The following links are to external websites that feature reviews or other information about the Quiet Music Ensemble. Should you require a press release for an upcoming event, or photos for a press article please contact Ensemble Manager Aisling Ryan at quietmusicensemble [@] gmail [.] com


The Contemporary Music Centre featured the Quiet Music Ensemble in their 2011 new music::new ireland Salon Series. On their website the CMC feature a video excerpt of the ensemble performing an improvisation work by John Godfrey, Washing Yourself with Food.


Interview by Maria Tracey, Cork News, 13 January, 2012 : ‘I remember loving sound before I ever took a music lesson’, 

Interview by Don O’Mahony, Irish Examiner, Thurs 26 January, 2012; Beyond the sound of silence: A unique contribution to music

Review by Martin Adams, The Irish Times, 29 April, 2011; following a performance of works by the Irish Composers Collective

It was appropriate that the Quiet Music Ensemble’s concert began with improvisation. This Cork-based group was founded back in 2008 by the composer, guitarist and keyboard player John Godfrey, to explore specific kinds of experimental music-making. Improvisation lies at the core of what they do. The most defined, and the most strikingly crafted piece of the evening was Solfa Carlile’s Standing Chill, a duo for cello (Ilse de Ziah) and saxophone (Séan MacErlaine) in which a seemingly traditional, quasi-modal hormonic language brims with tension between the materials allocated to the two instruments.

It was easy to appreciate why Carlile has attracted attention in Britain, and why Alyson Barber, whose Apparitions was an unsettling exploration of texture and colour, has also done well in having works performed by ensembles with a high reputation. All this music requires a very close kind of listening, in which the players are able to respond to minute inflections created in live performance. That was evident in the colour-laden Trio by Adam McCartney, and in the play of timbre that was one of the more prominent aspects of Aristides Llaneza’s Below the Surface. This is an extremem kind of performers’ music. Its horizons seem infinite; and in that respect the most tantalising piece was Vacuum by Susan Geaney. She says she likes to create music that dispenses with “the invariable ‘whys?’ for just a moment”.

So, like almost all the music on this porgramme. Vacuum dispenses with process – though it still progresses. Perhaps its most enticing aspect is not so much teh absence of “whys?”, but the fact that it sets up its own world of sonic experience, and of interaction between the players. On one level the audience is shut out. On another it is inexorably drawn in.

– Martin Adams

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