Restraint

Harry, M

Abstract

Inhibition could be said to be a constant preoccupation of mine, colouring works as diverse as Ozymandias (1982), Signal Failure (1992), The End of The Line (1997) and Fantasy Unbuttoned (1998). It is only recently, with the composition of George Meets Arnie For Tennis that this same theme has taken on a political aspect, whereby the forces of inhibition are externally imposed. Restraint for handcuffed pianist and pre-recorded tape subverts our stereotypical image of the tortured artist. As in George Meets Arnie severe limitations are placed on artistic expression – in this case through the requirement for the pianist to play tremolo throughout, following a click track on the tape; and through handcuffs restricting the pianist's comfortable span to an octave and a sixth, an interval attained at the climax of the piece. Restraint may hint at moments of consolation. Yet, at a time when even pre-recorded music can be used as an instrument of control, it is precisely these passages which should be treated with suspicion.

Citation

Harry, M. (2005). Restraint. [score/CD/broadcast]

• Other Type: Composition
• Online Publication Date: May 14, 2005
• Publication Date: May 14, 2005
• Deposit Date: Jun 23, 2006
• Public URL: https://durham-repository.worktribe.com/output/1682027
• Additional Information: Duration: 16 minutes; Additional Information: World premiere: Durham Electroacoustic Festival, Elvet Methodist Church, March 2005. Broadcast on BBC Radio 3's "Here and Now" programme May 2005. Subsequent performances: Richard Casey, University of Leeds, April 2005. Further performances: Sarah Nicholls, Brunel University, Autumn 2007. New York premiere to be given by Lisa Moore, New York, December 2007. There now exists a new version for six handcuffed pianists, conceived for Piano Circus.