15 Jun 2010


Mieko Kanno
Juan Parra Cancino
Luciano Chessa

9.15 pm

Mieko Kanno (violin and e-violin)
Juan Parra Cancino (electronics)
Luciano Chessa(piano, dan bau, voice)

GRAPHIC MUSIC is a concert program consisting of various musical, or also – and why not? – graphic and symbolic forms of expression. Pieces from Bach to Joan la Barbera are played on various instruments such as an electric violin, the Vietnamese dan bau, piano and voice. The performer is split and transformed in the writing, in which the electronics and the new media stretch the perception level of the listener. Music, which seems like coded hieroglyphics, is decoded by the interpreter-performer.


Johann Sebastian Bach
Chaconne from Partita No 2 in D minor BWV1004

Salvatore Sciarrino
Nos 1, 2 and 3 from Sei Capricci, 1976, for solo violin

Brian Ferneyhough
Intermedio alla ciacona, 1986, for solo violin

John Cage
Freeman Etudes No 10, 1980, two versions

Juan Parra Cancino
KVSwalk_solo, for computer performer and multichannel audio system, world première
PLP_I, 2009, for electric violin player and computer player

Night Concert

Joan La Barbara
Hear what I Feel, 1974, for voice and a guide

Luciano Chessa
...sul piano. Per Giuseppe, in memoriam..., 2007

Luciano Chessa
Nodas, 2008, for dan bau

Luciano Chessa
Nodi d'amore, 2007, for dan bau

Giuseppe Chiari
Do, 1951, for piano

Luciano Chessa + Terry Berlier
TomBoy, 2009, for piano and video

Mieko Kanno first came to international attention as a performer of contemporary music when she won the Kranichsteiner Musikpreis at the Darmstadt New Music Institute in 1994. She was a prize winner in a number of international competitions, including the Carl Flesch (1986), Queen Elisabeth, Belgium (1989) and Hannover (1991). As a prime exponent of contemporary music she has collaborated with leading European composers including James Dillon, Brian Ferneyhough, Rebecca Saunders, Salvatore Sciarrino and James Wood, and has given many first performances. In addition to performing Mieko Kanno holds a Doctorate in Musicology for research into contemporary performance practice and is especially known for her work combining the disciplines of performance and musicology. Her current projects centre on performances of John Cage’s Freeman Etudes and research into the potential of the electric violin. She is Head of Performance at the Department of Music at Durham University (UK), where she is also Director of the Centre for Contemporary Performing Arts (CCPA). She is also Research Fellow at the Orpheus Research Centre in Music (ORCiM), Ghent.

Juan Parra Canchino studied composition in the Catholic University of Chile and sonology at The Royal Conservatory, Den Haag. As a guitarist he was part of several ensembles related to Guitar Craft, a school founded by Robert Fripp. Parra collaborates regularly with artists including Frances Marie Uitti, Richard Craig, KLANG and Insomnio Ensemble. Parra is founder and active member of The Electronic Hammer, a Computer and Percussion Music Ensemble devoted to the creation and promotion of new music and Wiregriot, a voice and electronics duo that seeks to reconstruct the repertoire for this combination. He is currently a PhD candidate at the Leiden University, the Netherlands, focusing on performance practice in computer music, supported by the Prins Bernhard Cultuur Fonds and the Institute of Sonology, Den Haag. Since October 2008, he is Associate Researcher at the Orpheus Institute Research Center in Music (ORCiM).

Luciano Chessa is a composer, concert performer and musicologist who works in Europe, the United States and Australia. He made his debut in 1997 with Humus, a work which received enthusiastic reviews from important specialist magazines (Rumore, Fare Musica) and which was voted one of the ten best records of 1997 by the critics of Rockerilla. Il pedone dell’aria (2006) for orchestra and double boys’ choir and Inkless Imagination IV (2008) for viola, mini-bass musical saw, turntable, percussion instruments, 4 Radio FM, radio-controlled airship and video (the video of these two works is by Terry Berlier) are just a couple of his compositions worth mentioning. From 1999, Luciano Chessa was the coordinator of musical events of the Italian Cultural Institute of San Francisco and promoted the work of the greatest Italian composers and interpreters in collaboration with important concert institutions and American universities. At the 2009 New York Biennale Art, PERFORMA and the MOMA of San Francisco gave him a new project for the reconstruction of Luigi Russolo’s intonarumori (noise makers). Chessa is currently working on a series of new commissions and on the completion of Luigi Russolo Futurista. Noise, Visual Arts and the Occult, a book being released by University of California Press. He has taught and held conferences at various institutions including St. John’s College at Oxford, Columbia University and Stanford University and since 2006, he has been teaching at the San Francisco Conservatory of Music, where he is a member of the faculty. His music is released by RAI TRADE.

With the kind support of