An electro-acoustic collaboration between musician and artist
MONDAY, 6 JULY 2020 | 2.45PM – 3.00PM
Old Cold (2019)is an immersive experience that crosses the boundaries of music, performance and the visual. Blending live sound and a fixed media soundscape with video and moving image, the work creates an experimental soundworld that exposes imagery of cold war landscapes with improvised alto flute, percussion and vocal sounds and manipulated found sound.
Created out of collaborative research structured as a co-responsive process, Old Cold combines fixed and aleatoric elements, juxtaposing, layering and building material into an atmospheric and multi-sensory experience. The film documents a live performance which took place in London, 2019.
About the creators
Carla Rees is a British low flutes specialist who has developed an international reputation for her innovative work. Her multi-faceted career encompasses solo and chamber music performance, collaboration, recording, composing, arranging, editing and teaching.
Her performing work encompasses chamber music and solo recitals, appearing frequently at international festivals, including flute festivals in France, Germany, Poland, USA, Canada, Costa Rica, Japan and the UK, as well as at BEAST Feast, Bangor New Music Festival, ICMC, HCMF, Cheltenham Music Festival, Kulturforum Pax Christi, Krefeld (Germany), Open Spaces Festival Nuremburg (Germany), Tirol Easter Festival, (Austria), Lunalia Festival (Belgium) Eglise Saint-Merri, Paris (France) and La Cote Festival (Switzerland), Sonic Circuits (USA), Spark Festival (USA) and others. Recent UK performances include at Iklectik, The Forge and Café Oto (London), MTIDMU Concert Series (Leicester), Fairfield Halls (Croydon), Handel House (London) and York Spring Music Festival. Concerts in 2019 include performances in the UK, Italy, Poland, Costa Rica, Japan and Brazil.
She is Artistic Director of rarescale, a contemporary chamber ensemble with whom she works to create and promote new repertoire for her instruments. She is also a member of the Edison Ensemble and Goldfield Ensemble and plays in a trio focussing on Feldman’s music with pianist John Tilbury and percussionist Simon Allen.
An active collaborator, Carla’s projects improvised interdisciplinary work with ecosystemic electronic composer Scott Miller, and artist Caroline Wright. Other collaborations include the International Superflutes Collective and Hønk, the first European Contrabass Flute Ensemble.
Carla’s passion for the development of recital repertoire has resulted in the development of several hundred new works written for her by a wide range of composers. Premieres include works by Simon Emmerson, Claes Biehl, Dan Di Maggio, Alexander Goehr, Sungji Hong, Robert Fokkens, Daniel Kessner, Nicola LeFanu, Adam Melvin, Scott Miller, Patrick Nunn, David Bennett Thomas, Ian Wilson, Scott Wilson, Elizabeth Winters and long-term collaborative partner, Michael Oliva. Her most recent project sees the creation of new contemporary works for baroque flute, which she has combined with studies in early music performance with Serge Saitta.
Carla leads rarescale Flute Academy, an acclaimed flute ensemble for university level players, for whom she arranges numerous works. The ensemble has performed in Greece, Poland and the United States, and is currently collaborating with a number of composers to create new repertoire.
An experienced recording artist, she appears on nearly 20 CDs (including for rarescale records, NMC, Metier, Heritage records and Edition Troy), including concerto recordings with the Royal Ballet Sinfonia and Ensemble Neumusik im Ostseeraum (Germany). She also appears on incidental music for film, TV and radio, including the 2018 release Mary Magdalene, and the BBC Radio 4 series Dear Professor Hawking. She has over 80 published compositions and arrangements (available through Tetractys), with recent performances of her works in the UK, USA, Canada, Japan, France, Poland and Belgium.
She completed her PhD at the Royal College of Music in London in 2014, researching extended techniques for Kingma System alto and bass flute with the support of scholarships from the Arts and Humanities Research Council and the RCM. She is Programme Leader for the distance learning BA(Hons) Music degree at the Open College of the Arts and an Honorary Research Associate and flute teacher at Royal Holloway University of London. She was Programme Director for two British Flute Society International Conventions, and currently serves as International Liaison Chair for the National Flute Association of America, as well as being a member of their New Music Advisory and Low Flutes committees. She recently became editor of PAN, the Journal of the British Flute Society. Carla plays Kingma System quartertone flutes made by Eva Kingma, Bickford Brannen and Lev Levit.
artist & performer
Caroline Wright is an artist and academic, with research interests in loss, territory and the discourse around altering values and invested memory. Working site responsively, her approach is that of a conceptual archaeologist, trying to uncover and both question and take control of the past and present, by transforming, enacting or undoing. In so doing, she is interested to explore the relationships we each have within the world, with each other and with the objects that surround us. Wright’s current work involves investigation into home-making/home-marking through the domestic artefact.
Recent experiments to identify place out of memory garnered through the practice of walking, cement flawed information into flimsy resolution, where constructed narratives locate and affirm common ground between [un]known territory and recalled action.
Wright’s past works include Out of Water, a performance commissioned London 2012/Cultural Olympiad Festival, touring to Edinburgh festival as part of East to Edinburgh and PSi Conference, Stanford University, San Francisco USA; My Home is My Museum, examining domestic object collections in performance, pubic collection, publication and symposium; respond/reply, a research project into the relationships between drawing and writing; Sawdust and Threads, a project which took deaccessioned museum objects aa its material to explore materiality, value and hierarchy working with three significant UK collections.
Caroline Wright studied at Norwich University College of the Arts (MA Fine Art, 2002) followed more recently by a PG Certificate in HE Learning and Teaching at University of the Arts, London. She is a Senior Fellow of the Higher Education Academy and co-editor of the OCA/UCA Journal of Useful Investigations in Creative Education (JUICE). Her pedagogical interests lie in issues around professional development for artists, assimilation and synchronicity between teaching/creative practice. She is particularly curious about the process of making as a shared learning experience and the dialogue surrounding production.
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