Composer

Matthew Lee Knowles is a composer, poet, pianist, performer and teacher based in London, who recently had the honour and pleasure of teaching alongside Michael Finnissy at a CoMA Summer Course.  Looking back over recent compositions, it seems they could have been written by several people, as they cover some ground, from highly conceptual instructional music, quizzical and direct to complex and virtuosic work, specific and scattered, with graphic notation along the way, through durations of a few minutes to several hours, for solo instruments and large ensembles.  Compositional methodologies range from Cageian chance operations to hexachordal rotational transpositional arrays, collage, quotation and homage.  Interests include sequence, repetition, allusion, exact and crippled symmetry, theme and variation, duration, freedom, subtle and blasé theatre, silence, extreme editing, superimposition, impossibility, endurance, pointlessness, ridiculousness, mathematics, mesostics, codes, authority, the everyday, newspapers, cosmology, physics and generally just being an experimentalist.  His works have been heard in concert halls, on TV and radio and he has performed, among other things, Stockhausen’s gruelling Goldstaub (BBC/Sonic Arts Network), Cage’s demanding 45′ For A Speaker (Stoke Newington Contemporary Music Festival, 2012) and, in Sardinia with Neil Luck, a unique eighty-minute work for two performers and tape, in a field of twenty microphones (Critics, Academics, Geeks, Miniere Sonore, 2009).  Matthew wrote and performed live, the music for a video by Brandon Labelle, (Cloudy, Wilton’s Music Hall, 2009), which incorporated both classical and rock for solo piano.  He has written several theatre scores (the first when he was seventeen), including Inherit The Wind, The Winter’s Tale and The Gut Girls, the latter which he also performed live at the piano.  Since 2007, Matthew has engineered small and large scale happenings [more details], the most prominent featuring over a hundred performers lasting three hours (The Nothing and the Nothingness, Louise T. Blouin Institute, 2008).  Other happening locations have included; a cemetery, a field, a library, a street and a concert hall stage.   Ejected Material (Jerwood Room, Oxford University, 2010), was a collaboration with George Chambers, leading to an exhibition featuring instructions tied to balloons, thousands of chads (leftovers from hole-punchers), fans and burnt scores in jars.  six_events (2008), sixty_six_events (2010, a collaboration with Andy Ingamells) and 666_events (2012) were global happenings encouraging people to interpret instructions and record their performances.  Each event produced performances in dozens of countries across the world and the final event in the series, 6666_events took place in June 2014.  Matthew wrote the libretto for squib-box’s first opera, Shadow Prophets, which was premièred in Sardinia in 2011. He has written several hundred poems ranging from single sentences to forty-thousand word epics, which he sees, mainly, as extreme edits of the work of others. Alongside these works, there are also several hundred instructional scores, straddling the gamut of possibilities from the absurd to the mundane. Several pieces have been published in part and in full in magazines and Matthew regularly reads at poetry events. Improving The Remarkable (2009) was written specifically for a public art development in central London and the text has been permanently installed on huge vanes attached to a new building. Matthew was chosen from a selection of globally prominent and established artists due to his connection between poetry and music. Other creations include a play (Kidnapped, 2010), a Beginners Guide To Music (2011), a few hundred paintings and small sculptures and several limited edition booklets. At the end of 2009, INTO Magazine published an article entitled Making Things Happen, in which Matthew discussed how he works and gave advice to other composers/artists.

In November 2014, after nearly three years of writing, Matthew completed his 140 Spectacles for clarinet, piano and silent orchestra, a five and a half hour  work, with an accompanying 3000 word essay.  A few months later, an opera, A Catatonic Romance, with a libretto by Lucy Hutchinson, was completed, after almost a decade in the planning.  It is set on a deathly drop, near a pleasant amble and concerns Milly and Winston, who, defeated and desperate, contemplate their bitter ends, but they are not alone as there are those who have their ways to defend; Life with her pet lizard and Death with his limitless cunning. But the question that begs to be solved: Will Milly and Winston one day eat pie together?  As I write, at the beginning of October 2016, I have now finished the piano concerto I started writing more than a year ago, having carried the idea with me since the age of thirteen!

Remixing pop songs has become a pleasurable side hobby and these can be heard here:

 

Below is an extract of For Alan Turing, an epic several hour long composition for solo piano, which has been premièred in part at the Guildhall School of Music and Drama, and Cambridge University to celebrate Turing’s centenary.

List of Works

 

The following list omits wholly graphically notated or
spoken word scores and is not comprehensive.
[starred pieces have been performed]
[R links to a recording]

Soundcloud