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ALG15, College Building

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City, University of London
Northampton Square
London
EC1V 0HB
United Kingdom

About

Overview

Ian Pace studied at Chetham's School of Music, The Queen's College, Oxford and the Juilliard School, New York, where he studied with the Hungarian pianist György Sándor. He has pursued a parallel career as both a pianist and musicologist since returning to the UK in 1992, with a particular focus on contemporary music.

Based in London since 1993, he has pursued an active international pianistic career. His vast repertoire of all periods focuses particularly upon music of the twentieth and twenty-first centuries, including the farthest reaches of musical modernism and transcendental virtuosity. He has twice – in 1996 and again in 2016/17 – performed the complete piano music of Michael Finnissy across a series of concerts. He has played in 25 countries, recorded over 35 CDs for NMC, Metier, Naïve, Hat Art, Mode, Sub Rosa, Prima Facie and other labels, and given over 300 world premieres, by composers including Patrícia de Almeida, Gilbert Amy, Julian Anderson, Richard Barrett, Konrad Boehmer, Luc Brewaeys ,Pascal Dusapin (whose piano concerto À Quia he premiered and recorded with the Orchestre de Paris and Christoph Eschenbach), Brian Ferneyhough, Christopher Fox, James Dillon, Volker Heyn, Wieland Hoban, Evan Johnson, Maxim Kolomiiets, André Laporte, Hilda Paredes, Horatiu Radulescu, Lauren Redhead, Frederic Rzewski, Gerhard Stäbler, Howard Skempton, and Walter Zimmermann, as well as championing many younger or lesser-known figures. He has also worked with and co-directed several ensembles and currently runs the City Pierrot Ensemble. Amongst the orchestras with whom he has appeared as soloist are the Orchestre de Paris under Christoph Eschenbach, the SWF Orchester Stuttgart under Rupert Huber, and the Dortmund Philharmonic under Bernhard Kontarsky. He has also run piano classes at the festivals in Acanthes, Metz, Impuls, Graz, and the Akademie für Neue Musik, Munich, and regularly given masterclasses and workshops for composers in many countries. For his 50th birthday in 2018, BBC Radio 3's Hear and Now devoted a two-hour programme to his work, the first time this has been done for a single performer.

He is Senior Lecturer in Music and Head of Performance at City University, London, having previously held positions at the Dartington College of Arts (2007-2010), University of Southampton (2003-2006) and London College of Music and Media (1998-2001), as well as having been Artist in Residence at Trinity Laban (2006). His areas of academic expertise include nineteenth-century performance practice, comparative performance studies, issues of music and society (with particular reference to the Frankfurt School), contemporary performance practice and issues, music and culture under fascism, modernist music and its institutions, in particular in Germany, critical musicology, and music historiography. His undergraduate teaching has also encompassed 19th and 20th century musical history (including popular music and jazz history), nineteenth-century opera, Debussy, aesthetics of modernism and postmodernism, music under fascism and communism and in the Cold War, instrument history, site-specific music, and music journalism.

Ian authored the monograph Michael Finnissy’s The History of Photography in Sound: A Study of Sources, Techniques and Interpretation, (Divine Art in 2013), co-edited and was a major contributor to the volumes Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts (Routledge, 2019), and Uncommon Ground: The Music of Michael Finnissy (Ashgate, 1998), and authored the monograph Michael Finnissy’s The History of Photography in Sound: A Study of Sources, Techniques and Interpretation, published by Divine Art in 2013. He has also published many articles in Music and Letters, Contemporary Music Review, TEMPO, The Musical Times, The Liszt Society Journal, International Piano, Musiktexte, Musik & Ästhetik, The Open Space Magazine, as well as contributing many book chapters. Recent publications have included 'The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism', in Writing to Louis Andriessen: Commentaries on life in music, ed. Rose Dodd (Lecturis, 2019); 'Composition and Performance can be, and often have been, Research' (Tempo 70/275 (January 2016)), 'Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study', in Search: Journal for New Music and Culture 2015 (11), 'Ferneyhough Hero: Scholarship and Promotion', Music and Letters 96/1 (February 2015), and chapters on 'Instrumental Performance in the nineteenth century', in The Cambridge History of Musical Performance, edited Colin Lawson and Robin Stowell (Cambridge: Cambridge University Press, 2012), 'Verbal Discourse as Aesthetic Arbitrator' in Björn Heile (ed), The Modernist Legacy (Aldershot: Ashgate, 2009), 'Notation, Time and the Performer's Relationship to the Score in Contemporary Music', in Darla Crispin (ed), Unfolding Time: Studies in Temporality in Twentieth-Century Music, edited Darla Crispin (Leuven: Leuven University Press, 2009), and 'Coldness and Cruelty as Performance in Deleuze's Proust', in Mary Bryden and Margaret Topping (Eds), Beckett's Proust/Deleuze's Proust (Basingstoke: Palgrave Macmillan, 2009).

