New works, recordings and some updates on what I’m doing.

After the success of our first record, James Wood and I are back in the studio under the moniker Aulich/Wood Trio, producing a new free improvisational extravaganza complete with jazz/electronic/dubstep/garage rock influences. At the same time, I’m working with violist, experimental performer and composer, Adam Sangster to produce a new work for Viola and Electronics. Since my master’s degree is now complete, I feel more free to share the works and recordings I submitted as part of my portfolio.

826 Harry Cowley for Electric Cello and Electronics (with score and recording), written for and dedicated to Christine Avis.

Πολυτροπος for Bass Clarinet (with score and recording), written for and dedicated to James Wood.

“…und nicht vielmehr Nichts?” for Solo Piano (with score).

 

Richard Craig – Condensation (Strike Work)

A recording of Richard Craig‘s excellent live performance of my latest finished work Condensation (Strike Work) for solo flute is available for listening below:

The piece was performed as part of a concert held at St. Paul’s Hall in Huddersfield on the 29th of February, 2016.

‘Power, Agency, Deference and Difference’ published in FIELDS

ABSTRACT

With a view to uncovering the political implications of notational, technological and musical innovation in composer–performer relationships within Western art music, this paper examines three disparate works: Christian Wolff’s Duo for Pianists II (1958); Brian Ferneyhough’s Unity Capsule (1975); and Georg Hajdu’s Schwer… unheimlich Schwer (2009). By first exploring two innovative 20th century works, Duo for Pianists II and Unity Capsule, the paper establishes a framework for a discussion of the political and ethical dimensions of composer–performer relationships in relation to the 21st century innovation manifest in Schwer… unheimlich Schwer (2009). This multidimensional examination draws on Warren’s (2014) examination of the relationships between ethics and music, Godlovitch’s (1998) philosophy of performance, and research carried out by practitioners such as Couroux (2002), Schick (2006) and Eigenfeldt (2011; 2014). The paper concludes that all three pieces demonstrate the potential for notation to have strong political implications, and that composers are ultimately responsible for the political implications of the performance experience.

Available from here (Open Access)

New Release

In less than a few weeks, I will self-release a new collection of electronic and found sound works entitled ‘Slenderman’ (yes, after the internet meme); not just because this character fascinates me on a personal level, but it in part reflects our brief, largely superficial connections to each other and to ourselves via machines. The mythology built up around Slenderman is in one instant both terrifying and arbitrary. It amazes me that a loose tapestry of an uncountable number of imaginations, each weave limited and filtered by its artificial interface with another, could invoke very real emotions. Each track in the release was constructed with this interface in mind.