Last week was the successful world premiere of my 18 month project Time Fixtures. A few days ago I finally digitized the recording and did a quick attempt to convert the sounds that came of the six speakers into stereo. For the curious, it can be downloaded here or in the Sequenza 21 listening room. My many thanks and full gratitude goes out to the players of the McGill Contemporary Music Ensemble who played the piece so well.
Now that the performance is over, I feel like I’ve started another chapter in my life. All that I have left for my masters’ degree is to write an essay over the summer about Time Fixtures. After that, I’m taking a year off to earn some money, hopefully immigrate to Canada, and apply to doctoral programs. I’ve also finally started to research and work on my next piece – a riotous romp for piano, percussion, harpsichord, and quad playback.
Another plus right now is that I finally have time to go to concerts again and this week could hardly be a better time for exactly that. Tomorrow afternoon the SMCQ (Société e musique contemporaine du Québec) is putting on a rare performance of Morton Feldman’s trio dedicated to the Quebecois artist – For Phillip Guston. Following that, on Tuesday the Ensemble Contemporain du Montréal is performing what should be a daring thematic concert which features works written in 2002 and 2003 and challenge the standard approaches to art and classical music. On Wednesday, the Nouvel Ensemble Moderne puts on its grand annual concert which, this year, features the world premiere of a new composition by the illustrious spectralist Tristan Murail. Then, as if that wasn’t enough, one of Montréal’s notoriously anti-academic contemporary music production groups Codes D’Accès is putting on a three day festival from Thursday through Saturday which called Les machines à communiquer. During this mini-fest there will be a concert of automated music, a concert of mixed music, and a concert of electroacoustic music.
Ahh, it’s good to have free time again!