Once again, I spot the lively gait of Matthew Shlomowitz walking towards me on a busy London road. Over the past year, I’ve come to know him better thanks to several shared projects. Behind the composer, co-director of the Plus-Minus Ensemble, and co-host of the Soundmaking podcast lies a supportive and passionate personality, one that cannot be contained within the limits of the body and the mind; his personality naturally spills over into the outer world of music, art, and ideas. While not a utopian, Shlomowitz passionately advocates for a healthier and more diverse community for both musicians and music-lovers.
Last year, Shlomowitz’s presence at the mecca of new music—the Darmstädter Ferienkurse—was much felt and appreciated. The festival witnessed two premieres of his new co-authored works: “Minor Characters” (written with composer-vocalist Jennifer Walshe), and “6 Scenes for Turntables and Orchestra” (written with composer-turntablist Mariam Rezaei). His lecture critiquing the idea of a consistent and uniform compositional voice as the sole model of music-making was equally well received.
And so, after fueling up on pastel de nata and a coffee, we went for a walk in a 19th- century cemetery to discuss co-composition, the role of artistic voice, and his allergic reaction to Romanticism and its values—values that continue to cast a shadow on us.
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