In the next couple of months I’ll be making a new website for the house of bedlam which will include the films of our recent concerts. This will include music by Alvin Lucier, Ian Vine, Matthew Sergeant, Fabrice Fitch, David Horne, Tom Rose, Bethan Morgan-Williams as well as myself. I’ll also be announcing some new concerts, music and other plans. In the meantime here are some stills from the films.
I’ve just been sent some images from Tower Records in the Shibuya and Shinjuku districts of Tokyo. The nonclassical records stand feature the new CD. It’s good to think of this music, mostly written around manchester some time ago now, off on a more extensive journey.
Also many thanks to Richard Whitehouse for his kind review in Gramophone Magazine. Amongst other things he writes:
Their musical variety is vividly demonstrated by the initial nine tracks here – whether in the coiled angularity of ‘Sinew’, the fractious give and take of Riviniana, the quizzical interplay of timbre and gesture in the triptych ‘Deaf John’s dark house’ and the ominous build up of ‘Skein’.
Also, the thought of evoking ‘Fith’ era Soft Machine inevitably makes me smile.
So if you want to buy this CD then get in touch with me directly, buy one at amazon here or, if you can, pop down to your local Tokyo Tower Records and pick one up today…
I’m completely delighted that my piece the clouds flew round with the clouds is now out on Oliver Coates wonderful new records Towards the blessed islands on the PRAH label.
I wrote this piece for Olly’s 30th birthday and I’m really happy that it has been released and been broadcast more extensively than anything I’ve ever written.
You can hear my track here.
So I’m really excited that the house of bedlam will be playing together for the first time in years next week as part of the New Music North West Festival at the RNCM.
This has been an interesting pair of concerts to programme. I originally formed the house of bedlam back in 2007 to play mainly my music. I wanted to incorporate electronic sound into my music after an amazingly positive experience at Aldeburgh’s New Music New Media course. I wanted to be less precious about my music and use the group to explore new sounds, new ways of thinking about composition and the relationship between composer and performer.
In fact the whole experience was completely invigorating and a music making that I thought would be confined to the ensemble has found its way into my composition and music across the board. Although we have not done a straightforward concert for a very long time over the years the ensemble formed the backbone of the instrumentalists for mine and Matthew Welton’s opera workshops at Aldeburgh Music, we did a project together with David Sheppard where the two of us made instruments for the ensemble to play and I have made various pieces with members of the ensemble including songs with text of Matt’s for EXAUDI and Trio Atem, a guitar concerto interspersing sections of Britten’s Nocturnal with new music for guitar and string orchestra and new pieces for Olly Coates for cello and electronic sound including Filakr on the Slip Discs release A creche for the lonely and peculiar and the clouds flew round with the clouds on Towards the blessed islands released on PRAH next month.
These concerts are also a week away from the nonclassical bedlam release which, as mentioned in an earlier post, is music from the first two years of the ensemble.
All of these things have affected the programming for the next two concerts. I have tried to take some of the original ideas that inspired the house of bedlam and finding a way to incorporate them into the New Music North West Festival
So the first concert is almost all solo pieces. There is solo music from Fabrice Fitch, Matthew Sergeant and Bethan Morgan-Williams. These are all friends and collaborators. Matt, as well as being a colleague at the RNCM, has written for the ensemble before. Fabrice is a composer and academic colleague at the RNCM and we have talked a great deal about music, composition and research. Bethan is a student at the RNCM and she has been kind enough to play the violin with me in some duo shows around Manchester. These are tied together by three other pieces. There is Alvin Lucier’s monolithic masterwork Music for cello and one or more amplified vases and Elizabeth Bishop’s poem, performed by Matt, from which the ensemble takes its name. I am making a new piece of simple fragmented and unison melodies inspired by Matt’s poem I must say at first this was difficult work. I am interested to hear the solo pieces positioned in the performance space, a solo work that uses objects placed about the same space to make music and a simple spatialised chamber work together.
