A note from behind the scenes – I’m finishing off the last bits of a compilation for a catwalk show on the other side of the pond. It’s the very first time my indie pop music and my contemporary music are fitted together into one piece – I think I like combining the two. Such an inspiring brief!
The music changes in mood like the change of cuts, styles and colours of the fashion passing by.
“We’ve been told that arts organisations can’t do crowd-funders AND that it’s impossible to run more than one crowdfunder at a time. Naturally, as a new music organisation keen on pushing boundaries and breaking down assumptions, we’ve decided to disregard all of this advice! We are raising money to fund three life-changing opportunities for three composers, and we wanted to give you the chance to choose between what strand of Sound and Music’s work you’d like to support.”
Sound And Music is a British arts organisation that does an incredible job in representing and promoting UK contemporary classical music internationally. I’m proud to say that several strong women make up a vital part of running this institution.
They have shown to me personally that indeed they are making a difference, because of the opportunities they create, and by daring to stick their neck out for very experimental pieces.
If you still need to get some Christmas cards, why not purchase them from Sound And Music and help fund future music projects. There are also limited edition signed scores available and more. Find it here http://www.samgiving.org
As a morning ritual to get my brain started I read a bit. Currently I’m reading Bernie Krause’s ‘The Great Animal Orchestra’, about finding the origins of music in the world’s wild places. It’s a true revelation, as it spells out to me on each page in clear language why my intuition for composing music works in the way it does. Mostly his description lies in the essence of things. But since I’ve been using fabric and knitting in one of my compositions, this quote is meant in a very literally way:
“I’m auditioning a recording that was made in Yellowstone National Park (…). The texture at the beginning of the recording is as delicate and lovely as a piece of fine Irish lace – an expansive sonic fabric that sucks me deep into the time and space of the original moment, as only sound can do.” (page 155)
Mike Pickford is working on a Mark 2 of my NAIENI interface. This specially designed interface works as a organically powered sequencer I used for the ‘Killing Time’ composition with prepared knitting needles. Mark 1 worked as a randomised sequencer to capture the mercurial sounds of nature.
Mark 2 will be able to capture the geometric rhythms generated by the tempo and pattern of specific stitches. I’m very much looking forward to this development – so, yes, there will be a second piece using prepared knitting needles as part of an ensemble. Not sure about when, though.
Although it has been established as an important urban center for more than 1000 years, Wrocław remains somewhat off the beaten path. There are few direct flights, not even from most places in Europe. Yet its history connects it to at least five different countries. Celtic tribes settled there in the 4th century B.C.E. although Poland is its earliest recorded claimant (a diocese having been established in the then-named town of Wrotizlava in the year 1000 C.E.). It was ceded to Bohemia (from 1336 to 1526) and then Austria (until 1741). A land grab by Frederick the Great made it part of Prussia and then Germany where under the name of Breslau it became the third largest German city. It was one of the last Nazi strongholds to surrender, but has been part of Poland again since 1945, hence its current name: think “wrought suave”… well, sort of. The President of the City (which is what they call the mayor there) claims that the correct pronunciation is “wroughts love” although that might just be an attempt at clever tourist sloganism on his part.
Given Wrocław’s history as a crossroads filled with conflict while nowadays being somewhat under the radar, it was a particular fitting host city for the 2014 World Music Days (WMD), the annual new music festival of the International Society for Contemporary Music (ISCM). ISCM is an organization with an almost equally complex history, albeit one that goes back only a mere 91 years. Although WMD is the oldest continuous contemporary music festival ….
As announced in earlier posts on this blog, my composition ‘Shakespeare And Hedgeshear‘ was staged on this festival in the Puppet Theatre, Theatr Lalek.
photo Kris Cwik
Pretty excited about this – nearly nearly! October 6th, ISCM World Music Days Wroclaw 2014, in Theatr Lalek. If you’re around. Julian Anderson and me representing the UK on this global music festival http://worldmusicdays2014.pl/en/shakespeare-and-hedgeshear/
You are cordially invited to join Voluntary Arts Wales for a performance of Killing Time, by Pembrokeshire-based composer Jobina Tinnemans and a group of local amateur knitters.
“Killing Time, a composition for piano, cello, clarinet, guzheng and five knitters on electronics, has previously been performed in St David’s, Pembrokeshire, and at the MATA Festival in New York. Inspired by the sounds of West Wales, it plays upon the coastal resonances and craft connections of Pembrokeshire, New York, Cardiff and Scandinavia, by virtue of the beautiful venue of the Norwegian Church at the heart of Cardiff Bay.”
The performance will take place at the Norwegian Church Arts Centre, Cardiff Bay, on 2 and 3 July 2014, and is part of the AHRC Connected Communities Festival, being held at the St David’s Hotel. It has come about through Voluntary Arts Wales’ involvement in Co-Creating CARE, a Connected Communities research project led by the University of Falmouth.
