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Host Richard Lannoy Shares his thoughts on Steve Martland

"..a Blake aphorism “Energy is Eternal Delight” – a notion  which idealises my attitude to the band and confirms my instincts about music and even life itself” Steve Martland "Strangely enough, music is always judged by its beauty. Strangely enough, because good composers only rarely strive for something which people call beautiful. Composers strive for clearness, functionality, explicitness, emotional expressiveness sometimes; they want to move listeners, to shock them, or to clarify things. They want to pose problems, not to solve them. They want to show that the world, and also the world of thinking, is more complex than we want to think.   Steve Martland's music shows this on different levels. It sounds sometimes simple, but it is complex. Sometimes it sounds very complicated, but in reality it is very clear. This is what I would call a 'dialectical' approach to composing, and in the long-term the best attitude toward creating something that could be understood as beautiful." Louis Andriessen

Martland first came to prominence on the British music scene with his break-through orchestral work Baba Yar, recording with the legendaryFactory Records and later forming the Steve Martland Band with the express intention to perform his compositions.

Martland's whole profound moral outlook expressed in music of celebratory optimism that dances and has joy, in-keeping with his almost apocalyptic idealism, a tendency towards the social morals of a latter-day William Blake in opposition to the Thatcherist material world of the early 1980's, encapsulated everything about the man and his music, music that has an immediate and compelling appeal.

When confronted with an orchestra, he'd expand its horizons with non-classical instrumentations found in rock, pop and jazz; confront him with a rock or jazz line-up and he'd expand its horizons with techniques from Mediaeval or Baroque. The man and the music contained the energy of rock, pop and dance music as well as the rigorous compositional technique and clarity of vision served by organised and strictly disciplined musical thought. At the same time, he conformed neither to the perceived social attitudes of the latter nor the commercialised musical limitations of the former. Simply fearlessly demanding and virtuosic music without apology.

Steve Martland was born in Liverpool, originally planned a career in the Royal Navy. After studying music at Liverpool university he decided to study composition, not in the UK, but in progressive Holland with Louis Andriessen, as well as with Gunther Schuller at Tanglewood in the US.

Martland's refusal to conform to the received stereotype of a composer and his outspoken criticism of what he regarded as the snobbery and elitism of the classical music establishment, particularly during the 1980's and 1990's, may have made him a controversial figure in some quarters. But among a whole future generation of performers and composers that followed, it set a bold, refreshing example for contemporary art music's energised existence beyond the marginal confines of institutionalised academia. Martland engaged the public with a concept of the value of music that potentially confronts its consumerist tendencies, a legacy and spirit that permeates todays contemporary music scene.

The strength of Martland's conviction that a composer has a moral responsibility to the social reality of their times was further reflected in his work in music education. His frequent workshops directing composition projects in schools and academies at home and abroad, saw him initiate and run 'Strike Out', a summer school which helped produce a new generation of young composers from less-privileged backgrounds. He was the artistic director of SPNM (the Society for the Promotion of New Music) from 2002-04, an organisation that had supported his own Babi Yar.

Steve Martland, great composer, boundary-breaker, a guiding light a true maverick and a very warm, funny and enormously likeable guy, his Blake-like spirit both the music and the man lives on.

(Richard Lannoy)

Further info: www.nonclassical.co.uk

>>>Tickets from WeGotTickets

>>>Facebook Event Page

'Making Mechanics' documentary

Earlier this year Gabriel Prokofiev's music was used in a new ballet production by New York-based Armitage Gone! Dance. Choreographed by Karole Armitage (Madonna's "Vogue", Bolshoi, and Cirque du Soleil among others), it's titled 'Mechanics of the Dance Machine". Now a fifteen minute documentary is in production about the making of this unique production, and Armitage Gone! Dance have set up a Kickstarter to help fund the final edit. You can view a trailer of the film here:

PODCAST #10

To mark our first foray into the North East on 18th May, as part of Northern Chords festival, here's a special podcast mainly consisting of pieces featured on the night - including cello-orientated music from Reich, Crumb, Gabriel Prokofiev and Thomas Demenga, with the Arvo Part 'Fratres'. We've thrown in a couple of Nonclassical remixes from Mira Calix and Heavy Deviance, of Tansy Davies and Mercury Quartet respectively, as well as an excerpt from Simon Steen-Anderson's String Quartet.

