Kate Moore Music

Composer Sound Art Music

Jessica Harrison ‘Painted Ladies’

10 June 2020 | Amsterdam | Observations

De onderwerp ‘Tattoeages” heeft me herinneerd aan en prachtig kunstenaar uit Scotland die heet Jessica Harrison. Ze maakt sculpturen van oude porseleinen Royal Doultan meisjes met lange jurken en perfect haar. Met hun kwetsbare gezichten en porselein handen, heeft Jessica over hun witte armen, ruggen, nekken en soms gezichten getekend: piepklein klassiek tattoeages zoals een hart met een pijl, scheepsanker, de woorden “Moeder”, rozen, vogeltjes en meer. De titel van haar
collectie is “Painted Ladies” genoemd en is een grappig contradictie
tussen delicaat en rauw, en een ouderwets en conservatief concept over
een perfect vrouw. De porseleinen meisjes hebben ontsnapt en zijn
rebellen, losse op de straat, een soort kunst-versie van de Russisch
girlband activisten “Pussy  riot”. De werk is echt grappig, maar ook
echt vaardig omdat de tattoeages zijn getekend met extreme perfectie
en het is echt een moeilijk techniek in glazuur. Zij heeft meer in haar collectie van porseleinen meisjes, ook met Royal Doultan beeldjes. Vooral, haar vrouwen die zijn een beetje afgebroken. Porselein is echt een mooie materiaal te gebruiken omdat het erg perfect is, fijn en delicaat, maar ook extreem fragiel. De meisjes lijkt zich zacht als kleine engelen, maar ze zijn echt steen, koud zonder leven en gemakkelijk te breken. Als de beeldjes breek, Jessica heeft ingewanden toegevoegd met rode bloed over witte porselein morsen en we kunnen de meisjes botten, schedels, harten en darmen zien. Het is vreselijk maar ook hilarisch. Door haar kunst
heeft ze ook een verklaring gemaakt waarin, met fijne techniek van
porselein, heeft ze iets verboden gedaan met dit speciaal materiaal.
Ze neemt de hoog kunst van de ideealisme van de hogere klasse en ze
heeft aangesloten het met de straat kunst van de tattoeages met hoge
en lage kunst samen.

http://www.jessicaharrison.co.uk/page12.htm

Piano Concerto (May 2019)

Piano Concerto

Kate Moore

May 2019

Interview for Limelight Magazine with Angus McPherson 

What was your way in to this piece?

The piano concerto came to me in a burst of inspiration. I had been working on a piece that was going to be the concerto and then one morning I work up and felt a new piece waiting for me, hanging in the air. I knew that this was the right piece for Vivian and the orchestra. I scrapped the first version and wrote this new one almost entirely in one sitting. So vivid it was, it felt like I was observing a brightly coloured apparition waiting to be made real through music. This became basis of the piece. I know the pianist Vivian Choi very well for a very long time. We met at the age of 12 as high school students at Ravenswood. Vivian has been a close colleague ever since. In the build-up to the composition we undertook two pilgrimages together. The first being a journey between Florence and Assisi in Italy and the second being the west coast of Ireland to the Marian Shrine of Knock. These journeys informed both the Requiem and the Concerto, both of which were written for Vivian. Three big inspirations behind the piece were the intercession of Saints and Angels in times of need or change, Dante’s Divine Comedy and Liszt’s compilation of piano suites entitled Years of Pilgrimage. These fit very well with themes I have been involved with for a long time including transcendence of the soul portrayed through a journey and the observance of nature along the way. In recent years I have worked extensively with Walt Whitman’s epic poem Songs of the Open Road which has featured prominently in my work and it falls well within realm of themes explored in this piece.

 

What do you find intriguing about Dante’s Breatrice?

 

Beatrice was a guide sent from the otherworld to show Dante the way back to the right path. In this journey Dante finds himself travelling through Hell, Purgatory and Paradiso. Beatrice was sent by Saint Lucia, who represents growing light from the winter solstice, representing the growth of knowledge and understanding. Dante had become lost and could no longer see the right path before him. He was confronted by three dangerous animals who blocked his way and he could no longer proceed. Beatrice is a mysterious character who represents balance and good council not unlike Lady Justice who wears a blindfold and holds balance scales and a sword. By showing Dante the fate of the souls, Dante is left to make up his own mind and come to his own conclusions. On our journey from Florence to Assisi we felt the presence of Dante, Beatrice and Santa Lucia, finding countless images, icons and resonances of their presence in churches and museums and this emphasised the nature of our pilgrimage as we travelled to the home of Saint Francis and Saint Clare.

