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| John Croft | ||
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‘Musical drama and expression, in the traditional sense, appear in my music only as fleeting glimpses, shadows; as moments of fleeting significance; as tremors in an often static musical surface. Yet, at the same time, I want to resist a postmodernism of the fragmentary and of spatialised music: instead I want to reassert the relation between music and lived experience, between music and the subject, and to remain faithful to the political and utopian aspect of music. So even if the ‘grand gestures’ are lost, I want to find a way for new music, in all its brokenness and impossibility, to rediscover its function as the distillation of the idea of hope and desire, of memory and anticipation.’ John Croft
John Croft (b. 1971) studied philosophy and music at the Victoria University of Wellington, and composition and music cognition at the University of Sheffield. He has a PhD from the University of Manchester, where he studied with John Casken, and is a Laureate of the Jurgenson Foundation of Moscow. He has taught at the universities of Nottingham and Sussex, and is currently a lecturer in music at Brunel University of West London. Since the orchestral piece Inventions de l'autre (composed in 1997 but premiered by the BBC Philharmonic in 2002), his music has increasingly drawn on the natural spectral properties of sounds as the basis for harmonic and temporal structures. Recent work focuses on the integration of performance and live electronics, as in Siramour, commissioned in 2002 by the London Sinfonietta, and murmures secrez...Avernales eaux, premiered by the Wellington-based ensemble Stroma. His latest works include per l'aer cieco, premiered by the Birmingham Contemporary Music Group, and Serenata, commissioned by Ensemble Exposé. He recently completed a sonata for solo cello and live electronics, with soloist Matthew Barley, funded by the Arts and Humanities Research Council, which was premiered at LSO St Luke's. He also teaches and writes on the philosophy and politics of music.
‘...a superminimalist and a gourmet of chamber writing.’Tamara Grum-Grzhimailo, Literaturnaya Gazeta, Moscow
‘...a soundworld of ghostly resonances and faint musical breaths.’Matthew Connolly, The Times |
Sample audio files:
‘...an enchanting tapestry (which) created an ethereal imprint of Monteverdi like an indentation on a pillow.’Paul Conway, The Independent
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