The Corley Conspiracy (Opera Programme 2007)

7/27/2019 The Corley Conspiracy (Opera Programme 2007)

1/8

e Programme1 19th - 21st September 2007 | Purcell Room, Southbank Centre7.45pm Published by Radius: www.radiusmusic.org

The Corley Conspiracyby Tim Benjamin and Sean Starke

Paul Tosiongela yers

Jonathan WebbHannah Grainger-ClemsonAlan BaileyElise Emanuelle

rne uus

ssss

ike CorleyGrace Watson

Alex Jonesill Scott

ames LewisVoice of the Computer

Email Protectedand stage manager

erformed by

eaturing...

Alexander Sitkovetsky (violin)liver Coates (cello)

ennifer George (flute)harys Green (clarinet)

Huw Morgan (trumpet)

Tyler Vahldick (trombone)ocelyn Lightfoot (horn)

John Reid (piano)Adrian Spillett (percussion)

DirectorSean Starke

Conductor

John Traill

Inside:

www.radiusmusic.org

Composing Corleyby Tim Benjamin - page 3

Crying In The Digital Wildernessby ean tarke - page 3

he Forensic Phase of Litigious Paranoiaby Bernard Glueck, M.D. - page 4

In The aze of All-Seeing Eyesby Rishi Dastidar - page

... and more, including complete programme notes onhe Corley Conspiracy and other featured works


2/8

p. 2 | www.thecorleyconspiracy.com The Programme | 19th-21st Septem er 2007

The ProgrammeWednesday 19th to Friday 21st September 2007, 7.45pm

urcell Room, Southbank entre, London

Wednesday 19thLuciano Berio

equenza VIII

Dan e Row an , v o n

Simon Holt

aastra

ennifer George, ute

annis Xenakis

Kottos

Oliver Coates, cello

hursday 20thJohn Cage

Book of Changes, Book III

o n Re , p ano

Simon Holt

Maastra

Jennifer George, ute

Iannis Xenakis

Kottos


Interval (15 minutes)

Friday 21stJohn Cage

Book of Changes, Book III

Jo n Re , p ano

Simon Holt

Maastra

Jennifer George, ute

Iannis Xenakis

ottos


im Benjamin (music, words) & Sean Starke (words)

The Corley Conspiracy(world premiere)

Sean Starke, director; John Traill, conductor

us c o anges , m

marks Cages rst comprehensive

exp orat on o non- ntent on

through the systematic use of

c ance operat ons to create a

complete, major work. Music of

anges was name n onor o

theI Ching, Book of Changes,

the ancient Chinese book of

oracles that had become Cages

means of synthesizing chance

w t r gorous sc p ne. age s

notation heralded a new concept

o mus ca t me, p ac ng t e

performer in a new relation to the

score, one n w c or entat on s

to the occurrence of events rathert an to t e re at ons etween

them, which is to say to action

rather than to memory.

uc ano er o: ompos ng

Sequenza VIII (1976, 13m) was

or me e pay ng a persona

debt to the violin, which I see

s one o t e most en ur ng

nd complex instruments in

ex stence. a most a my

other Sequenzas develop a very

restr cte c o ce o nstrumenta

possibilities and of soloistic

behaviour as far as they will go,equenza presents a roa er

nd more historical image of the

nstrument.

Sequenza VIIIleans constantly

upon two notes w c , as n a

c aconne, prov e a compass

for the works rather diversied

an e a orate progress, n w c

polyphony is no longer virtual, as

n ot er equenzas, ut rea . n

its through this that equenza

a so ecomes, nev ta y,

a homage to that high-point

of music, the Chaconne of the

artita in minor by Johann

Sebastian Bach, in which violin

tec n ques o t e past, present,

and future co-exist.

ottos s one o t e -arme

giants fought and defeated by

eus: an a us on to t e ury

and virtuosity demanded for thenterpretat on o t s wor y

Xenakis, the second by Xenakis

(1977, 9m) for solo cello, after

omos p a . s s

his custom, Xenakis species

a num er o ru es or t e

interpretation of the piece, such

as no pretty soun s, erce, ots

of noise

e per ormer s requ re to

play close to the bridge of the

nstrument, press ng t e ow

hard on the strings, provoking

an irregular grinding sound,ar remove rom t e typ ca

tenor of the instrument. This

wor o t e greatest tec n ca

difculty almost exceeds the

m ts o notat on, eman ng

g ssan , an extreme range,

quarter-tones, micro-intervals,

an po yr yt ms.

The title of Simon Holts

a astra , m comes

from a sculpture of the same

name y onstant n rancus .

The Maastra, or Pasarea

Maastra, is a magic golden bird

in Romanian folklore, noted for

its marvellous song which had

m racu ous powers.

Tim Benjamins he Corley

onsp racy , m s

based on the paranoid Usenet

post ngs o one e or ey

during the 1990s, and theresponses o ot er users to m,

which ranged from the credulous

to the sceptical to the downright

angry. ome e eve e was a

schizophrenic in need of help,

ot ers t at e was a oaxer an

spammer, and the possibility was

even ra se t at e was some

kind of psychology experiment

e ng carr e out on t e senet

community.

atever t e trut , or ey s

ramblings and the publics

responses are at once bothstur ng an ar y com c;

this work explores Corleys mind

an ra ses quest ons a out a

modern society constantly under

surve ance.

or ey s story s to n seven

scenes, structured musically

s a ro ogue, a oncerto, a

set of ve Variations, and an

p ogue w c s a repr se o

the Prologue). Unusually for an

opera , a t e vo ce parts are

spoken but unlike a play, the

music is continuous and relates

strongly to the text.

