Members of the Chicago Symphony Orchestra conducted by Cliff Colnot will perform “music for roger casement” in the Harris Theatre, Chicago on October 22nd. This is part of a series curated by Missy Mazzoli. Further details are here.
Recent Interview with Benjamin Tassie
Andrew Hamilton recently spoke with the composer Benjamin Tassie for The Sampler and it can be read here.
Video of “music for thomas bernhard”
Chamber Choir Ireland conducted by Paul Hillier’s recent performance of “music for thomas bernhard” at the Lunalia Festival on 6 May, 2018 can be watched here:
“music for people who like art” in Manchester
An assembly perform music for people who like art along with excerpts from Ulysses by Joyce at the Royal Northern College of Music on June 23rd at 6.30pm. More info here:
https://www.rncm.ac.uk/performance/spotlight-music-art/
UK and USA Summer Performances
Hamilton’s work O.A.I.R. for solo piano will be performed by Eliza McCarthy at the South Bank Centre on Saturday 25th June. Further information and tickets are available here.
London Contemporary Orchestra will perform Hamilton’s music for roger casement at St.John at Hackney on Thursday 30th June. This concert will be presented by Sara Mohr-Pietsch and will be broadcast live on BBC Radio 3.
Tickets for this event are free, but dependent on application. You can read more about the concert and how to request tickets here.
Bang on a Can Summer Music Festival at MASS MoCA takes place between 13 July and 30 July. Hamilton’s music for people who like art will feature as part of of Bang on a Can Marathon on 30 July.
Further information about performance times and festival passes is available here.
Dancehall by United Fall (Trailer)
How, Yeats wondered, can we know the dancer from the dance? It’s a good line, and an even better question. This new piece from choreographer Emma Martin, composer Andrew Hamilton, five dancers and three musicians sets out to explore the relationship between the dancer and the dancehall: the tension between what happens inside the body in response to musical stimuli, and what society imposes from the outside by way of convention and control.
Dancehall begins with the music, and the music at the beginning is skeletal: a chord on an electronic keyboard, held until it pulses with unexpected undertones; a heartbeat from the drum; flashes of cello so brief you wonder if you’ve imagined them. A dancer whose ultra-slow-motion movements recall the controlled fluidity of tai chi. – Arminta Wallace, The Irish Times
