I’ve long been an admirer and supporter of the Philharmonia’s Music of Today series of free contemporary music concerts, so I’m delighted to have been asked to the notes for this season’s concerts. The first one is on 10 November, is titled ‘Early and New’, and features arrangements, recompositions and reworkings of early music by Birtwistle, Jolas, Schöllhorn and Finnis.
I will be at the University of Huddersfield on 25 October, giving a lecture on the subject of ‘Afterness as aesthetic and formal principle in 21st-century music’. Start time: 4.30pm.
Another programme note for the Riot Ensemble, this time on the text scores of Pauline Oliveros.
Something a little different: here’s a blogpost I wrote for my kung fu club on the facts of training with cystic fibrosis.
I led a class with Chaya Czernowin for composition students at the Royal College of Music as part of her four-day residency at the College.
Around this time I was invited to join the artistic board of the Riot Ensemble. As well as serving as the group’s in-house writer, I will also join with other board members in helping shape the growth, development and direction of one of the most active and exciting young ensembles in the UK. My first gig was to write programme notes for a concert featuring works by Evan Johnson, Nina C. Young and Djuro Zivkovic.
I am writing eight short programme notes for the LSO’s Panufnik Composer’s Scheme workshop, on 11 March.
I also gave an introductory talk on Elliott Carter’s Trilogy as part of the London Ear Festival.
I am writing 30+ short entries on music for the Oxford Virtual Encyclopedia.
Two programme notes this month, both for the BBC, although for different concerts: Anna Clyne’s The Seamstress, in its UK premiere; and Philip Glass’s piano favourite, Mad Rush.
I also have reviews of three CDs in Tempo: Dan Trueman’s Nostalgic Synchronic, piano music by Linda Catlin Smith, and Lungpowered by Loadbang.
I gave a lecture at Keele University on the subject of ‘Afterness: Ways into a history of 21st-century music’; I also gave a student workshop on writing about music.
Also this month, Delphian released their recording of Simon Smith playing piano sonatas by Valentin Silvestrov, which included a booklet essay by me.
Essay on the music of Georg Friedrich Haas, for the Royal Opera House’s premiere of Morgen und Abend. Plus a note on George Antheil’s Symphony no.5 for the BBC, 20 November.
Two more notes for Minimalism Unwrapped: Mikhail Karikis and Juice, 25 October; and Tom Kerstens and G-Plus, 30 October.
Two reviews also in Tempo: Frank Denyer on another timbre; and the NY Phil’s Contact! programme at the Barbican.
More notes for Minimalism Unwrapped: the Duke Quartet playing works by Bryars, Richter and Volans, 22 May.
Lots of programme notes for Kings Place’s Minimalism Unwrapped season: Philip Glass’s string quartets, played by the Carducci Quartet, 16 April;Ubunoir and Katia and Marielle Labeque presenting works by Moondog, 17 April; and pieces by Tüür, Pärt and Glass played by O/MODERNT Kammarokester, 18 April.
I also had an extended review in Tempo this month on a CD by the Vocal Constructivists, and performances by ELISION and Kammer Klang.
I wrote a short preview article on Bryce Dessner’s curated weekend ‘Mountains and Waves‘ for the Barbican.
I’m not sure of the exact date, but at some point this year, the Oxford Dictionary of Music, sixth edition, is published by Omega in a Spanish translation (by Manuel Pijoan).
At the start of the month I completed sleevenotes for the debut portrait CD of the wonderful composer Clara Iannotta, to be released through the DAAD.
I also wrote a four-part series for NewMusicBox, on models of globalization in American new music.
In November and December I wrote another four-post series for Amati.com, this time on the subject of contemporary music for strings.
I was in Sweden at the start of the month to give a presentation at the Sound of Stockholm festival, on the subject of ‘Ecosystems and enabling forces: Writing a history of contemporary music’. No recording of this one, but for those who read Swedish the whole thing will be translated and published in Nutida musik, at whose invitation I was speaking.
I contributed notes to Colin Currie and Aurora Orchestra’s tribute to Steve Martland.
On the first of the month I was in Manchester to give a presentation on my book at the Royal Northern College of Music. You can see a video of the whole thing here.
Later in the month I was a panellist as part of Nonclassical and Sinfini’s discussion on the future of new music, hosted at the Red Gallery, Shoreditch. Alongside me were Kerry Andrew, Thom Andrewes, Paul Morley, Gabriel Prokofiev and Igor Toronyi-Lalic; the whole thing was podcast, and is available here.