The bulk of the text (by Sean

tar e an m en am n s

dapted from Usenet posts from

to ; t e wor en s,

signicantly, in the early days

o ay , s ort y a ter ew

abours landslide Generalect on v ctory.

The Corley Conspiracy

commissioned by the 2007

on on es gn est va .

ese programme notes were

compiled by Jemima Bannit for

adius from original sources.

www.radiusmusic.org


3/8

ww.thecorleyconspiracy.com | p. 3The Programme | 19th-21st Septem er 2007

Composing CorleyBy Tim Benjamin

rst came across e or ey

while browsing through g ,

n on ne gu e to e, t e

universe, and everything (based

e itc - i er s ui e to t e

Galaxy) operated by the BBC.

The entry on Corley begins:

very now an t en, somet ng

comes along that makes you

t n , , t at s w at t e

Internet is for! - Mike Corley is

one suc case. o cou res st

reading further?

or ey, t transp re , e eve

that he was being watched

n stene to t roug s

television and radio by Them (the

Government, security services,

etc. . e poste s susp c ons at

very great length and frequencyon senet n t e s, us ng

various early spamming

tec n ques to mas s ent ty.

Intrigued, I then managed to dig

up many o or ey s posts rom

Googles archive of Usenet. They

ma e or asc nat ng rea ng; an

s one does in these situations, I

thought to myself, you know,

t s wou ma e a great p ece

of music theatre! I put together

roug scr pt orme rom t e

Corley posts, placing them in

or er to orm a near narrat ve,

nd inventing an ambiguous

ending for the piece. I began to

co a orate w t my r en an

colleague Sean Starke who

also became hooked on Corley

an e re-wor e t nto

the far superior script we will

per orm to ay, w e got on an

composed some music for it.

e scr pt s compr se o

seven scenes, which I broadly

sp t nto two a ves, ep ct ng,

in a sense, the rise and fall of

e or ey. e mus c or

the rst half, after the Prologue

(Scene I, the music for which

s repr se n t e p ogue,

Scene VII) is a kind of three-

movement oncerto rosso,

spanning scenes II through IV.

or t e secon part spann ngscenes V and VI), I have written

a set o ve var at ons, t n ng

perhaps of the nal parts of

erg s ozzec : var at ons on a

sequence of notes (a Passacaglia

followed by a Chaconne), on an

nterva a per ect ourt ear

repeatedly throughout the work),

on a c or u t rom mu t p e

perfect fourths), and nally, on

ust a s ng e note.

Although this production is

e as an opera , t ere s no

singing: all the voice parts are

spoken, performed by actors.

e t, o ow ng my rst opera,

The Bridge, that when dealing

w t a eta e , mo ern ng s

text, which has its own internal

pac ng, t at sett ng t to mus c

can detract from the texts drama,an not a to t. or or ey,

I also rejected the option of

sprechgesang and sprechstimme

tec n ques on t e groun s t at

good actors could deliver the

nes w t etter t m ng t an

would be possible to set down

n mus c at east w t out

the luxury of vast amounts of

re earsa t me. urt ermore,

I nd that, to my ears at least,

contemporary English sounds

faintly ridiculous when subjected

to the musical histrionics ofmo ern sm. ere ore, a t oug

there is music throughout the

piece, and although this music

re ates strong y to t e text, a t e

words are spoken and not sung,

w t t e prec se t m ng e t to t e

ctors themselves. Whether ornot t s counts as opera , eave

to the listener to decide!

rying n he igital ildernessBy ean tarke

hat power lies in being

atched? The suspicious

orld of Mike Corleys

ind does not seem as

bizarre, paranoid, and

rrational as it did ten

ears ago. In many wayshe threat of surveillance,

silencing, persecution

and corruption Corley

perceived to be all

around him have become

commonplace fears in the

K. His cries haunt our

dreams if not our days.

In addition to the country-

ide proliferation of

CTV cameras (see In

The Gaze of All-Seeing

Eyes n this programme),

he BBC has recentlyeported that a senior

judge is calling for the

National DNA Database to

expand its scope to include

compulsory DNA samples

from every citizen in the

UK. This is the eradication

of privacy at its most

fundamental level: genetic

surveillance.

For the spoken libretto of

The Corley Conspiracy Tim Benjamin and I

have adapted much of

the dialogue from actual

messages posted on

Usenet bulletin boards

between 1995 and

1997. In the four Usenet

members that interact

ith Corley we can see

the reactive aspects of all

of us. Like a modernized,

chat-room Greek Chorus,

they represent the diverse

isdom of the community,offering Corley everything

from sympathy to scorn.

Ultimately, Mike Corley

itself is only an agent of

electronic text, and remains

a lone voice crying in the

digital wilderness.

In staging this premiere

performance for the

London Design Festival,

I have chosen to mediate

the audiences experienceof Mike Corley through

surveillance video. We

thus receive his message

much as his tormentors

ould have: as a shadowy

gure talking from a

screen.

There is a sense in which

this very performance is

a form of the interactive

atching that Corley was

so certain he was being

subjected to. Silent for

many years now, no one iscertain what has become of

him. Who knows? Perhaps

Mr. Corley is sitting in the

audience among you this

evening.

