The reviews have come in for my new work, Hot Take premiered by Zubin Kanga and Ensemble Offspring.
Full review at LimelightTristan Coelho’s Hot Take begins with a brazen sawtooth synth swells, and Kanga is our last line of defence against the “crude, noisy” discourse infiltrating both online and real-world spaces. With a wave of his Genki-ringed hand, he fends off some hot takes, or dices them up with tremolos. The ensemble grabs onto any musical idea he lets through with all of the frenzy of a Twitter mob with a virtuosic flourish, and drops them nearly as quickly. It was the highlight of the program, if not one of the new music highlights of the year – with zig-zag pacing, you hang on to every note with joy (and for dear life).
Full review at classicONThe final work, Tristan Coelho’s Hot Take was scored for the whole ensemble on solo piano, keyboard, Genki Wave ring, flute, bass clarinet, violin, cello, percussion and live electronics. Again the ring on Kanga’s finger modified the blanket electronic sounds with interjections from the amplified acoustic instruments. Syncopated swingy rhythms sometimes gave a jazzy feel and at other times there were strong strident interjections and frantic movement. There was a lyrical violin feature, beautifully played by Serret before the final wild conflagration.
Tristan Coelho’s Hot Take offered a comment on the crassness and superficiality of modern discourse and resonated with Muntendorf’s piece in both sound and idea. It began with brash musical gestures thrown out wave upon wave by the players, with barking repetitions from bass clarinet and cello, arpeggios on the piano and emphatic thuds from vibraphone and bass drum. The resonance hovered around the ensemble and was again controlled by Kanga with the Genki Wave ring so that it redoubled and turned in on itself. Melodic ideas fitfully tried to break through and eventually established a quieter phase on solo violin (Veronique Serret) suggesting more authentic musical reflection. The bass clarinet tried to revive the earlier raucousness but its energy was spent.
Full review at Sydney Morning Herald