My programme notes for Ligeti’s Concert Românesc, and Bartók’s Three Village Scenes and Music for Strings, Percussion and Celesta are used for the BBC Concert Orchestra’s concert with A Hawk and a Hacksaw on 7 May.
I’ve also written a programme note and composer biog for the UK premiere of Bright Sheng’s violin concerto Let Fly on 9 May.
I have provided programme notes for the London Sinfonietta’s world premiere of Michel van der Aa’s clarinet concerto, Hysteresis. I’ve also written a new note for the violin and tape solo Memo. Read it all here.
The second London Ear festival! Like last year, I hosted a one-hour show on Resonance FM previewing the festival. You can hear the full programme on Soundcloud. I also hosted three pre-concert conversations as part of the festival with composers Georg Katzer, Eric de Clercq and Alwynne Pritchard, and festival directors Andrea Cavallari and Gwyn Pritchard.
I was interviewed by BBC Radio 3 for a Music Matters programme on music criticism today. (Broadcast 22 March.)
March’s Little Star selections were taken from Keith and Mendi Odabike’s The Sour Thunder on Bridge and Erik Carlson playing Jürg Frey on Bandcamp.
Programme note on Michel van der Aa’s Up-close for the Seattle Chamber Players (17 February).
Two programme notes and two composer bios for this BBC Concert Orchestra performance, on John Alden Carpenter’s Krazy Kat, and David Lang’s concerto (world to come) (24 February).
February’s Little Star selections were taken from Silk Road Ensemble’s A Playlist With No Borders on Sony, No More Four Seasons’ eponymous debut on SEKT, and Milica Djordjevic’s FAIL on Soundcloud.
I’ve started a regular fortnightly blog for the stringed instrument dealers, Amati. Read my first one here.
January’s Little Star selections were taken from Matthew Shlomowitz’s Free Sound on sub rosa, Mohammed Fairouz’s In the Shadow of No Towers on Naxos, Liza Lim’s Wild Winged-One on Wergo and Nick Brooke’s Border Towns, on innova.
December’s Little Star selections were taken from Djuro Zivkovic’s On the Guarding of the Heart on private release, Neil Rolnick’s Gardening at Gropius House on Innova, Edmund Finnis’s Colour Field Painting on Soundcloud and John Croft’s … ma quale eclissi v’oscura?, also on Soundcloud.
More programme notes for The Rest is Noise – this time minimalist masterworks by Philip Glass and Steve Reich: Music in Twelve Parts (9 November), and Clapping Music, Come Out, Music for Pieces of Wood, Pendulum Music and Music for 18 Musicians (10 November).
I’m also taking part (as the musical expert) in a TRIN study evening on politics and spirituality in the late twentieth century (focusing on Gubaidulina’s Offertorium). It’s free and informal, although you do need a ticket.
Polish Music Since 1945 is published by Musica Iagellonica; includes a chapter by me on Penderecki’s St Luke Passion.
November’s Little Star selections were taken from Alistair Zaldua’s contrejours on Soundcloud, Larry Goves’ Talking Microtonal Blues on Nonclassical, José M. Sánchez-Verdú’s Eus tu viator on col legno, Cassandra Miller’s O Zomer! on Soundcloud and James Erber’s Traces on Convivium.
The Aurora Orchestra’s concert on 5th October features my programme notes on Stockhausen’s Gesang der Jünglinge and Kontakte, as well as Boulez’s Le marteau sans maître. Part of the Southbank Centre’s year-long The Rest is Noise festival.
October’s Little Star selections were taken from Anton Batagov’s Letters of Sergei Rachmaninov on Fancy Music, Michel van der Aa’s Spaces of Blank on Disquiet, Michael Finnissy’s The History of Photography in Sound on Métier and John Luther Adams’ Inuksuit on Cantaloupe.
BBC Proms – 7 September (Last Night of the Proms). Tonight’s concert programme includes my profile of Anna Clyne, whose Masquerade is receiving its world premiere tonight.
I curated a show with Apartment House as part of the Out Hear series at Kings Place. Called ‘Some Recent Silences’, the concert combined four highly original young composers from the UK, US and Australia with three influential older figures, all of whom make use of silence (or near-silence) in musically interesting and diverse ways. Here’s the programme:
- G. Douglas Barrett – A Few Silence
- Gregory Emfietzis – DIY 1
- Mathias Spahlinger – 128 erfüllte augenblicke
- Ben Isaacs – allone
- György Kurtág – Dumb Show
- Charlie Sdraulig – Close
- Michael Pisaro – Fade
The concert took place on 22 September.