Tim Benjamin

PhotographybySeanStarke

e or ey onsp racy

: Have The British Gone Mad? Prologue

: s en ame oncerto: re u e ag o

Allegretto

epr se ag o

: Email Protected oncerto: Recitative

: arano a oncerto: na e

: Sulpiride 200mgs Variations: no. 1. Passacaglia

no. . aconne

: ensors p ar at ons: no. . on an nterva

no. 4. on a Chord

no. . on a ote: The Continuing Silence Epilogue

Sean Starke

PhotographybyTimB

enjamin


4/8


The Forensic Phase of Litigious ParanoiaFrom Criminal Science Monographs No. 2, Studies in Forensic Psychiatry

By Bernard Glueck, M.D.September, 1916, Boston

It wou certa n y e vast y

convenient and would save

a world of trouble if it werepossible to draw a hard and

ast ne an to ec are t at

a persons w o were on one

side of it must be sane and all

persons who were on the other

side of it must be insane. But

a very tt e cons erat on w

s ow ow va n t s to attempt

to ma e suc a v s on. T at

nature makes no leaps, but

passes from one complexion

to ts oppos te y a gra at on

so gent e t at one s a es

mpercept y nto anot er

and no one can x positively

the point of transition, is a

sufciently trite observation.

Now ere s t s more true

t an n respect o san ty an

insanity; it is unavoidable,

therefore, that doubts, disputes

and perplexities should arise in

ea ng w t part cu ar cases.

T e parano ac, w e

e may ar or t e mostintricate and well-organized

system of delusions, still

remains approachable to us,

an nte ectua y may e

not on y on a par w t t e

average normal individual,

but not infrequently gives

t e mpress on o e ng s

superior. Nevertheless, this

usually well-endowed humanbeing at a certain point in his

career goes o at a tangent

an spen s t e rest o s e

in the pursuit of a phantom.

The paranoiac, starting out

with vague, ill-dened ideas,

succee s n e a orat ng, step

gra ua y conquers a

evidence to the contrary,

and in spite of reality, publicopinion and common sense,

t ecomes organ ze nto a

cor nate system o errors

which become the tyrants of

the intellectual personality and

remove it by degrees outside

t e oun s o norma ty. T e

parano ac constant y us es

mse w t s gr evances,

loses all interest in everything

else, and begins to ght for his

r g ts.

He stops at no means an s

t e ane o u ges an court

ofcials. Naturally, he has

to be refused all aid, either

because he is unjust or because

t e courts n no reme y or

s trou es.

He refuses to settle actual

grievances, carries the case

from one court to another and

na y eve ops an nsat a e

es re to g t to t e tter

en .The statutes appear to him

inadequate and even the

fundamental principles of law

a m.

In s attempts to ga n ust ce

he writes to magistrates,

legislators and various other

peop e n prom nence.

It is only after years of

persistent misfortune botho himself and the objects

o s e us ons, w c on y

serve to ar en m aga nst

his fortunate opponents, the

ncapable judges, the corrupt

authorities and his ignorant

an craven- earte re at ves,

at t s master o proce ure

s etraye nto t e express on

of threats or the commitment

of some other offense which

conveys m summar y rom

e c v to t e cr m na courts,

an t e unrepentant pursuer

becomes the defendant, unless,

ndeed, the insane asylum has

become his refuge.

The Symptoms:

* Suspicious; believes others

are plotting against him;

* Concern with hidden

mot ves;

Expects to e exp o te y

ot ers;* Inability to collaborate;

* Social isolation, detached;

* Poor self image;

Host ty;

Poor sense o umor;

* Reluctant to conde in

others.

oxtrot ima wo- ix: umbers tationsBy Tim BenjaminWith acknowledgements to The onet Project www.irdial.com/conet.htm

What could be more innocent

than a cab driver, casually

istening to his short-wave

ra o? Its per ect y p aus e.

But w at t e ca r ver

s wor ng or a ore gn

intelligence agency, and

what if his short-wave radio

is picking up something

a toget er more s n ster t an

t e atest news rom ome?

If you scan carefully through

the short-wave spectrum,

chances are that from time to

t me you w come across a

peculiar, disembodied voice

reading out and repeating

sequences of numbers and

etters, or ours on en . T e

vo ces usua y rea n Eng s ,

o ten w t a eavy accent,

but may sometimes read in

German, Russian, or another

language. Sometimes there

s no vo ce at a , ut nstea

e ectron c no ses resem ng

Morse code, or other, more

bizarre patterns of bleeps

and pops. Collectively, these

ra o transm ss ons are nown

as Numbers Stations, and

members of the public have

gathered online to catalogue,

recor , an attempt to eco e

t ese roa casts.

It s ou e ma e c ear

that these Numbers Stations

are not shipping or weather

bulletins; furthermore they

are not cense n any usua

sense, an n ormat on on

them is difcult to nd from

the government agencies

responsible for radio use and

m suse. Num ers Stat ons

have been reported since

he First World War, making

hem among the earliest radio

roa casts, an a t oug not

ac now e ge n genera y

government agenc es, t e

UKs GCHQ have stated:

GCHQ are aware of the

existence of Numbers Stations

ut cannot comment on

operat ona matters. It s,

however, illegal to listen to

Numbers Stations in the UK.

