In his book Jazz of 1947, Henri Matisse writes:
‘MY CURVES ARE NOT MAD. In determining the vertical direction, the plumb line along with its opposite, the horizontal, forms the compass of the draftsman. Ingres used plumb lines; in his studies of standing figures note the unearned line that passes through the sternum and the internal anklebone of the “leg that bears the weight.”
Around this fictive line “the arabesque” evolves. I have derived a constant benefit from my use of the plumb line. The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in a landscape for example, without being aware of its relationship to the vertical.
My curves are not mad.’
I like Matisse’s approach – the shapes and lines of his cutouts are so incredibly imaginative, inventive and organic, but he suggests that they are conceived always with reference to plain vertical lines. I enjoy and identify with the idea that no matter how intricate or unpredictable the twists and turns of a piece of work, the artist must first erect the invisible, objective structures that support their material like scaffolding supports the construction of a building.
‘Coult’s piece, titled (in homage to Matisse) My Curves are Not Mad, demonstrated that this young London-based composer has an ear for subtly overlaid string textures and timbres…(including some fanfaring violins that seemed to carry Britten’s string-writing into 21st-century landscapes)’
Richard Morrison, The Times
‘He represents one of the most exciting compositional voices emerging in the UK today. What is so striking about Coult’s music is that it is simple and familiar, while equally unique and perplexing. The material for My Curves are not Mad was unassuming: almost everything in the piece related to two intervals (a major-third & minor-second, which also appeared inverted as a minor-seventh) and a rising scale. This scale appeared heterophonically again and again, yet grew in tension and interest as each entry was slightly changed. This Bach-like inventiveness, hinting strongly at the familiar while constantly transforming under the surface makes Coult’s music a constant source of delight.’
Aaron Holloway Nahum, I Care if you Listen
World premiere
string orchestra (6.5.4.3.2)
16 mins
2015
Commissioned by Britten Sinfonia with funds from the William Alwyn Foundation