Some production images from the Dutch National Opera production of Denis & Katya, March 2022, on the enormous main stage of the opera house in Amsterdam, as part of the Opera Forward Festival. The singers Inna Demenkova and Michael Wilmering, with cellists of the Residentie Orkest The Hague. Direction by Ted Huffman, Music Direction by Tim Anderson, Sound by Simon Hendry, Video by Pierre Martin, Design and Lighting by Andrew Lieberman. All images by Milagro Elstak. They can be used for press purposes with the appropriate credit.
The German premiere of Denis & Katya happened earlier this year, in a new german-language version of the opera, commissioned by the Niedersächsische Staatsoper in Hannover. The production took place in Ballhof Eins, and featured two singers from the young artists opera studio in Hannover, Weronika Rabek and Darwin Prakash, with cellists Reynard Rott, Gottfried Roßner, Clara Berger, Marion Zander, Killian Fröhlich and Gonçalo Silva. Direction by Ted Huffman, Music Direction by Maxim Böckelmann, Sound by Oliver Sinn and Markus Schwieger, Video by Pierre Martin, Design by Andrew Lieberman, Light by Bernd Purkrabek, Costume by Raphaela Rose and Dramaturgie by Regine Palmei. The german-language translation was made by Robert Lehmeier.
Reviews have been very positive. Here are some excerpts, with machine-translations:
“Es geht um Bildbeschreibungen und Annäherungen an die Wirklichkeit. Die Mezzosopranistin Weronika Rabek und der Bariton Darwin Prakesh als Journalistin und als Freund, als leicht hysterische Nachbarin und Teenager, als Arzt und Lehrer machen das so intensiv, dass Spannung entsteht. Philip Venables hat ihnen weitergehend tonale Partien geschrieben, die oft ein kantabler Sprechgesang sind. Untermalt wird das von einem Cello-Quartett, das Klangflächen liefert, aber sich auch steigert bis zu einer Elegie für junge Liebende: Totenklage für Solocello.” — Hannoversche Allgemeine Zeitung (HAZ)
(“It is about image descriptions and approaches to reality. Mezzo-soprano Weronika Rabek and baritone Darwin Prakesh as journalist and as friend, as slightly hysterical neighbour and teenager, as doctor and teacher do this so intensely that tension is created. Philip Venables has written them further tonal parts, which are often a cantabile chant. This is underpinned by a cello quartet, which provides sound surfaces but also rises to the level of an elegy for young lovers: Totenklage for solo cello.” )
“Da in dieser Produktion alles konzeptionell ineinandergreift und die Komposition so entstanden zu sein scheint, dass in Musik und Libretto sozusagen schon die Inszenierung angelegt ist, kann hier eine neue Form eines Gesamtkunstwerks etnstehen, die die Gattung Oper oder Musiktheater in die Gegenwart überträgt. Diese ganze Produktion ist als funkelndes Kleinod ein highlight im Spielplan der Staatsoper Hannover.” — Cellesche Zeitung (CZ)
(“Since everything in this production interlocks conceptually and the composition seems to have been created in such a way that the staging is already laid out, so to speak, in the music and libretto, a new form of a Gesamtkunstwerk can emerge here that transfers the genre of opera or music theatre into the present. This entire production is a sparkling gem and a highlight in the repertoire of the Hannover State Opera.”)
“Ganz am Schluss, in den letzten Minuten der Aufführung, entsteht dann so etwas wie eine elegische, langsamere Stimmung, die überhaupt erstmals den Raum für Konzentration und Empathie ermöglicht. Im Hintergrund sieht man eine aus einem Zugfenster auf eine Leinwand projizierte russische Landschaft vorbeiziehen. Dazu hört man Reflektionen der Hinterbliebenen. Es ist zu hoffen, dass die Produktion an möglichst vielen Schulen für Jugendliche, nicht nur in Hannover gezeigt werden wird. […] Das Publikum im Ballhof, der kleineren Spielstätte des Staatsschauspiels in Hannover applaudiert lange den Mitwirkenden dieser eindrücklichen und beklemmenden Produktion.” — Opera Online
(At the very end, in the last minutes of the performance, something like an elegiac, slower atmosphere emerges, which for the first time ever allows space for concentration and empathy. In the background you can see a Russian landscape projected onto a screen from a train window. You can also hear reflections from the bereaved. It is to be hoped that the production will be shown at as many schools for young people as possible, not just in Hanover. […] The audience in the Ballhof, the smaller venue of the Staatsschauspiel in Hanover, applauds the actors of this impressive and oppressive production for a long time.)
