The violinist Glen Sheldon has been doing a series of informal Zoom concerts of solo violin repertoire during the various lockdowns. He is delighted to have re-established contact with Sadie Harrison, with whom he studied and performed at Surrey University, and in his next programme he will include a short selection from her Gallery (Room 1) and Gallery (Room 2)pieces, including a world premiere of Meditation, written especially for Glen during the lockdown period
Thomas Simaku’s CD, Solos & Duos, released on Naxos Records in 2019, has been chosen among the ten best CDs of the year by the critic James H. North in the prestigious magazine Fanfare in the USA. The list includes recordings of works by Beethoven and Bartok, as well as two 21st century composers from the Netherlands and USA.
We are delighted that house composer Sadie Harrison has contributed a chapter to Music and Heritage New Perspectives on Place-making and Sonic Identity, a forthcoming title from Routledge, in which she writes about the relationship between her twin careers of composition and archaeology. Entitled Composing archaeology: The problems of recreating heritage in music, the chapter considers the resonances between compositional and archaeological practises focussing on works written prior to and after her work as an archaeologist specialising in the Bronze Age prestige ware of the Carpathian Basin.
Vortex Music Journal has published a very interesting interview with UYMP composer Hilda Paredes. In a conversation with Luis Velasco-Pufleau of the Universität Bern in Switzerland Paredes talks about the political and ethical concerns which influence her music, the relationship between her music and contemporary Mexican indigenous poetry, the link between gender issues and social justice, the burden of racism, the embodied experience of violence, the destruction of language and the relationship between her creative process and environmental concerns.
We are delighted that Sadie Harrison’s Fire in Songfor clarinet, viola, clapsticks and reciters has just been recorded for Divine Art/Metier to be released early in 2021. The recording took place on 6 October through an enterprising virtual process set up by sound engineer David Lefeber. This enabled Sadie in Dorset to watch the recording taking place in London via Youtube, with comments via her phone directly into the venue in real time!
Jérôme Comte, a soloist of the Ensemble Intercontemporain in Paris, one of the world’s most prestigious contemporary music ensembles, has collaborated with composer Thomas Simaku on his latest composition. Jérôme Comte was 26 when he joined the Ensemble Intercontemporain at the invitation of Pierre Boulez, whose ‘Dialogue de l’ombre double’ Jérôme performed at Louvre Auditorium.