Performances will last approximately half an hour and all are welcome to attend (no registration required, subject to capacity):
- 11am, Wednesday 2 July
- 2pm, Wednesday 2 July
- 11am, Thursday 3 July
- 2pm, Thursday 3 July
More details at www.voluntaryarts.org/2014/05/29/killingtime.
We look forward to seeing you!
Daniel Carpenter @ Voluntary Arts Wales
How about knitting on stage as part of a contemporary music ensemble? In the beautiful Norwegian Church on July 2 and 3? I’ll be knitting music with Sheffield knitters at Sheffield Fringe this Friday, after earlier concerts of the New York MATA premiere and in St.Davids Cathedral. Get in touch, contact me.
photo Tom Steenland
FILM AT THE INTERSECTION OF ART AND DOCUMENTARY
Image: Angus Braithwaite, “Acer Pseudoplatanus” (video still), 2013. Courtesy of the artists.
Fri 6th – Sat 14th June
71 Eyre Lane
Sheffield S1 4RB
Please join us for a full weekend of films, performances, and discussions, followed by an extended run of Breaking The Frame, Marielle Nitoslawska’s unmissable portrait of the groundbreaking artist and feminist Carolee Schneemann. We are delighted to have many participating artists present at this years’ edition of Sheffield Fringe at Bloc Projects. In addition Bloc Studios will be open to the public on Sunday 8th June, 12-6. Admission to all events is free.
Friday 6th June 6pm | Maybe Darkness | 80 min
With films by Juliette Joffé, Angus Braithwaite, Rose Butler, Akio Yuguchi, Alison J. Carr, Adrienne Leverette/ Rob Tyler, and David Blandy.
The inevitable weight of individual and family history is consistently tempered by a playful self-awareness throughout these films, in which artists examine the impact of formative experiences via familiar domestic and cultural touchstones.
Friday 6th June 8pm | Killing Time | 30 min +
Dutch composer Jobina Tinnemans’ performance Killing Time combines electronic samples, contemporary classical technique, and an ensemble of volunteering knitters to astonishing effect. For Sheffield Fringe, Jobina re-stages a specially adapted performance, with Sheffield knitters joining her live.
Saturday 7th June 6 pm | Kiss me, gentlemen | 75 min
With films by Alexander Lorenz, Nelmarie du Preez, Daniel Mann / Sirah Foighel Brutmann / Eitan Efrat, Miranda Pennell, Walid Raad, Michel Wenzer, and Yaron Lapid.
The films in this programme deal with the mechanisms and technologies of entrapment; judicial systems, the military, prison, society in general. Whilst some films critique the assumed political agency of documentary, others inject humour, incite horror or straddle precariously on the tightrope of representation.
Saturday 7th June 8pm | 60 min +
Emergency Aesthetics: Documenting the COBRA committee with Theo Price, Samuel Stevens, and Stephen Connolly.
When the British Government’s emergency response committee COBRA convenes, COBRA RES invites artists, writers and filmmakers to respond. In this presentation Theo Price and Samuel Stevens share a number of artworks and film-based responses to recent emergencies from hostages being held in an Algerian gas plant, to the recent UK flooding disaster.
Sunday 8th June 4pm | Urban Observations, Tehran: What Kind of Modern? | 70 min
With films by Solmaz Shahbazi, Shirin Sabahi, Farhad Ahrarnia, Hadi Fallahpisheh, and Farahnaz Sharifi.
At the heart of these films, the city of Tehran emerges as a place brimming with political frustrations and thwarted dreams of several generations. Memories of loss, as well as ambivalent attitudes towards the present, and defensive anxieties about the future are presented in subtle tales exploring the human condition.
Mon 9th – Sat 14th June 2pm & 4pm daily | Breaking The Frame | 100 min
Sheffield Fringe is an artist-led curatorial project exploring the intersection of art & documentary practices through screenings, talks, exhibitions and research, presented in partnership with Openvizor,Diversity Art Forum and Goldsmiths University of London.
I found the audio and some pictures of this improv concert in Belgium back on my hard disks, today, and stuck them here on my website. I left the duration of the concert more or less intact in this recording – enjoying all the genres we went through.
on the Sheffield Fringe Facebook page it says :
“Really honoured Jobina Tinnemans will be performing at Bloc Projects for Sheffield Fringe 2014. Jobina will stage a specially adapted performance of ‘Killing Time’, originally commissioned by MATA and performed in Brooklyn, New York. Reminiscent of a pop-up book, Sheffield knitters will be invited to play live the knitted electronics parts to the filmic documentation of the New York performance. We are looking for Sheffield-based volunteering knitters. Please get in touch: email@example.com“
I’m very much looking forward to working on a new piece with the contemporary experimental Apartment House ensemble, London, directed by Anton Lukoszevieze. The result is planned for 2015. It’s a ‘New Voices’ commission by the wonderful Sound And Music, thank you for this.