A typical Numbers Station

roa cast w eg n at t e top

by step, a well-organized

system of thought, of ideas

which nally assume an all

mportance n t e con uct

o s e an rema n

unshakable.

The theme underlying the

delusional system of litigious

parano acs s avar ce, an t e

w o e may e oo e upon

as t e s ow an permanent

triumph of a preconception.

The paranoiacal preconception


5/8

www.thecorleyconspiracy.com | p. 5The Programme | 19th-21st Septem er 2007

A Brief Introduction To UsenetBy Tim Benjamin

Be ore c atrooms an ogs,

e ore nstant messengers,

text messages, and mobile

phones, and even before the

World Wide Web itself, therewas Usenet. Dev se at

Du e Un vers ty n 1979, an

aunc e n 1980 ma ng t

one of the oldest computer

networks still in widespread

use), Usenet was a system

es gne as a rep acement

or a oca announcement

program. As more and more

servers were added to the

network, however, Usenet

qu c y ecame a arge on ne

commun ty a ow ng peop e

to post messages to on ne

bulletin boards on a wide

variety of subjects.

Usenet is organised into a

erarc y o top ca categor es,

nown as newsgroups.

Each is then organised into

hierarchies of subjects. For

instance, sci.math andsc .p ys cs are n t e sc

category. Eac category

can e urt er su v e ,

leading to, for example,

newsgroups with names

such as misc.uk.politics.

T ere are n ne pr nc pa top-

eve categor es: comp. ,

humanties.*, misc.*, news.*,

rec.*, sci.*, soc.*, talk.* and

alt.*.

Cu tura y, Usenet as

een o great s gn cance

to t e networ e wor .

Contributions to language (or

popularisations of existing

words) include terms such as

FAQ, spam, net quette,

tro ng an amewar, ut

perhaps the most important

cultural contribution has

been the introduction andacceptance o t e ea o a

s are , ecentra se on ne

commun ty. To ay peer-to-

peer networks are much in

the news, used in applications

from sharing of music, to

ega e-s ar ng, to S ype,

an even t e searc or cures

for cancer or extra-terrestrial

intelligence, but the rst

large and decentralised online

commun ty was Usenet.

W e st access e t roug

tra t ona , stan a one

newsreader software, Usenet

is today also accessible

through web gateways. One

examp e s Goog e Groups,

w c ma nta ns a searc a e

archive of Usenet posts going

back to 1981. Historically,

Usenet has seen the rstannouncements o some o

e most ar-reac ng c anges

o mo ern e; Usenet, or

example, was the place where

im Berners-Lee announced

he launch of the World Wide

e ; t was w ere L nus

orva s announce t e L nux

project; and it was where

Marc Andreessen announced

he Mosaic web browser and

e accompany ng co e to

a ow mages to e sp aye

n a we rowser or t e rst

ime, revolutionising the web

by turning it into a graphical

medium.

o t e our, or a w o e num er

of minutes after the hour, with

some form of announcement:

a s ng e etter repeate y

eye n Morse, or a p ece

o mus c p aye or severa

minutes. There then follows

a voice, which usually begins

with a three-digit number, and

a ca to attent on tera y,

t e wor Attent on, or

per aps w t a e or gong .The main message will then

begin, consisting of a count

o t e num er o e ements

in each part of the message

which will be grouped into

s ort sequences o our or

ve etters or num ers an

t en t e message-part tse .

The groups will usually be

repeated many times, until

the end of the message,

s gna e e t er y t e wor

En , or y a repeat o t e

announcement mus c or tones.Each of the Stations is unique;

the one thing that binds them

together is the extreme length

of time that the broadcasts are

on the air.

By tr angu at on, t as een

poss e to emonstrate t e

or g ns o some Num ers

Stations broadcasts: for

example, antenna farms on

US government property

n Lon on, or rom w t nBr t s m tary ases n

Cyprus. Increased activity

and changed broadcasts

on Numbers Stations have

co nc e w t ramat c

po t ca events or examp e,

t e attempte August Coup

against Mikhail Gorbachev in

the Soviet Union, in 1991.

Some ave specu ate t at

t e Wor W e We o ers

new opportun t es to t ose

broadcasting Numbers

Stations. One frequently

nds, for example, apparently

ran om sequences o num ers

an etters poste onto tt e-

used blogs and forums; even if

it is potentially straightforward

to identify the source of the

message a t oug spammers

ave s own t at t s easy to

mas your ent ty on ne t s

not the source that is important

an agent in the eld caninnocently visit an internet

ca an v s t er avour te

blog, or login to his favourite

forum

Numbers Stations are

potent a y a very use u

esp onage too . A t oug t

s re at ve y stra g t orwar

(for example by triangulation)

o discover the source of a

broadcast, it is impossible

o now w o s tun ng n,w t out catc ng t e rece ver

red-handed. And even if you

did: what could be more

nnocent than a cab driver,

casua y sten ng to s s ort-

wave ra o?

HIER IST DFC SEBEN UND

REIZIG ES FOLGEN TALON FUR

95 295 21 GRUPPEN

26 226 5 GRUPPEN792 792 70 GRUPPEN

CHTUNG!

95 295 21 GRUPPEN

59692 18554 20628 36365

70104 59692 18554 20628

4719 86743 ENDE

CHTUNG!

