Anna Murray is Assistant Editor of The Journal of Music. Her website is www.annamurraymusic.com.
Ólafur Arnalds wrote his most recent album with the input of a live generative system, but how do these ghostly player pianos work in concert? Anna Murray reviews his recent concert at the National Concert Hall.
In the first concert of their Music Network tour, Maighread Ní Dhomhnaill, Máirtín O'Connor and Séamie O'Dowd moved between playfulness and finesse, writes Anna Murray.
The ancient Japanese art form of Noh – comprising music, chant, voice, costume and movement – evokes an 'extreme height of tension', writes Anna Murray, who attended the 'Noh: Reimagined' festival at London’s Kings Place this summer.
Chamber Choir Ireland, conducted by Nicolas Fink, created a programme of sacred but intensely personal music with Between Us. Anna Murray reviews their performance at Hugh Lane Gallery.
As he tours, experimental vocalist Damo Suzuki creates ad hoc bands, formed only for each performance. In Dublin and Cork, he gathered a rare mix of artists from the Irish indie and improvisation scenes – Anna Murray reviews.
The Music Current festival continues to present intriguing, uncompromising sound works, as Anna Murray found at a performance by Yarn | Wire.
Belfast harper Úna Monaghan's new album is a surprising – sometimes startling – mix of traditional music material and electronics, writes Anna Murray.
Far from a standard musical biopic, Pat Collins's film on sean-nós singer Joe Heaney, 'Song of Granite', explores the world of the wandering artist through sound and place, writes Anna Murray.
How does a 95-year-old International Society for Contemporary Music shake up its programming? Anna Murray attended the ISCM World New Music Days festival in Vancouver and heard how new ideas can take effect.
Laura Hyland's Clang Sayne band bring together a subtle range of influences for her song sculptures. Anna Murray attended their recent performance at Little Museum of Dublin – the first in the new season of the Ergodos Santa Rita concert series.
From Schnittke to David Fennessy, Bernd Franke to Galina Grigorjeva, Chamber Choir Ireland's two most recent programmes introduced a fascinating range of repertoire to audiences, writes Anna Murray.
Four of Ireland's leading violinists, an inventive programme of works from the past, and an Ian Wilson premiere – Anna Murray caught up with the latest Music Network tour at St Ann's Church, Dublin.
Crash Ensemble's 10th 'Free State' concert – presenting the work of young and emerging composers – takes place at the NCH on 5 May. Anna Murray of The Journal of Music spoke to Garrett Sholdice, Enda Bates and Daniel McDermott about the impact the series has had on their work.
The latest in a series of collaborations between Crash Ensemble and indie artists shone a new light on the artistry of Katie Kim, writes Anna Murray.
Three-concert residency announced alongside details of the International and Perspectives series.
Five years old this June, The House Presents, a salon-style monthly evening in Dublin's north inner city, is all about drawing out the art that is already around us, writes Anna Murray.
Gerald Barry describes his new Piano Concerto as like a ‘play or opera’, with the relationship between piano and orchestra not what you would expect. Anna Murray attended the Irish premiere.
Cellist Ernst Reijseger was among the improvisers featured at Bottlenote collective's recent performance during the Dublin Fringe. Anna Murray attended one of the six improvisations, which took place in a dilapidated Georgian house.
Anna Murray reviews Kirkos Ensemble's Blackout #3 at the Royal Irish Academy of Music.
For six years, the Kaleidoscope night has encapsulated the energy and community of the Dublin new music scene. As the curators embark on some new ideas, Anna Murray explores the event's allure.
The latest iteration of the New Music Dublin festival attracted good audiences, writes Anna Murray, but at what artistic cost?
Composer Anna Murray reflects on New Music Dublin, a major new festival of contemporary music held at the National Concert Hall, Dublin on 1–3 March 2013.
Composer Daniel Figgis' new work 'dimmerswitch' is the result of a commission by The Crash Ensemble. He explains the ideas behind the work to Anna Murray ahead of its premiere at the Galway Arts Festival on 19 July.
Anna Murray talks to the director of new student-run contemporary music ensemble Kirkos after Blackout, their final performance of the season.
Laura Sheeran's densely textured songs are never planned and most are written and recorded in just one day. Anna Murray talks to the musician about her intuitive writing process, and the making of her latest, most aggressive album.
The Dublin band 3epkano are best known for playing live music to early silent films. The impulse, explains the group's founder, is to connect a contemporary musicial aesthetic to a bygone era in filmmaking, when a spirit of experimentation ran through the artform.
This year's Hard Working Class Heroes festival inadvertently made a clear division between better- and lesser-known acts. The result was that some of the most interesting bands struggled to draw an audience, writes Anna Murray.
The Dublin Laptop Orchestra crouched, bent, stretched, circled and swooped, making each piece as much a work of performance art as music. Here, Anna Murray found the physicality and energy of acoustic music translated to electronic performance.
The barriers between electronica and rock are being dismantled in Irish music, writes Anna Murray. Patrick Kelleher's new album is part of this, and yet at odds with its contemporaries.
Castle Palooza Festival, Charleville Castle, Tullamore, Co. Offaly, 1–2 August 2009
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