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Upcoming Events
  • Thursday, 23 November
    Three Duos (Orlando de Lassus/Philip Cashian)

    Royal Academy of Music students
    Royal Academy of Music, London
  • Friday, 12 January
    Music for the Night Sky

    Lost Dog New Music Ensemble,
    Tenri Cultural Institute, New York
  • Wednesday, 24 January
    fragment for solo percussion and ensemble

    London Sinfonietta
    centenary concert, Royal Festival Hall, London
  • Thursday, 1 March
    Horn Trio

    Royal Academy of Music students
    Royal Academy of Music, London
  • Saturday, 16 June
    The Book of Ingenious Devices (world premiere)

    Huw Watkins (piano), BBC Symphony Orchestra, Oliver Knussen (conductor)
    Snape Maltings, Aldeburgh Festival
  • Sunday, 23 September
    The Forest of Clocks

    CoMA Anniversary Ensemble, Gregory Rose (conductor),
    Kings Place, London
  • Saturday, 6 April
    Samain

    Benyounes String Quartet,
    Stapleford Granary Arts Centre, Cambridgeshire

 

 The head of composition at The Royal Academy is Philip Cashian, whose own tartly seasoned, stylish music sounds as influenced by Frank Zappa, Gentle Giant and King Crimson as by Charles Ives, Boulez and Cage. To some extent, if his music was on, say, the Leaf label, or folded into the electronica of Warp, or given space on 4AD, it would not actually be defined as classical music, and could be easily filed alongside Murcof, Johann Johannsson and Autechre.

As classical music, it inherits different levels of expectation, and a certain sense that because it does not produce sounds as soothing and familiar and in all ways as rich as the canonised greats - even if their music was considered during its day painfully discordant and often quite unnerving - it is disappointing, even insulting. The fact that such a committed modernist, even post-modernist, as Cashian is the head of composition at the Academy made me realise that the Academy does not hold the view that serious music is best presented as a kind of soporific, or that classical music is simply about historical reconstruction.

Paul Morley, Observer Music Monthly
 

Several Cashian hallmarks emerge in the course of this CD: bold melodic gestures for instruments in unison; a kind of 'broken machine' texture in which uneven rhythms lumber almost out of control; motor rhythm sections pointing up a relationship with minimalism; and contemplative passages, akin to Morton Feldman, in which musical objects are carefully placed in 'static fields'. Above all there is a brisk intelligence behind the music, unsentimental certainly, but never arid.

Bernard Hughes, Tempo magazine

  

...here is a collection of his achievements that proclaims his mastery, and for me establishes him as a voice I must not miss...the imagination and variety of invention are unceasing...terrific stuff

Stephen Plaistow, Gramophone


First and foremost, Cashian’s work is musicianly, written without need of grand accompanying statements for musicians, at whatever level, to play. It is also, as players and listeners will discover, the emanation of a vivid imagination possessed of a narrative strength that can sweep the listener along on journeys to unanticipated destinations.

Matthew Greenall, Music Teacher magazine

 

Between the two symphonies came an exuberant performance of Philip Cashian's bracing and imaginative triptych, Tableaux. This work was commissioned by the Northern Sinfonia for the 2003 Proms. With its bright zigzags of flying figures, it's quasi-Sibelian centrepiece and the finale, it's bristling energy makes it a real pleasure to encounter once more.

Hilary Finch, The Times

 

 

 

 

 

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The House of Night now available from NMC. "Five fine works by this inventive composer make a rich sequence".
Sunday Times
"I've never heard a Cashian piece that did not spring to individual, fetching life. More please!"
Financial Times
"..the music has a coherence and continuity that makes it lucidly engaging."
The Guardian
"Three Pieces all display Cashian's trademark energy and dynamism, inventively playing with form and texture as if for no other reason than sheer exhilaration."
The Observer
"Philip Cashian's Bone Machine hiccupped brilliantly."
The Times
"Three Pieces are refreshingly colourful and inventive, reminding us anew that Cashian is a composer of abundant imagination and elegance."
The Musical Times
"Clearly one of the most talented and imaginative composers of his generation"
The Birmingham Post
"Cashian is always interesting and original"
The Financial Times
"Philip Cashian's tartly seasoned, stylish music sounds as influenced by Frank Zappa, Gentle Giant and King Crimson as by Charles Ives, Boulez and Cage."
Observer Music Monthly