tags: Ann Cleare

Incomparable Contrivances

Saturday, April 18th, 2015

Photo by Beowulf Sheehan

MATA closes its festival with Talea Ensemble in an evening of percussion-rich works that explore technology, machines, and resonances. Dan VanHassel’s Ghost in the Machine, gives voice to the natural by dismantling the apparatus of logic and allowing percussion to sound without performers. Irish composer Ann Cleare’s new MATA-Commissioned percussion mini-concerto, explores the resonant qualities of a handmade sculpture. Monoliths are made audible in the sonic walls of Sam Pluta’s three-percussion concerto in binary: Machine Language, and curves sound in Davor-Branimir Vincze’s shape-shifting Inflection Point with its surprising midpoint. From Israel comes Ofir Klemperer’s A Love Song: a punk-inspired challenge to the limitations of instrumental sound. Finally, Matthias Kranebitter’s packthebox(withfivedozenofmyliquorjugs) attempts to make a pangram audible.

Dan VanHassel (USA): Ghost in the Machine (2013), NYP
Davor Branimir Vincze (Croatia): Inflection Point (2011-13), AP
Matthias Kranebitter (Austria): packthebox(withfivedozenofmyliquorjugs) (2013), NYP
Ofir Klemperer (Israel): A Love Song (2007) AP
Ann Cleare (Ireland): TBD (2015), WP – Festival Commission

Incomparable Contrivances

Saturday, April 18th, 2015

Photo by Beowulf Sheehan

MATA closes its festival with Talea Ensemble in an evening of percussion-rich works that explore technology, machines, and resonances. Dan VanHassel’s Ghost in the Machine, gives voice to the natural by dismantling the apparatus of logic and allowing percussion to sound without performers. Irish composer Ann Cleare’s new MATA-Commissioned percussion mini-concerto, explores the resonant qualities of a handmade sculpture. Monoliths are made audible in the sonic walls of Sam Pluta’s three-percussion concerto in binary: Machine Language, and curves sound in Davor Branimir Vincze’s shape-shifting Inflection Point with its surprising midpoint. From Israel comes Ofir Klemperer’s A Love Song: a punk-inspired challenge to the limitations of instrumental sound. Finally, Matthias Kranebitter’s packthebox(withfivedozenofmyliquorjugs) attempts to make a pangram audible.

Dan VanHassel (USA): Ghost in the Machine (2013), NYP
Sam Pluta (USA): Machine Language (2012)
Davor Branimir Vincze (Croatia): Inflection Point (2011-13), AP
Matthias Kranebitter (Austria): packthebox(withfivedozenofmyliquorjugs) (2013), NYP
Ofir Klemperer (Israel): A Love Song (2007) AP
Ann Cleare (Ireland): TBD (2015), WP – Festival Commission

Tickets Available Here

Ann Cleare

Friday, February 27th, 2015

Ann_cleare_Credit-Brian_Redmond_in_2009_Roscrea_Ireland

Ann Cleare is from county Offaly in Ireland. In 2005, she graduated with a B.mus from University College Cork where she was awarded the Mary V. Harte Memorial Prize. In 2008, she received an M.Phil in Composition from UCC, where she studied with John Godfrey and Jesse Ronneau, and also worked as a tutor for two years. She is currently undertaking a PhD in Composition at Harvard University under the supervision of Chaya Czernowin and Hans Tutschku.

Her music has been performed in various venues across Europe, Australia, and America, and has been featured in festivals such as The Gaudeamus Week (Holland, 2010), The Wittenertage fur Neue Kammermusik (WDR, Germany 2012), Horizons (Ireland, 2013), International Music Institute Darmstadt (Germany, 2014), Bludenzer Tage zeitgemäßer Musik (Austria, 2014), IMATRONIC Festival of Electronic Music (ZKM, Germany, 2014).  She has worked with ensembles such as Ensemble SurPlus, 175 East, The Crash Ensemble, The Callithumpian Consort, Quatuor Diotima, The International Contemporary Ensemble, The Chiara String Quartet, Collegium Novum Zürich, ELISION, The National Symphony Orchestra of Ireland, JACK Quartet, Divertimento Ensemble, Ensemble Apparat, Ensemble Nikel, +/- ,The Curious Chamber Players, Yarn/Wire, ensemble mosaik, The Experimental Ensemble (SWR Studios, Freiburg), and soloists such as Carol McGonnell, Richard Craig, Heather Roche, Bill Schimmel, Benjamin Marks, and Patrick Stadler.

Current and future projects include a new piece for The Talea Ensemble (MATA Festival 2015), a chamber opera for Taschenopernfestival (Salzburg, 2015), and new works for The RTÉ National Symphony Orchestra of Ireland, Clarinettist Carol McGonnell and The Argento Chamber Ensemble, Flutist Richard Craig, ELISION, Dal Niente, Duo Meißner/Skjølstrup Larsen, and a solo horn piece for Samuel Stoll.