RAYMOND SCOTT'S SON STAN WARNOW CHOOSES HIS TOP 5 SCOTT MOMENTS

On Tuesday 12th March we present the London premiere of Deconstructing Dad, an award-winning documentary on Raymond Scott, made by Scott's son Stan Warnow - who below picks his top five tracks. >>> Tuesday 12th March: 'Deconstructing Dad' at Hackney Attic >>> Thursday 14th March: Raymond Scott's music live at XOYO

STAN'S TOP RAYMOND SCOTT MOMENTS:

1. 'The Penguin', from Scott's 'Quintette' in the early years (1937-39)

http://www.youtube.com/watch?v=wo0JrbbiavI

2. 'Baltimore Gas and Electric', from the Manhattan Research time.

http://www.youtube.com/watch?v=czn5neGreLs

Initially a leader of jazz bands, Scott took a rigorous approach to orchestrating parts for different players and would shun improvisation in favour of complex arrangements. He had a glamorous celebrity lifestyle in the States and by the 1950s was presenting 'Your Hit Parade' on NBC. He also provided the soundtracks, loved by so many, for Warner Bros. 'Looney Tunes' cartoons.

What few realised was that he was using this to fund his research into electronic music and composition with his Manhattan Research Lab - during this time he invented several new instruments, worked with Robert Moog, and arguably invented the world's first ever polyphonic sequencer. He even made a series of records to help put babies to sleep, called 'Soothing Sounds For Baby' - which doesn't sound out of place next to Aphex Twin's 'Selected Ambient Works'.

Scott took the same technical approach to his electronic compositions as he had with his jazz arrangements, and has left behind an incredible legacy of music.

3. 'Oil Gusher' - another from the Quintette years (the video is of a new recording by Steve Bartek)

http://www.youtube.com/watch?v=XuJCvntrF14

4. 'Powerhouse' - Video with a specially made Looney Tunes montage from Warner Bros.

http://www.youtube.com/watch?v=r3FLN0iQ9SQ

5. 'Little Miss Echo' from 'Soothing Sounds for Baby'

http://www.youtube.com/watch?v=l17kn0WpD2s

Find out More:

>>> Deconstructing Dad Website

>>> Raymond Scott Archives

The Delian Mode Filmmaker Kara Blake's Top 7 Delia Derbyshire Tracks

The Pioneers Festival is a celebration of all those who pushed the boundaries in electronic music and helped to shape the sounds that nowadays we are all so familiar with.

Delia Derbyshire was a part of the BBC's groundbreaking Radiophonic Workshop in the 1960s and she made her most best-known work during this time - notably the Doctor Who theme, along with so much more. Her legacy continues to inspire new generations of musicians and it seems that it's only decades later that the true extent of the work she and others did within the Workshop can command the acknowledgement and respect that it always deserved.

Our guest for this playlist is Kara Blake, who last year made a short Delia-focused documentary, The Delian Mode, which has already won numerous awards. We are happy to be giving the film a screening on the 12th of March as part of a special documentary night.

Here's the Trailer for the film.

>>>>Tickets and further info for the Documentary Evening

Kara Blake:

There’s more to Delia Derbyshire than the Doctor Who theme music. Sure that piece was a creative and technical feat that remains one of the most successful and recognizable theme tunes of all times but here are some other tracks that further purport Ms. Derbyshire as a laudable figure in the pantheon of electronic music pioneers.

The Dreams 1964 The first in a series of Inventions for Radio for which Delia collaborated with dramatist Barry Bermange. Voices describing their dreams are set adrift in a wash of electronic sounds which are simultaneously beautiful and frightening. It was this piece that hooked me, made me want to find out more about Delia, and eventually led to the making of my film The Delian Mode.

