BBC Radio 3 recording from a 2021 concert at Wigmore Hall by the Exaudi ensemble. 

I composed this piece when my grandparents were admitted to ICU with Covid-19. 'here, now' is dedicated to them, and reaches back to a piece of advice from my grandfather: be where you are, with all of your senses. This ‘life-philosophy’ encompasses the broad interest of my work, which is to unsettle the orthodox distinction between the senses.

'here, now' explores (1) the gradual progression from unsynchronised singing, to overlapping, to unification, and (2) how, through repetition, words can become imagistic rather than linguistic. 

Earlier this year, I read Virginia Woolf’s experimental novel The Waves, and it left a lasting impact on me. I decided to use text from the opening of this novel, which features the soliloquies of 6 individual characters who seem to be observing the same reality but perceive it in a completely unique way. What happens throughout the book, especially towards the end, is a process of ‘gradual coming together, running into one, acceleration and unification’―such that what begins as an expression of 6 separate inner lives becomes one consciousness. 

Something similar can be said for 'here, now'. The performers are part of a rocky landscape, each with their own incomplete map of reality that, by repetition, slowly arrives at something pure, austere and semantically satiated.

here, now (2021)

CORRECTED DESCRIPTION 13 May 2024

This is a piece created by Duncan Chapman from recordings of forced rhubarb growing at David Westwood & Son rhubarb farm, near Wakefield. You can hear the rhubarb buds popping as they burst and also some mud as we squelched around in the dark. The audio has been cleaned up as much as possible to remove the sound of both the M62 and M1 motorways which are nearby!

A mass of popping rhubarb - forced rhubarb growing at DWS Farm

kigi no ibuki (2022)

May song (2022)
six voices and prerecorded audio
Performed by Exaudi, at Exposure 2023, Milton Court, 22 May 23

Cressida Sharp, sop.
Jessica Gillingwater, mez-sop.
Tom Williams, counterten.
David de Winter, ten.
Michael Hickman, bari.
Simon Whiteley, bass

James Weeks, cond.

Text by Goethe (1771), trans. Lisa Jeschke & Lucy Beynon (in Jeschke, Anthology of Poems by Drunk Women, Materials, 2018 http://material-s.blogspot.com/2020/10/lisa-jeschke-anthology-of-poems-by.html.)

How beautiful shines 
To me, the nature! 
How the sun glows! 
How the mead smiles!

Blossoms penetrate 
From each branch 
And a thousand voices 
Out of the shrubbery

And joy, and joy 
From each breast. 
O earth, o sun,
O joy o lust!

O love, o love!
As golden, as beautiful 
As the morning clouds 
On those heights

You bless gloriously 
The fresh field
The blossoms’ steam 
The bountiful world.

O girl, girl
How I love you! 
Your eyes gaze! 
How you love me!

This is the way the lark loves 
Song and air
And morning flowers
The smell of heaven

How much I love you, 
My blood warmed
By you, for me, a youth, 
And joy and courage

For new songs
And dances
May you be happy eternally 
As long as you love me.

Prerecorded sounds include two field recordings of a wind turbine in Bernau bei Berlin, recorded by Peter Cusack, 2021.

Art: Unknown photographer, WT-Energiesystems Albertshof wind turbines, Bernau bei Berlin, c. 2020

Thanks to James Weeks and Exaudi, and to Paolo Carlotto and Nick Moroz for audio engineering assistance.

May song

'interruptions' is a sound installation composed for Ilona Skladzien's exhibition 'play nicely'. It attempts to sit in the space between the two words which make up the exhibition's title and understand the relationship between them. How does one fit play - imaginative, abrupt, sometimes loud and destructive - into socially acceptable concepts of niceness? Joy Ingle uses granular synthesis to veer between ’nice’ and ’noise’ in this sound installation, breaking down and rebuilding sounds to play with the boundary in-between them.

interruptions

By Johan Svensson. Premiered at Ystad art museum, september 2012.

Performed by My Hellgren on halldorophone and Lidija Radmilac on Viola.

Composition For Viola And Halldorophone

By Charles Ross, for halldorophone and (faux) bagpipe. Preview / premier at Sláturtíð 2017. Halldorophone played by the composer to the accompaniment of digitally simulated bagpipes.

Burrymann

Deilt Með Tveimur  Hildur, Elín Og Margrét

Still With You (2020)

Produced by Pdogg, Jung Kook (Jung Kook, Pdogg)
 
Keyboard - Pdogg
Synthesizer - Pdogg
Guitar – 정재필
Background vocals – Jung Kook
Vocal Arrangement – Pdogg
Recording Engineers - Pdogg @ Dogg Bounce
                                     - 정우영 @ Big Hit Studio
Digital Editing – GHSTLOOP, Summergal
Mix Engineer – Yang Ga @ Big Hit Studio
Mastering Engineer - Yang Ga @ Big Hit Studio

2020 BTS FESTA

Still With You

Still With You by JK of BTS

composer, fiddle player and bog enthusiast
they/them

interruptions

joy ingle