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20/20 Hindsight
I’m currently revising À la Fois, the work I wrote last year for violin and cello. The amazing violinist Leslie Ting, who happily moved from Montreal to Toronto this year, will be performing it on a concert at the Canadian Music Centre next season. A second performance of a piece is a real luxury for…
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String Quartet Commission
I’m thrilled be commissioned by the Sudbury-based Silver Birch String Quartet to write a new work for their 10th Anniversary Season.
I worked with these amazing musicians as part of a septet that performed my piece Sanctuary this past March. I haven’t written a string quartet in a very long time, so I’m looking forward to digging in to this project this summer.
The proposed concert program is rather humbling!!
Haydn: Quartet Op. 20 #6
Harman: Premiere title TBA
Intermission
Beethoven: Op. 131 -
New Music in Québec
It turns out that my article analyzing Ana Sokolovic’s work Géométrie Sentimentale , published by the journal Circuit earlier this year, will be translated and published as part of a new book about contemporary music in Québec, entitled ‘Écouter le modernisme musical au Québec’, as part of the Paramêtres series at Publications Université de Montréal. I’m thrilled to be a part of this great educational project, and I’ve been working on revising the article this week.
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Schnitzel and New Music
Last week I had an amazing experience at the Impuls Academy in Graz, Austria. For two weeks, I attended many concerts, lectures and workshops, met composers and performers from (literally) around the world, and had the chance to work with some incredible musicians on my piece Leaning and on a new theatrical work for percussion trio.
The highlight for me was this last project. I worked almost daily on the piece with the percussionists, and with one of my musical idols, Georges Aperghis, who provided great feedback and ideas as the piece came together. In the end, the piece is called Bouffe , and is inspire by communal rituals of cooking, eating and socializing. In effect, the percussionists were co-authors, since they contributed many ideas to the piece over the course of the week I composed it. Christian Dierstein, the percussion teacher at Impuls, was also a fantastic resource for all of us composers.
I also had the opportunity to meet with Georg Friedrich Haas and Pierluigi Billone about my music. We had some amazing discussions about microtonality, temporality and different types of musical material.
Explaining the inspiration behind my piece to George Aperghis, Christian Dierstein and the group of composers and percussionists.
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