When 'Good Enough' is good enough.
Breadcrumbs video and a new project
I’m delighted to say that the video of Breadcrumbs at Tête à Tête: The Opera Festival is now online. It’s missing a couple of bits at the beginning, but gives a pretty good idea of how the performance turned out. Many thanks to Tête à Tête for arranging for it to be recorded. Performers: Charlotte Richardson, […]
Breadcrumbs success at Tête à Tête
I am delighted to be able to report an excellent reception of Breadcrumbs, my dramatic monologue for unaccompanied soprano (with cor anglais introduction) at this year’s Tête à Tête: The Opera Festival at Kings Place on 10 and 11 August. Performed by Charlotte Richardson, soprano, and Clemmie Curd, cor anglais, the piece was directed by Omar Shahryar and […]
Adventures in amateurism
In which I realise how embracing my 'amateur' skills could open up new areas for composing
Experimental music in a standard recital format? Why I'm considering it for Crossing Dartmoor...
Chance vs choice: Composing with dice
A roll of the dice gives a fresh perspective on composed material
One evening, four songs
Four songs in a single evening? And a decent night's sleep? This research lark is proving useful!
The power of the single idea: How playing the comb is improving my composition
Even when a concept is simple, the music needn't be.
Procrastination = Fear
Risk-taking can be terrifying, but it can also lead to much greater rewards of artistic development than playing it safe... at least I hope it will!
Graphic scores, text scores, freedom and ownership
What elements make a piece 'belong' to a composer? How much does a performer's own personal musical language make a graphic score piece 'theirs' rather than 'mine'? A gentle toe in the water of the question of ownership via two recently completed pieces: the text score Parlour Game and the graphic composition Sepiascape with Grey.