The piece is made in collaboration with Zubin and programmer Simon Hendry, based on a concept developed in collaboration with Ted Huffman. It focuses on New York visual artist David Wojnarowicz and the turbulent period leading up to the death Peter Hujar, his close friend and fellow artist, from AIDS-related illness in 1987. The focal point of the work is Wojnarowicz’s answering machine tape from the days leading up to Hujar’s death, featuring calls from Hujar, other artists, friends and lovers. Using new sensor technology from the Augmented Instruments Lab, the piano is turned into a huge typewriter to transcribe, comment on and illuminate the messages. The result is, I hope, a poignant and intimate exploration of that period of the New York art scene, queer history and the AIDS crisis.
Some production images from the Staatsoper Hannover production of Denis & Katya, February 2022, at Ballhof Eins in Hannover. The singers were Weronika Rabek and Darwin Prakash, with cellists Reynard Rott, Gottfried Roßner, Clara Berger, Marion Zander, Killian Fröhlich and Gonçalo Silva. Direction by Ted Huffman, Music Direction by Maxim Böckelmann, Sound by Oliver Sinn and Markus Schwieger, Video by Pierre Martin, Design by Andrew Lieberman, Light by Bernd Purkrabek and Costume by Raphaela Rose. All images by Clemens Heidrich. They can be used for press purposes with the appropriate credit. Very high-resolution photos can be downloaded here.
The Dutch premiere of Denis & Katya took place on Friday at Dutch National Opera in Amsterdam, as part of the Opera Forward Festival. It was performed by Inna Demenkova and Michael Wilmering, with cellists of the Residentie Orkest The Hague. Here is a selection of excerpts of press reviews for the production (machine translated), including a five-star review in Dutch newspaper, Trouw.
Illusions — my collaboration with performance artist David Hoyle — will feature in this year’s New Music Biennial retrospective at Coventry City of Culture and London’s Southbank Centre. This year’s Biennial not only features ten new works as usual, but also celebrates its first ten years with performances of ten works selected from previous Biennials.
Some production images from the Ensemble Intercontemporain concert performance of 4.48 Psychosis, December 2021, at the Philharmonie de Paris as part of the portrait of my work in the Festival d’Automne à Paris. The ensemble was conducted by Matthias Pintscher, the singers were Gweneth-Ann Rand, Robyn Allegra Parton, Karen Bandelow, Samantha Price, Rachael Lloyd and Lucy Schaufer, with video by Pierre Martin and Mise-en-Espace by Elayce Ismail. All images by Quentin Chevrier. They can be used for press purposes with the appropriate credit.
The Festival d’Automne à Paris and Ensemble Intercontemporain gave a concert performance of 4.48 Psychosis on 16th December 2021. The concert was part of the Festival feature about my work, and took place in the Cité de la Musique in the Philharmonie de Paris. The concert featured singers Gweneth Ann Rand, Robyn Allegra Parton, Karen Bandelow, Samantha Price, Rachael Lloyd and Lucy Schaufer, and was conducted my Matthias Pintscher, with Aurélien Gignoux and Gilles Durot taking the solo percussion roles. Nicholas Berteloot and Emmanuelle Corbeau did sound design, Elayce Ismail looked after ‘mise en espace’ and lights, and Pierre Martin the video.
The Philharmonie de Paris have just released this trailer video in advance of the concert performance of 4.48 Psychosis there on Thursday 16th December with Ensemble Intercontemporain, in a co-production with the Festival d’Automne à Paris. The 9-minute video features a short interview with me about the piece, and some clips of the staged production from Strasbourg.
Andreas Borregaard will perform My Favourite Piece is the Goldberg Variationsat the Transit Festival in Leuven. The strapline of the festival is “The Sound of Tomorrow”. Ted Huffman and I made this piece with Andreas during the lockdown, and it has a string of performances this year in Norway, Denmark, France and Belgium. The piece is based on interviews made with Andreas’ mother. Andreas will perform it alongside Asthma by Simon Steen-Andersen.
Twenty-five years ago, I learnt to play J.S. Bach’s Prelude in D minor BWV940, and ever since then, almost without exception, I play it every time I sit down at the piano to compose. It is the only piece that I can play from memory, with my poor piano skills, and playing this Prelude is a ritual that I go through every time I sit down to write. Improvisation often grows out of this prelude, from mistakes I make, or repetitions and variations. New music is catalysed from old music. This ritual for me is a way of focusing, shutting out other thoughts, clearing the mind, sparking ideas. Indeed, versions of Bach’s Prelude have appeared in a number of my pieces (Scene 19 in 4.48 Psychosis; the male chorus in The Schmürz).
