Dublin Sound Lab


Wednesday: 12/4/23, 8pm
Duration: 80 mins

Simon Steen-Anderson, Study for String Instrument #3, for cello, tape and video (2011)*
Francis Heery, Towards a Soteriological Theory of Bog Bodies, for piano and guitar (2023)**
Johannes Kreidler, Bow, for violin, tape, and video (2020)*
Alessandro Massobrio, Calanchi, for piano and guitar (2023)**
Martin Matalon, Traces V, for clarinet and interactive electronics (2006)*
Jaki Irvine, Re_sett_ing_s, for mixed chamber ensemble and live video/VJ (2022)**

* Irish premiere
** World premiere

Ilse de Ziah, cello
Francis Heery, synthesisers
Izumi Kimura, piano
Shane Latimer, electric guitar
Feilimidh Nunan, violin
Paul Roe, clarinet
Joe O'Farrell, flute
Cora Venus Lunny, violin
Sarah Grimes, drums
Jaki Irvine, live video (Re_sett_ing_s)
Fergal Dowling, computer

Dublin Sound Lab presents a programme of Irish premiers, including three new works written especially for this performance by Francis Heery, Jaki Irvine and Alessandro Massobrio's new Music Current Festival commission. This seemingly eclectic programme shows the results of extended collaborations combined with video and virtuosic interaction. Three modern multimedia and electronic music "classics" for soloists form the skeleton of the programme: Simon Steen-Anderson’s hypnotic Study for String Instrument #3, and Johannes Kreidler's Bow – both of which are visually witty commentaries on the concept of multimedia composition and interaction – and Martin Matalon's masterfully sonorous Traces V for clarinet and computer.

Francis Heery's Towards a Soteriological Theory of Bog Bodies (for piano, synthesiser and electric guitar) and Alessandro Massobrio's, Calanchi, (for piano and electric guitar) are, in a way, sister pieces. Both were composed for this concert and purposely for Izumi Kimura (piano) and Shane Latimer (electric guitar). And both make use of extraordinarily detailed instrumental sonic explorations that reveal an astonishing sensibility of sound and precision workmanship, in both composition and performance.

Jaki Irvine's Re_sett_ing_s (for mixed chamber ensemble and live video/VJ) is quite literally a resetting of her recent two-person show of the same name, with Locky Morris at The Complex, Dublin. The artist John Graham described that exhibition as, "a panoply of looping images and sounds; a discursive array of interacting elements that, while tightly constructed, feels enjoyably lawless." Here the work is literally reset, amplified and projected with the forces of flute, violin, piano and drum kit, and revels in its self confidence and tightly controlled lawlessness.

"Dublin Sound Lab is doing an important job for those in Ireland who remain passionate about music in the post-war avant-garde lineage and who rarely get the opportunity to hear such 'difficult' music performed… …flying the flag in Ireland over the past decade for European modernism." [Liam Cagney, Journal of Music]

Dublin Sound Lab is a contemporary music project group specialising in electronic and computer-mediated concert performance. As well as presenting existing works, we initiate collaborations and use computer-based techniques to explore relationships between compositional process and performance practice, and to create new and engaging concert experiences.

Formed in 2008 by composer Fergal Dowling and organist Michael Quinn, Dublin Sound Lab has worked with many leading Irish and international composers, performing works by: Ailis Ni Riain, Gérard Grisey, Salvatore Sciarrino, Kaija Saariaho, Luca Francesconi, Karlheinz Essl, Peter Ablinger, Mauricio Kagel, Wim de Ruiter, Ann Cleare, Scott McLaughlin, Barry Truax, Roderik de Man, Karen Tanaka, Jean-Claude Risset, Ed Bennett, Judith Ring, Gerald Barry, Jonathan Nangle, Jonathan Harvey, Rob Canning, Gráinne Mulvey, David Bremner, and Garth Knox, amongst others.