It’s a reasonably quiet time, during which I’m mostly focused on completing a Piano Concerto for ELISION and soloist Alex Waite, commissioned by the Ernst von Siemens Musikstiftung, which has a planned premiere in September 2022. The piece, which will be ca. 25 minutes long, is scored for the slightly unusual instrumentation of solo piano …
Third verse, same as the first. It’s been eight months since the last news post, so I’m overdue for an update. It has mostly been a period of planning, rescheduling, waiting, rescheduling again. It has also been a period of resourcefulness, opportunistic workarounds, dogged determination, a good bit of luck, and some patient trust that …
One of the things I’ve noticed during this pandemic period is a very strange bifurcation of the experience of time—for me, days seem to go by impossibly slowly, but months go by in a flash. The sameness of the routine of Zoom and the lack of variety in our surroundings (my office walls seem to …
Obviously it’s been a very strange time, with many events and projects cancelled, postponed, and often still hovering in some sort of suspended animation, with uncertain but somehow still hopeful futures. This was supposed to have been one of the busiest spring schedules I’ve had in a few years, with lots of globetrotting and some …
Performances Karin Nakayama, violin. Half Moon Hall, Shimokitazawa, Japan. September 2, 2019. The Crutch of Memory Line Upon Line. Open Circuit, Leggate Theatre, University of Liverpool, UK. November 1, 2019. A republic of spaces (premiere of revised version) Line Upon Line. City University, London, UK. November 5, 2019. A republic of spaces Line Upon Line. Hochschule für Musik Freiburg, Germany. November …
It’s been a bit more than two years since we made our commitment to reach a 50/50 gender balance across all the composers represented on the Huddersfield Contemporary Records (HCR) label by 2022. The background for that original commitment from June 2017 can be found here, and an update from 18 months ago can be …
Read more “HCR gender balance update, and a CeReNeM Keychange pledge”
Performances University of York, Rymer Auditorium, HISS@10. February 15, 2019. I, for example, … Kathryn Schulmeister, double bass. University of California, San Diego. February 23, 2019. The wreck of former boundaries (contrabass) ELISION. Lippes Concert Hall in Slee Hall, Center for 21st Century Music, University at Buffalo, New York, April 23-24, 2019. The wreck of former boundaries (B-flat clarinet) …
Performances Dejana Sekulic, violin. Darmstadt Summer Courses ‘Open Space’, Germany. July 18, 2018. “the green is where” Daryl Buckley, electric lap steel guitar. City Recital Hall, Sydney, Australia. August 25, 2018. The wreck of former boundaries (lap steel & electronics) Line Upon Line. First Street Studio. Austin, Texas. September 28, 29, & 30, 2018. A …
Phantom Images. Includes I, for example, … (2017), along with works by Katherine Young, Chris Mercer, Sam Pluta, and Charmaine Lee. Produced as part of the CeReNeM Speculations in Sound international research network, in partnership with the Bienen School of Music at Northwestern University and the CHIME studios at the University of Chicago. HCR17, April 2018. …
Last June, as my first act as the newly appointed Director of CeReNeM, I made a commitment to attain a 50/50 gender balance across the composers represented on CeReNeM’s HCR record label by 2022. With the wonderful visibility of the PRS Foundation #keychange initiative over the past week or so, this seemed an appropriate moment …
Read more “CeReNeM, Gender, Diversity, Equality, and Quotas (an update)”