One other element to the house of bedlam was to try and integrate myself as a performer. Although I do perform live electronics I have never considered the physical and showy side of this performance practice key to my own work. I was simply interested in being part of the group rather than outside of it and complicit in the rehearsal process as a collaborator and performer rather than as the director or composer. It has affected how I think about my composition and my relationship with the performers I work with. The three new pieces in the late night concert, therefore, all include the composers as performers. David Horne, an extraordinary pianist as well as composer, has made a new work for piano, saxophone and guitar which also uses a keyboard to trigger sounds in a playful response to a piece of mine, My name is Peter Stillman. That is not my real name. which uses a full size electric keyboard as well as acoustic piano. This is a piece that David has played and we have discussed at length. Ian Vine, who like Matthew Sergeant is one of my closest composition friends and has written for the group before, has made a new work where he joins the ensemble as one of two electric guitars. Recently Ian has been making a number of pieces for himself to play which I think has distilled music of his thinking about composition over the last few years and has produced ravishing music of immense fragility and stillness. Finally Tom Rose, a current RNCM student, has made a new piece for the ensemble and we will be performing the two laptop parts together. Given that I have been teaching Tom for over a year before he arrived at the RNCM and since and we have also collaborated on the Slip Discs label it’s a real treat to be able to share the electronic component of this new work. The rest of the pieces in the concert are mine and Matthew Welton’s. These are some of the original pieces written for the ensemble an it is a particular pleasure to revisit these ahead of the nonclassical album.
So this is the house of bedlam back in business. Next year new pieces, new collaborations and new projects. Below are the programmes for the concerts. I hope to see you there.
Wednesday 30 November 2013 : 5.15pm – RNCM Carole Nash Recital Room
Fabrice Fitch – Agricola IXe (world premiere of a new arrangement)
Elizabeth Bishtop – Visit to St Elizabeth’s
Matthew Sergeant – bet maryam
Bethan Morgan-Williams – a thornbush in my strength (world premiere)
Alvin Lucier – Music for cello with one or more amplified vases
Larry Goves/Matthew Welton – I must say that at first it was difficult work (world premiere)
Matthew Welton – spoken word
Carl Raven – clarinet/saxophone
Oliver Coates – cello
tbc – percussion
Tom McKinney – guitar
Larry Goves – live electronics
Wednesday 30 November 2013 : 10.00pm – RNCM Carole Nash Recital Room
Larry Goves – blind Jack’s silent house
Matthew Welton – Writing 21
David Horne – Severed Scherzos (world premiere)
Larry Goves/Matthew Welton – Talking microtonal blues
Tom Rose – Going. Coming. Leaving. (world premiere)
Larry Goves/Matthew Welton – Poppy
Ian Vine – replica (world premiere)
Larry Goves – deaf John’s dark house
Matthew Welton – spoken word
Carl Raven – clarinet/saxophone
Oliver Coates – cello
Mark Norman – percussion
Tom McKinney – guitar
Larry Goves – electronic sounds
with special guests
Ian Vine – electric guitar
David Horne – piano/keyboard
Tom Rose – live electronics
Ahead of the Slip Discs release of my and Matthew Welton’s 2009 song cycle Virtual airport with Laurie Tompkins and Sam Quill’s extraordinary SHUCK! I thought I’d release a sneak preview of the artwork here as well as a link to one of the songs from the cycle.
Recently Matt has been in the difficult situation of having been plagiarised by another poet and Virtual airport is one of relevant poems. He has written an amazing short article on the case here. This kind of appropriation of Matt’s work seems in brutal contrast to the life of this poem and piece. The poem was originally made in collaboration with visual artist Clare Bleakley and it is interesting to trace this starting point, via Matt’s and my long collaborative relationship, through the input of an extraordinary group of performers up to now. The imminent release in combination with Laurie and Sam’s starkly different but complimentary new work.
The performers are Seaming To and Sofia Jernberg (voices), Sarah Nicolls (piano), Oliver Coates (cello), I’m performing electronics and it was recorded live by David Sheppard at the Howard Assembly Rooms in Leeds back in 2009. Thanks to them all.
Next month nonclassical are releasing a long overdue first record from my ensemble the house of bedlam. You can see a sneak preview of some of the artwork above and some more information from nonclassical here.
This is great news. nonclassical have been really kind in putting this together with me and I’ve been lax prioritising this as other projects, pieces and music for the house of bedlam has taken centre stage.
In some ways this record feels like a bit of an archive. All of the pieces are from the early stages of the ensemble and we have done several other projects and sets since. It has been such a pleasure to revisit these pieces over the last few months and remind myself why I formed this ensemble and acknowledge the extent that it has affected my concert music over the last few years.
