CD Recording with Ensemble Interface

MusicExperiment21 and Ensemble Interface recorded all the new six pieces especially composed for the Diabelli Machines project, including pieces by Juan Parra C., Tiziano Manca, David Gorton, Lucia D’Errico, Paolo Galli, and Bart Vanhecke.

Listen to Bart Vanhecke’s “Commentaire XX”:



Ensemble Interface
Agnieszka Kopwrowska-Born, percussion
Andrea Nagy, bass clarinet
Anna D’Errico, piano
Bettina Berger, bass flute
Christoph Mathias, cello
Marieke Berendsen, violin

Paulo de Assis, direction

Juan Parra C., recording and editing

Recorded at the Orpheus Institute (Concert Hall), on the 22.01.2017

Two public lectures on “The Emancipated Performer” (London and Cambridge)

Monday 28 November 2016, 6 pm to 7 pmLecture Recital Room, Guildhall School of Music & Drama, Silk Street, London EC2Y 8DT
Guildhall ResearchWorks series, presented in association with the Institute of Musical of Musical Research and the Cambridge Centre for Musical Performance Studies

Tuesday 29 November 2016, 5 pm to 6.30 pm

Robin Orr Recital Room, Faculty of Music, University of Cambridge, 11 West Road, Cambridge CB3 9DP (no booking necessary).

Performance Studies Forum, hosted by the Cambridge Centre for Musical Performance Studies

The Emancipated Performer: Musical Rendering Beyond Interpretation

Paulo de Assis (ERC Principal Investigator, Orpheus Institute)

A close historical survey reveals that the notion of ‘musical interpretation’ was born only in the course of the nineteenth century, bound to a specific set of new rules, constraints and expectations. Other words and other practices were in use before its appearance, and other terms and praxes might emerge in the future. This talk will offer a brief overview of the terms used in the past and propose new ones for the future. Situating the discourse in a post-interpretive horizon of possibilities, it will argue for an emancipated, liberated and creative mode of performing musical objects from the past.

More specifically, Paulo de Assis will present his ongoing, European-funded research project MusicExperiment21, focusing on the subproject Diabelli Machines – a series of performances, lectures, articles or installations that operate different forms of problematization of Beethoven’s Diabelli Variations Op. 120. Every single instantiation of this subproject questions the original work, cracking it from inside, disclosing its ruptures, and reconfiguring it in a different regime of perception and signification. Beyond historiographical, philological, organological or sociological investigations, it aims at creatively yet rigorously engaging with the historically available materials related to Beethoven’s Diabelli Variations and its compossible futures.

So far, the Diabelli Machines has had seven instantiations, including collaborations with the ORCiM-ensemble, Hermes Ensemble, Ensemble Interface and ME21 Collective, with seven young composers (Juan Parra, Lucia D’Errico, Tiziano Manca, David Gorton, Hans Roels, Bart Vanhecke, Paolo Galli), Swiss choreographer Kurt Dreyer, and a number of special guests such as Valentin Gloor, Catherine Laws, Stefan Östersjö, William Brooks, Benjamin Widmer and Mieko Kanno. All versions are documented at


Masterclass led by Paulo de Assis at Guildhall School of Music and Drama, London

Research Masterclass for Doctoral and Master’s Students
Sponsored by the Cambridge Centre for Musical Performance Studies, Institute of Musical Research, and Guildhall School of Music & Drama

3 to 5 pm, Monday 28 November 2016
Lecture Recital Room, Guildhall School of Music & Drama, Silk Street, London EC2Y 8DT

A new series of ‘Research Masterclasses’, coordinated by Prof. John Rink (Cambridge University) is being launched for music postgraduates, especially those working in practice-based research and in performance studies.
The first event in the series was held on Monday 28 November, led Paulo de Assis (ERC Principal Investigator, Orpheus Institute; Visiting Fellow, Cambridge Centre for Musical Performance Studies) and featured the work of two students: Naomi Woo (University of Cambridge) and Louise Cournarie (Royal Academy of Music).

Honours Class at Leiden University

Inspired by Gilles Deleuze’s Postscript on the Societies of Control, Nietzsche’s second Untimely Meditation, and Jacques Rancière’s Emancipated Spectator, Paulo de Assis unravels some of the dominant power relations affecting the performance of Western music, proposing liberating avenues for an emancipated performer—someone who, based upon the notion of ‘dissensus’, operates a redistribution of the sensible.

The guest lecture will take place today, 17.15, at the Lipsius Building, Cleveringaplaats 1, 2311 Leiden (NL).

The Honours Class–witht he overall title Music and Society: The Role of Music in Society through History, from Plato to Pussy Riot—is organised by Marcel Cobussen and Hafez Ismaili M’hamdi.


2016-2017 marks our twentieth anniversary!
We will celebrate this occasion with forty-eight hours of music, discussion and festivity.
If you want to join us, visit our website and register online.

Upcoming Events (PI)

November 14, 2016 — 10:30-11:30
Panel discussion: Being Inside Artistic Research
(with Luk Vaes, Margaret Urguhart, Mieko Kanno, Stefan Östersjö, and Tom Beghin)
Orpheus Institute 20th Anniversary Celebration
Orpheus Institute, Ghent (BE)

November 14, 2016 — 16:30-17:30
Diabelli Machines # 6
With Lucia D’Errico and Juan Parra.
Orpheus Institute 20th Anniversary Celebration
Orpheus Institute, Ghent (BE)

November 28, 2016 — 15:00-17:00
Research Masterclass
Lecture Recital Room
Guildhall School of Music & Drama,
Silk Street, London EC2Y 8DT (UK)

November 28, 2016 — 18:00-19:00
The Emancipated Performer: Musical Renderings beyond Interpretation
(Public Lecture)
Guildhall School of Music & Drama,
Silk Street, London EC2Y 8DT (UK)

November 29, 2016 — 09:00-13:00
The Emancipated Performer: Musical Renderings beyond Interpretation
(Masterclass and Lecture)
Cambridge Centre for Musical Performance Studies
Faculty of Music
University of Cambridge
11 West Road
Cambridge CB3 9DP (UK)

December 16, 2016 — 09:00-11:00
docARTES Colloquium
Orpheus Institute, Ghent (BE)

December 20, 2016 — 15:30 & 19:30
Schoenberg’s Memory Wheel
Jan Michiels and ME21 – Paulo de Assis
Kleine Concertzaal
Kleine Zavel 5
1000 Brussel (BE)


Paulo de Assis, Heloisa Amaral, and Paolo Giudici at the Deleuze Studies Conference Rome

ME21’s engagement with the philosophy of Gilles Deleuze continues. Three presentations from team members were given at the annual Deleuze Studies Conference (Rome July 11-13 2016). Paulo de Assis presented the paper “Wandering between Diagram and Assemblage”. Heloisa Amaral spoke about “Fabulating Practices: Musical Scores between Memory and Monuments”. Paolo Giudici screened the video A Starling, made in collaboration with composer Andi Spicer.

Recording of Sechs kleine Klavierstücke by Arnold Schoenberg

MusicExperiment21 team engaged with the recording of Sechs kleine Klavierstücke op. 19 by Arnold Schoenberg, in the transcription for guitar. In the same occasion, Malheur me bat by Francesco Spinacino and Canon per tonos from Musikalisches Opfer by J. S. Bach were recorded. The recordings will be part of the project Schoenberg’s Memory Wheel. The piece was performed by Lucia D’Errico, and recorded by Juan Parra with musical assistance by Paulo de Assis.