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The struck chime sounds in the distance. Perched on the wet wood log of a fallen eucalypt that is suspended between three granite boulders and another tree, I am hidden from view by the moss, ferns, and rise of the rock. I start the tracks—recorded yesterday—on three phones, two borrowed, playing through three waterproof Bluetooth
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This interview first appeared on the blog of my ensemble Kupka’s Piano, ahead of our performance of five brand new works by young Australian composers in ‘ELEMENTAL’ on Friday 31 August, 2018. My fellow KP flutist Jodie Rottle chatted to me about my piece Mantis for 2 flutes + trio. We covered a lot of ground, from performer-composer-ing
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This post was originally published on my PhD blog: stay and make kin. There are definitely some salvageable insights in Peters’ Philosophy of improvisation (2009), and I will do my best to tease them out over time. I’m also aware that a lot of this will take a fair bit of thinking and engaging with some
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First concert back in the subtropics was a duo performance with the incredible Nicole Carroll as part of a music technology staff showcase at the Conservatorium. It will be a semi-planned improvisation, named “Moon in Libra”. We structured it through a combination of making decisions about starting and ending, including an extended solo for Nicole
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This is a bit out of character for a blog that is mostly talking about my own music practices, but I’m so dang excited about this that I was inspired to get a few thoughts down. Please note that in the great tradition of blogging this is rapidly written and fairly poorly cited, throwing a
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I am a classical flutist by training. How did I go from traditional orchestral ambitions to having such an interest in the anarchic self-expression of free improvisation? (A word of warning… Despite my ambitions to keep this story fairly straightforward, this has somewhat turned into an entire autobiographical ramble. I have decided for the time
han reardon-smith 