The Delian Mode (1968) The title track for my film is, to me, the definitive Delia Derbyshire sound. It’s like being led through a secret door and being granted access to unimaginable realms.

Door to Door (1968) One thing that drew me to Delia was the diversity of her work. There’s such a range of sounds, from ominous and otherworldly to beguiling and playful. I think this track is a great example of her wit and humour.

Firebird (1967) Delia co-wrote and created this wonderfully catchy blend of pop and experimental electronica with David Vorhaus and Brian Hodgson for an album called An Electric Storm. Be sure to check out the rest of the album for more “unconventional” sounds...

Dance from Noah (1969) This track was amongst the 267 tapes found in Delia’s attic after her death in 2001. Thought to be created in the late sixties, this piece solidifies the timeless nature of much of Delia’s work and had me wanting to hit the dance floor. Unbelievable!

Sychrondipity Machine (2000) This was a collaboration between Delia and Experimental Audio Research ( a.k.a. Pete Kember) that sprang from many late night phone calls between the two. Delia’s magic touch seems to tactilely bubble to the surface in this piece.

Sculptress (2010) A pioneer takes steps in unchartered territory so as to open the path for those who follow. I think we can safely say that Delia Derbyshire did just that. At a time when electronic music was a barely audible hum, she invented techniques in order to realize her creative ideas and established a legacy of music making founded on experimentation and ingenuity. It is unsurprising that many contemporary musicians cite her as an influence and choose to contribute to a growing list of works which pay hommage to her as this piece by contemporary composer Nicole Lizée does so well. Performed by the Standing Wave Ensemble and recorded live at The Clutch theatre in Vancouver, Canada in 2010.

Pioneers of Electronic Music Podcast

Here's a Podcast of Electronic Pioneers all themed round our Festival running March 6-17th.

It's been great fun compiling this podcast, and it features a good few of the pieces we've programmed for the Pioneers of Electronic Music Festival. The Stockhausen, Varese and Messiaen works are all being performed at our XOYO event on 14th March along with a DJ set from The Orb's Alex Paterson. Also included is material from people we are celebrating at our events, such as Daphne Oram - who has a tribute evening on the 6th March - and Delia Derbyshire and Raymond Scott, who we're showing biographical documentaries about during the festival.

The podcast has excerpts from the film scores of The Day The Earth Stood Still and Forbidden Planet, both pioneering in their use of electronics and showing at the Rio Cinema on Sunday 10th March.The Plastikman minimal techno track Psyk, takes us forward to 1998, proving although the technology has no doubt advanced since the mid-20th century, the sonic qualities aren't so different.

More info on the tracks:

1. 00'00": Clockwork Orange Title Music / Wendy Carlos (1972)

Wendy Carlos (as Walter Carlos) brought synth sounds to the household with her Switched on Bach albums in the late 1960s, performed on Moog. In the Clockwork Orange soundtrack, this approach continues as epic reimaginings of familiar works from the classical canon are given an eerie electronic twist which adds to the dystopian world of the film.

2. 02'31": Oraison / Messaien (1937)

Composed for 6 ondes Martenot. Talking about 'pioneers' would be difficult if we were to overlook this instrument - invented in 1928, its theremin-like wavering sounds come from varying oscillations in vacuum tubes. Getting hold of one now is fairly difficult but we've managed to secure a performer and an ondes for a rendition of this piece at XOYO on 14th March.

3. 07'53": Wheels That Go / Raymond Scott (1967)

Raymond Scott led what in effect appears to be a double life. On the one hand, he was a radio and TV celebrity and big band leader, who soundtracked among other things the Looney Tunes cartoons; while by night he developed some of the first synthesizers and sequencers in his Manhattan Research Lab. 'Wheels That Go' bridges that gap, being an electronic score for none other than Jim Henson. Scott has been gradually rediscovered over the last 20 years or so, and only now can we really appreciate the ingenuity and scope of his work with lovingly restored and remastered selections such as this one. Catch the first London screening of RS documentary Deconstructing Dad on 12th March.

