Book of Negroes – Best Original Music Score

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Forty-nine Canadian Screen Awards were made at Toronto’s Westin Harbour Castle on Wednesday (09/03/2016) night in the lead-up to Sunday’s gala. Philip Miller’s work for The Book of Negroes – a 2015 miniseries adaptation of the 2007 award-winning novel by Canadian writer Lawrence Hill – took the Best Original Music Score Award:

The big winner was CBC’s miniseries The Book of Negroes, which took home nine CSAs, including: best direction in a dramatic program or limited series for Clement Virgo, best original music score for a program for Philip Miller, best performance by an actor in a leading role in a dramatic program or limited series for Lyriq Bent, and best performance by an actress in a featured supporting role in a dramatic program or series for Shailyn Pierre-Dixon.

Refuse the Hour LIMELIGHT review

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Maxim Boon from Australia’s Classical Music and Art Magazine, LIMELIGHT recently attended a performance of Philip Miller’s Refuse the Hour at the Perth Concert Hall. His review offers an Arts veteran’s insight into the performance and offers an intimate portrait of his impressions. Here is a snippet.

South African composer Philip Miller, arguably the most significant contributor, is a master of sonority and drama, employing an elaborate range of unusual orchestrations, extended techniques and junkyard instruments, including an extraordinary drum kit robot, which hangs overhead from the ceiling. His music is experimental, but not inaccessibly so, pairing a complex harmonic language with a more familiar vocabulary of traditional musical styles and up-beat rhythms.

Read the full piece: “Review: Refuse the Hour (William Kentridge, PIAF)”

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Dreams of Immortality Reviewed

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The art blog “My View: The Arts at Large” has reviewed Dreams of Immortality, an exhibition of new work by Deborah Bell which is on show at the Everard Read Gallery in Johannesburg, which features music by Philip Miller.

It may be the chord of a single-stringed instrument. Or the voice of a ram’s horn. It may be the sound of a violin or of Xhosa song. Each differs and resonates through your heart and into your soul: it’s like being in the presence of Tibetan bowls being played. It’s a keening resonance that fills you up and gives you goosebumps. Composed by Philip Miller for these works in this context, this coming together of aural, spiritual and sculptural wisdom and beauty is nothing short of overwhelming. It is the kind of keynote experience that will touch you forever and make you feel cleansed and ready to face the crassness of the world. It might also make you feel that looking at art becomes redundant after this experience.

Read the full piece: “Go no further: Deborah Bell’s blithe skirting with gods”.

Debirah Bell’s Dreams of Immortality is currently on show at the Everard Read Gallery in Johannesburg until June 27. She is also showing work at Everard Read in Cape Town: May 14-June 15; and a body of etchings collectively called Renunciation at the David Krut Project space in Parkwood, until June 12.

US Premiere of Refuse the Hour at BAM

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The US Premiere of Miller and Kentridge’s performance Refuse the Hour will take place at the Brooklyn Academy of Music (BAM) on October 22nd and run until the 25th. The show runs for 1hr 20mins. More info and tickets for the BAM performances are available here.

“Can we hold our breath against time?” Speaking backwards and forwards, to the unsynced ticking of giant metronomes, inimitable South African artist William Kentridge (The Magic Flute, 2007 Winter/Spring; The Nose, Metropolitan Opera) delves into a phantasmagoric investigation of temporality in this multimedia chamber opera composed by Philip Miller, a companion to Kentridge’s five-channel video installation The Refusal of Time (Metropolitan Museum of
Art, Documenta 13).

Download event primer here.

Refuse the Hour – USA Tour

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USA Tour Dates

The Refuse the Hour entourage, including Philip Miller and William Kentridge, will be touring the USA during October and November this year. The tour will include performances at the Brooklyn Academy of Music and Yale University over the following dates:

Brooklyn Academy of Music: Oct 18 – 26 (4 performances on Oct 22, 23, 24, 25)

More info and tickets for the BAM performances are available here.

Yale: Nov 2 – 8 (2 performances Nov 6 and 7)

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Performance Overview

Is it possible to materialize time on a stage? To answer this question, it is at the line between art and science that William Kentridge carries us along in the company of the physicist Peter Galison, a Harvard professor.

William Kentridge interleaves an astonishing range of visual and sound languages, setting dance, music, video and machines, performance, lectures and drama against one another.
William Kentridge is on stage to deliver a fragmented lecture.

The piece also sets on stage a performer, three singers or vocalists, seven musicians, a number of strange machines, and a set of videos.

Refuse the Hour is played as a frontal device, in a theatre or concert hall.

Duration: 1h20.

More information can be found at TOMORROW LAND.

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Refuse the Hour to debut at Design Indaba 2015

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Design Indaba is delighted to present the South African debut of William Kentridge’s masterpiece. This is just one of several projects that Design Indaba is currently supporting as we increasingly shift our focus from just providing a platform to being an enabling cultural producer.

CEO of Design Indaba, Ravi Naidoo

Refuse the Hour is an immersive chamber opera that makes its South African debut as part of the 2015 Design Indaba Festival, on the 26th, 27th and 28th of February at the Cape Town City Hall.

Described as “an aesthetic and philosophical stage dream”, this engrossing performance allows the viewer to experience Kentridge’s art, thinking and process in a singular, evocative way.

Kentridge interweaves an astonishing range of visual and sound languages into an engrossing 80-minute performance with a discourse from the artist himself at its centre. The chamber opera is a multi-layered experience that includes dance, performed and choreographed by Dada Masilo, an original score by Philip Miller, video by Catherine Meyburgh, mechanical sculptures, vocal performance and narration.

The artist delivers a narrative that begins with the ancient Greek myth of Perseus and ends with Einstein amidst a Dadaist pandemonium of sounds and images. He is joined on stage by an international cast of twelve including dancers, musicians, performers and vocalists in this evocative and unforgettable theatre experience.

Below is a preview of the upcoming performance:

More on the event here and tickets available from Computicket.

Paper Music: a Freezeframe

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Here’s a sneak peak of Philip Miller’s Paper Music, currently on at Carnegie Hall at the UBUNTU festival, which has received rave reviews. Click the image to see it full size.

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The Refusal of Time in Classic Feel Magazine

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The November 2014 issue of Classic Feel Magazine features an interview and review of Philip’s Refusal of Time, in the Arts and Culture section Encore. 

The full article can be accessed here.

Miller’s Paper Music Reviewed

The Refusal of Time at The Metropolitan Museum of Art

Reviews of Philip Miller’s recent performance of Paper Music in Carnegie Hall from the world’s top publications have started hitting the net. Excerpts and links below:

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The Mantle

Disinter & Reconfigure: A Conversation With Composer Philip Miller

On October 27, Paper Music Suite, a witty, poignant, a gently subversive song-and-film cycle by composer Philip Miller and visual artist William Kentridge, made its U.S. debut at Carnegie Hall’s “UBUNTU: Music and Arts of South Africa” festival.

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Philip Miller Performance Featured in Cape Times

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The Cape Times has featured an article on Philip’s latest performance of Paper Music with long time collaborator William Kentridge at Carnegie Hall, and the personal achievement this performance involves:

It’s also a celebration of many years of collaboration with Kentridge. The pair have been working together since the mid-nineties.

The full article can be found here.