Andrew Toovey - Fragments After Artaud
I do not obtain any materials from the video, alright goes to the respective owner please aware me if I violated copyright regulations and I would not hesitate to remove the video.
piece dedicated and performed hy James Clapperton
Andrew Toovey (b London 1962) studied composition with Jonathan Harvey, Michael Finnissy and briefly with Morton Feldman. After completing his BMus degree at Surrey University he gained an MA and MPhil at the University of Sussex, specialising in composition and aesthetics. His PGCE studies in secondary school teaching were undertaken at the Institute of Education, University of London and his PhD in composition at the Royal Birmingham Conservatoire, having been awarded an M3C (Midland Three Cities) research grant for his studies.
Toovey's work embraces widely diverse influences, from music such as that by Feldman and Finnissy, or from the poetry of Artaud, Cummings and Rilke, and reflects his passion for 20th-century visual art, especially that by Bacon, Beuys, Davies, Hayter, Klee, Miro, Newman, Rauschenberg, Riley, Rothko and the Outsider Artists. It has been performed throughout the UK, Europe, Canada, Japan, Australia, New Zealand and the USA, and has featured at the Bergen, Brighton, Gaudeamus, Huddersfield and ISCM festivals and at the Darmstadt and Dartington International Summer Schools. It is also frequently broadcast, on BBC Radio 3 and by various European radio stations.
Toovey, who has been Artistic Director of the new music ensemble IXION since 1987, was associate composer with the Young Concert Artists Trust (YCAT) from 1993-5 and he was composer-in-residence at the Banff Centre, Canada for four years, writing two operas and other music theatre works in that time. His education work includes projects for Glyndebourne Opera, English National Opera, Huddersfield Festival, the South Bank Centre and the London Festival Orchestra, and he has been composer-in-residence at Opera Factory and the South Bank Summer School. He teaches composition regularly at Benslow Music, also taught secondary school music in a part-time capacity, now teaching composition (at Undergraduate, MMus and PhD level) at the Royal Birmingham Conservatoire.
His many awards include the Tippett Prize, Terra Nova Prize, the Bernard Shore Viola Composition Award and an RVW Trust Award. Largo released two portrait CDs of his music (Including the orchestral piece Red Icon and the opera The Juniper Tree) in 1998. Many other pieces appear individually on CD labels such as NMC, ABC Classics, Nova, BMIC, ABRSM, Sound Circus and Kairos Music. Some of his music is published by Boosey and Hawkes, while pieces can be heard on his own KZread channel or on his website where scores can be viewed and downloaded at www.andrewtoovey.co.uk.
In a Tempo Magazine profile article Michael Finnissy wrote: “Toovey consciously places himself outside what he regards as useless or outmoded conventions, whilst reserving the right to draw on, allude to, shoplift from absolutely anywhere. Not only are Toovey’s musical sympathies unusually diverse and deliberately unaligned to the ready-made categories of our recent past (minimalism, neo-Romanticism, new complexity), but the fundamental stylistic “gesture” can be as readily compared to the visual arts as to any music - to the work of Robert Motherwell, Barnett Newman, Robert Rauschenberg or Stanley Hayter”
Since 1982 he has written over 100 pieces for orchestra, large ensemble, chamber groups and many solo instruments as well as opera. Recent works include Verboten, Holding You and Euonia (a self-contained group of ensemble pieces), First Out, Preludes and Schrott, all for solo piano, the sequence ‘The way it is now’ for voice and viola, Contrecto for harmonium and tabla (there is also a version for violin and harmonium) and Pump Triptych for solo clarinet. He has just completed a chamber opera based on James Purdy’s novel Narrow Rooms to a libretto by Michael Finnissy.
Пікірлер: 56
the (uncredited!)pianist is James Clapperton. Superb performance of this incredibly vivid, and well proprtioned piece. The opening line is re-purposed in atleast three sections. It's like a cantus-firmus.
@ngyuhng8324
10 ай бұрын
This is a delightful find, and indeed a beautiful rendition by James Clapperton!
@jaiachin9579
10 ай бұрын
This is garbage. It sounds like a kid mashing on the keys.
