Elusive Tangibility III:
December 2019: Unmögliche Räume - Impossible Spaces
Germany Musicologist Markus Böggemann has generously written a text on the techniques and preoccupations of Steven's current projects, which has been released in the journal MusikTheorie. Read more.
April 2019: Villa Concordia
Steven will be resident at the Internationales Künstlerhaus Villa Concordia for the next eleven months, thanks to the generosity and support of the Arts Ministry of the Free State of Bavaria and the Ernst von Siemens Musikstiftung. He will be one of six British and six German composers, writers, and visual artists.
July 2018: RNCM Tutor in Composition
From September, Steven will be returning to the Royal Northern College of Music in Manchester as Tutor in Composition, fifteen years after arriving in the city as a young undergraduate student.
Steven has received support form the PRS Foundation's Composers' Fund. which will fund a co-commission alongside the Huddersfield Contemporary Music Festival for a new work for Ensemble Nikel, and other projects.
Arkanar: A Report from the Interior, a work for tuba and live electronics after Aleksei German's nightmarish film, Hard To Be A God. Commissioned by Jack Adler-McKean and performed in Darmstadt in August 2016, a revised version is due for performance in Germany and the UK in 2018.
A new commission for Ensemble Nikel, scored for saxophone, guitar, piano, percussion, and live electronics, entitled La nitroglycérine des Lumières and taking inspiration from the Lumière Brothers' pioneering 1896 film Démolition d'un mur.
A new work for solo piano for Nicolas Hodges, Figures Outside a Dacha, with Sunrise, which has given birth to a series of shorter pieces, Studies for Figures Outside a Dacha. Both pieces come as a response to dreamlike sequences in Andrei Tarkovsky's Nostalghia.
This site went unchanged for some time after I suffered an acid attack in Stratford, East London, last May, which also stopped almost all of my compositional activity until earlier this year. The attack has left me with permanent scars to my face, neck, and chest, but miraculously has not affected my hearing or my sight. I am receiving ongoing treatment for my injuries from the Burns Unit at Broomfield Hospital in Chelmsford, who have been extraordinary in helping me deal with my experience. It comes as a timely reminder of the amazing work the NHS does.
There have been performances of my work since the attack that I should have been more active in publicising, but I would like to publicly thank my friends at Ensemble Contrechamps, for their beautiful performance of Elusive Tangibility IV: 月見 at the Studio Ernest Ansermet at RTS in Geneva last October; Jack Adler-McKean for his performance of Arkanar: A Report from the Interior at Unerhörte Musik in Berlin; Explore Ensemble for their performances of Elusive Tangibility II: firelife at hcmf// 2017, Goldsmiths University of London, and Oxford University last November; and finally Ashot Sarkissjan, who gave the American première of Giacometti's Razor at Boston University in February this year.
Finally, I would like to thank all those who have rallied around me over the last year, especially Ensemble Nikel, hcmf//, ensemble recherche, the PRS Foundation, and colleagues at Brunel University and the Cambridge University Music Faculty, plus countless friends who have sent their good wishes from across the world. Now, with increasing strength and concentration, I'm looking forward to grappling with new pieces and new musical challenges.