26 226 5 GRUPPEN


6/8


Hea over to Un vers ty

Co ege Lon on, an t ere,

ur ng n one o t e corr ors,

you w n t e preservecorpse t e Auto-Icon o

Jeremy Bent am. It seems, at

rst g ance, a cur ous en to one

of the UKs most far-sighted

p osop ers an ur sts. An

yet e ng on cont nuous sp ay

is at the heart of one of his most

ra ca proposa .

Towar s t e en o t e

e g teent century, Bent am

conce ve a new n o pr son,

one w c a owe t e a er to

v ew a t e pr soners, w t out

t e pr soners now ng w et er

they were being watched or

not. T s wou a ow t e

eve opment o an nv s e

omniscience. It would be

a new mo e o o ta n ng

power over m n , n a quant ty

without example.

T e Panopt con wou e run

y means o contract nstea

o trust an , Bent am argue ,

wou e c eaper t an a

normal prison as it would need

ewer sta . Bent am mse

o ere to e t e gao er, ut

by 1813 the project had

come to an rrevoca e a t.

A u ng may never ave

been completed, but the idea

e n t a s een an n ect ous

one, not east ecause o

M c e Foucau ts ana ys s. In

D sc p ne an Pun s , Focau t

suggeste t at t e Panopt con

was a metap or or mo ernsoc et es es re to o serve an

then normalise behaviour.

So ont oo aroun ,

expect ng to n yourse

within the Panopticons walls.

But eware, ecause somet ng

e t s a rea y on ts way

to e ng constructe . T e

urge to o serve as not een

tame , ut nstea un eas e .

Our mo ern gao wont come

n t e orm o a re g ass

Wormwood Scrubs, but insteadt roug CCTV an pervas ve

comput ng.

We already live in a

surve ance soc ety accor ng

to t e UKs In ormat on

Comm ss oner. An t e gures

aroun CCTV use ear t s

out. Est mates suggest t at

t e UK now as 4.2 m on

CCTV cameras. T s wor s

out to be roughly 20% - onet o t e CCTV cameras

nsta e g o a y. You, as an

average citizen, are recorded

on a CCTV camera at east 300

t mes a ay. An CCTV s even

taking to the skies. Remote

contro e surve ance rones

now y over ea an m you

at mus c est va s.

T e camera s no onger content

to remain silent. Operatives,

unseen ut e n te y ear ,

y way o a ou spea er, can

now admonish bad behaviour

n rea t me as t ey see t.

T ey can even rem n peop e

that they are in no-smoking

zones, an s ou stop

smo ng. T at a sem o e ,

un ent a e vo ce s ou o

t s n a psyc atr c osp ta

was considered a good idea is

ne t er ere nor t ere.

You are aware t at t ere

are cameras all around, butyou o ave to oo ar to

e u y cogn sant o t em.

They are there, but not there,

uno trus ve y ntrus ve. Sem -

en n t e ac , greys an

w tes o ur an camou age,

presence on y n cate y

ye ow or ue s gns te ng you

are watc e s t t e now ng

or te ng t at ma es you more

disconcerted?).

An as t ey grow n num er

t ey ta e up ever more spacein the built environment.

Attac e to amp-posts, po ng

out rom un er t e eaves,

most atant y stuc on to

t e s es o u ngs, e a

urg ar stuc w t out a a er,

they are eyes without beauty,

gaz ng en ess y. T at oesnt

mean t ey cant e ce e rate ,

however. In New York, you

can now go on tours to v s tt e CCTV cameras n var ous

neighbourhoods.

Surve ance oesnt ust mean

CCTV t oug . You can now e

ngerscanne to get nto c u s,

as we as ore gn countr es. A

new eature n Goog e Maps s

ca e StreetV ew. It a ows

you to v ew a street- eve

image of a building. And zoom

n urt er, to see r g t ns e

u ngs. As someone w o

discovered that they could see

er cat s tt ng on er w n ow

e ge sa , T e next step

m g t e see ng oo s on my

s e . I t e government was

o ng t s, peop e wou e

outrage .

Be ng watc e a so goes

beyond Google remembering

your searc story, an

a ow ng t e unscrupu ous

to construct a prole of you

ase on t at. In ee Goog erecent y acce e to a European

Comm ss on eman t at t

eep n v ua s ata recor s

or 18 mont s, nstea o

two years. We are enter ng a

wor w ere t w e a most

impossible to go off-net, to

rema n un scovere .

Were a most t ere a rea y,

with GPS positioning on

mo e p ones. An a uture

n w c RFID tags, un m te

an w t an a near- n n teamount o sensory nput

ev ces, v sua an au o, w

ma e t e B g Brot er ea o a

te escreen n t e corner o your

room unnecessary. Some people

a rea y e eve t at pr vacy

n t e pu c sp ere s now an

mposs ty, an t e prospect

o pervas ve comput ngsuggests t at everyt ng e se n

your network will be connected

o t e outs e wor anyway.

You wont escape t e gaze o

he all-seeing eye. And the eye

w never orget.

A most, ut not qu te. W e

we cou try an re y on t e

Panopt con av ng v rtua

wa s, ar etter to ta e an

act ve approac to contro ng

your ata. We s ou ecome

more aware of what we aresearc ng or an w ere,

quest on w et er you nee t at

ast loyalty card, and consider

ser ous y t e suggest on t at

so tware co e s ou e

rewritten to make it forget

your ata.

Just ecause Bent am s on

cont nuous sp ay, oesnt

mean t at we a ave to e.

n the aze of ll- eeing yesThe Panopticon is already here. It's just not a building.

