marat ingeldeev

"Garland showed exactly what the UK new music scene could achieve if funding matched ambition." My review of Oliver Leith's Garland is out via @bachtrack.com.
bachtrack.com/review-leith...

On Friday, I will present my paper ‘The British School of Emotionalism and Metamodernism: Towards a New Expressive Paradigm in Contemporary Music’ at @royalmusical.bsky.social Conference 2025. See you there!

Situations for Distracted Listening Every time cultural organizers huddle to pick a festival theme, their brainstorming heat surely counts as a modest contribution to global warming. In today’s attention economy—where information is ove...

My Darmstadt 25 review is in @vanmusicmag.bsky.social. 'Situations' are audience agency, censorship, David Tudor, distracted listening, Hannes Seidl, healing sounds, hybrid formats, immediacy, instagrammable art, Maryanne Amacher, neoliberalism, spatial arrangements van-magazine.com/mag/darmstad...

The Dissolving of the Line Marat Ingeldeev reviews Musik Installationen Nürnberg 2025.

Marat Ingeldeev reports from Musik Installationen Nürnberg, where he eats a very good shawarma, gets pedalled around a lake in a hot pink flamingo pedalo by two retirees, and ponders nonlinearity — and much more at @vanmusicmag.bsky.social

van-magazine.com/mag/musik-in...

Great conversation, Marianna — just like your book, which I’ve been recommending a lot lately. Also nice to see @annakornbluh.bsky.social's ideas included – so much potential there!

If you're into Linda Catlin Smith, you might enjoy my review of 'Flowers of Emptiness' (@anothertimbre.bsky.social), featuring @apartment-house.bsky.social's beautiful playing. It's in TEMPO—so you'll need academic access (or an academic friend).
www.cambridge.org/core/journal...

Patterns in motion: Sasha Waltz & Guests dance Riley’s In C An evening of thrilling choreography and seamless synergy between dance and music, as Sasha Waltz & Guests and the London Sinfonietta bring Terry Riley’s legendary In C to life.

‘The performance was simply thrilling. In a way, I found this hyper-dynamic dancing to be even bigger than the music itself, which was unexpected.’ My review of London Sinfonietta and Sasha Waltz & Guests at @southbankcentre.bsky.social is now live on @bachtrack.com.
bachtrack.com/review-riley...

The new CD batch from @anothertimbre.bsky.social is out now, featuring 'Homestead' by @koryreeder.bsky.social. I had the pleasure of speaking with him about the piece, the Homestead Acts, his favourite string quartets and how he names pieces. Read here:
www.anothertimbre.com/reederhomest...

Unnatural Invisibility Ahead of a new project premiering at the Barbican Centre in early April, the vocalist and movement artist speaks to Marat Ingeldeev about Julius Eastman.

It was a pleasure to chat with Elaine Mitchener about Julius Eastman, art activism, that salty Cage incident, and decolonising music canons ahead of "Moving Eastman" at the Barbican. Read our conversation in @vanmusicmag.bsky.social
van-magazine.com/mag/julius-e...

Sofia Gubaidulina passed away today in Germany, aged 93. RIP.

With Another Timbre's new CDs imminent, I invite you to read my interview with Bryn Harrison. We discussed 'Towards a slowing of the past', disorientation in music, immersive listening and the most important lesson he learnt from pianist @philipthomas.bsky.social.
anothertimbre.com/harrisontowa...

Failing better, sounding again: Beckett and Feldman at the Southbank Beckett’s theatrical precision and Feldman’s fragile soundscapes cross paths at the Southbank Centre, creating a fleeting beauty in a profound artistic dialogue.

'We simply need more quirky curation-as-art and art-as-curation.' My review of last Friday's highly compelling 'Refracted Sound' event at Southbank is now available via @bachtrack.com.
bachtrack.com/review-refra...

Bridging the Channel: British new music in a post-Brexit Europe What is an important part of the UK character? Pick one option: To have fish and chips every lunch Go to the pub every Friday The ability to laugh at ourselves Go to university Since I was a teenag…

Delve into the British new music scene post-Brexit, with insights from Juliet Fraser, Elaine Mitchener, Mimi Doulton, Aaron Holloway-Nahum, and @mshlom.bsky.social —gathered at the 2023 Darmstadt Summer Course. Read the full piece here! wordsonmusicdarmstadt.wordpress.com/2023/08/31/b...

Британская школа эмоциональности | Музыкальная жизнь Как британские композиторы Оливер Лит, Робин Хейг и Алекс Пакстон транслируют меланхолию, ребячество и ностальгию в своих сочинениях

'British School of Emotionalism' (written in Russian, 2023) delves into how composers Oliver Leith, @robinhaigh.bsky.social and Alex Paxton convey melancholy, nostalgia and playfulness in their music—and what romanticism and sadbois have to do with it. muzlifemagazine.ru/britanskaya-...

Threatening the Composer Once again, I spot the lively gait of Matthew Shlomowitz walking towards me on a busy London road. Over the past year, I’ve come to know him better thanks to several shared projects. Behind the compos...

Back in May, via @vanmusicmag.bsky.social, I had a lovely chat with @mshlom.bsky.social about co-composition, the role of artistic voice, and his allergic reaction to Romanticism and its values. Enjoy!
van-magazine.com/mag/matthew-...

Back to metamodernism and collaborators! Last month, I had the pleasure of writing the programme note for @robinhaigh.bsky.social's 'Concerto for Orchestra,' premiered in the UK by the RLPO. A fascinating piece that's well worth exploring—listen and read more here: robinhaigh.com/Concerto-for...