19 June: Hysterical and Happy
FESTIVAL PASSES £50/£60
Polymer Hauntings (2022)
Battle of Manassas (1861) and The Rainstorm (1865)
(first performances in Britain since 1866-7)
Aura Satz & Sarah Davachi
The Grief Interval (2020)
B♭ Minor Arrangement
for 3 Musicians and 1300 Meters (2019)
Elaine Mitchener (Marclay)
Katherine Tinker piano (Molitor)
Musarc (Gaelic psalms)
Pat Thomas (Wiggins)
Yshani Perinpanayagam piano (Molitor)
‘Feelings are never true. They play with their mirrors’
– Jean Baudrillard, Cool Memories
Settle in for the cathartic final night of LCMF 2022, where we float around, eyes wide, smiles broad, fires roaring: vocal and visual fire courtesy of acclaimed improviser Elaine Mitchener, who will present the UK premiere of an explosive new exploration of comic strips by renowned artist Christian Marclay; electronic fire courtesy of the raw, pulverising, gabber-tinged techno of Polish producer and instrument builder Ewa Justka; and the Stygian licks of the double bass of legendary improviser Joëlle Léandre, founding member of Les Diabolique and the European Women's Improvising Group
Celebrated improviser Pat Thomas will perform two works by neglected 19th-century African-American composer Thomas Wiggins: The Rainstorm (1865), originally composed when Wiggins was five years old, and the extraordinary, cataclysmic Battle of Manassas (1861), which prefigures several 20th-century avant-garde piano techniques by at least half a century. These are the first public performances of these works in Britain since he toured here in 1866-7.
Elsewhere we return briefly to lockdown poetics in Aura Satz and Sarah Davachi’s film The Grief Interval, in which organs haunt a decommissioned power station, then fill the hall with the hallucinatory, transcendental clouds of sound of Gaelic psalm-singing, which will be brought to life by experimental choral collective Musarc, who will be joining forces with members of the Free Back Church of the Outer Hebrides.
In Claudia Molitor’s new requiem Polymer Hauntings – which aims to be unperformable in the near future – single-use plastic acquire a second use, and possibly find fulfillment, as found instruments for sounding. Any aspiring single-use plastics are encourged to be brought in by audience members.
And we end with a visit to the Thames shore, where we’ll watch Tom Foulsham’s B♭ Minor Arrangement for 3 Musicians and 1300 Meters sail away across the river on three small dinghies.