New edited volumes on Writing on Contemporary Musicians and Writing about Contemporary Artists in Theory and Practice, from Routledge and Palgrave Macmillan respectively, both co-edited with Christopher Wiley, will appear in early 2020, and Rethinking Contemporary Musicologies: The Limits of Interdisciplinarity and the Dangers of Deskilling, co-edited with Peter Tregear, will appear from Routledge in 2020. Other forthcoming publications include monographs on music in Weimar and post-war Germany, a book on Brahms Performance Practice for Routledge, and a history of specialist musical education in Britain.

He has supervised doctoral dissertations on the early history and music of the French courant spectrale; the violin playing and careers of Marie Hall, Maud Powell and Alma Moodie and gendered expectations on performance; performance practice in the music of Nikolai Medtner; Alfred Cortot's performances and editions of Schubert; and cross-cultural conceptions of time in the work of John Cage, George Crumb and Toru Takemitsu. He is currently supervising dissertations on the violin playing of Ferdinand David; Gordon Green and the Manchester School of Piano Playing; form, genre and performance in Liszt's Sonata in B minor and Dante Sonata; and an auto-ethnographic study of jazz and Middle Eastern performance concentrating on issues of authenticity and cross-cultural interactions. He welcomes applications in particular from potential doctoral students on all areas of 20th and 21st century art music, performance practice and performance schools, critical and comparative musicology, and issues of music historiography.

He has given many conference papers and guest lectures, recently on Internationalism in music in Nazi Germany; Autoethnography and self-reflexivity in music studies; Britten's Peter Grimes and representations of violence; the Cold War in Germany and modernist historiography; American Experimentalism and Exceptionalist ideologies in musical historiography; mediations between scholarly and performance-based approaches to playing the Sonata of Paul Dukas; critical views on the ethnography of Western Art Music; conceptualising practice-as-research in relation to performers' activities; and on the writings on Benjamin Britten by Clifford Hindley and the aestheticisation of pederasty. He is also currently working as principal consultant for a new film on avant-garde music in West and East Germany after 1945, ‘“Wir fangen ganz von vorn an”. Avantgarde zur Stunde Null in Ost und West’ directed by Bettina Ehrhardt and commissioned jointly by Arte and Zweites Deutsches Fernsehen, in which he will appear in the film as commentator and pianist.

Qualifications

  1. PhD, Cardiff University, United Kingdom, Sep 2006 – May 2018
  2. ACT (Master's Equivalent), The Juilliard School, United States, Jan 1991 – Jan 1992
  3. BA, The Queen's College, Oxford, United Kingdom, Jan 1986 – Jan 1989

Employment

  1. Senior Lecturer, City, University London, Jan 2015 – present
  2. Senior Lecturer, Music, City, University of London, Jan 2015 – present
  3. Lecturer, City, University of London, Jan 2010 – Nov 2015
  4. Lecturer in Contemporary Musicologies, Dartington College of Arts, Oct 2007 – Jan 2010
  5. AHRC Creative and Performing Arts Research Fellow, University of Southampton, Mar 2003 – Jun 2006
  6. Piano Teacher, Co-Director, Contemporary Performance Course, London College of Music and Media, Sep 1998 – Aug 2001
  7. Freelance concert pianist, Freelance, Jan 1993 – present

Languages

French (can read, write, speak, understand spoken and peer review), German (can read, write, speak, understand spoken and peer review) and Italian (can read).

