Sunday 15 May 2016 Trio Atem perform Rabelais cycle in Manchester
The latest additions to my agricologies series are solo and ensemble versions of Agricola IX, some for ensemble, some for solo instruments, based on a rondeau by Ockeghem. The latest of these will be recorded as part of Richard Craig’s second solo album (with special guests, Distractfold) . Currently I’m working on antistrophes, a spoonerist piece commissioned by Trio Atem of Manchester, the final part of my Rabelais trilogy. So far I envision three versions of this piece, the first of which is a solo voice version for Trio Atem’s singer, Nina Whiteman, which she premiered recently in Manchester in May (listen to the performance, also on this site). I’d been searching for 25 years before devising this particular text, so I’m quite pleased… Forthcoming performances are in New York in January 2016 (Agricola IXe, with Carlos Cordeiro), Hull (premiere of a new version of Per Serafino Calbarsi I: Rondeau de Panurge for and with Trio Atem in March), and Manchester (premiere of the ensemble version Per Serafino Calbarsi III: Antistrophes, also for Trio Atem, in May). In addition, Alice Purton will perform Per Serafino Calbars II : Le Songe de Panurge at the Darmstädter Ferienkurse this summer. More precise details will be added to the ‘Performances’ section of this blog as they become available.
A commercial CD is to be released in April 2013 on the Christophorus label (CHR 77368) featuring two recent pieces, Agricola VIII and Agricola IX, as well as music by Alexander Agricola 1456-1506, which I’ve helped to edit. The new disc, called ‘Colours in the Dark’, features the Basel-based Ensemble Leones.
Fabrice Fitch 
Hello Mr. Fitch
My name is Alex Morris. I work for Music Services in Nashville TN who provides license clearing services for Harmonia Mundi’s recordings. I would like to secure a mechanical license for works “Agricola 1” and “Agricola 3”. Can you license me directly or refer to your publisher or licensing agent? Thank you
Dear Sir –
Can you let me know what you’re planning to do in respect of this? I want to be sure what I’m signing and to keep track of the sort of use you’re wanting to make of this (if any) or that others may make of it as a result of my agreeing to this. Thank you for your assistance in this matter.
Best regards –
Fabrice Fitch
Hi Fabrice. COuld we be in touch by email? Robert Hollingworth at robert@roberthollingworth.com
Dear Robert – happy to be of course. How nice to hear from you! You catch me at an urgent moment, as I am presently having to write a sort of ‘laudatory address’ for Brian Ferneyhough, my former teacher, who is visiting the Royal Northern tomorrow on the occasion of the book launch of my wife’s study of his music! So I am a little bit fraught at the moment. That is to say that prolonged email exchange had perhaps better wait, say, until Thursday, if that’s okay. But meanwhile, by all means let me know your news, and to what I always a pleasure of your email! It’s probably best to use my email address, which is fabrice.fitch@me.com As ever – Fabrice
Fabrice
Obviously that last sentence ought to have been,’and to what I owe the pleasure of your email.’ F
Hello Mr. Fitch
My name is Asher Leverton and I’m a 3rd year music student at the University of Huddersfield. I attended the performance of Agricola IX on the 10th of March by Distractfold (and enjoyed it very much) and am in the process of writing a concert report on the performance. I was wondering, if it isn’t to much trouble, if you could please send me an extract of the score as I was not able to see how the piece was notated there and then. If this would be possible then I would be very grateful.
Kind regards.
Asher Leverton