The first of two shows “Stepping Out’ is the culmination of 10 months working together these two shows present new work from our Academy Inégales. This project was set up with ‘translation’ between genre and practice in mind and we look forward much to the premieres of the work of our fine associate artists whose backgrounds range from composition to classical, jazz, Arabic, Indian and free improvisation musics.
Joanna Lawrence Swale
If music can be a reaction to people, a time, a place, then this is perhaps not just a reflection of my folk from Swaledale, but also my own celebration of the Inégales community; the inspiring people I’ve met this year from all over the world.
George Barton but there was a pair of virginals in it
This piece is based on the famous ‘Cold Song’ from Purcell’s King Arthur, put through various transformations. It is inspired partly by an interview with Morton Feldman in which he comments that we are wrongly inclined to view the works of certain old composers almost as found objects rather than as the work of an individual voice. The piece explores the idea of Purcell’s chord sequences unmoored and adrift, frozen in time, having almost lost any sense of continuous narrative, both historical and harmonic. The title is a quote from Samuel Pepys’ diary in which he describes families escaping from the Great Fire of London, bringing their harpsichords with them on to their boats as household items swim around them in the Thames.
Ben Zucker “…but you need to talk to me now” (Homotopic Songs)
Settings of neural-network generated poetry, of surprising poignancy, performed by an ensemble functioning itself like a neural network, interpreting and transforming.
Layale Chaker Stains
A solitary voice navigates through melodies from the present and the past, tracing a long calligraphed phrase that only seems to gasp brief impressions and stains of sound.
Will Crosby Refrain on ‘Untitled’, or Two Trios
Like when studying plants and bacteria, what from afar appears densely packed and busy with activity becomes rather more sparse and glacial in its movements when magnified. Taking its starting point from a single gesture in a much larger work of mine, this ‘composed magnification’ gradually zooms outwards, revealing its own unique details and minutiae of essences as it develops. As such, the score is produced entirely by hand, in meticulous and tiny detail. This yields an aural manifestation which is a direct result of the working method; the tactility and physicality of the compositional materials.
James Wilson Swarm Music for Melodica and Ensemble
Follow the sound…
a shift in the air, vibration, a whisper on the breeze,
Climb down. Into Inégales
exhalation, susurration of wings,
Come closer still
ten, a river, a legion, a black intractable mind,
We are present. Follow the Swarm…