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City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). Since then there have been a smattering of articles, numerous interviews, and my own monograph on The History of Photography in Sound. But in light of the breadth and diversity of Finnissy’s output, there is a real need for a greater plurality of the best scholarly writing on this work and all the issues it raises – whether relating to musical reference, modernist aesthetics, sexuality, folk music, amateur music-making, indeterminacy, the visual arts, dance, photography, cinema, or much else. This conference forms part of a new initiative to stimulate more such work, and will be followed by a planned edited volume of essays on Finnissy’s work. I am also delighted that Patrícia Sucena de Almeida took up the challenge of creating a photographic work inspired by Finnissy’s work, continuum simulacrum, which will be exhibited at this conference. I wish to express my profound thanks to Leo Chadburn, Performance Officer at City, for his unrelenting help in making the practicalities of this event happen. To Louise Gordon and the Events department at City for much other organisational help. To Tullis Rennie and the City University Experimental Ensemble for taking on the project of playing two of Finnissy’s works. And then of course to Miguel Mera and the rest of the Department of Music at City for their continuous support for this project. Finally, naturally my greatest of thanks to Michael Finnissy, for so many things over so many years, but also for his important participation in this event, and immense support, provision of scores, and many helpful comments on the works and their performance, through the course of my mammoth series of his complete piano works of which this event forms the conclusion. Ian Pace All images in this booklet © Patrícia Sucena de Almeida 2017, except where otherwise indicated. SCHEDULE Thursday January 19th, 2017 09:00-09:30 Foyer, Performance Space. Registration and TEA/COFFEE. 09:30-10:00 Performance Space. Introduction and tribute to Michael Finnissy by Ian Pace and Miguel Mera (Head of Department of Music, City, University of London). 10:00-12:00 Room AG09. Chair: Aaron Einbond. Larry Goves (Royal Northern College of Music), ‘Michael Finnissy & Wolfgang Amadeus Mozart: the composer as anthropologist’. Maarten Beirens (Amsterdam University), ‘Questioning the foreign and the familiar: Interpreting Michael Finnissy’s use of traditional and non-Western sources’ Lauren Redhead (Canterbury Christ Church University), ‘The Medium is Now the Material: The "Folklore" of Chris Newman and Michael Finnissy’. Followed by a roundtable discussion between the three speakers, chaired by Aaron Einbond. 12:00-13:00 Foyer, Performance Space. LUNCH. 13:10-14:15 Performance Space Concert 1: Michael Finnissy: The Piano Music (10). Michael Finnissy, Ian Pace and Ben Smith play Finnissy’s works for two pianos or four hands. Michael Finnissy, Wild Flowers (1974) (IP/MF) Michael Finnissy, Fem ukarakteristisek marsjer med tre tilføyde trioer (2008-9) (BS/IP) Michael Finnissy, Derde symfonische etude (2013) (BS/IP) Michael Finnissy, Deux jeunes se promènent à travers le ciel 1920 (2008) (IP/BS) Michael Finnissy, his voice/was then/here waiting (1996) (IP/MF) Michael Finnissy, Eighteenth-Century Novels: Fanny Hill (2006) (IP/MF) 14:30-15:30 Room AG09. Chair: Lauren Redhead (Canterbury Christ Church University). Keynote: Roddy Hawkins (University of Manchester): ‘Articulating, Dwelling, Travelling: Michael Finnissy and Marginality’. 15:30-16:00 Foyer, Performance Space. TEA/COFFEE. 16:00-17:00 Room AG09. Chair: Roddy Hawkins (University of Manchester). Keynote: Ian Pace (City, University of London): ‘Michael Finnissy between Jean-Luc Godard and Dennis Potter: appropriation of techniques from cinema and TV’ 17:00-18:00 Room AG09. Chair: Christopher Fox (Brunel University). Roundtable on performing the music of Michael Finnissy. Participants: Neil Heyde (cellist), Ian Pace (pianist), Jonathan Powell (pianist), Christopher Redgate (oboist), Roger Redgate (conductor, violinist), Nancy Ruffer (flautist). 