Leo Svirsky & Arvind Ganga - Improvisations on piano, accordeon and guitar
Arvind Ganga is a guitar player from Den Haag, the Netherlands. He takes a physical approach to guitar playing, employing objects and extended techniques to explore new sonic possibilities. His music draws from influences as diverse as noise and drones, North Indian ragas, experimental rock, and everyday sounds. With free improvisation he brings these together into an intense, loosely structured, chaotic mesh that is bathing in the rays of a deep red sun. Ethereal noise with a punk-improv attitude. Arvind plays solo, improvises with like-minded musicians, and is active in music/dance improvisation. His music took him to play squats, galleries, clubs and festivals from Poland to Portugal, Chile and Perú. http://www.arvindganga.net
Leo Svirsky is a pianist, composer, and accordionist currently based in the Hague. He is active in the world of new and improvised music, as well as interpreting a broad range of piano repertoire. He has premiered new works by composers such as Michael Pisaro, Peter Adriaansz, Cornelis de Bondt, David Pocknee, Maya Verlaak, and Robert Blatt. As an improviser, he has collaborated with among others, Jasper Stadhouders, Raoul van der Weide, Onno Govaert, Katt Hernandez, Jaap Blonk,Ab Baars, Anne La Berge,, Marshall Allen, John Berndt, and Veryan Weston. His performance of Veryan Weston’s large-scale open form piece Tessellations was released by the seminal British improv label Emanem. His own composition “Songs in the Key of Survival” was released on Baltimore's Ehse Records. Other performers of his works include the accordionist Sergejj Tchirkov, pianists Teodora Stepancic and Reinier van Houdt, guitarists Elliot Simpson and David Pocknee, clarinetist Germaine Sijstermans, flutist Antoine Beuger, singer Maria Valdmaa, and the Ensemble “A Place to Listen”. Festival appearances include the Holland Festival, Rewire (the Hague), Sonic Circuits (DC), High Zero (Baltimore), Rumours Festival, (Utrecht), Peter the Great (Groningen), and Klangraum (Dusseldorf). He has recently earned a Masters in Composition from the Royal Conservatoire of the Hague, under Martijn Padding and Cornelis de Bondt.
Kristina Warren - Is There Time (for voice and electronics)
Is there Time, for voice and electronics, imagines densely layered software expression resulting from extended vocal utterances. This piece uses the Abacus, a novel performance interface incorporating an Arduino Teensy, to modulate processing on the live voice. Is There Time aims to combine my dual practices as vocalist and laptop musician, and to explore how mouth and technology can act as extensions of each other.
Kristina Warren (kmwarren.org) is an electroacoustic composer and improvising vocalist based in Liverpool, England. Her creative work explores noise, communication, and time; most recently she is interested in the noisy and expressive micro-temporalities of voice. Warren's works have been performed at events such as the International Computer Music Conference (ICMC) and the New York City Electroacoustic Music Festival (NYCEMF), and by ensembles such as Ekmeles, JACK Quartet, and Sō Percussion. She is a PhD candidate in Composition & Computer Technologies at the University of Virginia.
Ji Youn Kang - Solo Live Electronics
Ji Youn Kang (Seoul, Korea) is a composer and sound artist based in The Hague, The Netherlands. She moved to The Netherlands in 2006 and achieved her Masters’ degree both in Sonology at The Royal Conservatorium, and in Composition at Conservatorium van Amsterdam. Her objectives and interests revolve around the creation of her own musical language that (re)presents the Korean tradition and cultural elements using materials from Korean music as well as newly created sounds. Most of her music pieces have been composed based on the rites of Korean Shamanism, and many of them were written for the WFS system (192 loudspeakers), exploring the relationship between musical and physical spaces. At the same time she has been composing Live Electronic pieces for both traditional and non-traditional instruments, ranging from a solo instrument to a large orchestra, exploring mostly the primitive, empowering rhythmical elements and the noisy sound sources that the Korean ritual music involves.