K  E  V  I  N    M  A  L  O  N  E


The work of Kevin Malone spans genres and media beyond conventional labelling. He is equally at home with electronics, multimedia and harpsichords to choirs and orchestras, embracing postmodernist and hybrid approaches across his work.

Performances and broadcasts in Europe, North and South America, Australia and Asia garner enthusiastic reviews from the press, citing the uniquely attractive qualities of his sound world.

Malone is Reader in Composition at the University of Manchester, England.

Composing Beyond the modern

Described by The Independent as "witty, with a rare ability to communicate quite complicated processes with clarity”, Malone's music has one all-embracing characteristic: postmodernist play.  Abandoning high Modernism, Malone found a more honest, personal expression in freeing the cultural baggage of serious high art music without actually throwing away the bags.

For example, the Brighton Festival commission Remote Control directly addresses JS Bach's privileged influence in today’s society as two amplified harpsichords, computer-processed sounds and audience-interactive devices all merge into a fantastical carnival of sound, style and social critique.  Three Ancient Nightclubs, commissioned by Psappha, confronts the traditions of presenting music in concert halls (including a mock robbery of the box office takings), while MoDem for two violins is based on the sound of a computer modem and call-and-response activities of cyberspace and instant messaging.  Herstories Unsung attacks women’s social and political inequalities by having the piano soloist restrained as she attempts to play outspoken passages.

[ a n g e l s   a n d   f i r e f l i e s ]

See Composers Edition for catalogue of works updated monthly.http://composersedition.com/composers/kevinmalonehttp://composersedition.com/composers/kevinmaloneshapeimage_2_link_0