last week, I released a new album of solo material. larynx, closing is a collection of two, or maybe three, or maybe four pieces across one hour and twenty minutes. it is very quiet.
1 – grid of four: first, across (16:07)
2 – against the grain, larynx (24:45)
3 – against the grain, larynx (continued, end) (16:34)
4 – grid of four: first (alternate take) and second, across (23:40)
Last November I made a short film with Klaus Lang up on Ilkley Moor. I wrote a piece for Klaus and, together with Viola d’Amore player Barbara Konrad, we carried a harmonium up onto the moor. The film documents two pieces, my ‘a technical diagram for the abstraction of ockeghem’s missa pro defunctis: kyrie, side elevation‘ and a section from Klaus’ longer cycle: ‘viola. harmonium.‘
viola. harmonium. on Ilkley Moor from Oliver Thurley on Vimeo.
This film couldn’t have been made without Ollie Jenkins, who took care of all the filming and editing, and Elspeth Mitchell, who helped organise and produce everything. The project was part-funded by the Centre for Practice-Led Research in the Arts (CePRA) at the University of Leeds. Thanks also to Helen Barker and Rex Russell for their assistance.
I recently wrote an article on fragility in the music of Jakob Ullmann. I’m very pleased to say that it is now available, published in the excellent TEMPO music journal (Volume 69 / Issue 274, Cambridge University Press).
If you have institution access (or a subscription, which is well worth it), you can read the article here, otherwise, I hope to make the text available as soon as I figure out a way around academia’s archaic copyright systems ( cough email me cough).
For those within reach of HCMF this year, you have a great chance to see a rare performance of Ullmann’s work coming up. Don’t miss it…
Janez Uršej (baritone saxophone) & Stefanie Mirwald (accordion)
premiere performance: MUWA gallery. Graz, Austria. 21/02/2015
[listen quietly, on headphones.]
February 22nd in Graz, Austria.
A new piece (maybe two pieces, or a piece and an ‘epilogue’ perhaps): with the very same twist to their faces for baritone saxophone and accordion.
Here is the first page of the ‘epilogue’, with the very same twist to their faces (under erasure), which is made up of trace layers/ palimpsestic readings of the ‘main’ version.
A new part of the network score series; this time for between two and four pianos. More open than the string quartet version. More silences.
Full score here (.pdf 5.2mb)
I’ve mentioned the piece a couple of times on here over the last few months, but wanted to wait for a performance/recording to explain it a little more. So here we are at last: Network no.1 for string quartet.
The score is a hybrid of graphic and traditional, with a graph network diagram functioning as a map, and traditionally notated reference. Each ‘node’ on the map relates to an element from the separately notated gamut of sonorities. The edges of the map signify a potential route from one musical element to another. The length of an edge determines the duration of the element to be performed. So in this sense the map represents the time-space and structure of the piece, while the reference contains the sonic material.
As previously mentioned here, the work exists in a a state of non-linearity. Performers work independently, following their own paths across score ‘maps’. Routes are determined stochastically (and regenerated each time the network graphs are compiles), although each player may choose their own starting point.
The recording was made on Tuesday, 7th May, 2013.
Many thanks to the performers for their time.
Violins – Alice Dawkins; Hannah Packman
Viola – Katherine Lambeth
Violoncello – Claudia Chapman
Thanks also to Tony @Big_Pause for his patient advice during the programming stage.
Download the score generation used for the recording: network1-score_thurley.pdf