Answer Machine Tape, 1987, for piano and multimedia, will be performed on 18th October at the Transit Festival in Leuven, Belgium. It will be performed by Zubin Kanga, who commissioned the piece, at STUK in a late-night concert. More information and tickets here.
Answer Machine Tape, 1987 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.
Photo by Robin Clewley, taken at a performance at HCMF, Huddersfield, 2022.
The Faggots and their Friends Between Revolutions has just been announced in this year’s Ruhrtriennale in Bochum, Germany. Four performances will take place from 17th—20th August 2024 in the Jahrhunderthalle Bochum. It’s an exciting festival programme, covering theatre, music, dance and art, and I’m delighted that we get to share the festival with so many artists I admire, such as Isabelle Huppert, Romeo Castellucci, PJ Harvey, Kirill Serebrennikov and Marlene Freitas, and many others to discover.
I’m delighted to announce our next opera, We Are The Lucky Ones.
The opera is commissioned by Dutch National Opera, and it will premiere at the Opera Forward Festival in Amsterdam on 14th March 2025. I am writing it with Ted Huffman and playwright Nina Segal. It will be my first opera with orchestra, conducted by Bassem Akiki. We have a stellar cast: Claron McFadden, Jacquelyn Stucker, Nina van Essen, Helena Rasker, Miles Mykkanen, Frederick Ballentine, Germán Olvera and Alex Rosen.
The press release says: “We Are The Lucky Ones tells the story of a generation. It is based on interviews with more than 70 people in Western Europe who were born in between 1940 and 1949. It is the story of people who started out life with little, who experienced ever-improving living standards and are now leaving behind a world where such growth is no longer sustainable. Their memories form a collective time capsule of the past eighty years, told as one continuous life story in music theatre form. Following individual experiences and societal changes over the decade, the opera raises crucial about the relationship between the private and the political, the impact of our choices and what truly matters in the end.”
The Faggots and their Friends Between Revolutions has just been announced in this year’s Holland Festival in Amsterdam. The performances will take place on 13th and 14th June 2024 in the Muziekgebouw. It’s a wonderful festival to be part of, covering theatre, music, dance and art, and I’m delighted that we get to share the festival with so many artists I admire, such as Marina Abramović, Dries Verhoeven, Forced Entertainment and Trajal Harrell, and other artists that I’m excited to discover.
Answer Machine Tape, 1987 has been shortlisted for the Small Chamber Composition category of the 2023 Ivors Classical Awards. The awards ceremony will take place at the British Film Institute on the South Bank in London on 14th November 2023. The other shortlisted composers are Newton Armstrong, Matthew Grouse, Josephine Stephenson and Larry Goves.
Dates for The Faggots and their Friends Between Revolutions have been announced at London’s Southbank Centre, playing four shows in the Queen Elizabeth Hall on 25—28th January 2024. This music theatre show, made in collaboration with Ted Huffman, is based on the book of the same name by Larry Mitchell and Ned Asta. It premiered at HOME Theatre in the Manchester International Festival on 29th June, and had subsequent performances at Festival d’Aix-en-Provence and Bregenzer Festspiele. After the performances in London it will travel on to the other co-commissioning festivals, dates to be announced. Tickets for the Southbank Centre are available here.
Denis & Katya will have its Danish premier on Thursday 17th August (schools performance) and Friday 18th August 2023 (public performance) as part of the Aalborg Opera Festival. This is a brand new production by Kind Of Opera, created by director Selma Mongelard and creative producer Trine Heide. The production then moves to Copenhagen for more shows at the Folketeatret on 25th and 26th August. More info and tickets are available here: https://kindofopera.dk/projekter/deniskatya.
The team is: Soprano: Katinka Fogh Vindelev Baritone: David Kragh Danving Celli Marie Louise Lind, Kirstine Elise Pedersen, Marta Gudmundsdottir, Mihai Fagarasan Musical Direction: Ian Ryan Director: Selma Mongelard Lighting design: Malte Hauge Sound design: Tommy Kamp Vestergaard (…who also produced the wonderful recording of My Favourite Piece is the Goldberg Variations) Producer: Trine Heide
Some production images from the Manchester International Festival production of The Faggots and their Friends Between Revolutions, June 2023 (based on the book by Larry Mitchell and Ned Asta 1977).