19:00 Performance Space. Concert 2: City University Experimental Ensemble (CUEE), directed Tullis Rennie. Christopher Redgate, oboe/oboe d’amore; Nancy Ruffer, flutes; Bernice Chitiul, voice; Alexander Benham, piano; Michael Finnissy, piano; Ian Pace, piano; Ben Smith; piano. Michael Finnissy, Yso (2007) (CUEE) Michael Finnissy, Stille Thränen (2009) (Ian Pace, Ben Smith) Michael Finnissy, Runnin’ Wild (1978) (Christopher Redgate) Michael Finnissy, Anninnia (1981-82) (Bernice Chitiul, Ian Pace) Michael Finnissy, Ulpirra (1982-83) (Nancy Ruffer) Michael Finnissy, Pavasiya (1979) (Christopher Redgate) INTERVAL ‘Mini-Cabaret’: Michael Finnissy, piano Chris Newman, AS YOU LIKE IT (1981) Michael Finnissy, Kleine Fjeldmelodie (2016-17) première Andrew Toovey, Where are we in the world? (2014) Laurence Crane, 20th CENTURY MUSIC (1999) Matthew Lee Knowles, 6th Piece for Laurence Crane (2006) Morgan Hayes, Flaking Yellow Stucco (1995-6) Tom Wilson, UNTIL YOU KNOW (2017) première Howard Skempton, after-image 3 (1990) Michael Finnissy, Zortziko (2009) (Ian Pace, Ben Smith) Michael Finnissy, Duet (1971-2013) (Ben Smith, Ian Pace) Michael Finnissy, ‘They’re writing songs of love, but not for me’, from Gershwin Arrangements (1975-88) (Alexander Benham) Michael Finnissy, APRÈS-MIDI DADA (2006) (CUEE) 21:30 Location to be confirmed CONFERENCE DINNER Friday January 20th, 2017 10:00-11:00 Room AG21. Christopher Fox in conversation with Michael Finnissy on The History of Photography in Sound. 11:30-12:30 Room AG21. Chair tbc. Keynote: Gregory Woods (Nottingham Trent University): ‘My “personal themes”?!’: Finnissy’s Seventeen Homosexual Poets and the Material World’. 14:00-21:00 Performance Space. Concert 3: Michael Finnissy: The Piano Music (11): The History of Photography in Sound (1995-2002). 14:00 Chapters 1, 2: Le démon de l’analogie; Le réveil de l’intraitable realité. 15:00 INTERVAL 15:15 Chapters 3, 4: North American Spirituals; My parents’ generation thought War meant something 16:15 INTERVAL 16:35 Chapters 5, 6, 7: Alkan-Paganini; Seventeen Immortal Homosexual Poets; Eadweard Muybridge-Edvard Munch 17:50 INTERVAL (wine served) 18:10 Chapter 8: Kapitalistische Realisme (mit Sizilianische Männerakte und Bachsche Nachdichtungen) 19:20 INTERVAL (wine served) 19:35 Chapters 9, 10, 11: Wachtend op de volgende uitbarsting van repressie en censuur; Unsere Afrikareise; Etched Bright with Sunlight. This performance is accompanied by a special new art-work, continuum simulacrum (2016-17) in the form of a ‘book-box’ and a stream of images, by Patrícia Sucena de Almeida. The images will be streamed on the large screen by the bottom of the stairs leading to the foyer of the Performance Space. PROGRAMME: Concert 1 This concert, together with that taking place this evening, brings together all of Finnissy’s works for two pianos or piano duet (such a grouping was last performed by the composer and myself at the Clothworker’s Hall, Leeds University on October 23rd, 2010, when the output for this instrumentation was smaller). Wild Flowers (1974) is quite typical of Finnissy’s grandiose but tableau-based works of the early 1970s. It takes its cue from the poem Auguries of Innocence by William Blake: To see a World in a Grain of Sand And a Heaven in a Wild Flower Hold Infinity in the palm of your hand And Eternity in an hour The work was originally conceived for solo piano, but then re-conceived for two parts, and first performed with Finnissy playing alongside a recording of himself playing the other part, for a group called The Cedars of Lebanon at the London School for Contemporary Dance. The premiere of the concert version took place at the ISCM Festival in Paris on October 26th, 1975, played by the Labeque Sisters; it then remained relatively dormant until taken
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