“Dessner is exactly the kind of composer who personifies what might be next for classical music.”
Mark Swed, LA Times
Bryce Dessner is a vital and rare force in new music. He has won Grammy Awards both as a classical composer and with the band The National, of which he is founding member, guitarist, arranger and co-principal song-writer. He is also an increasingly high-profile presence in the world of film score composition, with credits including Alejandro González Iñárritu’s Oscar-winning The Revenant. The breadth and level of his output is remarkable, with few artists able to bridge diverse creative worlds with such virtuosity.
Ronan Day-Lewis is a multimedia artist and filmmaker based in New York City. He graduated from Yale University in May 2020 with a BA in art. His visual art navigates coming of age through biblical narratives of the fall and the Divine Comedy, while his film work encompasses music videos, documentaries, feature length screenplays, and the genres of suspense and horror.
They play traditional basque music on Katia and Marielle Labeque's Amoria project. It's a music repertory of Basque composers songs from 16th century to 21th century.
They propose also their own repertory, rooted and modern.
Hegiak means borders in euskara (basque language).
Sara D'Uva will work as visual artist and art director. Her principal channels of expression are photography and video. For the KML Foundation she is preparing a video of a song from the Sisters cd.
Nathalie Joffre photo by Vincent Perrault
Nathalie Joffre is is currently developing a new video work around Italian photographer Tina Modotti (1896-1942) with actress Dajana Roncione.
"We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost." _ Gaston Bachelard, The poetics of space (1958)
My work is concerned with our relationship to the past, as an intimate and performative experience that opposes a global, fixed and document-based version of our history.
Involving and mixing historical research, poetry writing, recording and (re)-staging, my process explores the intimate relationships we can build with places, objects and characters of the past. I work mainly on a small scale in order to immerse myself physically and mentally in my subject, be it a building, a path, a photograph, a personal or an institutional archive…
Through still and moving images, sounds and words, I try to appropriate and reveal hidden and small parts of our history. I consider my works as poetic acts of resistance that question the unstable and volatile essence of the past.
Per-form the void
LKML Foundation have collaborated for the first edition of Inspiratum Festival . The festival program, based on the concept of the exhibition “Destroy the Picture, Painting the Void, was a musical ode and counterpoint to this maxim with contemporary work from both Eastern and Western composers, sound and video artists, including improvisation, spontaneous composition and dance in confrontation with the avant-garde music of the 15th, 16th and 17th century.
Nathalie Joffre is an artist based in London and Paris working with video and photography, together with Vincent Perrault she captured the theme ‘Per-Form the Void’ with excerpts from the concerts, performances and installations in a video film. The featured interviews with the key artists and artistic direction of Inspiratum elaborate on their inspiration and vision for this first Festival.
Additionaly American visual artist and musician Kurt Ralske made 3 video logs during the Festival.
Please check links below:
Inspiratum Festival 2014, by Nathalie Joffre & Vincent Perrault
Inspiratum Festival, Outdoor video installations by Kurt Ralske
Inspiratum Festival / Hermes Ensemble + Rediscovering Futurist Cinema, by Kurt Ralske
Inspiratum Festival. Ryoji Ikeda performance 27 Giugno 2014 by Kurt Ralske
Matt Elliott has been artist in residence for the production of his last album Only Myocardial Infarction Can Break Your Heart, and for the preparation of his ongoing tour in Europe.
Composer, arranger, guitarist and singer in B For Bang, Minimalist Dream House, Bernard Herrmann's Project. Member of Dimension X, Red Velvet and UbuNoir.
Roberto Calbucci is a painter and visual designer.
He has been collaborating with KML since 2008 on various CD sleeves / cover designs (Red Velvet, Erik Satie, Rhapsody in Blue / Westside Story, The CD Box, Kalakan, Minimalist Dream House). He and his wife Meloni Mitchell collaborate with KML on videos, photos, and website development.
Osvaldo GOLIJOV / Gonzalo GRAU
for two pianos, two percussions and orchestra
II. Tambor en Blanco y Negro
III. Guaracha y Mambo
V. Tormenta y Quitiplá
The piece is based on 'La Pasión Según San Marcos' by Osvaldo Golijov'.
German Premiere 21st December 2013 in Berlin with Berliner Philharmoniker orchestra conducted by Sir Simon Rattle (new orchestration)
with Gonzalo Grau and Raphael Seguinier percussions.