4. 08'51": Occasional Variations / Milton Babbitt (1968-71)

The issue of who made the first synthesiser (Raymond Scott, Daphne Oram, Milton Babbitt or even the simple one-note oscillators of the late 19th Century?) has been a hotly contested issue since we started talking about the Pioneers festival. But Babbitt's lab - which still lies dormant at Columbia University - houses the original RCA synth which he worked on through the 1960s, and it's definitely among the first. Occasional Variations was composed in the late '60s and clearly demonstrates the capacities of his instrument.

5. 13'17": Snow / Daphne Oram (1963)

With her Oramics machine Daphne Oram was truly a Pioneer of electronic composition (she set up her studio in 1959). The machine is currently on display in London's Science Museum. Snow soundtracks a short film, and is interesting in sounding like big beat and sample-based hip hop, which it pre-dated by 20-30 years. On 6th March we'll be celebrating Oram with a special night at The Macbeth dedicated to her work and its legacy.

6. 14'56": Syncopation / Tom Dissvelt and Kid Baltan (Dick Raaijmakers) (1958)

Another hotly contested debate is who 'invented' the forms of repetitive modulating rhythmic sequences of House, Electro and Techno. These two would be prime contenders for that crown. Recorded in 1958, the frantic offbeat basslines of Syncopation pre-empts what Djs and Producers were doing in clubs and on pirate radio of early '80s Detroit, Chicago and beyond.

7. 16'28": Forbidden Planet Main Titles Overture / Louis and Bebe Baron (1956)

The soundtrack the Forbidden Planet is credited as being the first entirely electronic film score. We're screening the entire film at the Rio Cinema on March 10th as part of a double bill.

8. 18'30": Valse Sentimentale / Tchaikovsky Performed on Theremin by Clara Rockmore (1987)

Clara Rockmore is an important pioneer in being a virtuoso of the - incredibly difficult - theremin, an eerie sounding electronic instrument familiar to many from sci-fi soundtracks but not so much as a solo instrument in its own right. Here she takes on Tchaikovsky, from her 1987 album The Art of The Theremin, which was produced by none other than fellow pioneer Robert Moog.

9. 20'30": Schlum Rooli Glyn Jones, BBC Radiophonic Workshop, 10. 22'05": Major Bloodnok's Stomach Dick Mills, BBC Radiophonic Workshop, 11. 22'13”: Mattachin 1 Delia Derbyshire BBC Radiophonic Workshop

The BBC Radiophonic Workshop became incredibly prolific throughout the 1960s, providing in-house soundtracking to BBC television and drama. Most famously, the Doctor Who Theme, which was performed by Delia Derbyshire - subject of The Delian Mode, a documentary we are showing on March 17th. These three tracks are all examples of the kind of work that was happening in the Workshop at the time.

12. 22'15": IBM Probe / Raymond Scott (1963-64)

More from Mr. Scott's Manhattan Research era. On 14th March at XOYO Leon Michener will be performing his new transcriptions in one of the first fully 'live' performances of these works.

13. 25'05":The Day The Earth Stood Still Prelude / Bernard Hermann (1951)

This film was another important innovator - with the soundtrack including two theremins. Nowadays it sounds kitsch but still brilliantly futuristic, and it's definitely been imitated though never bettered. It's the other film we're showing in our Rio Cinema double bill on the 10th March.

14. 26'40": Diamorphoses / Xenakis (1957)

The Greek composer's first tape-based piece of 'Musique Concrete': using 'found' sounds, essentially an early form of sample-based music - in this case belonging to earthquakes, jet take-offs, skips’ shocks, musical instruments and more.

15. 28'45": Kontake / Stockhausen (1958-60)

A short excerpt of the much longer (c. 35") piece from Stockhausen which will be performed in its entirety at XOYO on the 14th.

