Does anyone know who made this so I can credit them? I can’t stop laughing.
A long story, but hopefully worth it. This is taken from my masterclass “The Beautiful Mess.”
At the age of 18 I sang in a choir for the first time. I couldn’t read music, had no idea what a ‘Kyrie’ was, but the power of the singing and the humanity in that room transformed me forever. My great wish is that everyone could experience a moment like this, making music with others. This is from a talk I gave at @oxford_uni several years ago.
The Seal Lullaby with the dream team of @voces8 and pianist Chris Glynn.
One of the highlights of my musical life: conducting Equus with the @royalphilorchestra and the BBC Symphony Chorus at the @bbc_proms. Gets me so excited for my upcoming Proms concert this September with the @bbc_singers. Also, one of my all-time favorite comments from the original video: “Lovely music, shame about the jacket.”
“From this hour I ordain myself loos’d of imaginary lines, Going where I list, my own master total and absolute.” — Walt Whitman 🙏🏻🙏🏻🙏🏻 @voces8
Each voice is special and unique.
Just ask.
These are the last two measures of “All Seems Beautiful to Me” — performed by @voces8 —slowed 800%. It’s like another world at this speed.
This is the “Emotional Architecture” I drew before writing “Home” from the Sacred Veil. I do this for most of the pieces I write — trying to build a solid emotional journey for the audience and players before I write a note of the music.
Recording my string quintet arrangement of The Sacred Veil today with the spectacular players of @salastinala. We are in Alta Dena’s gorgeous Mountain View Mausoleum, giving the morning a reverent and mystical atmosphere.
The climax of Deep Field, performed by the extraordinary @nwsymphony. It’s hard to tell from the video but this moment is so massive it actually shakes the conductor’s podium.
The ‘breathing motive’ in Lux Aurumque.
100 floors of frights, they’re not all gonna be winners. From my masterclass The Beautiful Mess.
My cover of Trent Reznor’s Hurt, performed by the Eric Whitacre Singers and the one and only @gracedavidsonsoprano.
It’s forever a work in progress. From my masterclass The Beautiful Mess.
“Home”, from The Sacred Veil, performed by @voces8, cellist Emma Denton, and pianist Christopher Glynn.
Often when I am looking for musical material I take it from my “Golden Brick”, a single chord (or scale) from which I build the entire piece. In this case, playing that scale revealed those two ringing notes, as if they emerged like points of light from the rich chaos of overtones. Those two notes then became the motive in which I based all of Deep Field. Just a small excerpt from my masterclass on composition and creativity “The Beautiful Mess”.
It’s forever a work in progress. (Full video) From my masterclass The Beautiful Mess.
Los Angeles, Monday afternoon.
Beginning to practice playing and conducting for the upcoming premiere of”Eternity in an Hour”. Can’t wait to hear this with the choir and strings.
Cheekily using my own @spitfireaudio sample library today as I work on Eternity in an Hour.
Working on my new piece for choir and electronics, “Eternity in an Hour.” There is something about the sound of the @somasynths Lyra-8 (the orange synth I’m playing) that is so hauntingly beautiful — ancient and futuristic at the same time.
Fun fact: the orange @somasynths Lyra-8 I’m playing in the foreground works by touching the two metal discs on each voice, thus completing the circuit with your body. Another way of keeping continuous voltage to a voice is to place a coin (or anything else that will conduct electricity) on both silver discs. Because I’m writing this piece for the @bbc_singers 100th anniversary, the coin I’m using is a King George Florin from 1924 — the year they were founded.