Australian Premiere 25th October 2013 in Sidney at Sidney Opera House (new orchestration)
conducted by Miguel Harth Bedoya
with Gonzalo Grau and Raphael Seguinier percussions
repeated concerts on 26th and 28th october.
Spanish premiere 20th January 2011 Valladolid Auditorium Miguel Delibes conducted by Miguel Harth Bedoya conductor.
Canadian premiere Toronto 24th February 2010 with Toronto Symphony conducted by Miguel Harth-Bedoya.
World Premiere Paris 27th January 2010 with orchestre de Paris conducted by Josep Pons.
An exclusive Tal Rosner video En Blanc & Noir, extracted from Katia and Marielle Labèque's DVD Stravinsky/ Debussy, on KML Recordings.
The KML Foundation supported Basque Trio Kalakan to help them bringing the traditional music to classical concerts hall since 2008 and producing their first album who was released in February 2011.
They are touring regularly with Katia and Marielle Labeque in their unique version of Ravel's BOLERO for two pianos and basque percussion. The two pianos score is by Ravel himself when the arrangement of added basque percussions has been done by Kalakan.
Concerto for two pianos and double orchestra
Dedicatee: Katia & Marielle Labèque
Co-commission: Los Angeles Philharmonic, Orchestre de Paris, Gewandhaus Leipzig, Orchestre de la Suisse Romande
World Première: 11 November 2011, Los Angeles, Walt Disney Hall, with Los Angeles Philharmonic conducted by Semyon Bychkov.
European Premiere: 15 March 2012, Paris Salle Pleyel, with Orchestre de Paris conducted by Paavo Järvi.
Germany: April 2013 Leipzig Gewandhaus with Gewandhaus orchestra conducted by Semyon Bychkov.
Switzerland: March 2013 Geneva Victoria Hall with Orchestre de la Suisse Romande conducted by Semyon Bychkov.
Japan: April 2013, Tokyo Suntory Hall with NHK orchestra conducted by Semyon Bychkov.
I - SQUILLI - Poco rubato, Solenne
II - TRATTATIVE - (cadenza)
III - PARATE - Tempo di marcia
IV - SCONTRO - Allegro bellicoso
V - TREGUA - Tempo primo
VI - COLPO DI GRAZIA - a Tempo
VII - MARCIA FUNEBRE E TRIONFALE - Andante Maestoso
VIII - PACE E RICONCILIAZIONI - Più andante
IX - FESTEGGIAMENTI - Allegro giocoso
"I realized that in the literature for two pianos and orchestra, the two soloists very often play together most of the time which makes it difficult for the listener to know who plays what. I wanted in this work that both soloists didn't only converse and compete in virtuosity but also had their own moments of shine or expressivity. The Battlefield concerto has been written especially for Katia and Marielle Labèque and I tried to compose music which would serve and bring out their contrasted personalities.
This double concerto follows the various hypothetic stages of a XVth Century battle, like the 'Battaglia di San Romano' impressive triptych which was painted by the Florentin artist Paolo Uccelo (1397-1475).
The traditional symphony orchestra is divided in two, like two armies facing each other, piano I and orchestra I on the left (back to the public), piano II and orchestra II on the right. It doesn't require more instruments than a traditional symphony orchestra with triple winds, apart from two sets of timpani and an electric bass. Strings are divided in two smaller string orchestras and the wind sections are grouped with most of the higher winds on the left side (Orchestra I) and lower winds on the right (Orchestra II), also to avoid too heavy stage changes. Between the two orchestras there should be a 'no man's land' at least as wide as the two pianos (2m minimum) for better stereophonic effects (see plan.)
The piece requires also an off-stage trumpet, located on a balcony on the left side (working with Orchestra I) and a bass trumpet on a balcony on the right side (Orchestra II).
