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.
This blog post is about one of the three scores from my trio ||: trouble letting go :|| – ]HoldingOn[ – 4 Echoes: whistle, whisper, gasp, silence composed for violin and objects. The trio is a collection of three pieces that are intended to be simultaneously performed together and was written for the London-based concert series 840 for their ‘New Music for Violin and Objects’ programme. In this blog I reflect on some developments in my work with video scores in the piece ]HoldingOn[.
video score for ]HoldingOn[ / instructions for reading the score
]HoldingOn[ is my second self-published video score and extends upon some of the previous work I was doing in this is not natural, a trio for French hornist, pianist, and contrabassist.
To briefly recap the work I did in this is not natural: the score for this is not natural is made/composed from edited video-documentation of pre-recorded performances of a choreographed sequence of movements lasting fifteen seconds. Inspired by Bill Viola’s Quintet of the Astonished, large portions of the original performance documentation were extremely slowed down to fill the duration of nine minutes. Frames from the original footage are spread out across larger distances, breaking the illusion of apparent motion, and through a process of interpolation, new frames are generated to fill the space in-between original frames and render the movement/footage smooth. Continue reading