What Is, What Will Be

Tuesday 30 May 2017

I’ve been working on my own thing for the past couple of weeks, and listening to a lot of stuff at home. Right now I’m playing Beauty Will Be Amnesiac Or Will Not Be At All by Anthony Pateras, with Jérôme Noetinger and Synergy Percussion. It’s an ambitious and complex work, as you might expect for an hour-long piece featuring sixxens and about 100 other percussion instruments, plus electronics and live tape manipulations. I want to write about this piece in more detail soon, along with a series of posts about a whole bunch of piano music I’ve been hearing lately.

Writing may be slow because there’s a bunch of cool gigs coming up in June, a lot of them for free. City University’s holding a City Summer Sounds festival right now and over the next week or two you can hear everything from Ives’ Concord Sonata to “multimedia piano” (like I said, I’m on a piano kick right now) to Agata Zubel to Michael Finnissy. Later in the month other free gigs include Stockhausen’s rapturous Freude and the opportunity to give his Harlekin another chance.

For paying gigs, next week there is more vital recovery work being done on the late Twentieth Century. Away from the slightly claustrophobic canon of hits and memories of the post-war concert hall, Edges Ensemble with Hugh Shrapnel are playing pieces by Scratch Orchestra composers, La Monte Young and Earl Brown. The preceding two nights, Kammer Klang is presenting work by Else Marie Pade and Apartment House giving the first UK performance of an adaptation of Henning Christiansen’s Requiem of Art (NYC) – Fluxorum Organum. More and more it seems like nothing is ever truly lost.

(These shows are all in London, by the way. This post is largely a reminder to myself not to miss things and to plan out my drinking now the weather’s getting nicer.)