Expertise

Geographic Areas

  • Europe
  • Europe - Central
  • Europe - Western

Research

Research interests

19th Century performance history and practice; romantic aesthetics; Beethoven, Schumann, Chopin, Liszt, Brahms; history of the piano and pianists; history of violin style; the 19th-century orchestra; Russian music and performance; aesthetics of modernism and postmodernism; Second Viennese School; Debussy, Ravel, Stravinsky, Bartók; music in the Third Reich; the post-1945 avant-garde; music, culture, and society in West Germany; music in the Cold War; contemporary music in Britain; institutions and festivals of new music (including Darmstadt, Donaueschingen, Musica Viva, etc.); music of Stockhausen, Xenakis, Nono, Cage, Schnebel, Kagel, Ligeti, Lachenmann, Radulescu, Ferneyhough, Finnissy and others; early electronic music; music-theatre; contemporary performance techniques and issues; issues of notation; historiography; music and identity; the role of verbal discourse around music; Theodor Adorno; Pierre Bourdieu.

Publications

Books (5)

  1. Pace, I. (2020). Writing about Contemporary Musicians: Promotion, Advocacy, Disinterest, Censure. Pace, I. and Wiley, C. (Eds.), London and New York: Routledge.
    (Pace, I., Wiley, C., Heile, B., Forkert, A., Dixon, M.P., Inoguchi, I. … Dunsby, J., Contributors)
  2. Pace, I. and McBride, N. (2019). Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts. Pace, I. and McBride, N. (Eds.), London and New York: Routledge. ISBN 978-1-351-03152-3.
    (Pace, I., McBride, N., Fox, C., Thomas, P., Hawkins, R., Woods, G. … Barrett, R., Contributors)
  3. Pace, P. (2013). Michael Finnissy's "The History of Photography in Sound": A Study of Sources, Techniques and Interpretation. Divine Art.
  4. Fox, C., Brougham, H. and Pace, I. (Eds.), (1998). Uncommon Ground: the music of Michael Finnissy. Farnham: Ashgate Publishing. ISBN 978-1-85928-356-1.
  5. Pace, I. Brahms Performance Practice: Documentary, Analytic and Interpretative Approaches. Ashgate Publishing.

Chapters (14)

