On Humanitarian
Lately everything I write bends back toward humanitarian.
It is modern classical, so nothing hurries — the oboe & orchestra is allowed to just sit in the room.
I hope it meets you somewhere quiet.
In the lineage of minimalism · ambient music · folk song · early music
Lately everything I write bends back toward humanitarian.
It is modern classical, so nothing hurries — the oboe & orchestra is allowed to just sit in the room.
I hope it meets you somewhere quiet.
There is a single feeling under “Oboe - Modern Concerto No.3”: a long look at the concert form.
Each pass got quieter until only humanitarian was left.
If it slowed you down for forty minutes, it did its job.
There is a single feeling under “Late Summer Concerto no.22”: a long look at the concert form.
The oboe & orchestra found the shape before I did; I stayed out of the way.
If it slowed you down for forty minutes, it did its job.
“Oboe- Modern Concerto No.3” began with “oboe- modern concerto no.3” as a phrase before it was a record — a small thing I kept circling.
Between the notes I left in as much the concert form as I could.
If it slowed you down for forty minutes, it did its job.
So much for the intention; the rest is the listener's.
Orchestral work — concertos, suites, and pieces dedicated to places under threat.
The project situates itself within modern classical: the oboe & orchestra treated less as an instrument than as a thesis, examined across British woodland and humanitarian.
The catalogue — “Late Summer Concerto no.22”, “Oboe - Modern Concerto No.3”, “Oboe- Modern Concerto No.3”, “Paper Planes”, “Philosophy” and more — is best read as a single argument developed record by record.
The oboe & orchestra carries everything here; there's nowhere for it to hide.