Dear Sister, a new piece commissioned by the London Cello Society for 8-80 cellos plus narrator was performed at the Maritime Museum on Sunday 15th April. The ensemble was made up of young players attending the Go Cello festival and narrated by Rebecca Hare.
4th Nancarrow player piano presentation, Daylight Music, Union Chapel London
14th Harmonic Canon presentation, All Composers, Trinity Laban, London
19th Harmonic Canon kids workshop, Huddersfield Contemporary Music Festival
20th Harmonic Canon premiere, HCMF
21st Harmonic Canon adults worskshop, HCMF
23rd Harmonic Canon performance, Exeter
26th Harmonic Canon performance, The Asylum, London
29th am Talk on Nancarrow’s music and percussion, UNAM Mexico City
29th pm Talk on Nancarrow’s influence on my music, UNAM Mexico City
30th Public Lecture on Nancarrow’s Piece For Tape, Casa del Lago, Mexico City
1st Concert of quickly invented pieces with Trimpin, Casa del Lago, Mexico City
2nd Marathon of complete player piano works of Nancarrow, Casa del Lago, Mexico City
7th Workshop on dancers needs for music training with Daniel Squire, dance and music staff
of Dance Faculty, Trinity Laban, London
After four years of development The Harmonic Canon will be on tour with percussion wizards the arx duo playing Dominic Murcott's immersive 42 minute piece written specially for them playing this amazing instrument plus an array of rare metal percussion.
• 20th November - Huddersfield Contemporary Music Festival
• 23rd November - Higher Eggbeer Farm, Nr Exeter
£10 on the door
I wrote a tiny piece for a tiny music box, built a wooden soundbox for it and now have made a tiny film of it.
Visitors to Trinity Laban in Greenwich will no doubt have discovered an unusual musical object in the courtyard. This is The Harmonic Canon, an instrument and piece of public art created by Marcus Vergette which I am composing a piece for. Below is a film showing the results of some initial research with the arx duo. More information can be found here.
South East London’s coolest club is back!
12th June 7.30pm Blackheath Halls (with special pre-show walking event from 6pm)
Following the sellout success of Third Degree Burns, the Black Heather Club returns with Diggin’ Blackheath, an exploration of buried and hidden music plus Blackheath’s local history. We have an amazing lineup including Laura Moody, John Butcher, Bastard Assignments, Simon Fell, Kate Halsall and Myr and a special DJ set by Gabriel Prokofiev (NONCLASSICAL) as well as curation and interjection by club organisers Graham McKenzie (Huddersfield Festival), Joe Townsend and Dominic Murcott. The compere for the evening will be Radio 3’s Late Junction presenter Max Reinhardt.
Expect experimental music, folk tales and rare grooves with FREE hotdogs and Blackheath sauerkraut to ticket holders.
Dominic Murcott Plays Nancarrow 14th November Whitechapel Gallery
At the Whitney Museum of American Art. Preparing for a performance of Conlon Nancarrow's Study #36 arranged by Dominic Murcott for the 16 musicians of Alarm Will Sound. 27th June 2015. The digital conductors run at a 170,180,190 and 200 bpm and were created in Max, Final Cut and Logic.
I'm delighted to report that I am co-curating a Conlon Nancarrow Festival at the Whitney Museum of American Art in New York in June. I've been working on some new arrangements for the event, with a solo marimba version of Study #5 to be premiered by Chris Froh, and a four-quartets-at-different-speeds-conducted-by-computers extravaganza to be played on multiple outdoor levels by the extraordinary Alarm Will Sound. Other guests include Saxsophonist Steve Coleman, Henry Kaiser, Lukas Ligeti and The Merce Cunningham Dance Foundation. More information about the event is available at the Whitney's website.
After a gap of 14 years I have started playing the drums again. I began my musical life as a drummer but gradually became more involved with composing and teaching before selling my kit around 2001. It is such a pleasure to be playing again, and I've started a free improvisation group with Elliot Galvin, Laura Jurd and Oren Marshall and we will be playing our first gig at the Vortex on the 19th April.
In preparation I'm doing lots of solo imrpovisations:
The tragic loss of Vincent Sipprell, viola player, remixer, creator, member of the Elysian Quartet and the duo Geese has made me consider our collective emotional and mental health. After a prolonged period of depression Vince took his own life. He was 35 years old. While coming to terms with the loss of a friend, I have been shocked to read that suicide is now the primary cause of death in the UK of men between 20 and 45.
The charity CALM was set up in 1997 to help prevent suicides in men and Vince's friends are being encouraged to donate to them. As an educator in a music college, we are increasingly considering musician's health as a core part of our training. Much of this has focussed on physical issues but as a composer I am all too aware of the dangers of solitude in an incredibly demanding, and rarely lucrative career. We need to discuss these issues openly, and help anyone who is at risk do the same.
I'm one of six composers who have been commissioned by harpist Sioned Williams to create a piece to celebrate her sixtieth birthday. The other 5 include Michael Finnissy, Paul Patterson and MIchael Stimpson. We are awaiting confirmation of a date for the premiere though it looks likely to be in the Autumn of 2014.
My piece is called Domestica and includes a film shot by director Magali Charrier. As always the piece uses techniques that I've not tried before, in this case a simple additive structure that dictates the shape and flow of the whole piece: made up of 26 fragments, each with its associated film clip, fragment A is just over half a second long with the following fragments increasing in duration to fragment Z which is 40 seconds in length. The structure is
AABABCABCDABCDABCDE… etc. ending with fragment Z played one time only. Its all kept in time by a recorded ticking clock that acts as a click track and starts at 120bpm and gradually slows down to 60pbm. The whole idea should be quite straight forward because the written material for each fragment is almost the same each time it is heard. The tricky part is that it looks different on the page each time as the clock tempo has slowed. Luckily Sioned is an amazing reader...