“This masterpiece does not rewrite history, it radically retells it… Prepare for passion, poignancy and pithiness… this show is bursting with joy throughout.”— Manchester Evening News (5 stars)
“An exquisite, revolutionary riot with a cavalcade of queer talent calling out the need to fight for queer joy and not to assimilate… The Faggots and Their Friends is a powerful reminder to keep fighting for queer joy and resist living the status quo in a heavenly punk opera for all.”— To Do List (5 stars)
“At times chaotic but never less than virtuosic, Philip Venables’ take on Larry Mitchell’s 70s manifesto is gritty but sensual and extravagant… served up with such raw energy and panache, it’s also irresistibly, unforgettably compelling.” — The Guardian (4 stars)
“Larry Mitchell’s 1977 cult book The Faggots and Their Friends Between Revolutions – part queer manifesto, part fable – explodes into life in Philip Venables and Ted Huffman’s exhilarating stage version. It’s as resistant to easy classification as its source material, blending theatre, opera, movement and music… Venables’ distinct, original music is also key to the narrative momentum: dramatic strings convey the violence of the men; soaring arias capture the community’s sorrow or yearning; a solo on the cello or violin distils a mood. There’s a baroque vibe, with a theorbo and a harpsichord alongside flutes and harps, but the music can be anarchic, audacious and a lot of fun, too. One song about how much the men love paperwork shifts from the cast rhythmically scrunching sheets of paper to a flurry of salsa and into an accordion-led music-hall-style knees-up… a genuinely fresh and distinctive new work that gladdens the heart.” — The Stage (4 stars)
“this piece has a directness and a lyrical memorability that is compelling. Sometimes it might be a single instrument — a harp, a cello, a fiddle — hauntingly underscoring the voice. Elsewhere he ramps up all available resources in rambunctious, stamping dances that evoke one of those wild Balkan bands in full cry.” — The Times (4 stars)
“The Faggots and Their Friends Between Revolutions is unlike anything else being shown today… One moment, it is eerie and heartbreaking, the next it is joyous and stirring… Radical and playful, The Faggots and Their Friends Between Revolutions brings together theatre, dance and song for the ultimate anarchic bedtime story.”— I love Manchester.
“the world’s history as seen by the faggots becomes an opera, a rave, a political rally cry, a court dance, a bard’s ballad, a revolution in the making.— Northern Soul (4 stars)
The Faggots and their Friends Between Revolutions has just been announced by Factory International as part of this year’s Manchester International Festival. This will be the world premiere, on 29th June 2023.
Step into a world where fables and myths celebrate queer community, friendship and pleasure: a manifesto for survival for the marginalised everywhere. Based on the 1977 cult book by Larry Mitchell and Ned Asta, The Faggots and Their Friends Between Revolutions is a music theatre piece that reimagines the history of the world through a queer lens. In this adaptation by composer Philip Venables and director Ted Huffman, the original text is taken on a kaleidoscopic journey by a cast of actors, singers and musicians. Together they conjure up a world on the brink of revolution – expect battle re-enactments crossed with cheerleading, all night raves mixed with lute songs and court dances.
Fifteen performers will bring this piece to life on stage, including baroque and modern instruments, led by Music Director Yshani Perinpanayagam, directed by Ted Huffman, design by Rosie Elnile, choregraphy and costumes by Theo Clinkard, Sound Design by Simon Hendry and dramaturgy by renowned theatre-maker Scottee.
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.
The Faggots and their Friends Between Revolutions, has just been announced by Festival d’Aix-en-Provence in France, in July 2023. This will not be the world premiere (which is still to be announced), but will be the European premiere.
The music theatre piece, which we are calling a ‘baroque fantasia’, is another collaboration with Ted Huffman, and based on the 1977 cult book of the same name by Larry Mitchell (illustrations by Ned Asta). We have reworked Mitchell’s text into a kaleidoscopic, hyper-theatrical bedtime story, that re-imagines the history of the world in the fantasy city of Ramrod, where fables and myths become a celebration of sex, pleasure, and queer community: a manifesto for survival.
Fifteen performers will bring this piece to life on stage, including baroque and modern instruments, led by Music Director Yshani Perinpanayagam and directed by Ted Huffman. Our dramaturg is the the theatre-maker Scottee.
My next opera, The Faggots and their Friends Between Revolutions, has just been announced by Bregenz Festival in Austria, in July 2023. This will not be the world premiere (which is still to be announced), but will be the Austrian premiere.
After five years of planning, it is wonderful to finally announce my third opera, my second opera written with Ted Huffman, and our eighth collaboration. The show, which we are calling a ‘baroque fantasia’, is based on the 1977 cult book of the same name by Larry Mitchell (illustrations by Ned Asta). We have reworked Mitchell’s text into a kaleidoscopic, hyper-theatrical bedtime story, that re-imagines the history of the world in the fantasy city of Ramrod, where fables and myths become a celebration of sex, pleasure, and queer community: a manifesto for survival.
Fifteen performers will bring this piece to life on stage, including baroque and modern instruments, led by Music Director Yshani Perinpanayagam and directed by Ted Huffman. Our dramaturg is the the theatre-maker Scottee.
Some production images from the Dutch National Opera production of Denis & Katya, March 2022, on the enormous main stage of the opera house in Amsterdam, as part of the Opera Forward Festival. The singers Inna Demenkova and Michael Wilmering, with cellists of the Residentie Orkest The Hague. Direction by Ted Huffman, Music Direction by Tim Anderson, Sound by Simon Hendry, Video by Pierre Martin, Design and Lighting by Andrew Lieberman. All images by Milagro Elstak. They can be used for press purposes with the appropriate credit.
