Music for Everyman
Musical realisation by Anton Lukoszevieze with 3-channel video (The boy who couldn’t speak) by Paulina Eglė Pukytė
Premiere, Literatur Hus, Wundergrund Festival, Copenhagen, Oktober 30th, 2010
Performers - Vladimir Tarasov, Liudas Mockunas, Arturas Bumsteinas, Antanas Dombrowskij and Anton Lukoszevieze
Schumann : Entropic Song Meditations (2010)
Commissioned by the Goethe Institute/Schumann-Fest, Dusseldorf
Premiere 10.6.2010 Schumann-Saal, Dusseldorf, UK Premiere 23.11.10 Huddersfield Contemporary Music Festival
3. Meine hand
4. Ihr gesicht
7. Dead Musick
8. Bilker Str. 1032
9. I was born in Saint Petersburg
Jennifer Walshe voice/percussion, Sarah Nicolls piano/reed organ, Alan Thomas e-guitar, Rhodri Davies concert harp/electric harp, Andrew Sparling bass clarinet, Nancy Ruffer bass flute, Anton Lukoszevieze cello, Hans W. Koch live-electronics, Andreas Harder lighting design
This project was curated by Graham Mckenzie, Director, Huddersfield Contemporary Music Festival
Untitled by Bradley Walker Tomlin
A new programme featuring compositions by Anthony Braxton, Frank Gratkowski and Christian Wolff. A joyous and heterophonic journey
through indeterminate and post-jazz landscapes. This project was premiered at November Music in Holland and Huddersfield Contemporary Music Festival in November, 2009. The ensemble is a quartet of Frank Gratkowski sax, Alan Thomas e-guitar, Philip Thomas piano and Anton Lukoszevieze on cello.
Anthony Braxton Compositions #50, 139 & 322
Christian Wolff Exercises
Frank Gratkowski 2TLG (commissioned by November Music/Huddersfield Contemporary Music Festival)
Braxton 322 excerpt
Additional Braxton compositions are being developed as part of this project.
XXX Live_Nude_Girls!!! (2003) for 2 vocalists, 2 Barbie manipulators, 2 video camera operators, small ensemble and CD-playback
Premiere 5th October 2003, Dresden New Music Days. Subsequent performances Wien Modern, Oxford, Bruges, Rome and Ultima Festival, Oslo, 2009.
The idea behind it all comes from several things. I was thinking about when I was a kid and we would play with Barbie-type dolls. We would make these incredibly complex soap-opera plotlines with lots of death and violence and sex. It was all very dramatic. We didn't have a Ken, so we took one Barbie and cut her hair and drew on some stubble and dressed "Ken" in Barbie's most masculine outfit - a pink velour trouser-suit. "Ken" was then expected to go to bed with the other Barbies. I've been talking to lots of people about how they played with Barbies, and they all did the same things, which I find pretty interesting - generally, little girls playing with dolls is regarded as something very nice and innocent.
I don't really like dolls at all, but I liked playing with Barbies because you could create these massive stories and they also had pretty amazing accessories - we had a kitchen with tiny casserole dishes and little spatulas. There's a lot that has been written about the fact that Barbies don't look like regular women, but this was not really an issue for us when we were kids; bizarrely, because of the accessories and the clothes, Barbies came closer to reality than Lego or Transformers or stuffed toys.
I've been thinking about writing a larger-scale work for ages which could have elements of narrative and characters (however fantastical) but I didn't want to have opera singers or people acting on-stage and then I was reading about these Mozart marionette operas about a year ago and realised the idea of having a Barbie opera actually had some precedents. This was quite exciting and amusing at the same time.
The instrumentation is: two vocalists (not opera singers, people who do improvisation and extended techniques), five instrumentalists, two video-camera operators, two Barbie-manipulators. You have the Dream House (the house where Barbie lives - it's about 4 feet high, and open at the front, very easy to see into, much bigger than a normal doll's house) in the centre of the stage. The two people moving the Barbies are kneeling/sitting on the ground in front. The two camera operators move around behind them. The musicians are scattered around the stage. There are two screens on either side of the Dream House, which relay the video images. The images on the screen should be life-size if possible. Watching kids playing with dolls or teddybears is pretty fascinating, and I really like the idea of making a piece which has a very interesting visual aspect, seeing all these little dolls and tiny accessories blown up on a video screen to life size.
My idea is to create a piece about 35 minutes long. The music does not have to lock in with what's going on visually all the time. The singers sometimes have text (which I will choose/write), sometimes not. There is a narrative thread under the whole thing, sometimes it comes to the surface, at other times there are diversions from it. The performers (whether musical, video or doll) all have scores, with moments of controlled improvisation embedded in strict notation. Everybody uses Barbies or bits of them to play their instruments or make sounds at times.
©Jennifer Walshe, March 2003
©Jennifer Walshe milkercorporation
Rytis Mažulis and Jurgis Mačiūnas
Bridging the Borders
Anton Lukoszevieze director of Apartment House has strong connections with Lithuania and believes that Fluxus originated from there, not just through the activities of Mačiūnas, but innately, fundamentally and historically from Lithuanian culture. In recent years Apartment House concerts have featured compositions by Rytis Mažulis and Jurgis Mačiūnas, notably at the Huddersfield Contemporary Music Festival and also at the World Music Days/Gaida Festival in October 2009. Here is the original text from the Huddersfield Contemporary Music Festival ‘Bridging the Borders’ event.