Honors and awards include The IMRO/Feis Ceoil Composition Competition (2007), The West Cork Chamber Music Festival Composer Awards (2008), Bank of Ireland Millennium Scholar (2009), a research grant at The EXPERIMENTALSTUDIO Freiburg des SWR, various grants and bursaries from The Arts Council Ireland, a Gaudeamus Prize Nomination (2010), The Blodgett Composition Prize (Harvard, 2010), The Adelbert W. Sprague Prize (Harvard 2013), The Staubach Honoraria for Darmstadt 2014, and a MATA commission for 2015.

In 2007, she attended The International Summer Course for Composers at Akademie Schloss Solitude, where she worked with Chaya Czernowin, Steven Kazuo Takasugi, and Ole Ludwig Holm. From 2008 to 2009, she attended the Cursus for Composition and Music Technologies at IRCAM. She worked as a resident composer with The Cork International Choral Festival from 2005 to 2008.

Ann is represented by The Contemporary Music Centre Ireland, and has a selection of pieces published by Project Schott New York. She currently lives and writes by the sea in Dublin, Ireland.

 

Ann Cleare

Friday, February 10th, 2012

Ann Cleare (Ireland, 1983)
I am not a clockmaker either for accordion and electronics (2009)

Ann Cleare is from county Offaly in Ireland. In 2005, she graduated with a B.mus from University College Cork. In 2008, she received an M.Phil in Composition from UCC, where she also worked as a tutor for two years. She is currently undertaking a PhD in Composition at Harvard University under the supervision of Chaya Czernowin and Hans Tutschku.

Her music has been performed in various venues across Europe, New Zealand and America by ensembles such as Ensemble SurPlus, 175 East, The Crash Ensemble, and The Callithumpian Consort. Recent and future projects include new works for clarinettist Carol McGonnell and The Argento Chamber Ensemble, ELISION Ensemble, Quatuor Diotima, ICE (Harvard residency 2011), and Collegium Novum Zürich (Wittener Tage für neue Kammermusik Commission 2012).

Honors and awards include a research grant at The EXPERIMENTALSTUDIO Freiburg des SWR during 2011, as well as various grants and bursaries from The Arts Council Ireland. Her piece, “I am not a clockmaker either”, was recently short listed for the 2010 Gaudeamus prize.

In 2007, she attended The International Summer Course for Composers at Akademie Schloss Solitude, where she worked with Chaya Czernowin, Steven Kazuo Takasugi, and Ole Ludwig Holm. From 2008 to 2009, she attended the Cursus for Composition and Music Technologies at IRCAM. Ann worked as a resident composer with The Cork International Choral Festival from 2005 to 2008.

INTERVAL 5.3 Beaubourg to Brooklyn: Electro-Acoustic Music from Paris

Friday, February 10th, 2012

I’m thrilled to be curating the next installment of the MATA Festival’s INTERVAL series, on March 8th at the new Issue Project Room in Downtown Brooklyn. Titled Beaubourg to Brooklyn: Electro-Acoustic Music from Paris, the concert features six works for solo instrument and live electronics by six young composers from four continents, all of whom crossed paths while working in Paris. For me, it is a real pleasure to be able to share with a New York audience some of the most exciting work by colleagues that I discovered while living in France for six years. Combined with three top-notch new music interpreters, the stellar facilities of the new Issue Project Room space, and the support and visibility offered by MATA, all the ingredients for a memorable evening are in place.

The three featured soloists are virtuouso players, renowned for their interpretations of contemporary repertoire: clarinetist Carol McGonnell, saxophonist Ryan Muncy, and accordionist Bill Schimmel. These players will interact with live electronics in real time, with the computer sending transformed sounds and samples to a spatialized speaker setup—four speakers in the corners of Issue Project Room’s stellar new venue—so that the sound literally envelops the audience.

Australian composer Paul Clift’s Boundary Markers journeys inside the timbre of a bass clarinet. Andrea Agostini from Bologna, Italy encircles a solo baritone sax with a massive canvas of shifting textures in Gli atorni che s’accendevano e radiavano. From Colombia, Juan Camilo Hernandez Sanchez experiments with live transformation of intricate extended techniques for saxophone in Introspecciones Móviles. Irish composer Ann Cleare‘s I am not a clockmaker either is a frenzied, kinetic pastiche for accordion and recorded sounds. New York native Aaron Einbond explores the rich but unstable low multiphonics of a bass clarinet in Temper, while my piece Recession creates a mobile and kaleidoscopic world of changing colors from retuned and spatialized accordion samples.

 

Christopher Trapani is the curator of MATA’s INTERVAL 5.3