I was asked by Festival d’Automne to make a sound installation for Saint Eustache, and so I decided to try to capture some of this compositional process. For around 50 days I recorded my daily ritual of playing Bach’s Prelude on the digital piano in my studio, complete with my improvisations, my mistakes, my singing, my tangents, my thoughts, improvisations and repetitions, as I sketched out a new piece (also for the Festival d’Automne) for mezzo-soprano and quintet, based on text by the late British poet Simon Howard. Using excerpts from these recordings, I have moulded a kind of ‘meta-composition session’ across 42 speakers in the church. Wander around and you will find small details of different days, but I hope that the whole effect it creates is an honest and reflective meditation on the act of composing, and my personal relationship to this Bach prelude.
In addition to the speaker installation, I was asked to provide a ‘live element’, and so on two evenings during the installation, the organist Baptiste-Florian Marle-Ouvrard will perform a kind of ‘exponential blossoming’ of the Bach prelude. This taps into another love of mine: the spreadsheet. I use spreadsheets in almost every piece I write, usually to chart some harmonic pattern or musical form or rhythmical change using an exponential curve. It’s an approach that I first started in 2011 with the Klaviertrio im Geiste. So for this live element, I decided to put a spreadsheet to work, to turn the Bach Prelude into a kind of ‘mathematical flower’ gradually opening up and revealing itself over a period of 28 repetitions. The idea was for the music to emerge exponentially from a point of a single note (the most recurring note in the Prelude, F4) to recreate the complete Prelude of 170 notes.
I will write below a brief method for how this was done. Suffice to say, the result is (hopefully) more of a conceptual meditation rather than a piece of music, so to speak. But one that gradually reveals the Bach Prelude over a period of around 30 minutes, emerging from a single pitch. It’s a beautiful instrument and a magical acoustic space to do this kind of thing, and I encourage the audience to come and go as they please, wander round the church and soak it up or sit down and let it wash over them.
A brief analysis of the Prelude
To start, I counted the occurrences (prevalence) of each pitch in the Prelude BWV940:
In the table, the ‘central’ tonic pitch of D4 is highlighted, and the most prevalent pitch, F4. I chose F4 to be the central axis of this performance. In total, there are 170 notes in the Prelude (i.e. the sum of all these occurrences), but adding the Tierce de Picardie in an extra repetition gives 171 notes (more about this later).
Then I calculated the distance of each pitch from this central axis F4, counted in number of semitones. I also classified each pitch with a weighting according to how closely-related each pitch, harmonically, to the tonic D minor. I called this the Harmonic Weighting Factor, and allocated the tonic pitch with a factor of 1, immediately related pitches with 2 (i.e. the pitches in the tonic and dominant triads), lesser-related pitches with 3 (the flat seventh and the sixth), and distant pitches with 4 (E-flat, F-sharp, G-sharp, B). The results are shown here:
Using these three parameters (Prevalence, Distance from F4, Harmonic Weighting Factor), I calculated the following equation:
(Distance from F4)2 x Prevalence x Harmonic Weighting Factor
The results are in the far right hand column of the table above, and in this graph:
On this graph, my spreadsheet programme (Google Sheets) calculated the line of best fit, which is marked as a grey line on the graph. The line of best fit had an R2 value of 0.97, which means it’s a very good fit to the given data. The equation for this line of best fit is:
The concept of the performance
I decided that the total length of the performance should be about 35 minutes long, which I worked out would be 28 repetitions of the complete prelude at my preferred tempo. Each repetition would reveal a certain number of the 171 notes in the prelude, and sustain those notes until the next occurrence of a pitch in that particular voice (for the most part, there are three simultaneous voices in the prelude, sometimes four or five). By gradually unveiling pitches in each repetition, the prelude would gradually ’emerge’ or ‘take shape’ from a series of sustained notes based around F4. That, in summary, was the concept — the gradual blooming of a ‘musical flower’.
I wanted the unveiling, or blooming, to also happen exponentially, so that very few notes would be revealed at first, and this would increase through to the final repetition. I used the same logarithmic equation that was derived from the pitch analysis to map out the number of pitches that would be revealed on each repetition of the prelude. In this case, the logarithmic curve must be inverted, in order to start with a low number and end with a high one. x becomes (29–x), since I want 28 repetitions. The equation looks like:
And in order to find the number of notes revealed in each repetition, as a proportion of the total number of notes, 171, the equation is:
The table below shows the results, for each repetition from 1 to 28, rounded to the closest integer:
The pitches were ‘unveiled’ according to the chart above. For practical purposes, the value for repetition 1 was switched with that for repetition 2, so that a pitch was presented at the beginning of the performance rather than just silence (consequently there was no new pitch in repetition 2). Thereafter, 1 new pitch was presented in repetitions 3 to 5, and so on, with 17 new pitches presented in repetition 27.
