In case you missed it
#57 • 25.05.2017
The cellist Mariel Roberts searches for transformation.
#15 • 07.07.2016
The risks of using famous artists as opera set designers.
#105 • 17.05.2018
The physicality of music and ourselves, in issue #105.
#22 • 08.09.2016
On the Multi-Story Orchestra, an ensemble based in a car park.
#28 • 20.10.2016
What classical music gets up to on Facebook, Twitter, and Instagram.
Video of the Week
The Complete 555 Domenico Scarlatti Harpsichord Sonatas
A person who attempts to listen to all of Scarlatti’s 550 harpsichord sonatas may come to feel that they all eventually become indistinguishable. Enter the glorious literalism of the internet: here is each piece played at the same time, in the version of Scott Ross, resulting in a texture that commenters compare to Penderecki, Messiaen, Ligeti, Merzbow, and Metal Machine Music. Allow us one more analogy: this is the musical version of Soylent, compressing a composer’s life work into an oddly compelling beige/gray smoothie sludge.
Audio of the Week
“Losing Touch,” by Edmund Campion
“Losing Touch,” by the American composer Edmund Campion, a student of Gérard Grisey, has something of his mentor’s pristine microtonal rigor, combined with the West Coast influences of Harry Partch. Performed on vibraphone here by Fernando Rocha.
Collection: Brian Ferneyhough at 75
To celebrate the 75th birthday of Coventry-born composer Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet to perform his music in the heart of the Midlands. Also featuring Oliver Janes on clarinet and the conductor Emilio Pomarico, a concert on December Sunday, December 9 at 4 p.m. will present works by Ferneyhough, Jonathan Harvey, Charlotte Bray and Michael Wolters.
Kampela on Ferneyhough’s “La terre est un homme” and other strange, beautiful music.
“When you follow Ferneyhough, well, you are going to be alone with your music.”