Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-26T01:13:11.784Z Has data issue: false hasContentIssue false
  • English
  • Français

‘RESONANCE AND DISTANCE’: SIMON BAINBRIDGE IN CONVERSATION

Published online by Cambridge University Press:  12 July 2013

Malcolm Miller
Get access Rights & Permissions [Opens in a new window]

Abstract

This interview, based on a conversation with Simon Bainbridge at London's City Literary Institute in June 2011, presents something of a rounded portrait of the composer while covering a good deal of ground. We began our conversation with a discussion of a recent work for orchestra, Concerti Grossi, going into some detail in matters of scoring and structure. The discussion then broadened to cover such topics as the creative process, formative influences (for example, his parents' activity in the visual arts, Debussy's Jeux, John Lambert and Gunther Schuller), instrumentation and the relationship of music and text. This led on specifically to Bainbridge's settings of Primo Levi, in for example the cycle Ad Ora Incerta, and to a consideration of the composer's relationship with the audience.

Type
Research Article
Information
Tempo , Volume 67 , Issue 265 , July 2013 , pp. 37 - 49
Copyright
Copyright © Cambridge University Press 2013 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 The artist John Bainbridge (1919–1978).

2 Nan Bainbridge (1919–2010).

3 Sebastian Bell (1941–2007), Professor of Flute at the RCM and RAM and flutist in the London Sinfonietta from its inception.

4 The première of Where the Word Ends was reviewed in Tempo Vol. 65, No. 255 (2011). p. 45Google Scholar.

5 The first performance of Garden of Earthly Delights was reviewed in Tempo Vol. 67, No. 263 (2013), pp. 76–77Google Scholar.