Andrew Toovey - Fragments After Artaud
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- เผยแพร่เมื่อ 15 ต.ค. 2022
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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 TH-cam 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.
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.
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.
This is a delightful find, and indeed a beautiful rendition by James Clapperton!
This is garbage. It sounds like a kid mashing on the keys.
Thank you so much Morgan. Kind regards. James
I was fortunate to be taught by Toovey, great composer!
Very good piece 👌 ✨✨✨✨✨ Thanks for the upload
Bravissimo!
Sounds pretty direct
There's a lovely bit in the middle. Loved it.
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 .
Cool!
7:15 look at all those accidentals
Definitely out of the categories...
for me it seems to be a kind of impressionism...
@@LisztAddict average liszt enjoyer
I like James Clapperton, ian pace, nicolas hodges and Roger Woodward
Indeed :)
But do they like you?
Sounds like my cat walking up and down the keyboard
no
@@WEEBLLOM it’s garbage. The first melody in the piece has GARBAGE sense to do with the rest of the piece.
@@jaiachin9579 no
@@WEEBLLOM yes
@@jaiachin9579 no
7:04 🤤🤤
개꿀잼
I spotted several wrong notes being played between 5 and 5:30😏
This is like looking at a guy play fernyhough and then saying "Hey that polyrythym wasn't really exact"
You couldn't do any better than this... go on and perform this without a single wrong note lmao
You right. And the modulation in GM to Dm. Is ont very clear.
What is the time signature of this piece.
18273/1
There is none
Art for the sake of art.....
Well yes
I don’t get it, what else is the purpose of art? There’s very little practical use of art lol
@@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 ?
music... pwetty :3
One of those videos where an interrupting ad is such a relief!
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
what
It sounds nothing like Scriabin 9. If you’re looking for influences: Morton Feldman and Michael Finnissy .
@@MorganHayes_Composer.Pianist Andrew Toovey is New Complexian :) but now tonal for sure.
@@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 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.