There are four great remixes on the record as well. Three of these are new (Dale Jonthan Perkins, Devil Dandy and label-head Gabriel Prokofiev) and one is from mira calix which she made when we were working together a few years ago. For me these really breathe new life into this collection.
It’s easy to be preoccupied with new music, commissions, pieces and projects. I’m also aware that having taken responsibility for promoting the live element of all this music we’ve not played nearly enough together and not at all for a long time. I’m going to remedy that this year.
We already have two concert booked in this month as part of the RNCM’s New Music Northwest Festival. This has proven a little bit of a quandary. the house of bedlam was formed to play music of my own and occasionally music by other people. The festival exists to promote and represent a variety of composers across the northwest. I’m really pleased with the two programmes we’re playing which I think showcases a broad cross section of my favourite northwest composers and stay true to the spirit of the group. In the early evening there is a sequence of solo pieces by Fabrice Fitch, Matthew Sergeant and Bethan Morgan-William. These are three composers who are variously colleagues, friends and collaborators. We will also be playing Alvin Lucier’s Music for cello with one or more amplified vases, a new work from me that will involve the whole ensemble and Matthew Welton will be reading Elizabeth Bishop’s wonderful poem Vistis to St Elizabeths (which is responsible for the name of the ensemble).
The evening concert is a more traditional bedlam concert and will include pieces from the album, new music of mine and, most excitingly, new pieces from David Horne, Aaron Parker, Tom Rose and Ian Vine. These composers will all be joining us to perform the pieces as well. There are information about the two concerts here and here.
Finally I have one more piece in the New Music Northwest festival this year. I’m very happy that Psappha are performing the UK premiere of a piece I wrote for Paris based ensemble L’Instand Donné. This piece is for seven instruments and some electronic sounds and, as perhaps the title suggests (A glipse of the sea in a fold of the hills) is a strange collection of pastoral melodies and fragments held together by recordings of acoustic instruments and more pointillist compositional textures. It’s great to be alongside pieces by Richard Norris, Philip Grange and Mark Simpson but I’m particularly excited to hear a substantial new piece from Trio Atem‘s Nina Whiteman. More information here.
Last night a fairly recent work the clouds flew round with the clouds was broadcast on Late Junction. This is one of my favourite radio programmes and it has always been a bit of an ambition to have music on the programme. It will be available on iplayer for a week and you can find it here. I thought I’d write a few words about the piece.
The title of this piece comes from a favourite Wallace Stevens poem The Pleasures of Merely Circulating. As I have made/am making a whole series of pieces that are simple repeating melodies this short poem has been in my mind for a while:
The Pleasures of Merely Circulating
The garden flew round with the angel,
The angel flew round with the cloud.
And the clouds flew round and the clouds flew round
And the clouds flew round with the clouds.
Is there any secret in skulls,
The cattle skulls in the woods?
Do the drummers in black hoods
Rumble anything out of their drums?
Mrs. Anderson’s Swedish baby
Might well have been German or Spanish.
Yet that things go round and again go round
Has rather a classical sound.
I have borrowed features from this poem for my own piece. When I read this I take pleasure in the poem transforming throughout while simultaneously the first and last stanza having more in common than the middle. My piece is made up of two layers. There is a soundtrack which is made up of the manipulation of the first two bars of Lívia Rév’s Hyperion (many thanks to Hyperion for allowing me to use this sample) recording of Chopin’s Nocturne in B Major Op.62 No.1. These first two bars are repeated a number of times in quick succession to simulate a delay effect. There are two processes at work on this short piano sample. The first is a very idiosyncratic reverb which gradually increases towards the middle of the piece then gradually recedes. The second is a sequence of re-tunings and transpositions, different for each repetition, which continue throughout the entire work.
On top of that are three distinct sections for cello. Firstly a simply line repeats and, each time it repeats, lengthens. The middle section is a longer melody now with more double stopping from the cello, which, with each repetition, gradually shortens. Finally there is a melody that is embedded in four note chords (played with a curved ‘polyphonic’ bow). The distinctiveness of the cello sound in this piece is helped with a fairly extreme scordatura including the C string being tuned down a seventh.
I wrote the piece for Olly Coates’ 30th birthday as a gift and I really grateful he has played it and played it so beautifully. He has also included it on a forthcoming release from new imprint PRAH. There is and will be more information on that here.