Tim Parkinson (b.1973) is an independent composer based in London. He studied at Worcester College, Oxford, and with Kevin Volans in Dublin. In 2001 he participated in the Ostrava New Music Days, attending seminars with Jean-Yves Bosseur, Petr Kotik, Alvin Lucier, Zsolt Nagy and Christian Wolff. Since 1997 he has been curating, presenting and performing concerts, including Music We'd Like to Hear, launched in 2005 in collaboration with composers John Lely and Markus Trunk and repeated in 2006. Ensembles for whom he has written music include Apartment House, CHROMA, Duo Contour, London Sinfonietta, Reservoir, and rout. He has also written for various soloists including Rhodri Davies, Stephen Altoft, Julia Eckhardt, Anton Lukoszevieze, Annie Parker, Andrew Sparling and Stefan Thut. His music has been broadcast on Resonance FM. His music for installation projects includes; sixty eight sounds for Welborne for the Welborne Arts Festival 2005; untitled installation in collaboration with Angharad Davies, for Sound 323 CD shop, Archway Road, London; and ten brass for St. George's Gardens, Bloomsbury, commissioned by the London Borough of Camden. A recording of cello piece is shortly to appear on Edition Wandelweiser Records, and clarinet and words is to appear on Andrew Sparling's forthcoming solo CD on Metier. He is also a founding member of art-noise band "mixedupinsects". Forthcoming projects include a solo violin work for the Mark Müller Gallerie in Zürich, and a solo piano work for Philip Thomas.
'I like clear and direct thoughts or images, presented individually, one after another, each one a self-contained centre. I like the music to move and change by itself, like the weather. I like the poetry of the limitless everyday, and the quality of "anything", contained within a frame of time. '
'As we listened in the foyer, surrounded by Sinfonietta soloists before the somewhat disappointing final concert, to the melodious, somewhat sixties sounds of Tim Parkinson's untitled (winter 2002), I reflected on how the state of composition in this country might have turned out if this ensemble had been prepared to take such risks thirty years ago. Perhaps much less of the more mainstream predictable stuff which the Sinfonietta feels obliged to offer on these occasions might have been written. '
Keith Potter, The Independent
'It has the feeling of a very genial assemblage light in character, but not at all superficial. This is not a characteristic I hear in much other music from the UK. '
Michael Pisaro, California Institute for the Arts