After the long hiatus caused by the COVID-19 restrictions - Éphémère, curated by Marie Guilleray is back!
Ticket price: Pay what you want!
There is a limit of guests we are allowed to host. More information will come soon.
The doors open at 20:00 and the concert starts at 20:30 sharp.
We ask everyone interested in coming to the event to register to secure a spot!
Program:
- Guy Livingston, piano
Born in Tennessee, with degrees from Yale, NEC, and the Royal Conservatory of the Netherlands, pianist Guy Livingston wowed critics and audiences with his Don’t Panic Project. Sixty composers each wrote one minute for Livingston, and he was featured on NPR, in The New York Times, Le Monde, Sports Illustrated, and the CD was praised by the Atlanta Constitution as the ‘party record of the year.’ Livingston is based in Europe and used to travel widely as a pianist before covid. He has recorded three CDs for the Wergo label, and appeared as soloist with the Orchestre Nationale de France and the Chicago Symphony. Major productions include the Nuit de John Cage, the Antheil Centennial Festival, and the William Bolcom in Paris Festival. He won the Bronze and Silver medals for best international music documentary at the New York Radio Festival Awards. He is currently organizing a festival of musical silence in The Hague.
- Hydra Ensemble (Machinefabriek + cellists Nina Hitz and Lucija Gregov, and bass player Goncalo Almeida)
Rotterdam-based quartet Hydra Ensemble features cellists Nina Hitz and Lucija Gregov, double bassist Gonçalo Almeida and Rutger Zuydervelt on electronics. The ensemble is a juncture of four distinctive expressions finding common ground – together they form a four-headed entity that emerges from highly pensive collective improvisations, creating an intricate patchwork of concurrent melodic lines, textural explorations and expansive drones. Its sonic language exists on the cracks of free improvisation, minimalism and experimental foreboding ambience; and is as ominous and majestic as the multi-headed Greek mythical animal they are named after.
Composer and double bass player Gonçalo Almeida (1978) was born in Lisbon, now lives in Rotterdam where he plays in a variety of projects that range from modern jazz, jazzcore to free jazz and free improvisation. He is the founder and main composer of groups Lama Trio, Albatre and Hydra Ensemble; member of The Attic, Cement Shoes and Spinifex – among many others. Almeida has also worked in collaboration with multimedia and video artists, contemporary dancers, theatre makers and poets, worth to mention Arnold Dreyblatt and Julyen Hamilton. Cellist Nina Hitz (1973) was born in Switzerland and is currently living in Rotterdam, The Netherlands. She completed her graduate studies in Baroque cello at the Royal Conservatory in The Hague. As a very active and questing spirit who constantly seeks the unknown in life and music, she is active with experimental music, free improvisation and theatrical performances. She is a member of James Fulkerson and Frank Denyer's legendary contemporary music ensemble, The Barton Workshop, just as Jason Köhnen's The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. Croatian cellist, improviser and artist Lucija Gregov's (1993) work describes and explores new sonic landscapes: adding to her instrumental cello practice, she integrates analogue synthesizers and processed field recordings to her compositions. Her research work titled Liquid Artist is an ongoing exploration on intersection of art, social science and philosophy and it contains thoughts, facts, subjective opinions and analysis of collected materials related to themes of flow, hierarchy, idealism, connectedness and inherited meaning. Rotterdam-based composer and sound artist Rutger Zuydervelt (1978) started recording under the alias Machinefabriek in 2004. His music combines elements of electro-acoustic experiments, minimalism, field recordings, ambient, drone and noise. The music can be heard as an attempt to create sonic environments for the listener to dwell in. Finding tension in texture, tone and timing, the result can be very minimalistic at first glance, but reveals its depth upon closer listening, because as he says: the devil is in the details.