for wind instrument and voice
November 2012-January 2013; 16′
Premiere: Elspeth Piggott (voice) & Giacomo Pozzuto (oboe), University of York recital, 10th January 2013. 2nd performance: Jayson Green (voice) & Patrick Burnett (clarinet), University of York recital, 29th April 2013. 3rd performance: Elspeth Piggott & Giacomo Pozzuto, Music and/as Process Symposium, University of Huddersfield, 30th June 2013.
Theatre work in two parts based on André Breton’s Le Manifeste du surréalisme (1924), devised collaboratively with Elspeth Piggott and Giacomo Pozzuto.
The first text sets forth principles for the creation of Surrealist art, as epitomised in ‘POEM’ (newspaper headlines cut together). A dramatic narrative can be read in the relationship between Oboe and Voice: two parts of a whole, and two wholes apart.
The ‘composition’ was the rehearsal process. The score is a compendium of source texts plus verbal and musical notation. These may be treated as records gathered throughout an initial collaboration process, to provide stimuli and instruction towards a performance.
some Surrealist methods
for wind instrument and voice
November 2012-January 2013; 16′
Premiere: Elspeth Piggott (voice) & Giacomo Pozzuto (oboe), University of York recital, 10th January 2013.
2nd performance: Jayson Green (voice) & Patrick Burnett (clarinet), University of York recital, 29th April 2013.
3rd performance: Elspeth Piggott & Giacomo Pozzuto, Music and/as Process Symposium, University of Huddersfield, 30th June 2013.
Theatre work in two parts based on André Breton’s Le Manifeste du surréalisme (1924), devised collaboratively with Elspeth Piggott and Giacomo Pozzuto.
I – SECRETS of the MAGICAL SURREALIST ART
II – POEM
The first text sets forth principles for the creation of Surrealist art, as epitomised in ‘POEM’ (newspaper headlines cut together). A dramatic narrative can be read in the relationship between Oboe and Voice: two parts of a whole, and two wholes apart.
The ‘composition’ was the rehearsal process. The score is a compendium of source texts plus verbal and musical notation. These may be treated as records gathered throughout an initial collaboration process, to provide stimuli and instruction towards a performance.