The second evening of performance in the Nunnery new music series.
The idea that the shape of a sound might be reflected in a graphic shape; or that measuring and geometry relate to musical dynamics has influenced the appearance of modern notation and changed ideas about instructions for reading scores in performance. This musical reading of graphic devices has been a major intrigue of twentieth century visual practice so drawing itself has the impact of an event, a sign of an originating expressive gesture or, as Matisse might imagine, an acrobatic movement of the body through space.
R: So yeah, I’m listening to it as part of the process of composing…and then I might decide well what if I slow that bit down which you can also do very quickly. Er, and I often arrive at things by slowing them down and speeding them up, arrive at a kind of optimum speed for those notes.
T: That immediately strikes me as a really very painterly way of going about composition. You do the whole thing and then you kind of...
R: It is like dragging bits of paint around on a surface, yeah. And in fact, um, I’m telling you all of the juicy bits right at the start.
Interview, Richard Emsley and Tim Parkinson
Tim Parkinson is a composer who has presented many events as pianist and as performer ‘of any sound producing means’. His music has been performed internationally, and he has two Cds out on Edition Wandelweiser. He is a co-curator of the ‘music we would like to hear’ series of concerts since 2005.
Angharad Davies and Sarah Hubrich, violins; Anton Lukoszevieze, cello
Thomas Stiegler ‘Sonata Facile’ for violin
Tim Parkinson ‘Untitled’ for Cello’
Joseph Kudirka ‘Vincas/81’ for cello with bach-bogen
Jurg Frey ‘No1’ for two violins
Jurg Frey ‘No2’ for two violins
Joan Key, ‘Notes from Paintings’ for cello and violins
Marcus Trunk ‘Black on Maroon’ for scordatura cello
Chiyoko Szlavnics 'Interior Landscapes’ for two violins
Image ‘Many Lines’ courtesy Chiyoko Slavnics