Following the success of last year's inaugural London Contemporary Music Festival (LCMF 2013), "the capital's most adventurous and ambitious festival of new music" (The Guardian) returns for its second year. LCMF 2014 will offer a week of multi-disciplinary events exploring the best new music and performances from around the world in an extraordinary new space.

Exploring the intersection between music and art, LCMF 2014 will include performances and music by everyone from Michelangelo Pistoletto to Gavin Bryars, Fatima Al Qadiri to Salvatore Sciarrino.

From a Noh play presentation to live DJs sets, from the Italian Baroque to power electronics, LCMF 2014 will be a kaleidoscopic tour of the contemporary scene, each night focusing on a different aspect of where music finds itself today.

For our 2014 edition we have teamed up with Second Home to take over a spectacular 20,000 sq ft former carpet factory off Brick Lane.



Christopher Hobbs McCrimmon Will Never Return (1970-73)
James Clarke Island (2003)
Gavin Bryars 1, 2, 1-2-3-4 (1971)
Poulomi Desai Live set
Tim Parkinson untitled 2004b (2004) (world premiere)
John White a selection of piano sonatas
Christopher Hobbs Aran (1970-73)
Maggie Nicols Live improvisation
Consumer Electronics Estuary English (2014)

Philip Best voice, electronics (Consumer Electronics)
Gavin Bryars reed organ, percussion
Poulomi Desai prepared sitar and electronics
Sarah Froelich voice, electronics (Consumer Electronics)
Russell Haswell electronics (Consumer Electronics)
Christopher Hobbs reed organ, percussion
Maggie Nicols voice
Philip Thomas piano, reed organ
John Tilbury piano, reed organ, percussion

This year, we open the festival with a survey of the many British composers and performers who have chosen to swim against the tide.

In a rare reunion since their Obscure Records days, Gavin Bryars and Christpher Hobbs will resurrect several key experimental works of the era. Alongside this John Tilbury will premiere piano sonatas by fellow experimentalist John White. Meanwhile, subterranean explorer Philip Thomas showcases the work of two composers - James Clarke and Tim Parkinson - who have sidestepped conventional musical thought in two very different ways.

It is through improvisation that some of Britain's most radical artists have found their voice. Tonight we witness the legendary solo vocals of Maggie Nicols (pictured above), and the electronic sitar improv of Poulomi Desai.

None of these artists, however, strays more terrifyingly from convention than Consumer Electronics (pictured below), active since the early 1980s. Their recent album Estuary English provides tonight's focus.



Richard Wagner / Leon Michener Improvisations on Der Ring des Nibelungen (1869-1874)
Fatima Al Qadiri
Johannes Kreidler Fremdarbeit (Outsourcing) (2009)
Luigi Nono ... sofferte onde serene ... (1976)
Cornelius Cardew Red Flag Prelude (1973)

Fatima Al Qadiri
Mark Knoop piano (Nono, Cardew), conductor (Kreidler)
Leon Michener piano
Lucy Railton cello
Serge Vuille percussion
Kerry Yong sampler

Music and global capitalism: for the artists featured in this programme, the interlacing of these two themes has been a central concern.

Richard Wagner is sometimes considered the first musical Marxist, with Der Ring des Nibelungen tracing its story around a critique of financial greed. In the mid 20th century, political upheavals led both Luigi Nono and Cornelius Cardew to see music as a platform for anti-capitalist agitation.

Two currently active artists who have turned their attention to today's networks of power and wealth are Kuwaiti composer and producer Fatima Al Qadiri (pictured below) and German composer Johannes Kreidler (pictured above). While Kreidler's Fremdarbeit (Outsourcing) offers a blistering critique of contemporary culture, Al Qadiri's darkly compelling futurism draws on the impersonal sonic vocabularies of corporate culture and hi-tech, commodified club genres.

In association with Verso books



Noh play excerpts:
Shakkyō (The Stone Bridge)
Hagoromo (The Celestial Robe)
Funa-Benkei (Benkei and the Boat)
Karlheinz Stockhausen Himmels-Tür (Heaven's Door) (2006)
Pain Jerk and Russell Haswell Live set

Udaka Tatsushige, Udaka Norishige, Diego Pellecchia actors, chorus
Akai Yosuke flute
Hayashi Yamato shoulder drum
Moriyama Yasuyuki hip drum
Maekawa Mitsunori stick drum
Pain Jerk electronics
Russell Haswell electronics
Serge Vuille percussion

In this night we investigate the extremes of the Japanese musical aesthetic, from 14th century Noh theatre to a new live set by Noise music pioneers Pain Jerk (Kohei Gomi) and Russell Haswell.

The music of Noh (hayashi) is played by four instruments (stick drum, hip drum, shoulder drum, flute) and by a chorus.
This performance (led by Udaka Tatsushige and Udaka Norishige, Kongo School) features excerpts from the plays Shakkyō (‘The Stone Bridge’), Hagoromo (‘The Robe of Feathers’) and Funa-Benkei (‘Benkei and the Boat’).

Bridging the two worlds will be Karlheinz Stockhausen’s epic Himmels-Tür, which is performed on a wooden door (pictured below). Stockhausen often referred to Noh as an important influence, and the ritualised theatre of Himmels-Tür, for percussionist (Serge Vuille) and little girl, provides ample evidence. The entry of metal percussion in the work's final bars reaches out to the clangorous second half of the night.

