music we'd like to hear

We are a collective of musicians and composers who, since 2005, have been creating a one-of-a-kind space where we welcome listeners to come together to share and celebrate new and neglected contemporary music. The concert series has run every year since it was initiated by John Lely, Tim Parkinson and Markus Trunk.

We hand-pick the programmes with the aim of sharing our fascination and enthusiasm with everyone. We provide a platform for creative & experimental work, for showcasing emerging talent, and for promoting learning and collaboration.

As a not-for-profit organisation, our ability to sustain this series depends solely on ticket sales, funding awards, and donations, with all of the proceeds going towards the musicians and composers. We strive to keep ticket prices affordable so that as many as possible can experience these exceptional events. Please consider supporting Music We'd Like to Hear with a one-off or regular donation. Every contribution helps us to continue providing this space for inspiring music from our world-wide community.

Your support is essential to Music We'd Like to Hear

We regularly host international visiting artists. Past guests have included Cheryl Duvall (2022), Freeman Edwards (2021), Enrico Malatesta (2019), Séverine Ballon(2019), Beth Griffith (2019), Johnny Chang (2018), Catherine Lamb (2018), Gyrid Nordal Kaldestad (2018), Laura Steenberge (2018), Magnus Granberg (2018), Jürg Frey (2018), Seth Josel (2017), Kara Feely (2017), Dafne Vicente-Sandoval (2016), John McAlpine (2016), Dedalus (2012), Michael Duch (2012), Makiko Nishikaze (2011), The Wulf. (2010), Clemens Merkel (2010), Makiko Goto (2009), Tom Johnson (2009), Sara Hubrich (2009 & 2011), Michael Pisaro (2007), Stefan Thut (2006)

We often collaborate with the recording label Another Timbre for concert promotions of CD launches: John Cage Number Pieces (2022), Morton Feldman piano music (2019), Viola Torros (2018), Grizzana (2018), Windfell (2017), Martin Arnold (2015)

We provide a commission base for experimental work from emerging composers. Sylvia Lim (2021), Georgia Denham (2019), Maya Verlaak (2018), Paul Newland (2017), Newton Armstrong (2016), Sarah Hughes (2015), Dominic Lash (2015), Amber Priestley (2015), Martin Arnold (2015), Lee Patterson (2010), Chris Newman (2009), Richard Emsley (2008), James Saunders (2006)

We revive neglected work by composers such as John White (2022, 2013, 2012, 2006, 2005), Mark Ellestad (2022), Mildred Couper (2021), Clarence Barlow (2021, 2015), Alvin Lucier (2021, 2019, 2017, 2014, 2007, 2006, 2005), John McGuire (2019, 2017), Phil Harmonic (2019), Marc Sabat (2019), Matteo Fargion (2019, 2014, 2013, 2006), Michael Parsons (2019, 2018, 2012, 2008, 2005), Robert Ashley (2018), Kevin Volans (2018), Johanna Beyer (2018), Hermann Meier (2018), Walter Zimmermann (2017, 2015), Tom Johnson (2017, 2012, 2009), Bunita Marcus (2016), Jacob Ullmann (2016), Mauricio Kagel (2015, 2006), Christian Wolff (2014, 2012, 2011), Hanne Darboven (2012), Erik Satie (2006)

Thanks in part to the possibilities provided by the venue space, we curate idealistic uncompromising programmes, finding sympathies within boldly contrasting work. Phantasm playing William Lawes' 17th-century consort music alongside recent object-based experimental work by Antoine Beuger, Christian Wolff, Taylan Susam (2014, RPS Nominated), Richard Emsley's Stills Cycle in its first complete 3-hour performance (2022), Rie Nakajima and Lee Patterson's venue sized realisation of Alvin Lucier's Chambers (2019), Laura Steenberge's site-specific audience-encompassing performance work (2018), new and old music for clavichord (2011), new and 16th-century violin duets alongside music for objects (2011), music for Koto and Guitar (2009), The English Scarlatti Sect & Michael Pisaro (2007), a continuous event of music for Organ and Piano with the programme details only revealed at the end of the performance (2008), extended long duration work such as Hanne Darboven's Opus 17a (2012) and James Saunders' #050406 (2006)

We offer a platform for ongoing touring projects such as Eliane Radigue's Occam series (2019), Juliet Fraser's Laurence Crane at 60 project (2021), Lee Patterson's Pianoworks (in association with Q-02 Brussels) (2010)

We have offered an introduction to UK audiences to the work of numerous international composers, including Alexey Shmurak (2022), Martin Arnold (2014), Luiz Henrique Yudo (2014), Jonathan Marmor (2013), Eva-Maria Houben (2013), Travis Just (2011), Chiyoko Szlavnics (2009), Manfred Werder (2009), Makiko Nishikaze (2007), Jürg Frey (2006), Michael Pisaro (2006), Chico Mello (2006), Stefan Thut (2006), Antoine Beuger (2005), Thomas Stiegler (2005)

We provide a platform for young emerging performers. The Edges Ensemble from Huddersfield in 2012, students from Guildhall School of Music and Drama, students from Goldsmiths College, as well as occasional non-professional musicians (2005, 2007, 2009, 2013, 2022)


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excerpts of reviews:

'This is my third time attending a set of these concerts, and my impression is affirmed more deeply each time that this series lives up to its name. The 'we' of music we'd like to hear is not just the curators or the performers, but the audience that has developed and grown over its nine years. For one thing, the series format, placing a week between each concert, avoids any sense of overload or inundation. The concerts are unique events, and not part of a general blur of activity that often will occur at a festival. The performers are genuinely committed to the work. The audience is happy to be there, and is wonderfully attentive. Everyone is invited to come to the pub afterwards to keep talking, and just about everyone comes. A conversation is as likely to strike up between new acquaintances as it is with old friends, just as there is a mix of familiar and unfamiliar composers on each program. It's what I call a perfect evening.'

soundexpanse.com, July 2013


'Music We'd Like to Hear, an annual series of concerts curated by the composers Markus Trunk, John Lely and Tim Parkinson, has reached its ninth year of sharing an eclectic, often esoteric selection of experimental music with its small but loyal following. As one of the few chances to be immersed in this strange, provoking, sometimes infuriating musical world outside of the Huddersfield Contemporary Music Festival, these concerts deserve to be much better attended than they are.'

bachtrack, July 2013


general comments:

'MWLTH is also one of the few concert series where certain performances really do stick in my mind afterwards including years later.' (audience comment)

'MWLTH is an event that makes available to me a very interesting part of London's creative scene, and beyond, of a global network of artists that are redefining music.' (audience comment)

'This series is a unique fixture in London's concert calender. The programmes are intriguing, often provocative and always thoughtfully put together by the three curators, who are all motivated by a genuine enthusiasm and interest in the music itself, an approach that is not remotely affected by ego or politics.' (audience comment)

'MWLTH provides our chance to hear fascinating music we'd never hear anywhere else.' (audience comment)

'What a series! Every summer there's something to provoke or infuriate, much to think about and plenty more to simply bask in and enjoy.' (Clive Bell)

'Perfect concerts for me really, quality listening from audience as well.' (audience comment)

'... programmes which, without condition, place musical merit before any of the familiar fussing over famousness of names, ideological axe-grinding, bums on seats, and other such contingencies.' (audience comment)