16. 31'46": Poeme Electronique / Varese (1957-58)

Another important late-1950's work for electronic tape. Varese was keen to utilize the space in which this pre-recorded tape piece was heard, and at its premiere it was heard through 350 specially positioned speakers. Again to be performed on the 14th March.

17. 26'33": The Rhythm Modulator / Raymond Scott (1955-57)

More genius from Raymond Scott, illustrating in this one the similarities between his work and that of those coming from a club background some years later …

18. 38'27":Psyk / Plastikman (1998)

I wanted to end the podcast showing the similarities between minimal techno and electronica and the work of the pioneers in the mid 20th Century and earlier. Richie Hawtin aka Plastikman is often seen in dance circles as the pioneer of minimal techno.

Feature: Alex Paterson Top 11

As part of our Pioneers of Electronic Music festival, we're returning to XOYO - on Thursday 14th March. Among the highlights is a very special headline DJ set from Alex Paterson of The Orb. He'll be surveying some of the finest moments in electronic dance music history for his set, so to get us in the mood we invited him to pick a spontaneous top ten. He gave us one extra, and also provided us with some brilliant commentary. >>> NONCLASSICAL @ XOYO: More info / advance tickets

1/  E2=E4 by MANUEL GOTTSCHING (1981) 1 hour of pure bliss, a track that launched a 100 versions. A pioneering album

2/ DELUXE ( IMMER WIEDER ) by HARMONIA (1975) Makes me wonder why I bother when I listen to this gem from the godfathers of German electronic musik. Look up "zodiac free arts Klub ".

3/ APOLLO by BRIAN ENO (1983) (Or My Life In A Bush Of Ghosts with David Byrne .... ) Both albums are supreme. Apollo is the soundtrack to "For all mankind", a film made by the astronauts who went to the moon. And My Life In A Bush Of Ghosts is a pioneering masterclass. Gold star

4/ REDCELL : STASIS by B12 (1992) Personal techno from a small band that was a hit with DJs in '89 to '93 . They were up there with The Orb in the early 90's.

5/ SUICIDE by SUICIDE (1977) I saw this lot support The Clash in '78 in Aylesbury. They got bottled off both nights. A vocalist, drum machine, & synth... Very bare, and ' cheree ' is a favourite from 1977

6/ 666 by APHRODITE'S CHILD (1970) Vangelis meets Demis Roussos ... Greek genius and pioneering back in '71 . A real diamond.

7/ WHO'S AFRAID OF THE ART OF NOISE by THE ART OF NOISE (1984) 'Moments in Love' comes from here and a few other classics. From a band formed from sound and vision. Art Of Noise was an original idea that came out of Basing Street studios in the mid 80's ... along with Frankie Goes to Hollywood they had a synth called "the fairlight" - before the Akai samplers.

8/ YOU'RE GETTING BETTER by KEN NORDINE One for the ancient ones of pioneering music , this time for adverts and for me a great relaxing moment is 'fire flies' It's nursery music for grown-ups that believe in Peter Pan.

9/ LOW by DAVID BOWIE (1977) Pioneering. From Berlin via Cluster & Eno . The 2nd side of the LP was my night-time music from '77 to '80. Classic  beauty that takes you on a dream of blissful wonderment ... it has always rocked my dreams.

10/  TRANS EUROPE EXPRESS by KRAFTWERK (1976) Any album by these geniuses. I once met Ralf (we toured with them once). Anyway I asked for a photo with him and he said, "let's take it outside, there's no little fluffy clouds in here!" Blimey, Ralf knew the orb ! I was speechless ... I bought tickets to see them in 1981 at the Lyceum in Covent Garden and had to give my ticket to my girlfriend's mate as I was on bloody tour duty with killing joke!!! Should have called off sick!

11/  ADVENTURES BEYOND THE ULTRAWORLD by THE ORB (1991) Co-penned by yours truly and I'm proud to have placed my thoughts on to vinyl & digital. It's for my children too.. I would like them to be proud of their dad.