sound of the harpsichord, which is only heard at the end of the piece as a quotation.
By preparing the instrument with a thin nylon thread, sustained „drone“ sounds can be produced as an antitheses to the needle-sharp and rapidly decaying harpsichord attacks, which György Ligeti tried to overcome in his harpsichord composition Continuum.

Luc Houtkamp – The Snippits Code

The Snippits Code can be characterized as a baroque concerto in which the orchestra has been replaced by two computers. Almost all sounds produced by the computer players consist of live-processing of the harpsichord’s sounds.
The title of the composition relates to its third part, in which an interaction between the three musicians develops with the aid of short musical phrases and a set of compository rules. Naturally, the third part has a cadenza for harpsichord, to be improvised using a certain set of tone arrays.


Chad Langford  CLVRSTRND 

CLVRSTRND can perhaps best be thought of as a refraction or a distillation of a little radio-style drama which I wrote for the POW Ensemble last year, Overstrand. Whilst I found Overstrand to be rather over-explicit in its storytelling, in CLVRSTRND I wanted to simply present emotive spaces, gestures, and contrasts. For this reason I won't say too much about the piece, except to suggest that in the opening of the work we seem to find ourselves adrift, in the hold of a wooden ship….


Jorrit Tamminga – Lilleke Spiekerbak

In Tamminga’s youth, when harpsichord music came from the radio, his father switched it off, saying “Lilleke spiekerbak”, ugly box of nails (in dialect). Tamminga later, being a musician and composer, learned to appreciate the sound, thanks to his music teachers at the conservatory.
In this composition for Strings Attached, speakers are connected to the harpsichord in order to change its sounds. One single harpsichord tone is used as a base: a sharp attack with a clear sound, which is manipulated and transformed in various ways. The piece has three sound phases: an energetic start, a quiet part in the middle and a grooving grand finale.

Luc Houtkamp – computer, live electronics

Luc Houtkamp (1953) is a composer/performer who bridges the gap between the worlds of free improvisation and computer-based composition and performance. Since the mid-eighties he has been designing his own interactive music software, resulting in pieces performed by himself and in collaborations with musicians and ensembles all over the world. In 2004 he has been awarded the VPRO/Boy Edgar prize for his work as a band leader, composer and musician.
By establishing his own group POW Ensemble in 2001, Houtkamp has created a new platform for exploring and expanding the musical potentials of the computer. Through POW Ensemble, the possibilities of the electronic, composed and improvised music are combined into a new unity.


Goska Isphording – harpsichord, synthesizers

Harpsichordist Goska Isphording specializes in the performance of contemporary music. She gives solo recitals and performs with chamber music ensembles and orchestras. She is also active in music theatre and multimedia productions and has premiered numerous solo and chamber music works.
Born in Poland, Goska Isphording graduated at the Royal Conservatory of The Hague in  2001. Her interest in contemporary art led her to follow the Masters program in contemporary harpsichord techniques with Annelie de Man at the Conservatory in Amsterdam. During this period she also worked with Elisabeth Chojnacka at the Mozarteum in Salzburg. Goska Isphording was awarded various prizes at renowned contemporary music competitions. Goska Isphording is a founding member of Roentgen Connection - ensemble for the performance of the contemporary chamber music. Her interest in new media and electronics brought her together with the POW Ensemble, an unexpected yet surprisingly fruitful musical combination.


Chad Langford – computer, live electronics

Bassist, composer and educator Chad Langford is a native of Montana (USA).  His music has been performed in North America, Europe and Asia. Creating a fascinating, visceral synthesis of intricately-layered rhythms, text, and arching melody, his work frequently utilizes both acoustic and electronic instruments and ensembles. His principal composition teachers have included Eric Funk, Tomas Svoboda, Diederik Wagenaar, Yannis Kyriakides, and Gilius van Bergeijk.

1 / 1POW Ensemble © Adri van den Berg