re-blogged from Sound And Music article …
Originally posted on The Sampler Blog:
MATA festival in New York, founded by Philip Glass, Eleonor Sandresky and Lisa Bielawa, commissioned Jobina Tinnemans out of over 600 submissions to write a new work for their 2013 edition:
I often include non musicians to be part of my ensemble, who, by their activity, create a rhythm or sound secondary to their action, for the particular timing it generates. I currently live in Pembrokeshire and for this work I approached its majestic coastal soundscape as an education in timing of my music. In order to keep the timing of a field recording alive and natural – since it’s a document, much like a photograph is – I dissected the recording of a flock of arctic terns into single calls and turned them into a software instrument to be live reconstructed again, back into a flock of birds, at the MATA concert in New York. The sound segments needed to be triggered in a nonlinear way and I used…
View original 350 more words
After all the talking and pictures about MATA, let’s post some actual music: here is a 6mins excerpt of ‘Killing Time’ with its various movements – the full concert is 25mins. It’s starts with an excerpt of the prelude, before it moves on to the actual piece.
(sound cloud blip: if nothing’s showing up try here https://soundcloud.com/jobina-tinnemans/killing-time )
Tonight in Theatr Gwaun, Fishguard, my film ‘Killing time in New York’, an art house documentary showing the making and performance of my New York MATA festival contemporary classical composition, will have its Première at 7:45pm! The tickets are £5 and can be purchased at the box office 01348 873421. image by Gaynor McMorrin
Here it is! The trailer of the film I’ve been working on for months.
‘Killing time in New York’ (54mins) is an art house documentary set in New York and Pembrokeshire about the making and performance of a contemporary classical music composition…. with knitters.
This music piece was a commission by MATA festival New York. It’s a festival for young composers founded by Philip Glass, Eleonor Sandresky and Lisa Bielawa. The panel selected Jobina Tinnemans out of 600 plus submissions to write a new work for the 2013 edition of MATA, staged in Roulette, Brooklyn.
The MATA team put out a call on social networks and members of the knitting community in New York and beyond were involved. Back in Pembrokeshire, knitters have helped experimenting and trying out the purpose-built computer interface that has been designed for it. But, mainly, the making of.. part of the film is an intimate look into Jobina’s sketch book of this piece. Followed by the actual ‘Killing Time’ documentation of the MATA concert in April.
“Known for her work with concrete sounds, Dutch-Welsh composer Jobina Tinnemans follows the lead of the late Cornelius Cardew, incorporating nonmusicians into a new music context. Her MATA commission, Killing Time, is a concerto grosso for solo knitters, instrumental ensemble, and a ripieno orchestra of knitters, visualizing the passage of time through its trace in fibre.” (MATA press release)
In St.Davids on the 25th of October, the ‘Killing Time’ composition will be performed in St. Davids Cathedral. This will be the first performance of the piece after it’s New York premiere.
In Fishguard on the 22nd of November, the film ‘Killing Time in New York’ will be screened in Theatr Gwaun. A film about the making of the composition in Pembrokeshire and performance of the work on the NY stage. It’s an evening filling program with an artist talk, exhibition of ‘behind the scenes’ artefacts and a live knitters ensemble music performance of a new music work made with knitters.
MATA Benefit Gala is honoring soprano and new music advocate Dawn Upshaw
Date: September 21, 2013
Place: Tibet House, 22 West 15th Street, New York
Time: 6:00 PM
Cocktails and hors d’oeuvres will be served
Tickets: $225 per person
I’m getting closer to finishing the film of my NY MATA composition and in August there will be an exhibition about it in Fishguard, incorporated in Elizabeth Stonhold’s Knitting Jazz community arts project.
Yesterday we did a photo shoot for the film and exhibition, to show the prepared knitting ensemble IN its majestic instrument’s setting, since the electronics part of my ‘Killing Time’ composition, which are triggered by the activity of knitting, was an electronic instrument created by sounds from this beautiful place in Pembrokeshire, called ‘Pwll Deri’.
The long white knittings are knitted by the performing knitters on the NY stage, which I brought back with me. It’s work in progress.
This is the sound clip I made with the ‘Konkrete Breaks’ loop to feature in Ableton Live 9 – it’s for demo purposes. Might end up in a song. Always possible. With anything. :)
This is an episode on SoundNotion.tv about the MATA festival. From about 10:00 mins Yotam Haber, artistic director, speaks inclusively about why and how the commissioning team chose my work out of 600 plus submissions. The work with ping-pong games and people trimming hedges he mentions in the interview is ‘Shakespeare and Hedgeshear’, which will once more be performed at the ‘World Music Days 2014′ in Wroclaw, Poland.
this is a quick report from New York:
It has been spectacular! What a unique event and what a generous contribution from the knitting community. I will get in touch with the Knitting Orchestra and the Knitting Soloists to have all names to present to you. The musicians were wonderful, it all sounded fantastic after only a few rehearsals. The reactions from the audience have been very positive! I’m over the moon and try to have a few days off, it has been a very intensive project.
Here are some snapshots from the concert, I will start working on the filmed documentation soon.
photos by Andy Wheddon