Trailer video of excertpts (with non-contiguous edits)
This is the catalogue page for Answer Machine Tape, 1987.
Answer Machine Tape, 1987
after David Wojnarowicz
Answer Machine Tape, 1987 is dedicated to Joséphine Markovits with great appreciation for her friendship and support.
Credits:
Answer Machine Tape, 1987 was based on a concept developed in collaboration with Ted Huffman.
Software Programming: Simon Hendry
Answer Machine Tape, 1987 was commissioned by Zubin Kanga with the support of a UKRI Future Leaders Fellowship, Royal Holloway, University of London and The Marchus Trust; Time of Music (Musiikin aika, Finland), November Music (Netherlands) and Huddersfield Contemporary Music Festival (UK) with the support of Sounds Now and Creative Europe; and Festival d’Automne à Paris (France). Support for some research time was provided by Neustart Kultur.
Answer Machine Tape, 1987 was premiered by Zubin Kanga on 8th July 2022 at Time of Music Festival (Musiikin aika), Viitasaari, Finland.
With thanks to:
Marcelo Gabriel Yáñez for his assistance with research and for the transcription of the audio tape. Anneliis Beadnell at PPOW Gallery for her assistance and liaison with the Estate of David Wojnarowicz.
Duration
45 minutes
Instrumentation
solo piano with MIDI detection (e.g. KeyScanner), MaxMSP and software synth, Projector and Tape. The Max interface is provided with the hire material.
Programme Note
Over the past five years, Ted Huffman and I have been researching and making pieces about queer personal histories. One recent project involved us researching US-American archives of queer artists and activists from the 70s and 80s, for which we worked in collaboration with Marcelo Gabriel Yáñez. During the first Covid lockdown, I read Close to the Knives and The Weight of the Earth by David Wojnarowicz, and then, for further materials, Marcelo pointed us towards the Wojnarowicz archive held at the Fales Library at New York University. Particularly, he told us about the existence in this archive of an answer machine tape from November 1987, the time of Peter Hujar’s death.
David Wojnarowicz (1954—1992) was a visual artist, writer, performance artist and AIDS activist prominent in the New York City / East Village art scene during the 1980s up until his death from AIDS-related illness in 1992. His work is well-known for its searing, autobiographical detail, and particularly for the spotlight it shines on the development of the AIDS crisis and the precarity of gay life and emerging artists in the city at the time. David was a close friend and former lover of another artist, photographer Peter Hujar, whom David nursed through the final days before his death from AIDS-related illness on 26th November, 1987. Among other documentations of this period, David took 23 poignant photographs (one for each human chromosome pair) of details of Peter’s body immediately after the moment of death — images which then became Untitled (1988). David also kept the tape from his answer-machine after Peter’s death, which covers the time from 4th November— 1st December 1987, and features 80 minutes of messages from friends, other artists and musicians, his Gallerist, hook-ups, and others caring for Peter.
Zubin Kanga approached me some years ago about a new large-scale piece for piano, as part of his ongoing research project Cyborg Soloists, which aims to develop the artistic potential of various technological inventions for and extensions of the piano. As a result, we decided to work with the KeyScanner from the Augmented Instruments Laboratory, which non-invasively detects key-strokes on a standard piano. We worked with programmer Simon Hendry to turn the piano into an enormous typewriter, following earlier work in 4.48 Psychosis (2016) and Denis & Katya (2019). The source tape, with only some messages removed for brevity, forms a central thread around which the piano-typewriter explore ideas of transcription and annotation. The narrative presented by the tape is elliptical, opaque, mysterious, intimate — repetitive and yet never repeating. The AIDS crisis haunts every message, and yet the messages themselves, like everyday life, deal mostly only with minutiae and banality. Where are you? Come to my gig. When should I visit? Call me back.
Answer Machine Tape, 1987 is a work that is enigmatic and meditative, that opens a door for the audience, but requires them to take a step inside. We eavesdrop into a private world, messages are transliterated into a musical fabric, become character studies, become reflections on a community, become attempts to decipher meaning. Transcription, and its failure in the face of extreme difficulty, becomes a poignant metaphor for the AIDS crisis and its devastating effect on a generation.
Answer Machine Tape, 1987 is dedicated to Joséphine Markovits with much appreciation for her friendship and support.
Philip Venables 04.06.22
Buy score — available soon
Answer Machine Tape, 1987 is exclusive to Zubin Kanga until 11th July 2027. Material will be available for hire after that date.
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.
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.
I was delighted to speak to Will Davenport earlier this year about my work in the context of LGBTQI+ issues, particularly focussing on my operas and my work with David Hoyle. This two-part interview features on the ConnectsMusic platform as part of their ‘Open Conversations’ series that focuses on queer music-makers.