This will see Pain Jerk (pictured below), a central figure in the development of Noise music in Japan since the 1980s, joined by regular collaborator and power electronics pioneer Russell Haswell. Pain Jerk has explained how he works within a tradition that seeks 'sound that is so terribly loud as to abolish all meaning'.

Russell Haswell gratefully acknowledges the generosity of M.A.S.F. pedals for this performance.



Andrew Poppy 12 Thoughts on the Language of Others (2010)
Josephine Foster German Lied Unorthodox
Peter Ablinger Voices and Piano (1998 - ) (excerpts)
Georges Aperghis Récitations (1977 - 78) (excerpts)
John Giorno:
It Doesn’t Get Better (2010)
The Death of William Burroughs (1997)
Thanx 4 Nothing (2007)
Robert Ashley The Wolfman (1964)

Eric Chenaux guitar (Foster)
Josephine Foster voice
John Giorno voice
Victor Herrero guitar (Foster)
Mark Knoop piano (Ablinger)
Lore Lixenberg voice (Aperghis)
Andrew Poppy voice, keyboard
Gyda Valtysdottir cello (Foster)
Jennifer Walshe voice (Ashley)

In this night we reimagine the popular song and explore the limits of the voice. We begin with a set of Josephine Foster’s arrangements of songs by Schubert, Schumann and Brahms, drawn from her 2006 recording A Wolf in Sheep's Clothing, which sees the singer transform the Romantic Lied into homespun American folk ballads.

‘Do great songs need to be sung?’ asks Andrew Poppy. Tonight we explore the possibility that they don’t. Alongside Poppy’s own 12 Thoughts on the Language of Others will be selections from Peter Ablinger’s Voices and Piano, in which the piano sings while voices speak. From here we wander into the extraordinary world of Georges AperghisRécitations (1977-78) with mezzo Lore Lixenberg.

Poems are songs too - when John Giorno recites them. A legendary figure of the downtown art scene in New York, Giorno will recite several works that reflect on five decades of creativity collaborating with the likes of William Burroughs (pictured above - Giorno, right) and Andy Warhol (with whom he made the film Sleep).

To end the night, acclaimed composer and vocalist Jennifer Walshe will perform one of the seminal experimental vocal works of the 1960s, The Wolfman, by Robert Ashley (pictured above), who died earlier this year.



Peter Zinovieff / Aisha Orazbayeva OUR TOO, a concerto for violin and computer (2014) (world premiere)
Tom Challenger / Kit Downes Wedding Music (2014)
Supersilent Live set

Johan Berntsen live sound, production (Supersilent)
Tom Challenger saxophone
Kit Downes hammond organ
Arve Henriksen electronics, voice, trumpet (Supersilent)
Aisha Orazbayeva violin
Helge Sten electronics (Supersilent)
Ståle Storløkken keyboards, electronics (Supersilent)
Peter Zinovieff computer

For this event we venture to the wild, fraying edges of electronic music, with a landmark new commission from legendary synth pioneer Peter Zinovieff and violinist Aisha Orazbayeva and a performance by Norwegian improvisers Supersilent (pictured below).

Zinovieff's new commission, the second of his collaborative pieces with Orazbayeva (pictured below at LCMF 2013), sees the composer using newer computer technology while also returning to the sounds and techniques of the VCS3 - which revolutionised electronic music in being the first ever portable, mass-produced synthesiser.

Before this Kit Downes and Tom Challenger present the latest version of Wedding Music for hammond organ and saxophone. And we end the night with the elemental electronics of Supersilent, who marry blistering synth lines with a propulsive sense of rhythm.



Domenico Scarlatti Keyboard Sonata in F minor, K519
Salvatore Sciarrino String Quartet No 7 (1999) (UK premiere)
Domenico Scarlatti Keyboard Sonata in E major, K380
Salvatore Sciarrino String Quartet No 2 (1992)
Domenico Scarlatti Keyboard Sonata in A Minor, K265
Salvatore Sciarrino Piano Sonata No 5 (1994)
Domenico Scarlatti Keyboard Sonata in C major, K159


Salvatore Sciarrino Esercizi di tre stili (after Domenico Scarlatti) (1999):
I. Allegro K443
III. Adagio e cantabile K208
VI. Allegro K350
Salvatore Sciarrino String Quartet No 9 (2012) (UK premiere)
Michelangelo Pistoletto Fourteen Less One (2013) (UK premiere)

Mark Knoop piano
Michelangelo Pistoletto
Quartetto Prometeo:
Giulio Rovighi violin,
Aldo Campagnari violin
Massimo Piva viola
Francesco Dillon cello

In our final event we profile three Italians whose fixation with colour is by turns delicate, explosive and cataclysmic.

Domenico Scarlatti's 555 keyboard sonatas are an astonishing set of compositions that shimmer with light and movement. Five will tumble forth in their original versions courtesy of piano virtuoso Mark Knoop. One will be heard in a less familiar form, arranged for string quartet by Salvatore Sciarrino.

250 years after Scarlatti, the fascination for colour takes an unpredictable turn in the music of Sciarrino. In his quartets and sonatas, we find ourselves in a world of splintering, refracting patterns, never sure where the prism will next cast its light. Tonight, the Quartetto Prometeo (pictured above) will give the UK premiere of the seventh and ninth string quartets.

Michelangelo Pistoletto will end the night in spectacular fashion by drawing our attention to a object that has been of central concern to his practice for half a century: the mirror. In this UK premiere of his performance piece Fourteen less one, we will witness light become colour in an irreversible act of spectral change, as Pistoletto takes a hammer to the glass.