In case you missed it, yesterday evening’s Odysseia concert ‘Speechless Song’ was broadcast on Klara Live. The program centers around Luc Brewaeys’ famous work for soprano and crotales, once infamously written for the Queen Elizabeth competition.
I had the pleasure of conducting this group of fantastic musicians and soloists for two of the pieces on the program, both by Brewaeys: Painted Pyramids and the ensemble version of Speechless Song.
Bravo to all involved and especially to the soloists, Lieselot De Wilde and Frederik Croene!
On Sunday at 14h (CEST) Matrix [Centre for New Music] will broadcast Mátyás Wettl’s Nocturne played by Nadar Ensemble and Thierry De Mey’s Light Music performed by Centre Henri Pousseur and me! What a cool – or should I say, hot and enlightening – program!
The lamps for Nocturne have been made by the students from the SLAC/Fine Arts Academy in Leuven. And you can get a preview of those beauties by visiting Matrix’s online exhibition here: https://matrix-new-music.be/nl/lightmusic/
This performance of Light Music represents a huge amount of work done by Xavier Meeus and Patrick Delges of Centre Henri Pousseur who have taken charge of the technical revision of the piece. They have done an incredible job. It has also been really important to my own artistic research – and it’s a ton of fun to perform!
Tomorrow is the day – our conference Framing the Normal starts tomorrow afternoon at 1 pm (CEST) with a great group of presenters. At 7 pm the incredible Dr. Håkon Stene will offer a keynote address titled, ‘Notes on Post-Instrumental Practices.’ Come check it out: https://framingthenormal.wordpress.com/
Since you are already coming for the keynote, stick around for the evening performances in which Jessie Marino’s newest piece will be premiered by the RCA Guitar Ensemble. We will also feature Winnie Huang’s Tentacles and I will perform Thierry De Mey’s Light Music.
Winnie Huang and I have put together a two-day conference featuring pieces and presentations that all ‘Frame the Normal‘. Day 2 of that conference will feature Alina Taraban & Ensemble XXI playing John Cage’s Concert for Piano and Orchestra and How to make a monster by Sivan Cohen Elias performed by the amazing Winnie Huang.
Our evening show includes short programs by Haize Lizarazu playing music by Fran MM Cabeza de Vaca and Michael Beil and Yui Sakagoshi playing her own music as well as pieces by Sergio Núñez Meneses, Chatori Shimizu and Thierry De Mey. We will close the conference with a collective performance of Ajtony Csaba’s Music for the Eyes.
Next Monday evening at 20h / 8 pm CEST we will premiere both the newly revised version of Thierry De Mey’s Light Music and Jessie Marino’s brand new piece Six to Five. Also on the program is Winnie Huang’s cool duet Tentacles.
Light Music was written in 2004, however the amazing experts at Centre Henri Pousseur have spent the last year completely re-writing the electronics, finding new ways to make it more live and performer-dependant. The piece is so much fun to perform and I am really excited to be able to show it off next week.
Melissa Portaels and Rebecca Diependaele from Matrix [Centre for New Music] came to chat during the final rehearsal week Light Music and put together this cool little preview video (in Dutch):
The RCA Guitar Ensemble and I will premiere Marino’s newest piece, titled Six to Five. Jessie has created a really cool and fresh new piece for the ensemble. Come check it out next Monday evening.
This show takes part in the evening programming of an academic conference that Winnie Huang and I have put together as part of our PhD studies at the University and Royal Conservatoire of Antwerp (ARIA). The conference is titled Framing the Normal and we are thrilled to present Håkon Stene as our Keynote speaker. All the details of the conference, including links and the schedule, can be found here: Framing the Normal.
Happy to see that Thin Air, a solo-project I did at the behest of Jelle Dierckx and Lunalia Festival, continues to resound around the world. Here is a nice write up by Gail Wein on Classic Voice North America:
This coming Thursday from 2-3 pm, Nadar will present Schubert’s Point Ones as part of Musica’s educational programming. There will be a short introduction (in Dutch) prior to the performance and an in-depth Q&A session afterwards.
I am very proud to invite you all to a special online performance of John Cage’s Concert for Piano and Orchestra presented by Alina Taraban, Ensemble XXI and the Royal Conservatoire of Antwerp. The concert will take place at this year’s ARTICULATE festival and broadcast via their YouTube channel.
Yes, lookdowns are terrible, but this one has at least seemed to have produced some new outlets for the performing arts. Last night the new digital channel Podium 19 ‘broadcasted’ our recording of Beethoven’s Drei Equales for Trombone Quartet. Here’s the link. Enjoy!
Lode Smeets: Alto Trombone Soeren Brassaerts, Thomas Moore: Tenor Trombone Bram Meese, Bass Trombone
Yesterday I performed my new solo program Doublespeak | Doublethink in the longest-running new music series, Unerhoerte Musik in the BKA Theater, Berlin. One of the good things about this period we all are trudging through are the lasting mementos of our streamed shows. Here it is!
Doublespeak | Doublethink Thomas R. Moore | Trombone “You do not exist,” George Orwell 1984
In the iconic book, 1984, Orwell defines Doublethink as the ability to hold two contradictory thoughts in one’s head and to believe them both simultaneously. In this program we will walk the edge between two thoughts, doubling and negating the original, both the sound of the trombone and the physical performance itself. The soloist, Thomas Moore will take on a split personality, be pre-recorded, live-manipulated, duplicated and nullified.
Marino, Jessie: Commitment :: Ritual :: BiiM (2011) for solo performer, lights and tape – 4′
Beyer, Stefan: Strandung (2016, rev 2020) for trombone and electronics – 12’
Maierhof, Michael: Splitting 53* (2016-18) for trombone, amplified splitter and tape – 9’
Bark, Jan & Rabe, Folke: Ach Chamberlin (1965) tape – 6’
Henderickx, Wim: Akasha*, from VOID (2020) for trombone/voice and live electronics – 10’
Ivičević, Mirela: Orgy of References (2012, rev. 2019) for speaker/singer and live electronics – 8’
A small warning: This program acknowledges the existence of and explicitly refers to sexual acts. It may therefore not be appropriate for some people.