Relish in Immature Bombast

About

What other people have said:

“We’ve got some issues with your ideas.” – Lee Martelli, APO Education Manager when assessing my application.

“ONE TWO!” – Jono Sawyer, drum kit soloist.

“It’s a little bit like James Bond’s worst hangover.” – Cordelia Black

“That’s pretty damn adjective. I think maybe all of the adjectives.” – Daniel O’Connor

“Are you really sure about that title? You’re selling the piece short.” – Jack Body, APO Composer-in-Residence.

“There’s a specific face that I make when trying not to lose my dignity and I am making that face now.” – Cordelia Black

“That was weird. Batman and Joker’s love child?” – Rueben Waine

“Talking of bad titles, ‘Relish in Immature Bombast’. What were you thinking?! It’s just too silly for words.” – Eva Radich, interviewing me live to air on Radio New Zealand Concert

“After listening to this piece I put on my spats and took a jaunty walk outside, where I punched a kitten in the face with a cymbal. So I guess it worked.” – Mary Little

“This thing is outrageous. Good on you!” – Adrian Hollay, recording engineer for Workshop 3.

“I read that as ‘piece for organ, drunk and orchestra’.” – Justine Pierre

“And a fun, clever and fabulous work it is Robbie! (With a wickedly tricky tuba part – you bastard!)” – Jonathan Baker, APO Principal Tuba.

“My friend and I so went to clap at the end of Miranda’s [violin] solo!” – Yvette Audain

“I think it needs to be the soundtrack to a circus with very loud toys.” – Renee Liang

“Basically Mr Bungle for organ.” – Maarouf Zaza

“At least you didn’t title your piece ‘Shark Sandwich’.” – Thomas Goss

And less flippant quotes:

“I think, in this piece, Robbie has tried partly to recapture the kind of youthful invigoration of just being let loose on a massive instrument like this, and having a blast.” – Tim Noon, organ soloist

“...a hoot, a mash ‘n’ mix trip through various popular musics, with witty style-shifts. Jono Sawyer’s furious drum kit vied with Timothy Noon’s organ for star status, even if their later role swapping... didn’t quite come off.” – William Dart, New Zealand Herald reviewer

“You stole the show with that gloriosity...as well as the sheer bombast, it was an extremely musical utterance, with an unexpected gear shift round every corner. Fabulous. And for those of you who listened at home, you missed the perilous stage leap from a running jump, vintage Ellis.” – Eve de Castro-Robinson, my former teacher

The composer blogs about this work here.