Video Birthday card
from Steve Antosca
NEW Update 23 August 2016
Reynolds was an invited composer/tutor at the 70th Anniversary session of the International Summer Course for New Music Darmstadt, July 10-August 14, 2016. Among other activities, he performed one of his intermedial PASSAGE lectures, PASSAGE 11, in a customized "Darmstadt" version that featured Irvine Arditti, the Arditti Quartet, and Paul Hembree. He also presented a Workshop/Performance event focused on the recent collaboration between him, Arditti, and Hembree: Shifting/Drifting (for violin and computer musician).
As a portion of his teaching at the Summer Course, Reynolds gave four Lectures in addition to private lessons:
I. Impetus and Fuel: beginning a composition and content (Guest Discussant, Martin Hiedl)
II. Shaping Form and Content by Boundary Conditions: Flexible Opportunity, not Rigid Obligation;
Principled Behavior, not Rigor (Guest Discussant, Ann Clear)
III. Technological and Graphic Resource: Numbers, Space, Algorithms and Textural Sketching
(Guest Discussant, Paul Hembree)
IV. The large (Form) and the small (Material): Assuring Connectivity between Them through Methodologies,
For a performer, how can "knowing" improve the quality of performances? (Guest Performer/Discussant, Keir GoGwilt)
October will feature performances of the complete FLiGHT project: Park Avenue Armory (NYC) and Digital Media Center (University of Colorado Boulder). A collaboration between Reynolds, JACK, Ross Karre, and Paul Hembree.
Gramophone magazine (London) featured a 2-page editorial about Reynolds's work by Philip Clark:
"[He] remains fascinated with perceiving sound in new ways..." (March 2016). See NEWS for extended quote.
Eric Huebner (pianist with the New York Philharmonic) performed Reynolds's complete Piano Etudes, Book I as a newly conceived, interwoven continuity, at a Miller Theatre "Pop-Up" event in New York, 26 January 2016.
Recent CD releases include Complete Cello Music with Alexis Descharmes [mode]. Gramophone : “fresh-minted but also thrillingly open-ended … What other composer could have arrived at a score like ‘Thoughts, Places, Dreams’ for cello and chamber orchestra (2013) ? … Reynolds plants seeds in our memory, challenging us to apply our memories of what we think we heard earlier, or might have heard…” and The imagE/ imAge/ set, complementary solos for six different instruments [Neuma].