I was delighted to be interviewed by The Times yesterday and BBC Radio 5 live today on the use and overuse of compression in broadcast audio. An ironic task for a quiet composer! Here are my equanimous remarks and my plea for more quiet music:
Department of Music Lecturer and Head of Performance Ian Pace has an active concert schedule over the course of Autumn 2016. A key focus of this is his ongoing series of recitals of the complete piano works of Michael Finnissy, to celebrate the composer’s 70th birthday year. He gave the fifth concert in the series at City on September 27th, featuring Finnissy’s complete Gershwin Arrangements and also his two Concertos for Solo Piano, one of which (No. 4 of his Piano Concertos in general) is a work of maniac virtuosity, of which Ian’s 1998 recording has previously won much acclaim. The next concert in the series takes place on Thursday October 27th, at the Picture Gallery, Egham, as part of Royal Holloway’s Finnissy at 70 Series, and will feature a range of highly diverse pieces including Kemp’s Morris, for pianist wearing Morris bells, Finnissy’s three transcriptions of Strauss-Walzer, his Hiroshige-inspired White Rain, the dance/quasi-improvisatory virtuoso work Free Setting. Further concerts in the series will take place at the Holywell Music Room, Oxford, on November 7th, and 21st, at Deptford Town Hall, in association with Goldsmith’s College, on December 1st, featuring the composer’s large cycle of Verdi Transcriptions, then as part of a two-day Finnissy event on January 19th-20th at City University, to include a complete performance of Finnissy’s five-and-a-half-hour piano work The History of Photography in Sound, which Ian premiered and subsequently recorded, and about which he has written a monograph. Full details of all of this landmark concert series can be read here.
Ian is also giving a recital at the TRANSIT festival, Leuven, on Saturday October 29th, where he has performed regularly since the inception of the festival in 2000. This concert serves in part as a tribute to the Belgian composer Luc Brewaeys, who died tragically early in 2015, and was close both to Ian and the other composers featured in the concert. The programme features posthumous world premiere of Brewaeys’ The Dale of Tranquillity, as well as new commissions from the British composer Lauren Redhead (her piece called simply For Luc Brewaeys), and Portuguese composer Patrícia de Almeida (Vacuum Corporis, for two pianos and film), as well as a repeat performance of Finnissy’s Beethoven’s Robin Adair, premiered by Ian earlier in 2016 in the York Late Music Series as a co-commission, and Brian Ferneyhough’s Quirl (2013). For the Almeida work, Ian will be joined by Ben Smith, who graduated from City’s BMus programme in 2015, having won several prizes during his study there, and with whom Ian will be recording Ferneyhough’s Sonata for Two Pianos later in the autumn. Ben is currently studying on the Master’s Programme at the Guildhall School.
Luc Brewaeys (1959-2015)
The following week, on November 4th and 5th, Ian will be giving a series of special performances together with the Russian pianist Mikhail Rudy for the Foundation Beyeler in Basel of Alexander Scriabin’s Prometheus in a version for two pianos by Leonid Sabaneev, together with a special light installation entitled White Point, to accompany an exhibition of the work of Der Blaue Reiter.
On Tuesday November 15th, Ian will be giving a recital for the Contempuls series in Prague, featuring music of Finnissy, Horatiu Radulescu (with whom Ian worked closely, and whose last work, the Sonata No. 6 (2007) was written for him), and new premieres by Czech composer Luboš Mrkvička. He will also be giving a recital at the Universidade NOVA de Lisboa (Lisbon) on Wednesday November 23rd, with music of Radulescu, Finnissy, Ivan Moody and Patrícia de Almeida, as part of the conference Old is New: The Presence of the Past in the Music of the Present, in which he will also be giving a keynote paper on practice-as-research, drawing upon his own work, on Friday November 25th, and participating in a roundtable.
He has also recently given a paper on ‘Between Academia and Audiences: Some Critical Reflections from a Performer-Scholar’, at the RMA Conference in London in September, and a paper on ‘Ideological Constructions of ‘Experimental Music’ and Anglo-American Nationalism in the Historiography of post-1945 Music’ at City University in October, a revised version of a paper given previously in Coventry and Glasgow.