I’m making manuscripts which combine music notation and visual art. In the Renaissance, this was called Augenmusik, but I call mine eyemusic. Hundreds of years ago, this practice was illustrative, but I use visual art to structurally influence the music. So far, I’ve created eyemusic for commissions from Consortium5, Living Room in London, and Handel House. Eyemusic is the theme for my final concert series at Handel House, featuring Oren Marshall, Jessica Hynes, Calum Gourlay, Sarah Angliss, and my sister Nina Horrocks-Hopayian.
I have two new eye music ventures – the first with Crewdson, an electronic inventor, to create a tactile electronic score for Chris Montague, funded by PRSF. Plus a two-year residency with the LSO and National Trust at Khadambi’s House, to create fretwork scores and instruments to respond to the remarkable fretwork interior of the House.
if you’d like one for your ensemble.
The highlight was arguably Cevanne Horrocks-Hopayian’s How is a World like a Window? – an intriguing, vivacious stop-start piece. The audience were treated to an explanation of its experimental score, which had a square (like a window) cut out on each page, partially revealing notes below with each musician having a different version. The Upcoming, Spitalfields Festival