I’m in the process of adding pieces of writing from my archive to this site and have added the following in the past few days. More to follow in due course:
i) ‘How to Keep a Villa in Arcadia‘ – on the Venice Biennale in relation to Virgil’s Eclogues.
ii) Two items of programme notes:
– Notes on the Andriessen/Greenaway opera, ROSA written for Lincoln Center, New York in 2004
– ‘By the Magician’s Hand’ – notes on Stravsinky’s Petrushka written for Trinity College of Music, London in 2008
iii) My 2006 article for Contemporary Music Review, ‘The Flux Between Sounding and Sound: Towards a Relational Understanding of Music as Embodied Action’
The planes of Henry Moore’s sculptures convey a plasmic organicism. They seem to curve around you as you approach and to spin like a barrel on an axle as you move away. The skill in controlling our impression of these planes is the sculptor’s manoeuvre. It distinguishes itself from the two-dimensional mark-making of the draughtsman as it takes place within the real world of things.
I admire Moore’s drawings: the wire-wool sheep and war-weary sleepers on the London Underground. But until I visited his estate at Perry Green last week I hadn’t thought about a connection between the textures he inscribed on his sculptures with cheese-grater-like implements and his significant use of another two-dimensional art: photography. [click here to continue reading]