For artistic purposes, an extra complete repetition was added at the end (number 29) to delay the final pitch (F#4) that forms the Tierce de Picardie. Therefore we have repetition 28 with 21 pitches and repetition 29 with just one, the F#. This, in effect, gives us two performances of the complete Prelude, without and with the Tierce de Picardie.
The pitch allocation is show in the following chart. The pitches were allocated by intuition within this chart, but two guidance lines were plotted on it to aid with pitch placement. These were linear (shaded in blue) and the same logarithmic line as found in the pitch distribution (17136-5065 Ln x) (shaded pink). Pitch distribution roughly followed these curves, in a scattered approach.
A Photograph — a little piece I wrote last year for the Hermes Experiment with playwright Cordelia Lynn — will be appear on the group’s forthcoming album, SONG. The album is on Delphian Records, and will be released on 22nd October. It is available to pre-order here.
A Photograph was commissioned by the Oxford Lieder Festival for their 2020 Festival, specifically for The Hermes Experiment. It was my first collaboration with playwright Cordelia Lynn, and was based on a photograph that was found in my parents’ attic while our old family home was being cleared out — a photo of my mum in her early 20s with two friends, on holiday. Cordelia (who didn’t know of what or whom the photo was) wrote a text based on her invented back-story of the photo.
Dutch National Opera in Amsterdam have announced that they will make a new production of Denis & Katya in the Opera Forward Festival 2022. The Festival features a range of new operatic each year in March in a range of venues in Amsterdam. The cast is yet to be announced, but the production is a collaboration with the Young Artists Studio at Dutch National Opera.
I will be making a brand new 42-speaker sound installation at the Church of Saint Eustache in Paris as part of this years Festival d’Automne à Paris. The installation, Venables plays Bach, explores my relationship with J.S. Bach’s Little Prelude in D minor, BWV 940. This Prelude was one of the earliest pieces I learnt to play on the piano when I was a teenager, and a piece that, over the last 25 years almost without exception, I have played as a warm up every time I sit down at the piano to compose. This installation is a kind of ‘composing diary’ recorded over about 50 days earlier this year, while I was writing numbers 96–100, also commissioned by the Festival d’Automne. These ‘diary entries’ form a kind of meta-composing-session, consisting of my improvisations, repetitions, explorations of the musical material for the new piece, growing out from and catalysed by the Bach Prelude.
In addition to the installation, I’ve made a 30-minute durational ‘unfolding’ of the Bach Prelude, to be performed live on the organ in Saint Eustache by Baptiste-Florian Marle-Ouvrard, on the evenings of 8th and 15th October. This is not really a new piece, so to speak, but more a live element of the installation: a conceptual performance based on a pitch-frequency analysis of the Bach Prelude and an exponential revealing of all 170 pitches in the Prelude over the course of 28 repetitions of it.
Venables plays Bach opens on 7th October at 2.30pm and is open every day until 16th October inclusive from 2.30pm–5pm. Entry is free. The organ performances are also free but require prior registration due to covid rules.
numbers 96–100 and numbers 81–85 have been commissioned by the Festival d’Automne à Paris, Music Festival Strasbourg and the ensemble Lovemusic, and will be premiered in these festivals on 1st (Strasbourg) and 26th October (Paris) by Lovemusic with mezzo-soprano Grace Durham.
The German premiere of Denis & Katya has been announced for the 21—22 Season of the Niedersächsische Staatsoper Hannover. The theatre has commissioned a german language version of the opera, which has been translated by director and librettist Robert Lehmeier. The opera will be performed by two singers from the opera studio, Weronika Rabek and Darwin Prakash. Ted Huffman will direct, with Maxim Böckelmann as musical director and Andrew Lieberman as designer. The premiere will be 26th February 2022 in Ballhof Eins.
Musica Festival in Strasbourg has just announced its 2021 programme, and I’m delighted to say there will be a portrait concert of my work in the festival on 1st October. The concert will be performed by Lovemusic, with guest artists Grace Durham (mezzo-soprano), Andreas Borregaard (accordion) and Romain Pageard as the host of the evening. The show is called Talking Music, and will feature Klaviertrio im Geiste, Illusions, My Favourite Piece is the Goldberg Variations and Numbers 91—95 alongside the world premiere of two new settings of Simon Howard’s Numbers: Numbers 81—85 and Numbers 96—100. These new pieces have been commissioned by Musica Festival, Festival d’Automne in Paris, and Lovemusic. Oscar Lozano Pérez will be making video projections and mise-en-espace for the show. Talking Music will be repeated in Paris on 26th October in Theatre de la Ville / Espace Cardin, as part of a larger feature on my work in the Festival d’Automne.
