A sonic view presents a concert-format Musarc first experimented with during the London Architecture Festival in 2010 under the title On air. Organised in the form of public workshops, three composers were each given precisely one hour to introduce and develop a new work with the choir.
In 2012, Musarc is taking On air to Bold Tendencies in Peckham, South London, with new works by Claudia Molitor, whose composition A sonic view lends the title to this year’s event; Michael Betteridge, a young composer currently in his first year of MMus in Composition at the Royal Northern College of Music; and a nascent musique concrète ensemble within Musarc founded by choir members Joseph Kohlmaier, Esther Waterfield, Toby O’Connor and Lara Karady.
This year’s venue, the top floors of a multi-storey car park open to the elements and incorporating spectacular views of London, train noises and the general hubbub of city life, is set to inspire new and unexpected responses from the composers to an already unusual brief.
Corpus sonus is a piece for choir and dictaphones originally commissioned by Turner Contemporary, Margate, which was premièred in April 2012 on the occasion of Late night live: Landmark, an event marking the gallery’s first anniversary.
Based on an original idea by sound artist and ensemble member Sam Belinfante, Corpus sonus begins with a live performance of William Byrd’s Ave verum corpus followed by a variations of the early 17c motet using dictaphone recordings made by each individual singer during the performance itself.
Destined to be interrupted by the deafening noise of passing freight-trains, the choir will perform new material juxtaposing the phasing patterns of Steve Reich’s Clapping music (1964) and pastoral yelling calls in Veljo Tormis’s Helletused with the delicate ‘tintinnabuli’ textures of Arvo Pärt’s Magnificat (1989) and other choral material.
The afternoon workshops for A sonic view are open to the public but also offer the opportunity for a limited number of people to join the ensemble and take part.
You don’t need to have extensive experience with singing in a choir, but confidence in your singing voice and the ability to read and interpret musical scores at a basic level are an advantage. If you would like to get involved, please contact Joseph Kohlmaier (email@example.com).
Stay and celebrate with us after the concert in Practice Architecture’s Frank’s Café on top of the car park.