The music is pictural and at moments theatrical. The work open with a fanfare with drums and trumpets on the balconies, both armies calling for battle. Both trumpets (I and bass trumpet II) play their own tolls (Toll I and Toll II) which will remain identification marks for the respective armies. After repeating those tolls, the two pianos introduce their respective themes (TH. I and TH. II) which are the main themes of the concerto and will never be shared until the very end when the armies reconcile. Follows a double-cadenza of the soloists, representing their 'parley' or negotiations, which develops into a burlesque Parade, where both orchestras and soloists compete with their own tolls. There are some interesting polyrhythmic and polytonal effects, evoking corteges in the fields, coming closer, crossing and going away. The character of the music becomes more charged with agressivity, then leads into the core and most developed part of the concerto, which is the battle itself, which consists of furious episodes in four different major sections. After that, the trumpets and drums call for a truce, short break in the midst of this bloody battle. This is only to be followed by an even more furious 'coup de grâce' where both pianos are pushed to their extreme high (I) and low (II) registers and 'loose' their left (I) and right (II) hands, as a metaphor only, of course: they will play the following Funeral & triumphant march only with one hand each. Both hands of each pianist shall be reunited only in the last two sections : Peace & Reconciliations and Feasts, where they will play their respective themes superimposed in a skillfull counterpoint, then will share their themes (piano I playing TH.II and vice-versa) in a sign of peace. The festive coda ends the piece with the Toll I and TH. I."
"De Fuego y de Agua"
for two pianos and orchestra
World premiere with Orchestre de Liege
in Liege on 4th March 2011
in Bruxelles on 5th March 2011
"The Hauge Hacking" for two pianos and orchestra
Toccata for two pianos and large ensemble
UK premiere at the Proms London Royal Albert Hall
on 17th August 2010
with Philharmonia Orchestra and Esa-Pekka Salonen
European premiere at Concergebouw Amsterdam 6th June 2010
for Louis Andriessen's birthday (televised and recorded)
World Premiere 15 January 2009 in Los Angeles
with Los Angeles Symphony orchestra
conducted by Esa-Pekka Salonen
The Conlon Nancarron's transcriptions, by Tom Adès, presented at Barbican in march 2007 *, with video works from Tal Rosner.
KML Foundation commissioned Tom Adès for arrangements of Conlon Nancarrows Studies Nos. 6 and 7. A Première.
Fabio Massimo Iaquone created live video projection for the Beatles project "Across the Universe of languages" at Palermo Teatro Massimo and also for Katia Labeque's band "Unspoken ".
Luca Attilii is a video artist and has a degree in Graphic and Industrial Design. He collaborates with Fondazione KML on multimedia projects. (B For Bang, Unspoken...)
Mark was commissioned by the Foundation to create a video on "Stay and Stare" from Red Velvet.
Mark is an independent filmmaker. In 2003 Mark graduated from the Royal College of Art in London with a Masters in Animation. He made two films there; a short animated film called Trap and a 13-minute live-action musical called Spinnaker Leech. They both subsequently competed in film festivals throughout the world. On the back of these films he was awarded Film London funding to make The Chihuahua Messiah which was runner-up for the BBC New Filmmaker Award 2005 and won the Fortean Times film of the year 2006. He was then awarded the opportunity to make a short live-action comedy for BBC3 which was released in 2006 called God & Dave. This film was runner-up in the Encounters Festival Audience Award and selected by the British Council for representation.
In 2006 Mark was commissioned to make The Life Size Zoetrope for Animate Projects, the Arts Council of England and Channel4. It was finally completed towards the end of 2007 and has won Best Film at the London International Animation Festival, Best Film in competition at Tampere, Finland, was shortlisted for 8 awards including 4 at the British Animation Awards, Edinburgh Film Festival, and Encounters Festival. Mark lives in Bristol and works with the studio "Arthur Cox".
Interview with Mark: click here
'Paisajes Sonoros de España'
concerto for two pianos, flamenco percussions and orchestra
I- Mirada al Sur
II- Desiertos de Ensueno
III-Luz del Mediterraneo
World Premiere 5th April 2010 in Madrid
with Madrid National Orchestra
conducted by Josep Pons
German Tour from the 15th April 2010 including Berlin Philharmonie, Koln Philharmonie, Frankfurt Alte Oper, Dusseldorf Tonhalle etc...
French premiere for Montpellier / Radio France festival on the 15th July 2011 with Juanjo Mena conducting
The Foundation commissioned Dave Maric's "Falling to the Sky" for violin and piano with violinist Viktoria Mullova, Exile for two pianos and percussions with Colin Currie percussions, and the Katia Labèque Band, which toured the UK and Europe on numerous occasions and released one album recording in 2004: Unspoken.
Composer, arranger and keyboardist.
Nadeah received support from the KML foundation to record her first solo album "Venus Gets Even".