Philip Venables

Tag: Huddersfield Contemporary Music Festival (HCMF)

  • Performance photos of Answer Machine Tape, 1987

    Performance photos of Answer Machine Tape, 1987

    We’ve just completed the run of premiere performances of Answer Machine Tape, 1987 with the four co-commissioning festivals: Time of Music in Finland, November Music in the Netherlands, hcmf// in the UK and the Festival d’Automne à Paris. Thanks to all those festivals for supporting the piece, as well as the UKRI Future Leaders Fellowship, Royal Holloway, University of London, The Marchus Trust and Berlin Neustart Kultur.

    Here are some images from the various performances that can be used for press and non-commercial promotion. Please credit the photographers as listed below, and the commissioner and performer Zubin Kanga.

  • Profile by Tayyab Amin for hcmf//

    Profile by Tayyab Amin for hcmf//

    I was very fortunate to be featured this year at hcmf// across three concerts of my most recent works: Answer Machine Tape, 1987, performed and commissioned by Zubin Kanga; Numbers 81–100, performed and commissioned by Lovemusic; and My Favourite Piece is the Goldberg Variations, performed and commissioned by Andreas Borregaard. As part of that focus, writer Tayyab Amin wrote a lovely profile for the programme book, which is copied below. Please contact Tayyab here if you would like to license this profile for other uses. The article on the hcmf// website can be seen here.


    Philip Venables’ personal, political storytelling

    Among the most fascinating of contemporary British composers is Philip Venables, whose flair for the theatrical is matched by a subversive sleight of hand that comes inherent to all natural storytellers. Recurrent themes across their works include politics, sexuality, gender and violence – motifs that do of course intertwine, though more broadly share the quality of relating to whether one lives alongside or against the grain of our society. There are all sorts of tales Venables opts to tell, from maternal memoirs and posthumously performed plays to true-story accounts of runaway teens and the vengeful reflections of world-class boxing athletes. They come in all manner of guises too: operas for adults or for children, site-specific soundworks, concertos and pieces of spoken word. Even shouted word, in some cases.

    Based between Berlin and London, Venables nurtured their career as a composer and collaborative artist for several years before their breakthrough operatic adaptation of late playwright Sarah Kane’s final work, 4.48 Psychosis. Since then, Venables has established a trend of preferred elements to focus on in their compositions: working from texts as source material, immersing audiences in a multi-dimensional experiences, and inflicting or at least channelling a certain sense of violence, for example through how abrupt a work’s components are cut together, interrupting or compounding each other. There’s an intent behind such rhythmic intensity, one that Venables admits to calculating formulae for, transposing compositions from numerical spreadsheets onto musical scores.

    One text Venables is compelled to return to is Simon Howard’s Numbers, first in 2011 and as recent as 2021. These poems traverse seemingly vivid memories that devolve into onomatopoeic fervour, streams that wander to the brink and back again. Venables has described them as ‘unfussy, evocative, violent and visceral’ – attributes they look for in music too. These qualities are evident in the setting of these poems of course. Take Numbers 91-95, where the speaker’s account is interrupted by their own sudden outburst as harp, woodblock and flute resist interjecting and lucidity slips from view. The text and music aren’t driven by narrative, but their colour and imagery, the political brutality and fractured hardness of them speaks volumes. We’ll see a comprehensive demonstration of the dynamism of verbal expression as Strasbourg-based new music collective lovemusic perform a selection of works from the Numbers series as part of their programme at hcmf// 2022.

    Venables’ compositions aren’t always written for typical chamber instrumentation – there’s often a multimedia element to their works. Also appearing at this year’s festival is the recent solo piece Answer Machine Tape, 1987. Teaming up with frequent collaborator, dramatist Ted Huffman, as well as software programmer Simon Hendry and innovative pianist Zubin Kanga, Venables devised a work for piano where keystrokes are detected and input to software through MIDI detection and MaxMSP. This transforms pianist into transcriber and annotator, developing an archival, perhaps parasocial storytelling relationship with recorded and projected source material: the answer machine tapes of New York visual artist and activist David Wojnarowicz. These recordings capture the last days of Wojnarowicz’s former lover and close friend, photographer Peter Hujar, where the banal snippets of everyday life in a setting of artistic vibrancy and gay expression are loomed over by the onset AIDS crisis. Contrast to the technologically mediated interfacing at the crux of this work, Venables presents unflinching intimacy as both invitation and challenge.

