On Thursday, 26 June, flautist Paolo Vignaroli and cellist Karolina Öhman are giving the first performance of my Tomorrow I will build a house here, if I can hold still in Paris, France. Come along to Studio Le Regard du Cygne (Google Maps) at 8pm to hear a concert of music for flute, cello and electronics that will also include a new work by Santiago Díez-Fischer.
This week, ELISION Ensemble will be in residence at Harvard University, culminating on Saturday 17 May in a concert of new music by graduate composers at Harvard that will also include the US première of Richard Barrett’s Lens, for flugelhorn and electric lap-steel guitar.
Ensembles that undertake their work and perform with the integrity and intensity of ELISION are rare, so it will be an eye-opening experience having them here. My short experiment for them is for electric lap-steel guitar and a strange quintet of oboe, bass clarinet, contrabass clarinet, trumpet and trombone. Come along on Saturday to hear more!
![Pick Staiger Hall, Northwestern University — by Daderot (Own work) [Public domain], via Wikimedia Commons](http://chrisswithinbank.net/wp-content/uploads/2014/04/pick-staiger-concert-hall-324by243-6ae312.jpg)
This weekend I am travelling to Chicago to take part in the NUNC! Conference at Northwestern University. There’s a full schedule of concerts, presentations, and masterclasses, including a performance of my piece The Incredulity of St Thomas by Ensemble Dal Niente. See the full schedule here.
At 11:30 this Saturday morning at Harvard University, my duo for flute and cello, Tomorrow I will build a house here, if I can hold still, will be presented by Jessi Rosinski and David Russell of the Callithumpian Consort as part of my and fellow first-year PhD candidate Kai Polzhofer’s jury examination. Our pieces will be performed and discussed with faculty and peers. Despite its odd timing, the performance is open to the public and all are welcome!
The most recent edition of the CeReNeM Journal, run by postgraduates at the University of Huddersfield, contains an article I wrote about the painter William-Adolphe Bouguereau and Swedish composer Lisa Streich, exploring the trope of the Pietà in their works. Thanks go to Pedro Alvarez for instigating the project and editing this volume, and to Tim Rutherford-Johnson for his eagle-eyed proof-reading.
Lisa’s music is wonderful, you should go listen to it, and as a small bonus if you are reading the article online, you can refer to this selective timeline of Bouguereau’s paintings, which I created as an aid to my research.