Dr Oliver Thurley
0113 343 2545
School of Music, 1.14
Office hours: Wednesdays, 9:30–10:30
PhD, MMus, BA(Hons)
Composer and teaching fellow in Music Technology.
composer: work focuses on aspects of quietness, fragility, temporal disorientation, timbral instability and computational/algorithmic procedure.
Music, Multimedia & Electronics (MME):
- MUSS1611 – Introduction to Electronic Music Production and Creation
- MUSS1612 – Electronic Music Production and Creation
- MUSS2625 – Electronic Music Creation and Production 2
- ELEC3810 – Music, Multimedia and Electronics Project
- MUSS1620 – Sound, Technology and Technology
- MUSS2620 – Music Technology Skills & Techniques
- MUSS3640 – Music Technology
- MUSS5632M – Electronic & Computer Music Practice
- MUSS5661M – Electronic & Computer Music Portfolio
In semester 1 2017–18, I will also be teaching:
- Composition (levels 1, 2, and 3)
- MUSS5262M Portfolio of Original Composition (Masters)
(2018) “Apartment House: Wolff, Cage, ‘Performing Indeterminacy’, University of Leeds, 1 July 2017”, Tempo. 72.283: 90-92.
DOI: 10.1017/S0040298217001012, Repository URL: http://eprints.whiterose.ac.uk/125792/
At the beginning of July, the University of Leeds played host to the ‘Performing Indeterminacy’ conference: a series of talks, panels and concerts that are part of a research project on John Cage's Concert for Piano and Orchestra (1957–58), led by Philip Thomas and Martin Iddon. In the middle of all this, Apartment House presented what many consider the pinnacle of Cage's indeterminate work alongside a new commission from Christian Wolff, the last surviving member of the New York School composers. Resistance (2016–17), Wolff's new work ‘for 10 or more players and a pianist’, was written in response to Cage's Concert, sharing elements of its instrumentation and schema. In Leeds’ Clothworkers Hall, Apartment House – led by Anton Lukoszevieze – premiered the new piece alongside its progenitor, composed some 59 years apart. At the heart of both pieces in this concert is Philip Thomas at the piano. The conscientiousness and exactitude that Thomas brings to the music of both Cage and Wolff (having worked closely with the latter over the past 15 years) make him, perhaps, the ideal soloist for this programme. Quite simply, it is a line-up that could not have come about through chance procedure.
(2017) “Rebuilding Babel: On Fragility and The Palimpsest in Jakob Ullmann’s voice, books and FIRE”, Tempo. 71.282: 54-78.
DOI: 10.1017/S0040298217000614, Repository URL: http://eprints.whiterose.ac.uk/121174/
This article serves as an overview of Jakob Ullmann's voice, books and FIRE series, providing an examination of the cycle's scores, and the fragmented memories contained within. voice, books and FIRE stands monolithically in the composer's catalogue. The music – Ullmann refers to it as an ‘imaginary folklore’ – is presented through an elaborate notational system: partly effaced by layers of religious iconography, abstract imagery and fragments of religious texts and lists of names. The series (currently unfinished) serves as an elaborate memorial to the victims of Stalinist persecution as well as the demise of religious and cultural traditions across European history. In Ullmann's most ambitious and striking body of work to date, the score is encountered as a palimpsest – an overlaying and effacement of memory. The notion of the palimpsest is also traced through the music's performance and subsequent recording, assessing Ullmann's use of extreme quietness – a partial erasure – as a destabilising force for the performers, which ultimately renders the work fragile.
The music of Jakob Ullmann (b. 1958) is notable for its protracted structural stasis and delicacy; its fusion of rigorously engineered notational systems, abstract graphical elements and Byzantine iconography; and – above all – its unrelenting quietness. This article offers a rare view into Ullmann's compositional practices, with a specific focus upon the role of fragility in the work. Exploring this concept of fragility as a musical feature, this article considers a number of Ullmann's works from the perspectives of the compositions and their scores, the performance and the agency of performers and, finally, how audiences may listen to this fragility. The article concludes with a consideration of the importance of fragility to Ullmann's oeuvre, and of how it might help us to further understand his music.
(2016) falling as rain and then rising. Score
clarinet, violin and cello, ca. 13'; Commissioned by Tzlil Meudcan festival; Premiere: Meitar ensemble, Tzlil Meudcan, Tel Aviv, Israel, 14 July 2016
(2015) if some thing black. Score
bass clarinet, ca. 15'; commissioned by Heather Roche; Premiere: London, 9 February 2016
(2015) hymns to sing at the apocalypse. Score
solo contrabass, b.fl., b.cl., vla. and vcn; ca. 11'; Commissioned by iN festival; Premiere: ensemble iiiiiiiii, iN festival, Seoul, South Korea, 12 October 2015
(2014) with the very same twist to their faces. Score
baritone saxophone, accordion, ca. 11'; Premiere: Janez Uršej & Stefanie Mirwald, impuls festival, Graz, Austria, 21 February 2015
(2014) yet another example of the porousness of certain borders. Score
contrabass, ca. 11'; Co-commissioned by Gaudeamus Muziekweek, impuls festival and Ulysses network; Premiere: Dario Calderone, impuls festival, Graz, Austria, 22 February 2015
(2014) whose veil remains inscrutable. Score
for Ensemble Nikel: tenor sax., electric guitar, percussion, piano, ca. 11'; comissioned by impuls festival and Ensemble Nikel; Premiere: Ensemble Nikel at impuls festival, Graz, Austria, 22 February 2015