‘Destroyed instruments, anti-film, chaotic pianos, Fluxus and anarchic canons. Apartment House present two radical Lithuanian composers/artists Rytis Mažulis and George Mačiūnas. Mačiūnas, the high priest of 60’s art revolution Fluxus, and Mažulis, a highly distinctive superminimalist composer, obsessed with canonic forms, taken to supreme limits verging on rock music. George Mačiūnas was, amongst many things, a great maker of diagrams mapping and charting the intricate nature of 20th century avantgarde art. This brings me to think of the French writer Raymond Roussel, who had the idea of using phonetic sameness, but multiple meaning, in order to change the narrative course of his books. I think also of George Perec’s encyclopedic tracts, a whole house of labyrinthine life. Lastly, I think of my own family’s Lithuanian genealogical chart, a vast sprawl spanning the globe back to 1840. The vast inter-connected, correlative nature and, indeed, absurdness of contemporary life is also a programmer’s dream. Take 2 Lithuanian artists, Mažulis and Mačiūnas, a generation apart, unrelated apart from country of birth and similarity of surname. We discover a vast network of connections between their work. Musical instruments threatened, destroyed even, in states of sonic decay and tragic destruction. Musicians reduced to an almost mechanical state and negated of conventional musical roles. Film and music reduced to numbers, fragments, basics and banality. Systems of uniformity and functional blandness, enriched through repetition ad absurdam. Musical canons driven insanely or with a limpid subtle beauty.’ ©Anton Lukoszevieze
Mačiūnas Jurgis talks about rocks
Mažulis Rytis Mažulis, Non in Commotione, Apartment House, Gaida Festival 2008
The origins of Fluxus in Lithuania, fish car in Vabalninkas 1920’s
Acustica (1968-70) for experimental sound producers
Acustica is perhaps the most refined example of Kagel's work within his invented genre of 'instrumental theatre'. The score notes that 'the piece calls for unorthodox musicians who are prepared to extend the frontiers of their craft' since few of the 'experimental sound devices' specified are conventional instruments and where conventional instruments are included they are to be played in extraordinary ways. Each instrumental action is, however, meticulously notated and the creation and/or modification of instruments are also shown in diagrams and photographs. What the score does not specify is the order in which the individual instrumental events are to be played; Kagel suggests instead that each performer should select the events that they want to perform and then discover in rehearsal how best to order them in combination both with the pre-recorded material and with the sounds of the other players. If the result owes obvious debts both to John Cage and to the theatre of the absurd, its subversive critique of received ideas on what constitutes music and musical instruments is above all typical of Kagel, contemporary master of irony. ©Christopher Fox
(below) Apartment House perform Acustica, BBC Radio 3/Sonic Arts Network Cut and Splice Festival, LSO St Luke’s, London, 2005. Performers are Andrew Sparling, John Lely, James Saunders, Tim Steiner, Anton Lukoszevieze and Sara Hubrich. Dress code was an attempt to adopt a 1972 ‘Polytechnic Lecturer’ style. Whether this was successful is doubtful.
Acustica ©The Wire
Europera 5 (1991)
Cochrane Theatre, London, April 20th, 2009
Loré Lixenberg, Andrew Morton vocalists, Aleksander Kolkowski gramophone, Stephen Gutman piano, Dave Hunt sound, David Ryan production, Philip Bentley lighting, Anton Lukoszevieze director
“To make a theatre which is the synergetic result of the coming together of its separate elements (the lighting, the singing, the piano, the record playing, the brief intrusions of the composite tape of more than a hundred operas superimposed (Truckera), brief flashes of light, the movement of the singers from one spot to another in the performance space or to one of the chairs at the back of the stage).” John Cage
Die Schachtel (1962/63)
Sophiensæle, Ultraschall Festival, Berlin, 2006 dieschachtel
Die Schachtel (The Box), a co-production with the Sophiensæle/Labor für Theatre Musik, Berlin and Apartment House.
Music by Franco Evangelisti. Artistic Director/Video Production Daniel Kötter, Staging Paul Zöller, Choreography Petra Sabisch, Sound Design Daniel Teige, Music Direction Richard Baker.
DieSchachtel ©Daniel Kötter
Aus den Sieben Tagen (1968)
Wilton’s Music Hall, Sonic Arts Network/BBC Radio 3 Cut & Splice Festival, 2008
A rare, complete performance of Stockhauen’s seminal work Aus den Sieben Tagen, curated by Apartment House Director Anton Lukoszevieze. The string department consisted of Apartment House musicians performing on Stroh instruments from the collection of Aleksander Kolkowski. The Stroh instruments were amplified and real-time pitch shifting was applied. Additional performers were invited to take part, consisting of a rich panoply of renowned improvisers and contemporary music performers.
Performers were Aleks Kolkowski, Angharad Davies, Gordon MacKay, Patrycja Kujawska, Anton Lukoszevieze, Ian Mitchell, David Ryan, Robin Hayward, Frank Gratkowski, Andrew Sparling, David Behrman, 2021 Arturas Bumšteinas, Antanas Dombrovskij, Lina Lapelyte, Vilius Siaulys, Phil Minton, Rhodri Davies, Seth Josel, Nikos Veliotis, Maja Ratkje, Mark Wastell, Reinhold Friedl, Marc Weiser and Michael Vorfeld. Sound projection was by Dave Hunt.
AusdenSiebenTagen ©David Reid