Calendar

Huddersfield Contemporary Music Festival

Dates :
  • Saturday 21 November 2015
Place : Huddersfield (UK)

This year, Lucilin will go to the well-known Huddersfield Contemporary Music Festival (UK) to perform the world premiere of its brand new project commissioned to composer Mauro Lanza for 12 musicians and soloist, The Kempelen Machine. This piece will introduce a new and surprising instrument especially created for soprano Donatienne Michel-Dansac. The program also includes one piece from Luxembourgish Catherine Kontz and a piece from a young English composer, Edwin Hillier.

Catherine Kontz (LU/UK *1976) The Moon Moves Slowly (But It Crosses The Town) (2014) – UK Premiere
Dai Fujikura (JP *1976) scion stems for string trio (2011) – UK Premiere
Edwin Hillier (UK, *1988), engine oil and charcoal for viola, flute and percussions (2015)
Manuela Meier (A,* 19–) epar for flute, clarinets, piano, violin, violoncello (2013)

Mauro Lanza (IT *1975), The Kempelen Machine** for female voice (with resonators) and 8 instruments – World Premiere
**Commissioned by United Instruments of Lucilin and Huddersfield Contemporary Music Festival

With:
André Pons-Valdès – violin
Danielle Hennicot – viola
Jean-Philippe Martignoni – violoncello
Sophie Deshayes – flute
Marcel Lallemang – clarinet
Olivier Sliepen – saxophone
Pascal Meyer – piano
Guy Frisch – percussions

and:
Donatienne Michel-Dansac – soprano
David Reiland – direction
Simone Pappalardo – electromechanical instruments

Words of Mauro Lanza about his project:
Since “Ludus de Morte Regis” for 28 singers and electronics (2013) I have developed a growing interest in the “physical” sound-processing of the human voice. For this specific piece I chose cheap and easy-to-find wind instruments like harmonicas or becflutes. The modulation of the two simultaneous sources – the vocal and the instrumental one – played by the same musician had the effect of a subtle amplitude modulation of the two signals, resulting in a very predictable and stable spectrum.
“The Kempelen Machine” raises this idea to the nth power. An array of tubes equipped with accordion reeds is mounted on microphone stands. The singer slowly walks through this array, modulating her voice with the frequencies of the reeds. Since each tube or set of tubes corresponds to a section of the piece, this promenade has the one-way-only allure of a progress-bar.