@jamesclapperton904
5 ай бұрын
Thank you so much Morgan. Kind regards. James
So glad Toovey's my teacher lol, his music is great
Thanks so much Narfen for uploading this and so beautifully aligned with the score. It brings back great memories of working with Andrew.
Awesome work by Toovey!
I was fortunate to be taught by Toovey, great composer!
Very good piece 👌 ✨✨✨✨✨ Thanks for the upload
atleast ( unlike some crazies on here ) you acknowledge it’s a subjective opinion which of course it is . To some extent our tastes are shaped by the music we encounter in our formative years . When I was about 10 I first heard Debussy’s ‘Jeux’ and found it utterly incomprehensible because I was accustomed to very different composers . However , I listened to it dozens of times and got to like it .
There's a lovely bit in the middle. Loved it.
Bravissimo!
Sounds pretty direct
Cool!
Definitely out of the categories...
@machida5114
Жыл бұрын
for me it seems to be a kind of impressionism...
@foxiszt
Жыл бұрын
@@LisztAddict average liszt enjoyer
7:15 look at all those accidentals
I like James Clapperton, ian pace, nicolas hodges and Roger Woodward
@achoikomposition
Жыл бұрын
Indeed :)
@Forestier1
Жыл бұрын
But do they like you?
Sounds like my cat walking up and down the keyboard
@WEEBLLOM
Жыл бұрын
no
@jaiachin9579
Жыл бұрын
@@WEEBLLOM it’s garbage. The first melody in the piece has GARBAGE sense to do with the rest of the piece.
@WEEBLLOM
Жыл бұрын
@@jaiachin9579 no
@jaiachin9579
Жыл бұрын
@@WEEBLLOM yes
@WEEBLLOM
Жыл бұрын
@@jaiachin9579 no
개꿀잼
7:04 🤤🤤
I spotted several wrong notes being played between 5 and 5:30😏
@ICanPickLocks
Жыл бұрын
This is like looking at a guy play fernyhough and then saying "Hey that polyrythym wasn't really exact"
@achoikomposition
Жыл бұрын
You couldn't do any better than this... go on and perform this without a single wrong note lmao
@norschi6538
11 ай бұрын
You right. And the modulation in GM to Dm. Is ont very clear.
What is the time signature of this piece.
@__414.88b_
Жыл бұрын
18273/1
@commentingchannel9776
11 ай бұрын
There is none
Art for the sake of art.....
@composerjalen
Жыл бұрын
Well yes
@pineapple7024
Жыл бұрын
I don’t get it, what else is the purpose of art? There’s very little practical use of art lol
@tA_aT287
Жыл бұрын
@@pineapple7024 I believe there are many purposes of art... in this context I don't hear it as useful but it certainly provides us with a sense of explicit musical expression. Just not thr usual cup of morning joe! Lol
What is the interest to write this ?
@commentingchannel9776
11 ай бұрын
music... pwetty :3
Interesting writing, but monotonous.
When you wanted to do something like Skryabin 9 sonata, but made random set of sounds, like cry of a dying pig
@WEEBLLOM
Жыл бұрын
what
@MorganHayes_Composer.Pianist
Жыл бұрын
It sounds nothing like Scriabin 9. If you’re looking for influences: Morton Feldman and Michael Finnissy .
@achoikomposition
Жыл бұрын
@@MorganHayes_Composer.Pianist Andrew Toovey is New Complexian :) but now tonal for sure.
@MorganHayes_Composer.Pianist
Жыл бұрын
@@achoikomposition very broadly speaking, true. However, there’s plenty of modal sections in this piece , and his opera ‘Ubu’ has tonal pastiche and new complexity (whatever that label actually means !) alongside one another.
One of those videos where an interrupting ad is such a relief!
One of the byproducts of the 20th century was a raft of musical compositions with scores that looked better than they sounded. This is a perfect example. This is the music you hear when lost in a deep dream state. In the dream it seems to make sense but when you wake you realize it was just sonic nonsense. It does sound like a man with Turrett Syndrome, high on pot, improving at the keyboard which is cool as long as the audience is also intoxicated.
Che sberla la seconda parte
An interesting exercise in iconography but seems rather pointless.