 

What were some of the things you tried to keep in mind as your were composing this concerto?

 

The most important thing I kept in mind while writing the concerto was love for the music. When thinking too much about the complexity and technicalities of writing the piece and the responsibility writing for such a gifted soloist such as Vivian with such a wonderful orchestra, the task became daunting and overwhelming. It was easy for me to lose perspective. My way to write the piece was simply to enjoy making it and allowing the music to flow whilst maintaining a sense of awe and excitement for all the colours of the orchestra.

 

What are the challenges and pleasures of writing for these forces?

 

The biggest challenge for me is always about time, finding the perfect form before the sand slips through the hourglass of a deadline. The sense of knowing a piece is waiting and confronting the mountain of hours it takes in which to realise a composition that can be communicated to a crowd of other people can become terrifying. The only way to proceed is small steps, one after the other until it piece is complete. Composition is hard and lonely work but the rewards of hearing a performance of the piece live after months or years of imagining it, is tremendous and ecstatic, better than any material possession or gift.

 

Can you tell us a little about the titles of the Concerto’s movements?

 

The titles of the chapters in the music mark signs along found along the way of the pilgrimage that Dante may have observed but are not mentioned in the story. Small things found on the path that one could easily overlook such as the line of yellow flowers that follow a natural spring or the sun behind a veil of clouds that takes on the appearance of the moon or the gasping awe of the river that flows beneath a footbridge. Ariel, weighted with symbolism, represents a guiding spirit, one of revelation and a vision of the beauty and power of nature. Our Lady of Tears represents the empathetic spirit that draws the Journeyer back to the right path through forgiveness, loving kindness and a glorious vision for the future.

 

How would you describe the relationship between soloist and orchestra?

 

In this piece the orchestra emphasises the colour, shape and form of the soloist’s line like wings of a bird that let the soloist fly. The orchestra does not work against the soloist but in communion, where soloist and orchestra are working together to create a brightly coloured vision. The music is a portrait of the soloist and the colours of the orchestra are like the glistening glass mosaic of a gothic stained-glass window. The curvature of the music and the shadows and darkness of its landscape are highlighted by glistening translucent streaks of ruby, emerald, amber and sapphire.

 

How important is this commission for you and your career?

 

The notion of a career sits uncomfortably with the compulsion to write music. Pursuing music is a way of life rather than a career. This commission carved a path before me to be able to explore the depth and wealth of colours that the orchestra has to offer, a curiosity for the palette of sounds and the alchemy of orchestral combinations. To me writing for Willoughby Symphony allowed me to set foot upon an epic journey to another world where the music tells a story of landscapes, visions, colours and revelations. I wrote this piece as a gift for Vivian who has been an endless source of inspiration for me since the time we were children.

Saint Mary and the spider – Villa la Pietra

26 June 2018

Performance and installations – Saint Mary and the Spider

Taking place at Villa La Pietra – Florence

Featuring:

Broken Rosary
Homage to my Boots
Spel III
Saint John Song
Voiceworks II
Voiceworks I
Cassini Sculpture

10 May 2018 Music and Movement

19c7b245-9178-4c70-a015-b76c12f27ac1On May 10 violinist Joe Puglia, 2018 Zielsverwanten artist in residence, performed his program Music and Movement at The Muziekgebouw aan het Ij. For this performance Joe performed my major work “Synaesthesia Suite” for solo violin and automatic instrument, for which we adapted for the Fokker-Huygens organ which is housed in the Kleinezaal of the Muziekgebouw. It is one of the best kept secrets of the Muziekgebouw and is a treasured historical instrument designed by the physicist Fokker, featuring a tuning system of 31 tones. The piece was tuned for this temperament.

http://huygens-fokker.org/instruments/fokkerorgan.html

 

 

Sacred Environment

SACRED ENVIRONMENT
ORATORIO

24 JUNE 2017
HOLLAND FESTIVAL PROMS
CONCERTGEBOUW AMSTERDAM

INFO

Sacred Environment – Journal

Recipient of the 2017 Matthijs Vermeulen Award for The Dam

Recipient of the 2017 Matthijs Vermeulen Award for composition for her work The Dam

