Would I write a piece for two Inuit throat singers and ensemble for the Montreal Symphony’s first tour of Nunavik, Northern Arctic Quebec? When I got that call saying that Kent Nagano would be pleased if I accepted, my heart skipped a beat, but I was frozen – yes, frozen with fear. I thought through…

Several years ago, my friend and collaborator Konstantinos Vasilakos approached me with an idea to develop a collaboration between CERN and our laptop group, the Birmingham Ensemble for Electroacoustic Research. The idea was to develop ways of transforming data from experiments at the Large Hadron Collider – the world’s largest particle accelerator – into electronic music and visuals,…

My original choreographic design for Matthew Ricketts’ piece Lilt began with musings on the word itself.  ‘Lilt’ is defined as a gentle rise and fall, an intonation or cadence with a rhythmic quality.  It seems to suggest a place of weightlessness or carefree state of drifting. To me, a place where one either speaks or…

My new work Lilt is comprised of three primary types of material, each designed to provoke/provide a contrasting music-body relationship for Jennifer’s choreography. A central idea to both Jennifer’s work and mine has been centrifugal motion: the constant drift from a center but with residual pull back towards an initiatory state, forever tethered yet wriggling…

Alex with Icelandic composer Daniel Bjarnason’s Emergence – a really big score! Physically, it’s one of the largest scores that Alex Pauk, conductor and founder of Esprit Orchestra, has ever conducted (16” x 24”, 40 cm x 60 cm) – so big that it won’t fit on one music stand. It also requires a music…