Instrumentation

6.5.4.3.2

Availability

Score and parts for hire

Programme Notes

In his book Jazz of 1947, Henri Matisse writes: MY CURVES ARE NOT MAD. In determining the vertical direction, the plumb line along with its opposite, the horizontal, forms the compass of the draftsman. Ingres used plumb lines; in his studies of standing figures note the unearned line that passes through the sternum and the internal anklebone of the “leg that bears the weight.” Around this fictive line “the arabesque” evolves. I have derived a constant benefit from my use of the plumb line. The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in a landscape for example, without being aware of its relationship to the vertical. My curves are not mad.

I like Matisse’s approach – the shapes and lines of his cutouts are so incredibly imaginative, inventive and organic, but he suggests that they are conceived always with reference to plain vertical lines. I enjoy and identify with the idea that no matter how intricate or unpredictable the twists and turns of a piece of work, the artist must first erect the invisible, objective structures that support their material like scaffolding supports the construction of a building.

TC

Reviews

‘This young London-based composer has an ear for subtly overlaid string textures and timbres… including some fanfaring violins that seemed to carry Britten’s string-writing into 21st-century landscapes.’
The Times (Richard Morrison), 24 March 2015
 
‘Gritty… built on a foundation of sustained pitches that are interrupted by sforzando attacks and flurries of activity.’
The Guardian (Andrew Clements), 23 March 2015
 
‘A pulsing pedal established at the start ceases as the work opens up, reappearing towards the end as the harmonic blueprints are revealed. It is this harmonic energy which provides the impetus for the piece to unfold. My Curves are not Mad contains an array of attractive timbral effects, with an effective structural principle.’
Bachtrack (Katy Wright), 21 March 2015

My Curves are not Mad

Saffron Hall (Saffron Walden, Essex, United Kingdom)

Britten Sinfonia/Carlos del Cueto

My Curves are not Mad

Theatre Royal (Norwich, United Kingdom)

Britten Sinfonia/Carlos del Cueto

My Curves are not Mad

Milton Court, Guildhall School of Music and Drama (London, United Kingdom)

Britten Sinfonia/Carlos del Cueto