On Wednesday, 4 September, the Orfea Duo — Mea Wade (oboe) & Olivia Jageurs (harp) — will present a curious programme at London’s Wigmore Hall built around Heinz Holliger’s 1962 open-form work Mobile. This modular and reconfigurable work comes in 12 bits and it will be presented intermingled with 12 new matching miniatures, including my (tiny) still point.
The concert is private, but I have two invitations to give away. Leave me a tweet @swithinbank or a comment below, and on Monday evening I’ll pick someone at random to go along.
Two days later, soundinitiative will give their second performance of my most recent piece, All that is solid melts into air, at the What’s Next Festival in Brussels. The concert will also include the second performance of Joanna Bailie’s Artificial Environment Nos. 9a–d and Rebecca Saunders’s Molly’s Song #3 — shades of crimson, which they played with intensity and subtlety in February, so don’t miss it!
This morning, Stockholm’s Curious Chamber Players will read my miniature Icebloom, a piano trio with music box drawing on Schubert’s Winterreise, as part of the Impuls Academy in Graz, Austria. While here, I am also enjoying lectures on and performances of new music, meeting plenty of fellow composers and performers, and taking lessons with Georges Aperghis, Chaya Czernowin and Georg Friedrich Haas. I am grateful for the scholarship from Fondation Royaumont which is enabling this trip.
Update, 9/3: Here’s an extract of Icebloom recorded in the reading session last month:
As the year draws to a close, here’s a selection of things from the last twelve months that I have enjoyed and would like to share. Have a happy 2013!
Dan Vezza’s Composer Conversations podcast has kept me listening with its utter candour and unpretentious discussion of compositional nitty-gritty since the first episode in September. Dan is not only able to steer good chat, but possibly uniquely qualified to present composers from quite distinct scenes, including composers from both Europe and America, with a wide variety of musical voices.
Tanztheater Wuppertal, 1980 - Ein Stück von Pina Bausch — I was lucky enough to catch the revival of this Pina Bausch choreography at the Théâtre de la Ville in Paris twice in the spring. The performance, which lasts almost four hours, is an astonishing meditation on loss and farewell with an intensity and breadth that completely bowled me over.
Piaras Hoban, stamme : nahuskild : 존재감 — I met Piaras and heard this piece at Fondation Royaumont in September. There is something wonderfully bold and forceful in the way this work unfolds, letting sound slip into a kind of unpredictable, mystical dimension.
In a much briefer vein, here is Tim McCormack’s Apparatus vividly performed by young German ensemble hand werk at this year’s edition of the Wittener Tage für neue Kammermusik.
Neil Luck, Fiona Bevan & ARCO, Last Wane Days — This two-track EP collaboration between composer Luck and singer-songwriter Bevan around texts by Richard Foreman performs the kind of ADHD-evoking stylistic leaps that one might expect of Van Dyke Parks and yet somehow hangs together with a weird, geeky cohesion. The music is linked to Luck’s ‘Notebook’ performance project, a video of which is also worth watching.