Clancy Recording

We had a great time working with New Dots last month; you can check out some reviews of the gig on their website. Documentation stuff all come in now so going to put up a few posts in next month or so.

First up we have the recording of ‘Seven Lines of Music Slow Down and Eventually Stop’ by our Composer-in-Association Seán Clancy. It was really great working with Seán and we are looking forward to playing this piece again and many more of his works in the future…!

Seán Clancy third WUE Composer-in-Association

We are chuffed that Irish composer Seán Clancy will be our Composer-in-Association 2015. He follows in the footsteps of Matthew Kaner (2013) and Ryan Latimer (2014). We are delighted to be working with Seán and Swedish guitar quartet Krock on a project, hopefully coming to a venue near you in the Autumn! More news on this soon!

 

On & Off Warehouse Photos

We can’t quite believe over a month has past since our ‘ON & OFF TOUR 2015’. Thanks to everyone that came to hear us and to the fantastic composers we had the chance to work with on the project. Recordings and video are coming soon but we wanted to share just four of the many fantastic photos Markus Kinch took in the rehearsal for (and after) our gig at The Warehouse…

The setup

Joley takes on the mighty sandpaper boards

 

 

 

 

 

The megs!

Post gig happiness!

Final Two Quick Questions: Ryan Latimer

Better late than never (on the third day of our tour!) here is the fifth and final edition of our two question series. This time it is our Composer-in-association for 2015 Ryan Latimer. His work King is second work of Ryan’s that we have commissioned and performed.
Pick up your tickets now for our gig at the Warehouse tomorrow evening: https://www.eventbrite.co.uk/e/on-off-the-warehouse-tickets-15130043367

WUE: In what way does your piece respond to the ‘On & Off’ theme?

Ryan: The dialecticism suggested in Steen-Anderson’s title is also a common feature of my own work more generally, as it is for many others. I use the term ‘dialectic’ simply because the notions of ‘On And Off And To And Fro’ are not just contrasting ideas but are intrinsically related and relative to one another; they’re connected precisely because of their direct opposition. At the risk of becoming too technical, there are, in many types of music, examples of these binary relationships – tonic/dominant, major/minor, call/response, antecedent/consequence and so on. The majority of my piece playfully brings into contention these various devises and explores their functional (and dysfunctional) properties. However, this isn’t entirely what the piece is about and there’s a small twist in the tale towards the end, which extends this notion beyond the purely musical.

WUE: What music are you into at the moment?

Ryan: A composer friend (I’m not sure how these differ from normal friends) recently recommended to me a book called ‘The Arab Avant-Garde: Music, Politics, Modernity’, which has unveiled to me a seriously exciting wealth of radical music making happening throughout the Middle East. Ranging from heavy metal, hip hop, musical theatre, sound installation, jazz and cross-discipline collaboration, all of this work engages profoundly with the socio-political realities of its home regions, in a way I feel much of western ‘art music’ does not. It’s been quite a liberating experience discovering this stuff; I’d recommend it.

Here is a retrospective exhibition of the work of Egyptian artist and musician Ahmed Basiony, who was killed during the 2011 political uprisings in Cairo:

Two Quick ‘On & Off’ Questions: Benjamin Oliver

The fourth in our two question series is well, me…Ben Oliver, the conductor of the Workers Union Ensemble! Here goes…

WUE: In what way does your piece respond to the ‘On & Off’ theme?

Ben: In my piece, ZEROS AND ONES, I work with the idea of musical switches that either turn different musical materials ‘on and off’, or transform them in some way. So for example at the beginning of the piece the piano has a descending pattern that turns ‘on’ layers of material, and a high angry chord turns ‘off’ layers of material. As the piece develops switches also reverse, slow down and speed up the music.

WUE: What music are you into at the moment?

Ben: I have a lecture I do about Ives most years at Southampton. I love his music and The Houstatonic at Stockbridge blows my mind every time I hear it!

 

I’m writing a piece for ensemble and poet and the moment and my favourite discovery in researching the piece has been a really tiny piece featuring Kenneth Patchen called Murder Of Two Men By A Young Kid Wearing Lemon Colored Gloves:

Murder Of Two Men By A Young Kid Wearing Lemon Colored Gloves from AdamPellinDeeve on Vimeo.

 

Two Quick ‘On & Off’ Questions: Kate Whitley

With only a few days to our rehearsals start here is the third of our super short interviews leading up to our ‘ON & OFF’ tour (18th-21st February), this time with composer and pianist Kate Whitley.

WUE: In what way does your piece respond to the ‘On & Off’ theme?

Kate: I love the little fragments of sounds in On  And Off And To And Fro, the delicate gestures and ideas that flit by. I tried to explore a similar idea in my piece, although on a totally different sound level! It is a fun piece to respond to because it’s so bold and disjointed.

WUE: What music are you into at the moment?

I am learning some tiny Kurtag pieces at the moment, which has got me really into his music! As well as Jonathan Harvey whose Tombeau de Messaien I am playing in February.

Here is Kurtag performing his amazing Perpetuum Mobile: