I am excited to work with the harpist, Erica Sinclair, on the Future Blend Project. I composed Klipspringer for the project as a work-in-progress piece. Together we will workshop the piece so that it is well suited for the technical demands of the harp.
Once polished, the piece will be performed at the Hidden Gem Concert on the 6th of January 2018 in Warwick, England.
For more information on the Future Blend Project click here
Het jy die Olifant Gehoor? for b-flat clarinet, violin, viola, and violoncello will be performed by students of the Internationale Stichting Masterclasses in Apeldoorn. The concert will take place at the Orpheus Theatre at 20:00 on the 30th of August 2017.
The No Frontiers Festival has just come to a close. The festival ran for a week from the 25th of March to the 1st of April. It was action packed and all embracing ranging from music on Analogue Synthesizers by Seán Clancy, to the reciting of Lucy Harvey’s Worries by Michael Wolters and Paul Norman, to full on ensembles such as decibel and Thallein.
I had 5 pieces performed throughout the festival and recordings will be uploaded as soon as they have been mixed.
First, Draaikolk II for wind quintet performed by the Birmingham Conservatoire student group, LUMOS,
second, Visarende for clarinet and live electronics performed by Luke Newby on clarinet and myself on electronics,
third, Riaad-hims performed by the Birmingham Conservatoire Creative Ensemble under Riaan Vosloo,
fourth, So Glad soos Seep for the Thallein Ensemble,
and fifth, a collaboration with Lucinda Watts on an exhibition piece called WWW wat, waar wie, what, where, who? at the Vivid Trip exhibition in Digbeth.
I am very happy and proud to have won the prize of a commission to write for the Internationale Stichting Masterclasses Apeldoorn, 2017 at the Young Composer’s Meeting in Apeldoorn with the Orkest de Ereprijs.
A recording of the work, ek verlang na die plaas can be found on the recordings page.
I am very happy that I have been chosen to join a group of young composers and older wiser composers in Appeldoorn in February. The Orkest de Ereprijs will perform works by the chosen performers. Here is the press release:
23rd YOUNG COMPOSERS MEETING – February 12 – 17 2017
Directors will be: Martijn Padding, Richard Ayres, Joe Cutler, Mayke Nas and Christopher Trapani in collaboration with Gaudeamus.
16 composers selected for the 23rd edition of the YOUNG COMPOSERS MEETING 2017, out of more then 100 applicants:
Paul Zaba/UK – Ali Can Puskulcu/USA – Nathan James Dearden/UK(Welsh) – Nina Fukuoka/Japan -Jjimena Maldonado Alvarez/Mexico – Elisabeth Angot/France – Piyawat Louilarpprasert/Thaï – Ryan Lindveit/USA – Ryan Probert/UK – Monika Szpyrka/Poland – Szymon Stanisław Strzelec/Poland – Aya Yoshida/Japan – Patrick Giguere/Canada – Blanka Stachelek/Poland – Harm Roche van Tiddens/South Africa – Vasileios Filippou/Cyprus
The Pelléas Ensemble: Luba Tunnicliffe (Viola), Henry Roberts (Flute) and Oliver Wass (Harp), performed ‘Kogelberg’ at the Stratford on Avon Music Festival.
The music draws on the forming of the Kogelberg mountain range. The bass in the harp represents the slow flowing movement of the earth’s crust as the tectonic plates collided and folded to produce the beautiful landscape. The flute and viola create the energetic force that shaped the collision into different rock structures. Throughout this transformation the seas remained lit up by the sun reflecting the kaleidoscope of colours from the changing ripples.
Walls (2016) for live electronics, b-flat clarinet and traditional African percussion will be performed at the New Music SA Unyazi Festival in Cape Town on the 15th of July in the Lunch Hour concert.
The problem with physical infrastructure is that you can’t move through a wall. You can, however, break through the wall. In musical terms the perception of timbre allows for walls to form between different spectral content. When air is cooled water droplets form, and the droplets combine into a river, the heat of the burning sun then turns the water back to air. There is a continuous transition. A similar process of continuous evolution is reflected by the piece, with brief moments of ‘walls’ that are the connecting points between the different atmospheres. The ‘walls’ in the music paradoxically clear away the divisions of society, the divisions between night and day, life and death.
I have been accepted to study a Post Graduate Diploma in Composition at Birmingham Conservatoire. The Oppenheimer Memorial Trust and Birmingham Conservatoire have both awarded generous scholarships for which I am grateful for!
I look forward to working with performers at the Conservatoire and gaining insight from the team of lecturers and guest lecturers.
My work, Praying Mantis III for brass quintet, has been selected to be performed at the ISCM World Music Days in Tongyeong, South Korea, 2016.I will be attending the festival from the 27th of March to the 3rd of April 2016. I am very excited to meet fellow composers and hear their music as well as experiencing the South Korean culture! =) Many thanks to the ISCM and Stellenbosch University Konservatorium for sponsorship!