"I aim to create an acoustic orchestral ensemble that functions as a vast biological being made up of these extraordinary musicians." (Alex Paxton)

Alex Paxton’s new double-ensemble work Bunny received its world premiere as part of the "NDR Bigband meets Ensemble Modern" festival in Hamburg on 26 April. In June, Ensemble Modern presents the British composer in three further events: The closing concert of the "Open Young Ears!" workshop – with lecturer Alex Paxton –, a "Happy New Ears" portrait concert featuring iLolli-Pop, and the world premiere of his work Don’t Leave Me Behind under the direction of Vimbayi Kaziboni at London’s Wigmore Hall as part of its "Voices of Today" series.

Event details at ensemble-modern.com

Bunny

Paxton’s Bunny is written for two distinct ensembles and incorporates notated material alongside structured improvisation, featuring characteristic elements of Paxton’s style: glissandi-rich brass writing, rhythmic saturation, keyboard and synth textures. The title refers to the piece’s fragmentary narrative structure and surreal tone, combining cartoonish sonic references with formal density. The performance, conducted by Jonathan Stockhammer, marked Paxton’s first major work for double ensemble.

Watch behind the scenes clip

Composer's note

"This is the best music I can imagine for this special group of players from the NDR Big Band and Ensemble Modern. I’m trying to create as magical a sonic experience as possible in every moment, by writing in a way that brings out the fullest humanity of each individual musician in the ensemble. I want to make music that is inspired by—and carved out of—the experience of being alive… and sometimes, like a bunny."

Score of Bunny

Don’t Leave Me Behind

The score of Don’t Leave Me Behind includes Paxton’s typical blend of gestural writing and harmonic layering, with parts for microtonal brass, keyboard instruments, and amplified textures. The work draws on emotional themes of absence and connection and reflects a more introspective tone compared to earlier works such as Bunny or Music for Bosch People. 

Composer's note

"The title Don’t Leave Me Behind is taken from the lyrics at the end of the piece. I love how evocative this phrase is—of stories, of emotional states. It can describe mundane, everyday situations—like when a bus doesn't stop, or when you choose not to take your child shopping because it would be quicker without them. But it can also apply to epic, life-and-death journeys, to the ways educational institutions function, or to how we treat the most vulnerable people in our society. 

My art feels very much like a “you are what you eat” kind of art. The musical thing I "eat" most is radio shows. When writing—especially for Ensemble Modern—I aim to create an acoustic orchestral ensemble that functions not only as a vast biological being made up of these extraordinary musicians, but also as a listener and responder to the diverse musics in our society, many of which are not acoustic at all, but substantially electronic. A lot of my music consists of shorter pieces—between 2–5 minutes long, like a song on the radio. For me, this feels like a celebration of that first, momentary sensual feeling, which I believe helps prioritize the bodily experience of musical language (i.e., tune, harmony, rhythm, groove, orchestration). The piece constantly teases with the ghost of the “singing” voice. It incorporates choral elements, belting, and vocal samples in the synths, as well as real, live singing from the ensemble—and also the sampled voices of me and my best friend Joy (in the titular song at the end of the piece)."