We give the U.K. première of Utku’s Hayirli Olsun at our concert on February 16th at Brixton East 1871, 7.30pm. Find out more about him on his website, and read his thoughts on composing, conducting and his Turkish heritage in our interview below!
Michael lives and works in London and is currently pursuing doctoral study in composition under the supervision of Mark Bowden and Helen Grime at Royal Holloway, University of London, having previously studied composition at the Guildhall School of Music and Drama.
In this short interview Michael discusses his work with Adam and whets all of our appetites. We hope to see a great crowd on February 16th!
Welcome Michael, and thank you for giving Riot Ensemble the premiere of your piece ‘Celia’s Toyshop’. I believe there’s a special dedicatee in the title?!
Thanks Adam, I’m hugely excited. This will be a really special one for me. As you’ve mentioned, the collection of pieces were written for my daughter Celia. I’ve been writing them on and off in between other things. She won’t make it to the premiere, she’s only 2, and generally prefers youtube videos of people opening shiny things.
Your piece is for ‘Pierrot ensemble plus percussion’. Has Schoenberg influenced any other aspects other than the instrumentation?
Oh, I use post-serial techniques all the time, so in that sense absolutely. ‘Puzzle Book’ uses a ciphered version of Celia’s full name as a tone-row, for example.
There are five movements with really imaginative titles such as ‘Clockwork Nightingale’ and ‘Neon Butterflies’. Are you telling some (famous) stories in your piece, or are you just encouraging imaginative listening?
Well, ‘Clockwork Nightingale’ is a combination of a birdsong transcription and a mechanistic rhythmic pattern, so the title in that instance shaped elements of the piece. Whereas ‘Neon Butterflies’ was just a youtube video we were watching together. But yeah, ‘imaginative listening’ is a nice way of putting it. I don’t think any of the pieces tell stories in a programmatic sense.
So what’s the first note?
What’s the last note?
And what’s the best bit?!
I really like ‘Marionettes’. It’s a quirky little dance, inspired by the jerky movements of puppets.
In 2017 Michael Cryne is also …
… currently working on a piece for Manchester-based ensemble Psappha, for solo alto flute and electronics. We’re recording that in April.
And if you happen to be coming to the Bournemouth Symphony Orchestra’s composers day on Saturday 18th Febraury, I’ll be presenting Celia’s Toyshop there with Kokoro, their new music ensemble.
Many thanks Michael!
We’re chuffed to bits to welcome fabulous trombonist Andy to our artistic board. Our first concert of 2017 features Andy playing alongside Goska Isphording (harpsichord), Sarah Mason (percussion) and Adam Swayne (piano) in the UK Premiere of Utku Asuroglu’s Hayirli Olsun. Come along to Brixton East 1871 at 7.30pm on Thursday February 16th! In the meantime, find out more about Andy in our quick question/answer below, and visit his website for more …
In what ways have you Rioted so far?
I have Rioted a few times – the first time at The Forge playing trombone quartets, then a few scenes from Aaron’s new opera ‘The Strange Last Voyage of Donald Crowhurst‘ and then last April in Djuro Zivkovic’s On the Guarding of the Heart.
Teenage tearaway, or nerdy note-learner?
I want to say teenage tearaway but nerdy note-learner would be more correct! At school I always practised when I felt like it, which meant quite often neglecting the homework …
I don’t have a favourite musician, but I have some favourite orchestras amongst the usual suspects – Berlin Phil, Vienna Phil, Chicago SO, LSO …
Favourite performance venue?
I spend quite a lot of time working in pits, so I’m normally very happy when I get to play anywhere with some space and a nice acoustic! In the UK, my favourite halls are Bridgewater Hall in Manchester and Symphony Hall in Birmingham. I’m a huge fan of the continental rectangular halls, but unfortunately I’ve only had a chance to play in the Herkulessaal in Munich. The Kölner Philharmonie is also quite an interesting hall.
People have said this about me …
I’m not sure anyone has really talked much about me! Trombonists don’t usually get noticed, but I have had the following mentions in reviews:
“the trombone solo – heroically executed by Andrew Connington …”
“special mention must go to trombonist Andrew Connington for his frolics in the paddling pool …”
“Andrew Connington’s plummy, rasping gusto was infectious …”
Salad cream or mayonnaise?
Neither! Would rather make my own vinaigrette!
As long as it’s not plummy or infectious (or in a paddling pool) that sounds delicious. Thank you Andy, and we look forward to seeing/hearing you in February!
Date: Thursday 16th February, 7.30pm
Venue: Brixton East 1871 (SW9 7JF)
Have a look at our six concerts taking place this Autumn, including the Spitalfields Music Winter Festival, opening night of the Huddersfield Contemporary Music Festival, ongoing work with BreatheAHR, a return to Brighton with NMB and more!