By Rishi Dastidar of 26 (www.26.org.uk)

26is a diverse group of peoplew o s are a ove o wor s, an

believe their potential is hugely

underestimated. Many of us

wor w t wor s or a v ng, as

writers, language specialists, edi-

tors, es gners or pu s ers, ut

nyone w o cares a out wor s

s welcome to join. Together, we

ope to ra se t e pro e an va ueo wor s not on y n us ness, ut

lso in everyday life.

n v ua s, us nesses, c ar t es

nd government bodies all have

compelling stories to tell and

we ope to s ow t em ow ex-

perienced and imaginative writers

can n new an cre e ways

to engage t e r au ences. ut

we also want to open hearts and

m n s to t e won er u vers ty

o wr t ng, to savour an en oy

words in all their many guises

n to ave some un.e chose the name 26 because

there are 26 letters in the alphabet

t e o anguage. e re a

not-for-prot organisation.

ww. .org.u


7/8

ww.thecorleyconspiracy.com | p. 7The Programme | 19th-21st Septem er 2007

Classified: Artist Biographiesm en am n s a

composer from the United

ng om, an stu e w t

Anthony Gilbert at the

Royal Northern College

o us c, teve art an ,

nd Robert Saxton at

x or n vers ty.

m en am n was

winner of the BBC

oung us c an o t e

Year Composers Award

in 1993, at the age of 17,

w t s wor ntagony.

He also won the Stephen

Oliver Trusts Prize for

ontemporary pera, or

his rst opera, The Bridge.

en am n s mus c as

een w e y per orme

by groups includingt e on on n on etta,

the BBC Philharmonic

Orchestra, and at the BOC

ovent ar en est va ,

nd broadcast on BBC 2

n a o .

ast comm ss oners

include the European

ommun ty am er

rc estra ius), t e

Segovia Trio ( ypocrisy),

t e armon c

Orchestra (Un Jeu de

arot), and the Londones gn est va e

Corley Conspiracy .

m en am n ves an

wor s n on on, , an

lso plays the trombone.

www.t m en am n.com

t e n vers ty o

Manchester.

ne s mus c s per orme

cross Europe, and has

been broadcast worldwide

n te ev se on

2 and Radio Televisin

spa o a. omm ss oners

o s wor ave

ncluded the London

n on etta, u ers e

Contemporary Music

Festival, Ensemble

ec erc e, an att ew

Herbert.

www.ianvine.com

ean tar e s a wr ter

nd director based out

o ancouver, ana a

a t oug e s usua y

somewhere else). He wase ucate at t e n vers ty

of British Columbia and at

Christ Church, Oxford.

o n ra s t e

principal conductor of

t e ty o out ampton

rc estra an mus ca

director of Ensemble

an t e oun s

n ergroun nsem e.

Trained by Rossen

anov, e as a so

worked with Christopher

Adey, Jonathan Sternberg,n aron oa. o n

s Director of Music at

t. nne s o ege, an

ecturer n us c at

St. Catherines College,

x or .

war e t e am .

Montague 2nd Prize at the

a tang or an a

International Conducting

Competition and a prize-

w nner at t e t ee s

Conductors Competition

, o n as anternat ona success.

Other than Radius,

e as con ucte t e

on on ozart ayers,

Orchestra of Opera North,

x or omus ca,

Moscow Studio for

New Music, Wolsey

ymp ony rc estra,

Waveney Sinfonia, New

ymp ony rc estra

u gar a), ar ov

Philharmonic (Ukraine),

n ouen o r

n rc estra.

an e ow an

orn n on on an grew

up in the Netherlands,

studying with Davina van

e y, tor erman,

Igor Oistrach, Herman

re ers an vry

Gitlis. He won various

nternational prizes such

s t e ra ms r ze n

aden-Baden and the

s ar ac ompet t on

t t e mster am

Concertgebouw.

ter ma ng s e ut

t the Concertgebouw

n 1992, performing the

c a ow y oncerto,

e has returned there

on numerous occasions.

e per orms w e y as

solist, in a repertoire

ang ng rom va

o erney oug an

iazzolla, workingt con uctors suc

s Andrei Boreiko,

janzug Khakidze,

aap van we en, ev

arkiz, Viktor Liberman,

awrence oster an

ames aug ran an as

ppeared throughout

urope an eyon as a

ec ta st.

Passionate about chamber

us c, n a t on to

adius, he leads the

rodsky String Quartetn s nv te to est va s

n Italy, Portugal, the UK,

na, out r ca. n

eman as an orc estra

eader, he frequently guest-

ea s t e an

armon a, wor ng

ith conductors such as

ut , s enazy, a t n ,

Gergiev, Dohnanyi and

utoit. Since 2006 he

so ea s t e nsem e

Contrechamps and the

uatour ontrec amps neneva. an e as g ven

asterclasses in the UK,

o an , ortuga , ta y

n out r ca.

ww.danielrowland.com

ver oates atta ne

he highest degree result

n the Royal Academy of

us c s story an went

on to achieve an MPhil

t st nct on at x or

n vers ty ew o ege).

e was a winner of the

p orot y

reen war or oung

Concert Artists, awarded

y t e a ng us c

ederation and at the 2007

irckman Concert Society

u t ons.

