Mužijević’s imaginative curatorial hand was especially evident here, shaping a programme that traced rhythm in its many guises: beginning with the obsessive drive of Andy Akiho’s The War Below (from the film Prospects of a Misplaced Year), proceeding to the nostalgic grace of Joseph Lanner’s Marien-Walzer(published in 1839) – its Viennese lilt rendered all the more poignant in that elemental space – and then to Guillaume Connesson’s witty mimicking of a rave in Techno-Parade, a trio for clarinet, flute and piano…
It was a reminder that what lingers most from a weekend at Tippet Rise is not novelty for its own sake but the way familiar works are heard anew. We often think of programming as a balance of old and new. What struck me here was how much discovery could happen within even works from the canon themselves. The weekend’s great landmarks – Vivaldi, Copland and Schubert – all felt renewed, not through juxtaposition alone but through context.