Unerhörte Frauen!

New Emergences opens the season 2018/2019 with Unerhörte Frauen! (Unheard Women), an event produced in collaboration with Bochumer Symphoniker.

Anneliese Brost Musikforum Ruhr – Marienplatz 1, 44787 Bochum, Germany

Unerhörte Frauen! /

Erwin Roebroeks – musicologist, writer, researcher and curator – brings together three especially curated discussion-concerts for Bochumer Symphoniker at Anneliese Brost Musikforum Ruhr. The three evenings present different focuses of the main theme of the week, Fremde/Heimat – Komponieren im Exil, which may be understood as the music of composers who have been “banned”. The first of these three evenings will discuss a potent close parallel called Unerhörte Frauen (Unheard Women) whose composed music, adversely affected by power structures of the time, has effectively been excluded, to be rendered invisible, and their names forgotten forever. What does it mean to be “banned” and how is it that our society has been complicit in such controversy?

New Emergences was kindly invited to co-curate/host, and co-produce this event and we are very pleased to be in partnership with Bochumer Symphoniker. Involving a rich and wide angle of perspectives, the panel this evening will be expertly guided by Lisa Blanning (US/DE) – moderator, writer and editor on music, art and culture. Patricia Hall (US) – musicologist, researcher, writer, editor, and lecturer – has been invited to discuss her role as general editor of The Oxford Handbook of Music Censorship (Oxford University Press, 2017), and will be accompanied by Ann Cleare (IE), an Irish composer writing concert music, opera, extended sonic environments, and hybrid instrumental design; and Penny Saunders (UK), artist, researcher, and maker of theatre-sets, puppets and props, in particular with Forkbeard Fantasy.

[More info about the panel below]

Giulia Bolcato (soprano) and Gianluca Geremia (lute) will perform the following compositions by Barbara Strozzi and Francesca Caccini

L’Eraclito Amoroso, cantata, Op. 2 (5’30’’) – B. Strozzi
L’amante segreto, cantata (“Voglio, voglio morire”), Op. 2. (7’50’’) – B. Strozzi
Lagrime mie, Op. 7 (8’50’’) – B. Strozzi
Chi desia di saper (2’30’’) – F. Caccini
Non so se quel sorriso (3’30’’) – F. Caccini

Full programme of the Fremde/Heimat – Komponieren im Exil, 22-28/10

Full programme of the Gesprächskonzerte:

24/10 Unerhörte Frauen! (unheard/invisible women), 19:00
25/10 Der Nachhall des Gulag (music and sounds from the Gulag), 19:00
26/10 Verfemte Musik in der Gegenwart (outlawed music in the present day), 19:00

Lisa Blanning – moderator
Lisa Blanning is an American writer and editor on music, art and culture. She is a former editor at The Wire Magazine in London and Electronic Beats in Berlin—the city she currently operates out of. She is especially engaged in movements in contemporary electronic music and digital art and culture. She has published cover stories for print publications in three different countries and led panel discussions and artist talks for festivals/events/organizations such as Sónar, Unsound, Haus der Kulturen der Welt, and Ableton’s Loop, as well as presenting talks at institutions such as University of East London and Institut für Populäre Musik in Bochum.

Ann Cleare – panel
Ann Cleare is an Irish composer working in the areas of concert music, opera, extended sonic environments, and hybrid instrumental design. Her work has been commissioned and presented by major broadcasters such as the BBC, NPR, ORF, RTÉ, SWR, WDR for festivals such as Gaudeamus, Wittenertage fur Neue Kammermusik, International Music Institute Darmstadt, Bludenzer Tage zeitgemäßer Musik, IMATRONIC at ZKM, and MATA, working with ensembles such as: ICE, ELISION, JACK Quartet, Ensemble Nikel, Yarn/Wire, Crash Ensemble, ensemble mosaik, The BBC Scottish Symphony Orchestra. Through working with some of the most progressive musicians of our time, she has established a reputation for creating innovative forms of music, both in its presentation and within the music itself. Ann studied at University College Cork, IRCAM, and holds a Ph.D. from Harvard University. Her scores are published by Project Schott New York. She is Assistant Professor of the Music and Media Technologies at Trinity College Dublin. As an artistic collaborator with Dublin Sound Lab, she will work on developing their programming and production of electronic music over the coming years. Ann is Projects Officer with Sounding the Feminists, a collective championing principles of equality, fairness, inclusivity, and diversity in Irish musical life.

Patricia Hall – keynote, panel
Patricia Hall (PhD ‘89, Yale University) taught at the University of California, Santa Barbara, for 25 years before coming to the University of Michigan as chair of the Department of Music Theory (2011-2017).
Hall is the author of A View of Berg’s Lulu Through the Autograph Sources (University of California Press, 1997) – winner of the ASCAP Deems-Taylor Award – and Berg’s Wozzeck (Oxford University Press, 2011). She is co-editor with Friedemann Sallis of A Handbook to Twentieth-Century Musical Sketches (Cambridge University Press, 2012) and the general editor of The Oxford Handbook of Music Censorship (Oxford University Press, 2017).
Hall’s articles and reviews have appeared in The Journal of Music Theory, The Musical Quarterly, Music Theory Spectrum, The International Journal of Musicology, Computing in Musicology, and a number of edited volumes. She received two Fulbright Fellowships for study in Vienna, and a grant from the Paul Sacher Foundation in Basel.
Hall has given papers at the annual meetings of the American Musicological Society and Society for Music Theory, at the Wiener Festwochen, and at the Colburn School, among other venues.
She founded the online journal Music and Politics and was editor from 2007 to 2017. Hall was recently elected president of the Society for Music Theory. Her term as president will begin in November 2019. Prior to taking office, she will serve as president-elect.

Penny Saunders – panel
Penny Saunders is an artist and maker based in Devon, UK. She was selected as one of the Top 100 UK Designers for London’s V&A’s Millennium Celebrations, and her Restless Temple, a project that began in 2000, was installed in 2015 at Tremenheere Sculpture Gardens, near Penzance in Cornwall, where it resides today. The Temple has been recognized and voted as one of the Top Best Outdoor Art Installations in the World.
From artist, graphic designer and socio-political activist, Penny’s revered status in her field began in the early 1970s, eventually becoming a prop, puppet and set-builder for theatre. Notable set-designs and builds includes Ken Campbell’s “Hitchhiker’s Guide to The Galaxy” at the ICA. In 1979, she joined the now legendary multi-media film and performance company Forkbeard Fantasy with whom she has been writing, designing and creating with ever since.
Penny’s sets, costumes and puppetry evolved over 45 years (!) of highly innovative FF touring shows and exhibitions that involved surrealism, film, projections and animation. She was instrumental in the conception, research and the making of mechanised sets, large scale puppets and automata that progressively involved more movement, electronic animation, remote control, springs, motors and comedy.
After FF’s decision to stop touring shows and exhibitions, Penny Saunders has had more time to explore other projects, and is currently working on the Snail Ruckbag, a sleeping bag that rolls up to become a comfortable rucksack, designed for the homeless, refugees and migrants.