Liam Carey’s world is one of opposites. His work orbits a creative fascination with consonance and dissonance, chaos and order, seriousness and stupidity and, in the case of his new composition, ‘Concerto for Piano & Electronics’, new and old. How can two opposites co-exist and be bridged together in a thoughtful and meaningful way? The self-described “metamodernist”, is not only an experienced composer (his work having been performed by RLPO’s Ensemble 10/10, Berg Orchestra, Solem Quartet, Pixels Ensemble and Line upon Line Percussion) but a talented engineer and live Max/MSP performer. He holds a PhD in Composition from the University of Liverpool, the city in which he still lives and works.
In 2020 he released his debut ‘Concerto for Piano & Electronics’ with us. Composed in the form of a traditional three movement concerto, the work removes the orchestra, instead leaving the soloist to perform with a video accompaniment. This approach was born from a fascination of Carey’s regarding the interaction of past and present. Can a piece, written for the common contemporary ensemble of soloist and electronics/video, work like that of a traditional classical concerto?