    Much like Answer Machine Tape, 1987, the accordion piece Andreas Borregaard is due to perform at hcmf// takes verbatim audio material and negotiates the levels of their directness with their conversational quality. Yet in this composition, titled My favourite piece is the Goldberg Variations, interviews come from the personal life of Borregaard’s mother Susanne to more actively explore the accordionist as storyteller.

    As long as there are stories to be told, Venables will discern new ways to share them in whoever’s voice they can – even if it takes a full reset on creating abstract music following a stint composing for opera. Their role is to challenge both the politic of the status quo and our intrusive storytelling intuit in one fell swoop.

  • More dates announced for ‘Answer Machine Tape, 1987’

    More dates announced for ‘Answer Machine Tape, 1987’

    Answer Machine Tape, 1987, my a new work for piano and multimedia, has more performances announced this autumn. Zubin Kanga, who commissioned the piece, will perform the work at the following places:

    12th November 2022 — House73 Courtroom in ‘s-Hertogenbosch, Netherlands, as part of November Music. Click here for tickets and info.

    19th November 2022 — Bates Mill in Huddersfield, UK, as part of Huddersfield Contemporary Music Festival. Click here for tickets and info.

    4th December 2022 — Espace Cardin in Paris, as part of the Festival d’Automne à Paris. Click here for tickets and info.

    The piece was made in collaboration with Zubin and programmer Simon Hendry, based on a concept developed in collaboration with Ted Huffman. It focuses on New York visual artist David Wojnarowicz and the turbulent period leading up to the death Peter Hujar, his close friend and fellow artist, from AIDS-related illness in 1987. The focal point of the work is Wojnarowicz’s answering machine tape from the days leading up to Hujar’s death, featuring calls from Hujar, other artists, friends and lovers. Using new sensor technology from the Augmented Instruments Lab, the piano is turned into a huge typewriter to transcribe, comment on and illuminate the messages. The result is, I hope, a poignant and intimate exploration of that period of the New York art scene, queer history and the AIDS crisis.

    Answer Machine Tape, 1987 was commissioned by Zubin Kanga with the support of a UKRI Future Leaders Fellowship and Royal Holloway, University of London, in conjunction with Time of Music, November Music, Huddersfield Contemporary Music Festival and Festival d’Automne à Paris. I also received support for research, workshops and software development from the German Federal Government Commissioner for Culture and the Media within the framework of Neustart Kultur.

    Photo by Eeli Järvinen, taken at the premiere at Time of Music, Viitasaari.

  • ‘Answer Machine Tape, 1987’ premiere, Time of Music

    ‘Answer Machine Tape, 1987’ premiere, Time of Music

    Answer Machine Tape, 1987 — a new work for piano and multimedia — has its first performance on 8th July 2022 at Time of Music Festival (Musiikin Aika) in Viitasaari, Finland, given by Zubin Kanga. The festival is programming a small feature on my work, including performances of Illusions and My Favourite Piece is the Goldberg Variations.

    The piece is made in collaboration with Zubin and programmer Simon Hendry, based on a concept developed in collaboration with Ted Huffman. It focuses on New York visual artist David Wojnarowicz and the turbulent period leading up to the death Peter Hujar, his close friend and fellow artist, from AIDS-related illness in 1987. The focal point of the work is Wojnarowicz’s answering machine tape from the days leading up to Hujar’s death, featuring calls from Hujar, other artists, friends and lovers. Using new sensor technology from the Augmented Instruments Lab, the piano is turned into a huge typewriter to transcribe, comment on and illuminate the messages. The result is, I hope, a poignant and intimate exploration of that period of the New York art scene, queer history and the AIDS crisis.

    Answer Machine Tape, 1987 was commissioned by Zubin Kanga with the support of a UKRI Future Leaders Fellowship and Royal Holloway, University of London, in conjunction with Time of Music, November Music, Huddersfield Contemporary Music Festival and Festival d’Automne à Paris. I also received support for research, workshops and software development from the German Federal Government Commissioner for Culture and the Media within the framework of Neustart Kultur.

    Further performances of Answer Machine Tape, 1987 will be happening at the co-commissioning festivals later in 2022.