Event page image CMFAOn Friday 4 and Saturday 5 March at Kings Place, we partner with Contemporary Music for All to perform some of the organisation’s most iconic creations.
For over a decade they’ve been bringing new music to new audiences through their Open Score project, commissioning flexibly-scored works playable by ensembles of all shapes and sizes.
For the next three Sundays, we’ll be setting quickfire questions to three of the composers whose works we’ll perform in March: Philip Cashian, Roxanna Panufnik and Hannah Kendall.

First up is composer and Head of Composition at the Royal Academy of Music, Philip Cashian.

What do you regard as your greatest artistic achievement?
Still being paid to write music at 53.

What do you fear?

Somebody pointing out that I’m making it all up as I go along.

Which piece of music has had the biggest effect on you?
Bach’s Goldberg Variations.

What’s the most unusual performance you’ve been a part of?
I once played vibes in Terry Riley’s In C. 45 minutes of regularly pulsing octave Cs slowly became an out of body experience whilst looking at Peter Wiegold.

What’s currently on your coffee table at home?
Julian Barnes’ The Noise of Time and a Star Wars Lego instruction manual for Slave I.

What was the first recording you ever bought?
Beethoven’s Symphony No. 6, Hallé conducted by James Loughran. Classics for Pleasure. It cost 99p from Forsyths in Manchester and I bought the score at the same time for £1.10.

Describe yourself in three words.
Lazy, impulsive, adorable.

If you could have any other profession, what would it be?
High Court Judge.

Who has been the biggest influence in your life?
Nobody, but musically speaking Stravinsky (of course).

Tell us your best musical joke.
Tom Waits’ definition of a gentleman is a man who can play the accordion but chooses not to.

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