Charlie Usher (1987, UK)
In the pipeline:
Half an hour with Victor Guaita; viola, with reed organs, guitar-zither, playback.
≈ 100 double bass pieces with Jonathan Heilbron in early 2019.
A group listening session create with and led by Emma Lloyd, and Emma Lloyd only.
Comfortable seating, for thinking, also violin, lots of speakers, something to drink.
Hours of music for farfisas, electric keyboards and piano for G--------- R-----. alone.
Piano music on a large scale for Albert Kim, for spring 2019.
Maybe some for Winnie Huang, sometime.
Something for Gabriel Dharmoo+1
his +1 makes the music, Gabby mouths the words.
Stevie Wonder teaches us the fundamentals.
Imagine that I had made:
Acoustic tents. We suspended them from high-up rafters in a in a tall space.
Materials: acetate, foam, latex, linen, PVC, rubber, wool, felt.
Each would have housed musicians, good speakers and bad speakers, and have changed size (=acoustic) throughout the performance.
The audience could have move around outside.
Imagine that I'd hand copied and played back the waveforms of the works of various composers in different fidelities:
1 second per mm,
1 second per cm,
1 second per 10cm,
1 second per metre.
That Michael and I had made a night long survey of 1980s political Britain,
loosely in the model of 'le fond de l'air est rouge' (Chris Marker) for a slim long room.
Between two pianos there's a screen, projectors either side;
fans and flood lights upset the true image (David Riff: 'crisis is never sudden, it simmers forever and boils over one day')
whilst the others fill in the gaps and falsify the context of it all.
If I'd have written instrumental music to nestle in the sound of the newly-restored waterfalls of the Buttes Chaumont park in north-east Paris.
It would have been performed at the same time as:
A piece for outdoor roamers with push-trolley amps like those used by Paris metro crooners. Texts by M------ N------.
A piece for cymbalom, qānūn, saz and 4 low wooden flutes.
That piece for soloists and ensembles of plastic instruments standing in the dense greenery of tropical greenhouse gardens.
Not a piece on forests or gardens or nature, but loud music hidden in the flora and fauna of the room.
The extreme humidity, that acoustic, the hum of the irrigation and insects,
the wide green distance.
A piece for chalumeau, 3 low flutes, and all the others.
A l a r g e scale orchestral piece for a l a r g e place.
Orchestral music doesn't always have to be glory and brilliance;
something went wrong somewhere along the line.
A chamber organ concerto, for some Bach cantata period instrument setup.
A lifetime of pieces for piano and various ensembles.
Get in touch.