“There was a risk/hope that it would play out as an experiment, or a manifesto, or a challenge. Wonderfully, it all worked superbly as a varied programme of contrasting pieces with a strong thematic unity.” – Ben.Harper
“We in the audience were made to do a lot of work here – and I’m in no doubt that this enforced lack of complacency made the concert a far richer experience overall. … This concert was a reminder of the value of close listening: by making us work to hear it, it proved that it was worth our full attention.” – Paul Kilbey, backtrack
“Common to all of the pieces that Rutherford-Johnson discusses in his article is a sense of exploration as to what might be seen as ‘music’. This sense of exploration was likewise in strong evidence in the recent Apartment House King’s Place concert which grew out of the article. Curated by Rutherford-Johnson and likewise entitled ‘Some Recent Silences’, the concert illustrated very well both the breadth of silence’s reach in contemporary music and the philosophical and musical richness that often results from that reach.
“The King’s Place show featured a nicely-balanced and dynamically-effective programme made up of pieces with silent passages, pieces made exclusively from silence, and pieces that used silence as a background for social action.” –Stephen Graham, The Quietus
September’s Little Star selections were taken from Daniel Wohl‘s Corps Exquis on New Amsterdam; Wandelweiser und so weiter on Another Timbre; Alex Hills’ The Music of Making Strange on Carrier Records; and Samuel Vriezen’s recording of Tom Johnson’s Chord Catalogue on Edition Wandelweiser.
Busy month. On 7th August – The Rambler turned 10!
The paperback edition of the Oxford Dictionary of Music came out on 15 August.
BBC Proms – 15 August. Tonight’s concert programme includes my profile of Penderecki, and my note on his Concerto grosso for 3 cellos and orchestra.
I started to curate a weekly music selection for the very lovely Little Star magazine. You can get it delivered to your phone or tablet for $1.99 an issue via the Little Star app. First selections are Richard Barrett’s inward, played by Richard Craig, from this wonderful CD; Caleb Burhans‘ The Things Left Unsaid from his debut disc on Canteloupe, Evensong; and A Self-Same Song from the new Johannes Schöllhorn portrait on Mode.
BBC Proms – 23 August. Tonight’s concert programme includes my profile of Panufnik.
BBC Proms – 29 August. Tonight’s concert programme includes my note on Peter Eötvös’s Second Violin Concerto, ‘DoReMi’, here receiving its UK premiere.
BBC Proms – 12 July (First Night of the Proms). I’ve got composer biogs at each end of the Proms this year – the First Night’s programme book features my profile of Witold Lutosławski. and the Last Night will feature my profile of Anna Clyne.
I’m hosting a roundtable discussion and pre-concert interviews with Matthew Shlomowitz, James Weeks, Aaron Cassidy, Claudia Molitor, Richard Glover and Stephen Chase. It’s all part of the launch party for EXAUDI’s new CD, released on the Huddersfield Contemporary Records label. Date: 4 May, venue: Only Connect Theatre, Kings Cross.
I have a third programme note in the Philharmonia’s Woven Words celebration of Lutosławski – this time instrumental duos and brass quintets.
I wrote the booklet essay for the London Sinfonietta’s world premiere of Steve Reich’s new, Radiohead-inspired work, Radio Rewrite. An extended version of this note, exploring the nature and significance of current trends in Reich reception was published on New Music Box.
I gave a short talk on contemporary Swiss music at the London Ear Festival of Contemporary Music, on Sunday 24 March, before the evening concert by Basel’s Ensemble Phoenix. Venue was the Cello Factory, 33–4 Cornwall Road, Waterloo.
Resonus Classics’ album of choral music by Hafliði Hallgrímsson (RES 10117) is released. The download-only release features my sleevenotes, which are also available for free from the label.
I travelled to Huddersfield for a few days early in the month to cover ELISION’s activities with young and student composers. I also had a chance to interview the young Australian composer Luke Paulding.
Anna Clyne’s Night Ferry receives its UK premiere from the BBC SO. Programme booklet includes my short profile of Clyne.
Extended review of Birmingham Opera’s production of MITTWOCH published in Tempo.
I contributed a selection of alternative festive listening to the OUP blog.
Michael van der Aa wins the prestigious Grawemeyer prize for Up-close. Read my programme note for the work, commissioned by the composer, here.
BBC Scottish Orchestra perform Grażyna Bacewicz’s Concerto for String Orchestra, to which I contributed the programme note.
My edition (the sixth) of the Oxford Dictionary of Music is published by OUP.
‘Just Inside the Green Line’, an article on Cyprus’s Pharos Contemporary Music Festival, is published in the Journal of Music.