top of page

Bass Flute @ LCMF 2017

It was a joy to be part of the London Contemporary Music Festival again in 2017 performing music by the American minimalist Robert Ashley and the iconic Japanese composer Toshi Ichiyanagi joining the fabulous contemporary music ensemble Apartment House.

In our performance of Toshi Ichiyanagi's "Sapporo" the music was hypnotic and soft, sometimes on the edge of audible, punctuated by sharp staccato chords.

The score is minimal, just lines and dots that need to be followed with very precise instructions and a"non-listening" awareness. This non-reactive listening goes completely against the grain of how I work as a musician but the outcome was to create an accidental overlap of beautiful coincidental sounds as the different instruments collided.

Many things about Robert Ashley's score were a departure from "the norm" for me. The layout: rather than conventional left to right was up and down in columns, it was in bass clef and without rhythmic notation which was then semi improvised following the rhythmic inflection of the voice, rather like recitative.

It was an honour to perform Robert Ashley's music with his son Sam in this performance with Apartment House.

Sam's vocal lines in the LCMF concert were delivered in a beautifully paced, laconic drawl which I felt influenced the shape and mood of the instrumental improvisations. The scoring has dark and seductively dreamy instrumental colours hence the bass flute.

The venue for LCMF this year, equally as awesome as the music performed, was a vast warehouse space with industrial piping and blockwork called AMBIKA 3. Formed from a former 14,000 sq ft concrete construction hall situated in the subterranean basement of Westminster University. #EndlessResonances

33 views0 comments

Recent Posts

See All

Breathing - bigger, better, more?

Breathing is natural and we do it without having to think - right? Sometimes circumstances can disrupt that natural process for example stress, anxiety or postural habits. Thankfully, we can influence

Recording Maya G L Verlaak: Another Timbre

As musicians we listen all the time, on a minute scale, to our own playing, to the collective complete picture and to each element that builds up the many strands in a piece. Recording Maya Verlaak's

bottom of page