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Richard Barrett (born 7 November 1959, Swansea, Wales) is a British composer. Contents 1 Biography 2 Selected works 3 Selected discography 4 References 5 External links // Biography Barrett began to study music seriously only after graduating in genetics and microbiology at University College London in 1980 (Warnaby 2001). From then until 1983 he took private lessons with Peter Wiegold. There followed fruitful encounters at the 1984 Internationale Ferienkurse für Neue Musik with Brian Ferneyhough and Hans-Joachim Hespos. In the 1980s he became associated with the so-called New Complexity group of British composers because of the intricate notation of his scores. However, he is equally active in free improvisation, most often in the electronic duo FURT with Paul Obermayer, formed in 1986, and a voice/electronics duo with Ute Wassermann since 1999, but also since 2003 as a member of the Evan Parker Electro-Acoustic Ensemble. Since 1990 about half of his compositions have been written for the ELISION Ensemble, most notably the extended works Opening of the Mouth and DARK MATTER. In 2005 he and Obermayer formed the electroacoustic octet fORCH. He taught composition at Middlesex University from 1989 to 1992, and electronic composition at the Institute of Sonology of the Hague Royal Conservatory in 1996, where he taught until 2001. In 2009 he resumed teaching regularly at the Institute. Having moved from London to Amsterdam in 1993, he has lived in Berlin since 2001, initially as a guest of the DAAD's "Berliner Künstlerprogramm", except between 2006 and 2009 when he was a professor of composition at Brunel University in London (Service 2005). Barrett won the Kranichsteiner Musikpreis at the Internationale Ferienkurse für Neue Musik, Darmstadt, in 1986, and was awarded the Gaudeamus Prize in 1989 (Warnaby 2001). He also won the Chamber Music category of the 2006 British Composer Awards.[citation needed] Many of Barrett's works are grouped into series, and have extra-musical associations—particularly with the writers Samuel Beckett and Paul Celan, but also the Chilean painter Roberto Matta, and ideas from physics, mythology, astrology and philosophy (in the texts of DARK MATTER). Barrett's compositional techniques, which derive equally and indistinguishably from serial, stochastic and intuitive methods, have since the mid-1980s made extensive use of computer programs he has developed himself (Warnaby 2001). He regards free improvisation as a method of composition rather than as a different or opposed kind of musical activity (Gilmore 2009). He has often been politically outspoken (Whittall 2005), and in 1990 joined the Socialist Workers Party (Britain). While no longer an active member he remains aligned with revolutionary socialism (Lenz 2005). His codex series of compositions explores diverse ways of using composed frameworks as a point of departure for improvisation, particularly with larger groups , while the fOKT series extrapolates some of FURT's characteristic forms of texture and coordination into the octet context of the fORCH ensemble. The results of these more experimental and collaborative projects have exerted an increasing influence on Barrett's other compositional work, which remains mostly fully-notated, although several compositions (for example transmission, Blattwerk and adrift) alternate between precise scoring and free improvisation for part or all of their duration. However, these different strategies are used in order to maximise the musical potential of the whole, rather than drawing attention to the distinction between improvisational and notational methods of composition—as Barrett himself puts it (2009): "As a listener I generally prefer to concentrate on what music is doing rather than how it was done". Since 2003 he has been working on an eight-part cycle of compositions collectively entitled resistance & vision, of which the first (NO), fifth (Mesopotamia), sixth (IF) and seventh (Nacht und Träume) have so far been completed and performed (August 2010). The eighth and last part, entitled CONSTRUCTION, is itself a conglomerate work, from which several components have been performed (by ELISION) to date - the quintet Melos; island for two improvising soloists and instrumental octet; wound for violin solo with English horn, E flat clarinet and cello; Hypnerotomachia for two clarinets; Aurora for quartertone flugelhorn and alto trombone; and SIMORGH, an 8-channel electronic composition. Selected works Ne songe plus à fuir (1985-86) for solo cello EARTH (1987-88) for trombone and percussion I open and close (1983-88) for string quartet negatives (1988-93) for 9 players Vanity (1991-94) for orchestra Tract (1984-96) for solo piano Opening of the Mouth (1992-97) for two vocalists, 9 instrumentalists and electronics transmission (1996-99) for electric guitar and electronics Blattwerk (1998-2002) for cello and electronics DARK MATTER (1990-2003) for voices, ensemble and electronics NO (1999-2004) for orchestra Flechtwerk (2002-06) for clarinet and piano adrift (2003-07) for piano and electronics Nacht und Träume (2004-08) for cello, piano and electronics fOKT 1 - (2005-) for the fORCH octet Mesopotamia (2006-09) for 17 instruments and electronics codex I - ... (2000-) for improvising ensembles IF (2006-09) for orchestra Selected discography Chamber Works. ELISION Ensemble conducted by Sandro Gorli (Etcetera 1993) - contains Ne songe plus à fuir, EARTH, Another heavenly day and negatives FURT: Live in Amsterdam 1994 (X-OR 1995) Vanity. BBC Symphony Orchestra conducted by Arturo Tamayo (NMC 1996) FURT: angel (JdK 1999) Opening of the Mouth. ELISION Ensemble conducted by Simon Hewett (ABC Classics 1999, reissued 2009) FURT: defekt (Matchless 2002) FURT: dead or alive (Psi 2004) FURT: OMNIVM (Psi 2006) transmission (NMC 2007). ELISION soloists - contains interference, abglanzbeladen/auseinandergeschrieben, basalt, air, knospend-gespaltener and transmission fORCH: spin networks (Psi 2007) Ute Wassermann and Richard Barrett: pollen (Creative Sources 2008) FURT plus: equals (Psi 2008) Negatives. ELISION Ensemble conducted by Sandro Gorli (NMC 2009) - reissue of Chamber Works with the addition of codex I FURT: sense (Psi 2009) Adrift - 3 compositions 2007/8 (Psi 2009). RB with Sarah Nicolls, ELISION, Champ d'Action - contains adrift, codex VII and codex IX DARK MATTER (in preparation). ELISION and Cikada ensembles conducted by Christian Eggen References Anderson, Julian. 1997. "Richard Barrett: Vanity; Michael Finnissy: Red Earth; Anthony Payne: Time’s Arrow". Tempo, new series, no. 201 (July): 55–57. Barrett, Richard, 2009. Liner notes for CD adrift. Psi Records 09.10. Fox, Christopher. 1993. "British Music at Darmstadt, 1982–1992". Tempo, new series, no. 186 (September): 21–25 Fox, Christopher. 1995. "Music as Fiction: A Consideration of the Work of Richard Barrett". Contemporary Music Review, 13, no. 1 ("Aspects of Complexity in Recent British Music"):147–57. Freeman, Robin. 1994. "Richard Barrett, compositeur maudit manqué", Tempo, new series, no. 190 (September):41–6 Gilmore, Bob. 2009. "Interview with Richard Barrett". Hewitt, Ivan. 1994. "Fail Worse, Fail Better". Musical Times 135, no. 1813 (March): 148–51. Lenz, Veronika, 2005. "Unasked Questions: An Interview with Richard Barrett". Service, Tom. 2005. "Just Say No". The Guardian (10 February). Toop, Richard. 1988. "Four Facets of the 'New Complexity'". Contact no. 32:4–8. Toop, Richard. 1991. "Richard Barrett in Interview". Sounds Australian, no. 29:27–31 Warnaby, John. 2001. “Barrett, Richard”. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. Whittall, Arnold. 2005. "Resistance and Reflection: Richard Barrett in the 21st Century". Musical Times 146, no. 1892 (Autumn 2005): 57-69. External links Article by Tom Service about Richard Barrett in The Guardian, 10 February 2005 United Music Publishers biography page FURT's website Articles by Richard Barrett at FURT's website Persondata Name Barrett, Richard Alternative names Short description Date of birth 1959 Place of birth Date of death Place of death