2021 is shaping up to be another strange year with not too many performances on the horizon, but I’ve still been fortunate to work on many amazing recordings.
Elision Ensemble have continued to present a series of filmed performances, with some more incredible works and virtuosic performances. There are just a handful below, but they are all very worth checking out (and you can do so here).
I’ve also been working with the MSO on recordings for their new online platform, MSO Live, including a number of new commissions and rarely performed pieces. We’ve also had some fun little projects like the MSO/Singapore Symphony collaboration below, luckily recorded on the very last day before Melbourne went back into lockdown.
And lastly, a few projects delayed by COVID have been released, including the wonderful performance by Rubiks Collectives of their annual Pythia Prize winning work, Christine McCombe’s Waiting (for the pause).
It’s been amazing to work on these really detailed and virtuosic recordings of works by Liza Lim and Richard Barrett with Elision Ensemble. They really demonstrate the depth and detail that can come from long term collaboration between performers and composers, and the playing is pretty phenomenal. This is just the start of the series, more to come!
After a very long time between recording performances, it was great to get to put some mics up in front of real musicians in a real acoustic (even if those musicians are spaced a long way apart!) Thanks to the MSO and all the voices in the chorus!
At the end of 2019, Joe O’Connor and I composed doppler, a long-form work for chamber ensemble and electronics commissioned as part of Due West Festival and premiering in the incredible acoustic and surroundings of Jack’s Magazine. We were fortunate to have an incredible ensemble bring it all to life, and whilst the ensemble works (and spatialised sound) really need to be experienced in the space, some of the smaller solo features came up a treat.
A few months ago I wrote some new music for field recordings, guitar and electronics, for the exhibition If the city could speak. Based on some ideas I’d explored years earlier for a work commissioned by the Arts Centre, all rhythmic, melodic and harmonic material was ‘found’ in the field recordings, and repurposed and expanded upon with instruments.
They are some fun little miniatures, and if you’re keen to read some more about them head over here: field mirror
ACME had a great premiere at Melbourne Festival with no new noise and I’m really happy to share some videos of the concert, and in particular of my work electric sheep, developed with the inimitable Robert Jarvis.
For some more info on the project, head here: no new noise
For some more videos, including of the other works in the concert by Joe O’Connor and Reuben Lewis, head over here: ACME on Youtube
I’m very happy to say that my new ensemble, ACME, has a show coming up at Melbourne Festival this year. It features new works by myself, Joe O’Connor and Reuben Lewis, and a great lineup of performers. I’m currently working on a new piece titled electric sheep, for improvising ensemble directed by a computer. The computer instructs the performers how to play based, and makes those decisions based on what it hears the ensemble playing. So a cool little feedback loop- and a starting point for simple intelligence and aesthetic decisions.
A little earlier this year I was fortunate enough to play and record some of Josh Kyle’s new music for voice, drums and multiple guitars. It’s great music, lots of fun and as always Josh sounds fantastic. The debut was at the Melbourne Recital Centre and I’m looking forward to more performances, but in the meantime it’s well worth checking out some of the videos we made.