INFO

“The Dam is based on the rhythms of the sounds made by cicadas, crickets, frogs, birds, flies, spiders and other creatures that inhabit a waterhole in the bush,” says Moore in her program notes about the composition. “Far away from human intervention, their evening song becomes a great choir joyously singing out into the vast universe. It is possible from far away to hear where the waterhole is without being able to see it and it is also possible to hear the shape of the landscape around it as many tiny creatures create a sonic pointillistic landscape. I am attracted to the almost but not quite polyrhythmic tapestry of sound they create.” (Kate Moore 2015)

24 June 2017 | Sacred Environment | Holland Festival Proms | Concertgebouw

 

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Oratorio and libretto by Kate Moore

Radio Philharmonic Orchestra

Groot Omroepkoor

Conducted by Brad Lubman

Soprano: Alex Oomens

Didgeridu: Lies Beijerinck

VR performer: Esther Mugambi

VR Installation: Ruben van Leer

Sound: Clare Gallagher

2017 Oerol Festival | Stolz trio | Leineroebana Dance Company

Herz Cycle | Portrait Concert | Orgelpark

 

Herz Cyclean epic journey into the sacred heart

Saturday 20 May 2017, 20.15, Orgelpark

Portrait Concert

Herz Cycle_website.jpg

Program

Tangible (2005) – solo guitar
Herz Cycle (2015) and The Open Road (2008)

  1. We will sail (The open road)
    The apple tree (The Herb Garden)
    Mystic trumpeter (The open road)
    Dance (The Herb Garden)
  2.  Spin bird (The open road)
    Dies Irae (The Herb Garden)
    Telephone (The Herb Garden)
    Tarantella (The Herb Garden)
  3. I will be honest with you (The open road)
    Incantation (The Herb Garden)
    Lidy’s piece (The Herb Garden)
  4. We must not stop here (The open road)
    Journeyers (The open road)
    The open road (The open road)
    The herb garden (The Herb Garden)
  5. To that which is endless (The open road)

Pause: Lies Beijerinck – didgeridoo

  1. Synaesthesia Suite (2014)
  2. Bestiary (2016)
  3. The Dam (2015)

 

Lies Beijerinck, didgeridoo
Aart Strootman, guitar
Joe Puglia, violin
Meiyi Lee, percussion
Michaela Riener, voice
Geerten van de Wetering, organ
Zubin Kanga, piano
Marieke Schut, cor anglais (Stolz Trio)
Jellantsje de Vries, violin and viola (Stolz Trio)
Lidy Blijdorp, cello (Stolz Trio)
Clare Gallagher, sound engineer
Trevor Grahl, Production
Kate Moore, composer/ conductor

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13-12-2016 New Emergences: Breaking the Glass Ceiling | Splendor Amsterdam

Aesthetics, Politics, Philosophy and New Emergences in Current Electronic Music and Surroundings.
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New Emergences is a lecture and discussion series highlighting the current debates around gender in electronic, contemporary and experimental music. Within these fields, it is increasingly necessary to give a platform to current advocates for under-represented voices. We believe it is important to expose existing biases that impede the richness of our diversity. By openly discussing how the current environment validifies our artistic works by the identification of our gender, we hope to challenge the existing conditions.
https://newemergences.wordpress.com/

Keynote:
Kate Moore (AU/NL) – Composer of new music creating worlds of sound for acoustic and electroacoustic media. She also writes instrumental music, concert music, sound installations and more.
https://katemoore.org/

Panel:
Henriëtte Post (NL) – Board of Directors at Fonds Podiumkunsten (FPK)
http://fondspodiumkunsten.nl/nl/organisatie/medewerkers/
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Joel Ryan (US/NL) – STEIM, Composer, inventor and scientist – a pioneer in the design of musical instruments based on real time digital signal processing
https://jr.home.xs4all.nl/
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Rozalie Hirs (NL) – a composer and poet, whose work principally concerns the adventures of listening, reading and of the Imagination.
http://www.rozaliehirs.com/

Moderator:
Anne La Berge (US/NL) – Composer/performer of electro-acoustic music based in Amsterdam
http://annelaberge.com/

Doors open at 19:00
Event starts at 19:30 sharp
Free entry – Donations welcome

Keynote Presentation