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Thursday 19th May 2016, door 7.00pm

Michael Finnissy

book tickets

Pre-concert talk 6:30pm, Performances from 8pm. Indian food and bar.

Few composers have influenced contemporary British music as much as Michael Finnissy. A truely unique voice, whose music unwaveringly interrogates irreducable human truths, his huge oeuvre and loyal following stands as a testiment of personal commitment stated through art.
We’re delighted to welcome Michael to Club Inégales, to perform both his own piano works, including sections from Gershwin Arrangements and Verdi Transcriptions and with Peter Wiegold and resident band Notes Inégales in what promises to be a unique event amongst many in this his 70th year.
rants-16x9-printThe concert will preceeded at 6.30pm by a Club Inégales ‘Rants’ discussion on the ‘Art of Remaking’ at which Michael will talk and discuss alongside composer and Professor of Composition at Oxford Brookes University Paul Whitty and Helen Julia Minors, Head of Music and Creative Music Technologies at Kingston University.

“His gigantic output of piano and chamber music, vocal and choral works, ensemble and orchestral pieces, is a testament to a lifetime’s interrogation of what it is and how it is that music means something, how the notes he writes down on his manuscript paper connect with culture, with our emotions, with our personal and social identities.”   Tom Service

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Helen Julia Minors

Head of Department of Music and Creative Music Technologies, Helen Julia Minors is a musicologist with interests in music from the turn of the twentieth century, especially music and dance, music and visual arts, word-music relations in France. Helen has completed a book on music and translation (exploring the interart aesthetic) which was launched in 2013.

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Paul Whitty

Paul Whitty is Professor in Composition; Research Lead for the School of Arts; and a founder of the Sonic Art Research Unit at Oxford Brookes. Paul has been engaged in a series of interventions in pre-existing contexts – re-reading, re-organising, re-categorising, re-distributing and re-sounding the materials that are found there. These contexts can be scores, actual physical sites or instruments.