As a soloist and chamber

mus c an, ver p ays

with the Linden Piano

Trio, Radius, London

n on etta an arp

artist Mira Calix. He has

wor e w t composers

suc as agnus n erg

and Soa Gubaidulina on

t e r mus c. s summer

he performed chamber

music with Angela Hewitt

an mprov se or a m

with Massive Attack.

www.olivercoates.com

ort , t e ty o

Birmingham Symphony

rc estra an regon

Symphony.

She has a keen interest

n contemporary mus c

and has performed as

so o st an r nc pa ute

w t em x nsem e

(Portugal). Currently

ase n anc ester,

Jennifer George grew up

in Oregon, on the west

coast o t e n te tates.

She studied at Indiana

University before coming

to t e to comp ete a

Masters degree at Royal

ort ern o ege o

us c. enn er s a ute

tutor at the University ofee s.

In 2002 Charys Green

completed her musical

stu es w t a st nct on n

postgraduate performance

rom t e oya ca emy

o us c a ter ac ev ng a

rst class honours degree

rom t e oya o ege o

us c n . arys as

performed concertos with

t e armon a, oya

Liverpool Philharmonic

Orchestra and the Aureliannsem e, an as

performed at the Wigmore

a , oya est va a ,

urce oom an ve on

BBC Radio 3.

e as een a na st

n t e ama a oo w n

and Brass scholarships, a

woo w n na st n t e

BBC Young Musician

of the Year and has

represente reat r ta n

in the European Music

or out n e mar.n a t on to er so o

performances and Radius,

arys p ays regu ar y

w t uo partner ra am

Caskie at music societies

aroun t e country,

and with The Zephyr

Ensemble, co-founded

y arys at t e oya

College of Music.

o n e rea mus c

at are o ege,

Cambridge, before taking

up a sc o ars p to stu y

at t e oya ca emy

of Music with Michael

usse . e as stu e

with Malcolm Martineau,

and with Rudolf Jansen

Ian Vine

Oliver Coates

Photography

byStevenLee

an ne was born

n ng an an spent

s ormat ve years n

Libya and Hong Kong.

e stu e at t e oya

Northern College of

Music with Anthony

ert an gra uate n

1997. He has also studied

pr vate y w t mon o t.

etween an

Ian was Tutor in Electro-

coust c us c at t e

Royal Northern College

of Music, and also taught

or a t me at , t e

electro-acoustic studios

orn n oscow n ,

exan er t ovets y

a , y t e age o

e g t, ma e s concert

performance debut and

ecome a star pup at t eYehudi Menuhin School.

He has since become a

soug t-a ter nternat ona

soloist and has performed

n many nternat ona

mus c est va s an

concert halls throughout

urope, an re ease two

recordings with Angel/

EMI to critical acclaim.

nce t e r rst meet ng

in Moscow in 1990, the

late Yehudi Menuhin

ecame a great nsp rat onfor Alexander and

supporte m t roug

s sc oo years. oget er

they performed the Bach

ou e o n oncerto

in France and Belgium, as

well as Bartks Duos at St

ames s a ace n on on.

In 1996, Alexander played

en e sso n s o n

oncerto n u apest

with Lord Menuhin

con uct ng.

enn er eorge as

played with various

orc estras n t e an

USA, including the Royal

Philharmonic Orchestra,

a rc estra, pera


8/8


in Amsterdam. His many awards

include the 2003 Kathleen

err er, agg e eyte an ng s

Song prizes, and the 2004 Gerald

Moore Award, as well as the

cott ux ey, ora e sen an

Richard Lewis-Jean Shanks

pr zes at t e oya ca emy

o us c, n a t on to w c

he was awarded the Queens

ommen at on or exce encend appointed the Shinn Junior

Fellow by the Academy.

o n as per orme at many

festivals, and has given recitals

with Joan Rodgers, and with

nt ony o e o nson an

the Artea Quartet. He made his

gmore a e ut n ay

w t ucy rowe an as

lso given concerts at the Purcell

oom, t. o n s m t quare

nd the Linbury Studio. He was

founder member of the Royal

ca emy o us c ong rc e,is a former Park Lane Group

oung rt st, an s an a umnus

o t e r tten- ears oung rt st

rogramme.

n r an p ett ecame

t e rst percuss on st to w n t e

title of BBC Young Musician of

t e ear. r an t en went on to

take third prize in the Eurovision

Grand Prix for Young Musicians

n enna. ter gra uat ng rom

the Royal Northern College of

us c n r an orme t e

ercuss on uartet, - ,

with whom he has performed at

many ma or est va s nc u ng

t e roms.

Adrian has also performed

s a so o st w t t e

Philharmonic, Royal Liverpool

Philharmonic, Austrian Radio

ymp ony, oya armon c,

nd Irish Chamber Orchestras.

oncerto per ormances nc u e

acm an s eni, eni,

Emmanuel, Joseph Schwantners

ercussion oncerto, an e oe s rism apso y .

In addition to Radius, Adrian

as wor e w t groups suc

s Birmingham Contemporary

Music Group, London

n on etta, us c eatre a es,

Endymion Ensemble, Matrix

nsem e, ort ern n on a,

r tten n on a, ustra an

Chamber, Scottish Chamber,

ournemout ymp ony an

ty o rm ng am ymp ony

Orchestra.

www.a ys.co.uJocelyn Lightfoot is a recent

graduate of the Royal Academy

o us c, an uw organ

nd yler Vahldick re both

current oya ca emy o us c

students; all three are appearing in

The Corley Conspiracy as Radius

guest art sts.

