The EMC Blog

Chris Hobbs and his amazing Alabaster Lithophone!

Well, normally we’d avoid doing a video watch on the same composer twice, but this was just too good to miss. This video, called ‘Making Music with the Alabaster Lithophone’ is presented as part of an art auction to benefit Music in the Round, a Sheffield music association (presumably referring to Sheffield’s famous Crucible Theatre, which presents drama and snooker in the round — although not at the same time, sadly).

The Alabaster Lithophone is the creation of the artist Vivien Whitaker, and the music is by Chris Hobbs. Here’s the first part of an interview by Fraser Wilson with Chris:

No, Christopher Hobbs, founder of the EMC, is not master of disguises, nor of time and space. Nor has he bleached his hair, had youth drugs and plastic surgery (sorry Christopher!), and started wearing glasses for seeing rather than just reading. This Chris Hobbs is a composition student at Sheffield University, only 80 miles away from EMC’s headquarters in Leicester. And he has produced some very nice sounds on the Alabaster Lithophone, which is a wonderful instrument. It’s something that would have graced Harry Partch’s orchestra, had it been tuned to his specifications.

Here’s the second part of this interview:

The only flaw in this Chris Hobbs Alabaster Lithophone video is that there is too much interview and not enough Lithophone. And it’s not that we don’t like the cadet Chris Hobbs — in fact, we’re agog to see more from him — but it’s the fact that the interviewer questions him as if it were 1913, not 2013 (he’s surprised that there are no tunes). But this attitude seems to be worth dealing with in the comments section, so do get in touch and let us know what you think. And Sheffield Chris, if you see this, say hi!

Now we’d do a video watch to find the doppelgängers of all the EMC composers, but if we started on John White or Dave Smith, that’s all we’d do. Something for the long winter nights, we think. To conclude, we think it best to say, ‘Know your Hobbs!’ (Know your Hobbses?). So here’s a test: one, a picture of the Sheffield Chris Hobbs from the video (there’s one of him dancing on his Google page); the other, EMC Christopher Hobbs playing a chair on an AMM concert on Clapham Common in the early 1970s (as one does), when he was about the same age as Sheffield Chris Hobbs. Can you tell which is which? Answers below, should you need them.

chris amm clapham common459chris hobbs sheffield 2

Answer below:

 

 

 

 

 

 

Christopher Hobbs, founder of the EMC, is on the left; Chris Hobbs, Alabaster Lithophone virtuoso, on the right. Did we fool you?

They’re ba-a-ack!

Fizzle with weird instruments:

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Shaw/Perez/Harling

Tuesday 7th May, 2013, 8:30pm

The Lamp Tavern, Barford St, B5 6AH.
£5 (£3 Concessions)
Walt Shaw – percussion and amplified objects
Herve Perez – saxes
Matt Harling – saxes and home-built instrumentsDont forget to put Paul Dunmall/Paul Rogers/Mark Sanders gig in your diary for Thursday 30th May!
more info at www.blambirmingham.co.uk

Thanks,
Mike

Get a Michael Parsons piece — FREE!

Michael Parsons has given — yes, GIVEN — us a couple of his pieces from the late 1990s, with the idea that they should be taken up by as many people as possible. The first piece we’ve got is a pdf of a verbal piece called Pentachordal Melody. It’s really cool: the score reminds us of some of the pieces in Samuel Beckett’s systemic novel Watt.

For those of you who don’t know Michael Parsons, he’s one of the three founders of the Scratch Orchestra, and a major force in British experimental music.

To get this piece, go here — http://www.experimentalmusic.co.uk/emc/Freebies.html — and follow the instructions. It will be emailed to you.

And even better yet, we’ve got another one coming as well….

Oh, dear….

We’ve been spoiling you with good video. How about something quite different? Here’s how not to perform an indeterminate verbal piece, supposedly Chris Hobbs’s 1967 classic Voicepiece, but coming out as something much noisier. We bring this to you as a cautionary tale: Kids! Don’t drink and perform experimental music! Stay away from YouTube if you do!

Compare this with the score (click thumbnail to read):

hobbs voicepiece378

 

What is very odd indeed is the use of the conducted beat. But we like the hats and the Hirst-dotty shower curtain.

 

Fizzle goes German!

This looks like a zippy concert:

Fizzle this Tuesday 2nd April at The Lamp Tavern, Barford St, B5 6AH.
8:30pm. £5/3

Matthias Müller (trombone)
Frank Paul Schubert (sax)
John Edwards (double bass)
Mark Sanders (drums)

German musicians Müller and Schubert’s Foils Duo is expanded with the UK’s finest bass and drums partnership. A rare treat to see such talented and experienced players in such an intimate setting for only five quid!

Hopefully see you there,
Mike

Rock-God version of Cardew’s Treatise

Cornelius Cardew’s Treatise (1963-67), is quite probably the biggest and most beautiful piece using graphic notation ever written. And because Cardew left Treatise to be interpreted freely —there are no instructions — performances range from the strictly dutiful (reading left to right, up for high, down for low, agreed responses to certain symbols such as numbers or circles) to the eccentric.

Over the years students in various experimental and notation classes I have taught have come up with some really fine Treatise interpretations. One version for which I hold fondness and which exists on the web is by a former notation student, Ben Kennedy, who realised page 92 of Treatise as an assignment. Now I can’t remember the exact criteria he used (if you read this, Ben, do tell us!), but his realisation has the practicality and the ingenious social approach to indeterminacy that occurred in the best work of the Scratch Orchestra. As I remember it, Ben used friends and flatmates who were not music students, but were enthusiastic electric guitar players. He explained the piece briefly, but (I think) gave no strict instructions for the interpretation of the page (other than to give them a time frame to do it). And here’s the kicker: he contacted and recorded each of the four guitarists separately, then combined them for the ‘performance’ (actually, more like record production or minimalist mixing), so that what comes out in total could not have been predicted by each player. It’s a kind of obscure heterophony, I suppose, given their responses to the same stimulus. But since the guitarists use a soundworld typical of their kind, whilst avoiding cliché, it’s just a happy version of Treatise.

Here it is (there are a couple of electronic noises at the opening, and then it starts):

International Fizzle performance

More from Fizzle:

A very special gig at Fizzle this Tuesday 19th March.
8:30pm at The Lamp Tavern, Barford St, B5 6AH.
£5/3

Francesco Bigoni(sax) http://www.myspace.com/francescobigoni
Mike Hurley(piano) http://www.mikeyhurley.co.uk
Adam Pultz Melbye(bass) http://www.adampultz.com
Mark Sanders(drums) http://www.marksanders.me.uk

Francesco and Adam are travelling from Denmark for this special gig. Adam, Mark and Myself enjoyed a successful tour of Denmark in 2011 and with the addition of Sax, things will be very exciting indeed. Hope to see you there!

Cha, Cha, Cha!

Just uploaded today for your delectation — http://www.myspace.com/emcsystems — are a couple of test recordings from the first rehearsal of our new group, CHA (for Bruce Coates, saxes; Christopher Hobbs, piano, percussion, laptop, and whatever he feels like playing; and Virginia Anderson, clarinets). There was a rather nice and well-received improv night by CHA at Fizzle at the Lamp Tavern, Birmingham; there will be more to come from this group, especially on the EMC label. But this is a free taster. We hope it’s your cup of CHA!