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Notes
Cevanne Horrocks-Hopayian’s multifaceted creative output ignores the boundaries between art forms and cultures. She writes for wide-ranging ensembles, acoustic and electronic, eastern and western – all of which is encapsulated in Welcome Party, a new album for sinfonia, choir and electronics. A unique sense of place is at the core of Horrock’s-Hopayian’s music. One particularly significant location to the album was 575 Wandsworth Road, London, the home of the late Kenyan-born polymath Khadambi Asalache, where Horrocks-Hopayian’s 2015-17 London Symphony Orchestra Soundhub residency took place. Much of the music on the album was inspired by the acoustic properties of the house itself (Cassete: Early Sketches), by the intricately carved wooden fretwork that covers every interior surface of this building (Inkwells), as well as by Asalache’s writings (Cave Painting.) Objects and found sounds from the house were the impetus for tracks, including Walls & Ways for clarinet (Ausiàs Garrigós Morant), voice (Ziazan) and electronics, which opens with the recorded tick-tock of the grandfather clock in the hall. Composing The Ladies gave Horrocks-Hopayian a chance to engage with the humor throughout Asalache’s interior designs, including ankle-height bunnies painted for the household dog to chase and the eclectic paintings of women in the bathroom, ranging from Bessie Smith to Cleopatra, Pocahontas to Madame de Pompadour.
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Reviews
“… The presentation is exemplary with a full programme note on each piece supplemented with extensive and charmingly idiosyncratic observations by the composer. With such a diverse collection, it is hard to draw any firm conclusion. My sense is of a composer still finding her voice which means that only some of the pieces on this record achieve real distinction. There is enough here to make Horrocks-Hopayian an exciting prospect for the future.”
David McDade – MusicWeb-International.com – 8 February 2022
“… this collection of works is wide-ranging dynamic and utterly unique. The album encompasses acoustic and electronic textures, eastern and western influences and pleanty of percussive fun.” ****
Freya Parr – BBC Music magazine (Brief Notes section) – February 2022
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