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Long Live Coma! This is just great - thank you!

From the title slide: First Out (2016) - Andrew Toovey iKos'tina (29th January 2003) - Michael Blake Norae (Song) (July 2016) - Kyungjin Han Third Political Agenda (2016) - Michael Finnissy i. Corruption. Deceit. Ignorance. Intolerance ii. Unctuous. Killer. Idiot. Party iii. My. Country. Betrayed. Me Five Squared (May 2010) - Matthew Lee Knowles Bits of Beethoven (2008) - Leo Grant Need I Say More? (13th January 1981) - Chris Newman The Little Cloud (29th November 2011) - Geoff Hannan The Story Behind the Song is Forgotten (1996) - Judith Weir

This piano has a Ferrari like quality ❤❤❤❤❤❤❤

thank you

Thank you CoMA Glasgow for a magical and dedicated performance, full of feeling and imagination. One little thing about the timings - "Open to Huge Light" actually starts at 32:38 till 39:27

This is amazing

Wonderful stuff 🙂

A fantastic, intricate and at times mesmerising performance. Many thanks to you all for learning, rehearsing and perfecting such tricky pieces and sharing them tonight!

02:50 David Breeze: Two Figures in the Grass.

11:05 Watchamacallit* by Robert Nettleship

12:32 Dave Smith : Reverse Swing (2005). A cricketing term applied to music. Dedicated to Gavin Bryars.

09:55 Vinícius Motta : Whispers (2023) - from my first collection of short piano works.

08:14 Phillip Matty : Sinope (2023) - This work is from a collection of Moons of Jupiter for Solo Piano

06:39 Morgan Hayes : Trans-Pose (2023) : piano solo version. This forms part of a much larger piece for violin and piano, which i'm currently writing.

Good luck to CoMA for the next thirty (and more) years !

What a look-back! So many memories have come bubbling up. I’m proud to have been in there at the beginning and although circumstances mean I’m no longer active, CoMA still occupies a large space in my heart ❤❤❤❤

Keep up the great work you've been doing over the last 30 years!!!

sodelicious.....................

Sublime

Lovely rendition of a beautiful piece. Shame that one soprano (presumably a soloist) stands out and doesn’t blend.

Could someone tell me where can I find the contact of Professor Michael Finnissy please? I am trying to ask him something for English Country Tunes. Thank you very much!

That is as dramatic as I remember it.

Funny. And accurate.

Bachish, but reestablishment.

Guitar music starts 1'45"" in, when we see the 'keep'

Well done Alison

Then a tuba, a parade led by a singer to another performance center where violinists and cellists are performing a composition together.

Brilliant. Choreographed improvisation of various musical compositions with two pianos and singer.

Bliss.

Green thumbs up!!!

❤️

I love the combination of visual Art and music, and making the best of Zoom. Lovely voices and instrumental playing.

One agrees with the Hannan wholeheartedly.

For some reason, the music got me all teary, awesome performance!

fabulously dark

How delightful maladroit! Wonderful compositon and performance!

When I see something like this posted five years ago with only 400 views, then I no longer feel bad about only getting about 50 views on my videos. This deserves to be more widely known!

Awesome! I saw him give a lecture with Sir John Eliot Gardiner at Carnegie Hall!

This has a really joyous, emancipated feel! It's witty and touching, and repays many listens

Synchronicity

I love how Finnissy's compositions always seem so violent and Extreme, where's Finnissy himself seems to be a very funny and humoreus person

Thank you so much for posting this! BTW, it is spelled "SMYTH." The music starts at 1:32

48 views but only 2 likes? Come on guys! I look forward to 3D RUclips which would do this justice.

Wonderful piece of immersive music and was a real joy to wander through. Thanks for sharing, although it's not the same experience watching on a screen ! More performances please! Simon

Fantastic !!! Thank you :)

Wonderful pieces and performance :)

Ist Bach bei mir ... oder? -- Is that really the name of the piece? Surely it's Bist du bei mir … oder?, Max’s contribution to a set of variations presented to Judith. The ‘theme’ was a version for piano by David Titterington of Bach’s arrangement for voice and continuo - BWV 508, or no 25 in the Notenbüchlein für Anna Magdalena Bach - of Bist du bei mir, geh ich mit Freuden (without an ‘oder?’), an aria from Gottfried Heinrich Stölzel’s opera Diomedes.

Lovely piece Robert Nettleship!

Well, that was an unusual but very enjoyable half hour :-)

I hope we have other amazing composers like him in the future