Laughing, Buzzing, and Looking Back

In February, Samuel Stoll and I gave a concert of new vocal and French horn solos/duos in Manchester at Nexus Arts Café. During our concert, we performed Louis d’Heudieres‘ Laughter Studies 2.

The next day, Samuel and I made a recording of our collaboratively developed French horn piece, Buzzed.

An interview with Mercé Bosch-Sanfelix about Buzzed, conducted for her master’s thesis Desarrollo de la escritura para trompa en relación con los nuevos lenguajes musicales, can be read here.

Tempus Konnex published an essay I wrote on Seth Kim-Cohen’s idea of retrospective composition in relation to my toy piano solo, Composition with the Sound of Its Own Découpage that can be read here.

My 2014 trio for French horn, piano, and double bass, this is not natural, has been re-released in the form of a score-following video as part of Score Follower / Incipitsify’s newest channel/project Mediated Scores. I’m very happy to be in the good company of composers Dan Tramte, Celest Oram, Elena Rykova, and Jessie Marino in the channel’s first wave of uploads.

My trio for violin and objects was premiered as part of 840’s New Music for Violin and Objects concert in Islignton, London. An article focusing on the video-score for the violin part can be read here.

I finally decided to upload to my website an essay I wrote in 2011 about Klaus Hübler’s music and notation that can be read here.

BUZZED @ Nexus Arts Café

Last July I moved to Manchester and am excited to now be presenting my first concert in the city in collaboration with the Berlin-based French hornist Samuel Stoll:

Saturday, 20 February 2016 @ Nexus Arts Cáfe
2 Dale Street, Manchester, M1 1JW [click for map]
Doors – 8:00pm / Concert – 8:30pm
FREE (£5 donation)

Samuel and I have been collaborating for the last year, sending back and forth recorded improvisations and other materials. This concert is a combination of our own repertoires and the piece that emerged out of our collaboration with each other. BUZZED will feature recently composed experimental music and performances for solo voice and french horn in which I’m turned into a still-life, Samuel displays feats of embouchuric dexterity and stamina, we both explore a sonic and aural study of laughter, and soon-to-be legacy media are barely brought to life with the nylon hairs of violin bows.


Event listing on Facebook

Studio Recording of ‘No sweeter sound than my own name’

Beavan Flanagan and I have been busy at work editing and mixing the audio from our recording session of No sweeter sound than my own name, and are excited to be able to finally share the result with everyone. Watch and listen to the video below and then read back through our reflections on the collaboration and development process to find out more about the work.

No sweeter sound than my own name (2015)
composed by Beavan Flanagan
performed by Michael Baldwin
videoed by Angela Guyton

Live Performance of Luke Nickel’s ‘[factory]’ at WEISSLICH 3

Earlier in July I gave my second performance of Luke Nickel’s [factory] as part of WEISSLICH 3 at Hundred Years Gallery.

Extending from a tradition of verbal scores using text and language to communicate ideas for making music, Nickel’s [factory] is unique in the way its musical and artistic ideas are communicated. As a part of a larger project, Luke has orally expressed a range of ideas to a group of humans who have agreed to act as mentally encapsulated vessels of specific ideas, committing to memory a one-off communicated ur-speech. Upon creating and storing these memories, each human is considered to be a live, embodied manifestation of the original ideas, rendering them into, what Luke would call, living scores (what I consider to be living repositories which store, maintain, and disseminate living scores).
Continue reading

hearing hearing – Video Release of Charlie Sdraulig’s ‘few’

I’m very happy to be able to share my recent recording of Charlie Sdraulig’s 2013 vocal solo, few. I’ve written about this piece on a couple of occasions, and for some background on my work with it you can read here and here.

Towards the end of April, Charlie asked me if I would be interested in performing few again at a house concert in London. I agreed and had a chance to go to work directly with Charlie on the realization. With my earlier work on the piece, I was concerned with exploding the ambiguities of the piece, especially with respect to how many ways I could simultaneously articulate elements of intimacy, privacy, inner perception, and the general implications of a sound world that derived from, but almost barely contributed to, an aural environment. At the time, I was trying to completely open up the work – to find my interpretation of the work and the way its intentions resonated with not only my own ways of thinking about sound and performance, but the personal knowledge I had accrued through friendship with Charlie about his own relationship to sound and music. I was trying to find myself through the musical exploration, coming to terms with how I hear and listen to space. Continue reading

Performance of ‘urtext’ at WEISSLICH 2

I’m performing in London this Saturday for the return of WEISSLICH @ Hundred Years Gallery.

For a sampling of last year’s WEISSLICH watch this video made by curator/composer Louis d’Heudieres:

As part of WEISSLICH 2 I’ll be reprising my performance/listening-piece urtext which I’ve been performing around Huddersfield recently. The premiere performance was given last December at Huddersfield’s newly establish concert series, Soni[k]ab organized by BaconJam Collective (Eleanor Cully & Stephen Harvey). In preparation for my performance in London I also performed urtext at a recent house concert that I’ve been writing about in previousblog. entries. Continue reading


Rodrigo Constanzo and Angela Guyton recently came around to mine and David Pocknee’s cellar to make music videos for Everything. Everything at Once. Once (3). David and I worked with dynamic lighting and apathy, while Rod laid down some groovy music and Ang got us to wander around barefooted. The videos are calftastic.

Read what Rod has to say about this portion of the series here.

My favorite take: