Apologies, one and all, for the lengthy hiatus here on 5:4. In a break with convention, i’ve been finishing off two or three new compositions and then—entirely in keeping with recent convention—fighting off a rather stubborn virus. Before service resumes properly, then, let me flag up a couple of performances of these new pieces that are happening next month, both at the Birmingham Conservatoire.
The first is nolite facere dicunt enim, a work for 12 voices written for the vocal group Icarus, based at the Conservatoire. The group, which changes membership each year, is the brainchild of Chi Hoe Mak, one of the most wonderfully effervescent conductors i’ve ever met. It’s not a piece i want to say anything about at this stage, but you can take a look at the full score below. The first performance will be taking place on Wednesday 6 June; the concert starts at 7.30pm and tickets (undoubtedly very cheap) will be available on the door. Do come along and be shocked, appalled, enriched and/or entertained by it if you can.
EDIT: Due to a variety of unfortunate circumstances, this performance has been postponed.
Second is a work for voice and five players called the octave of the grief of the clone that leapt to the remainder of night sky; that title is taken from the writings of one of my ongoing inspirations, Kenji Siratori, as is the sung text, which uses Siratori’s poem Foolish/Moon. It’s not possible to show a score for this piece, as there isn’t one; the five players—clarinet, bassoon, viola, double bass and guitar—are all independent of each other and of the vocalist, although a couple of the players interact and affect the ensemble in different ways. This piece was written for the soprano Ruth Hopkins, who will be performing the piece with members of the ensemble Thumb, also based at the Conservatoire. The concert is on Monday 11 June, starting at 8pm; there may be a performance in Camden later in the year, but more about that as and when. Again, if you’re in the area, do come along.