The Caste ng ntense y ntereste n

the human being, aul Tosio

o s aster s egrees n ot

rama an syc o ogy. au

has performed in Musicalsnc u ng iver as ag n),

Fiddler on the Roo (as Tevye)

and non-musicals including

nto t e og as t e octor)

and Noel Cowards Blithe Spirit

as ar es). e at x or ,

au per orme n t e p ay ouse

Elegies for Angels, Punks and

aging ueens as age ng queen

ranc s, rag queen oscoe, an

Southern Baptist Preacher Nat),

a y in eremere s an as

Mr Hopper), Spanish Interludes

(as charlatan Chanfalla, the

trog o yt c an zares, an t e

blustery Soldier) which had a

run n t e n urg r nge,

ea ing escartes as ro essor

Lewis Shaw), Fuente Ovejuna

at t e p ay ouse as c own

re uctant ero engo), e

Inuence of Beauty (Lieutenant

urwen, ug aysmyt et a ),

Othello (Gratiano, the Clown)

and acbeth Duncan and the

ys c an). rama s au s

abiding passion, and acting andwr t ng are s ma n t eatr ca

nterests.

onat an e , from Adelaide,

w ere s cre ts nc u e

nar er n es is ra es

and a world tour with Adelaide

am er ngers) s current y

making use of a Rhodes

Scholarship to study the history

o sc ence at x or . e as

just returned from a sell-out

n urg run w t t e a -ma e a

cape a sensat on ut o t e ue.

nge a yers is a member oft e x or eatre u an

as a a e ong pass on or

theatre and dance. This is her rst

per ormance n on on.

Alan Bailey started acting in

Lincolnshire at the age of 14 in

t e p ay ainte parrows. e

has since appeared in numerous

pro uct ons nc u ng e

ysteries, or rt ur avi e s

rime, Toad of Toad Hall, and

r. austus.

s s anna emson-

ra ngers second appearanceat t e out an , t e rst e ng

in a Sir Peter Maxwell Davies

opera as a baby seal, aged 6. The

su sequent eca es ave a most

lived up to this promising start in

sta s e n to ce e rate

and promote London as the

creat ve cap ta o t e wor ,The London Design Festival has

grown rapidly to become a xture

on t e g o a es gn ca en ar

and one of the key constituents

o t e s urgeon ng creat ve

est va season, a ong w t

London Fashion Week, Frieze

rt a r an t e on on m

est va .

The London Design Festival

prov es a enc mar or

this creativity, with a packed

programme of design-led

ctivities around the capital.

r t ca mass as now eenreac e , re ecte n t e

estivals elevated prole and

t e grow ng re evance o ts

n t at ves, a ongs e v s tor

numbers that have increased

rom , n to more

than 300,000 in 2006.

For the rst time in 2007, the

est va w ave a e cate

centre, developed with and

ocate at t e out an

entre. t s a so t e rst t me

the Festival has ventured

nto mus c, an t e est va some at t e out an entre

provides the perfect setting for

t e est va s comm ss on, e

Corley Conspiracy. en vans,

irector of the London Design

est va comments: a us

re one of the most exciting

n nnovat ve ensem es

roun . e story t ey ave

to tell is unmissable and you

s ou expect a per ormance to

matc . t s one o my est va

highlights.

e rogramme was edited

y s ast ar, es gne y

Tim Benjamin and Tienjin, and

pr nte y r an en am n on

y van set recyc e paper. www.thecorleyconspiracy.com

adius specialise in the

performance of new music from

roun t e wor wr tten y

iving composers, together with

works by 20th-century masters.

a e up o outstan ng young

nternational concert artists,

a us a ms to s owcase t e r

n v ua ta ent ot as so o sts

nd together, performing new

mus c to t e g est poss estandard.

Inspired by the great res

on on, a us s ne-up

ncludes a former BBC Young

usician of the Year, a regular

ymp ony rc estra guest

eader, and the recipient of the

g est egree resu t n t e oya

ca emy o us c s story.

adius was founded (in 2006)

n s recte y ormer

Young Composer of the Year Tim

enjamin.

e next a us concert w et Londons Wigmore Hall, on

ues ay t anuary . e

concert w eature new wor s

by Tim Benjamin and Ian Vine,

p us mus c y enney, v er,

e man. a us w a so e

performing ty: ty, four small

p eces comm ss one y a us

to celebrate the 50th birthday of

Simon Holt.

www.ra usmus c.orgwww.radiusmusic.org

theatre, from medieval wenching

at Warwick Castle to stage

manag ng at t e en um ome.

She is currently researching a

DPhil in Drama and Education

at x or .

Elise Emanuelle began acting

at uz e rns aw t eatre sc oo

an was o ere a p ace at t e

Oxford School of Drama at the

age o . usequent t eatr caappearances include The Lorax,

The Plague, Toad of Toad Hall,

e yton o e, ime usic

Hall, acbeth and eter an.

She is currently reading Law &

r m no ogy at pen n vers ty

while awaiting her big break!

rne uus stu e us co ogy,

o ern terature, an story

at Freiburg and Bristol, and has

wor e as an pera ramaturg

and Assistant Director. Currently

he is reading for a doctorate at

r st urc x or , an wor sfor a London music publisher.

Documents

The Corley Conspiracy (Opera Programme 2007)