Being multilingual is not just about competency in different languages, but about the everyday understanding of things and phenomena in a manifold way. It’s about the different cultural connotations things have in different contexts, about finding adequate communication styles to suit the circumstances, and the skill to navigate these multiplicities. This is not so much
I’ve recently come across one of those silly articles that list like “50 musical masterpieces of the 21st Century”. It’s not my aim here to point everything that’s wrong with those, but it often baffles me how, just like that article, most programming of contemporary music festivals and ensembles in the Northern Hemisphere tend to
As a bourgeois commodity, Western Art Music (or whatever you prefer to call it) is not worth ‘preserving’. It is up to us, musicians, both in performing that of the past and in creating new one –with or without the help of promoters, curators and institutions– to make it more than just a complacent aesthetic
I recently caught up with Eduardo Cossio in this interview for Cool Perth Nights. We had a nice chat about musical influences, ‘becoming a composer’ and some current projects: http://www.coolperthnights.com/eduardo-cossio/2016/9/22/interview-with-pedro-alvarez
Most of the music I’ve written in the last five years has reflected on the idea of independent situations, presented for contemplation for (seemingly) arbitrary lengths of time, and juxtaposed in (seemingly) arbitrary ways. This ‘anti-narrative’ formal thinking, characterised in my doctoral thesis as ‘a situational approach to composition’, hasn’t taken the shape of a
In 2013 I wrote a piece titled Instead for contemporary clarinet champion Heather Roche; one of the most enriching collaborative experiences I’ve had as a composer. After its premiere in Berlin and several other performances, Heather included it in her recent album ‘Ptelea’, a collection of solo pieces written for her by a diverse group of composers, including
Around 2010 I found myself (more by chance than personal decision) doing research studies at the University of London. In that city I could satisfy my thirst for classical music at events like the BBC Proms, where I could listen world-class orchestras and soloists. Other musical interests of mine, like a long-standing love for hindustani
Philosophical writings on music present a wide variety of approaches, more or less informed, more or less insightful, more or less relevant to what we, musicians, do. The philosophers that have touched this subject range from those who actually had a musical education and even compositional aspirations –most notably Nietzsche and Adorno– to those who
What sense does it make to write yet another piece of music today? This is a fundamental question that, for now, I can only address from my personal creative agenda. Composing just for the sake of ‘being a composer’ won’t do; I want to develop musical ideas that are meaningful. In a world swamped by