  1. Pace, I. (2019). Negotiating borrowing, genre and mediation in the piano music of Finnissy: strategies and aesthetics. In Pace, I. and McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark pasts (pp. 57–103). London and New York: Routledge. ISBN 978-1-138-49197-7.
  2. Pace, I. (2019). From Jean-Luc Godard to Dennis Potter: Finnissy’s cinematic and televisual inspirations. In Pace, I. and McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts (pp. 344–375). London and New York: Routledge. ISBN 978-1-138-49197-7.
  3. Pace, I. (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music (pp. 83–101). ISBN 978-94-6226-307-9.
  4. Pace, I. and McBride, N. (2019). Introduction (Critical Perspectives on Michael Finnissy). In Pace, I. and McBride, N. (Eds.), Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts (pp. 1–24). London and New York: Routledge. ISBN 978-1-138-49197-7.
  5. Pace, I. (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (2). In Dodd, R. (Ed.), (pp. 153–172). Eindhoven, the Netherlands: Lecturis. ISBN 978-94-6226-307-9.
  6. Pace, P. (2009). Coldness and Cruelty as Performance in Deleuze's Proust. In Bryden, M. and Topping, M. (Eds.), Beckett's Proust/Deleuze's Proust (pp. 183–198). Palgrave Macmillan. ISBN 978-0-230-20141-5.
  7. Pace, P. (2009). Verbal Discourse as Aesthetic Arbitrator in Contemporary Music. In Heile, B. (Ed.), The Modernist Legacy (pp. 81–99). Ashgate Publishing, Ltd.. ISBN 978-0-7546-6260-0.
  8. Pace, P. (2009). Notation, Time and the Performer’s Relationship to the Score in Contemporary Music. In Crispin, D. (Ed.), Unfolding Time (pp. 151–192). Leuven University Press. ISBN 978-90-5867-735-8.
  9. Pace, I. and Saunders, J. (2009). Fox, Christopher. Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
  10. Cross, J. and Pace, P. (2001). Finnissy, Michael (Peter). Grove Music Online Oxford: Oxford University Press. ISBN 978-1-56159-263-0.
  11. Pace, I. (1998). The Piano Music. In Pace, I., Fox, C. and Brougham, H. (Eds.), Uncommon Ground: the music of Michael Finnissy (pp. 43–134). Farnham: Ashagate. ISBN 978-1-85928-356-1.
  12. Pace, I. (1998). The Theatrical Works. In Pace, I., Fox, C. and Brougham, H. (Eds.), Uncommon Ground: Music of Michael Finnissy (pp. 259–346). Farnham: Ashgate. ISBN 978-1-85928-356-1.
  13. Pace, I. Instrumental performance in the nineteenth century. The Cambridge History of Musical Performance (pp. 643–695). Cambridge University Press. ISBN 978-1-139-02596-6.
  14. Pace, I. Performance as Analysis, Analysis as Performance. In Cervino, A. (Ed.), Collected Writings of the Orpheus Institute

Compositions (3)

  1. Pace, I. (2019). Thirty for Grace. (Piano)
  2. Pace, I. (2018). Das hat Rrrrasss.
  3. Pace, I. (2018). auseinandergerissene Hälften. (Piano)

Conference papers and proceedings (18)

  1. Pace, I. (2014). Beyond Werktreue: Ideologies of New Music Performance and Performers. 14 January, Royal College of Music.
  2. Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. May, City University London, UK.
  3. Pace, I. (2013). The Cold War in Germany as ideological weapon for anti-modernists. Impuls festival 2013 9-20 February, Graz, Austria.
  4. Pace, I. (2012). Tempo and its modifications in the music of Brahms from primary sources and evidence of early performers. Symposium 'Über das Forteilen und Zurückhalten. Zur Tempogestaltung in der Musik des frühen 19. Jahrhunderts' 31 March, Berlin, Germany.
  5. Pace, I. (2011). The Cold War in Germany as ideological weapon for anti-modernists. Radical Music History Conference 8 December, Helsinki, Finland.
  6. Pace, I. (2011). Instrumental Technique and Scholarly Enquiry: Issues and Methods. The Art of Artistic Research 6 May, Norwegian Academy of Music, Oslo, Norway.
  7. Pace, I. (2010). Militarisation, Industrialisation and the growth of the Symphony Orchestra in the Nineteenth Century. The Symphony Orchestra as Cultural Phenomenon 1-3 July, Institute of Musical Research, London, UK.
  8. Pace, I. (2009). Performance as Analysis, Analysis as Performance. From Analysis to Music 27 May, Ghent, Belgium.
  9. Pace, I. (2008). Between Adorno and HIP: Possibilities of Synthesis. Adorno and Musical Reproduction Conference 13-14 September, Manchester, UK.
  10. Pace, I. (2008). Recording, Ideology and Critical Approaches to Interpretation. CHARM 11 September, Royal Holloway College, Egham, Surrey.
  11. Pace, I. (2007). Graphic Notation. Lecture 13 June, Hochschule für Musik, Freiburg, Germany.
  12. Pace, I. (2007). Complexity as Imaginative Stimulant: Issues of Rubato, Barring, Grouping, Accentuation and Articulation in Contemporary Music, with Examples from Boulez, Carter, Feldman, Kagel, Finnissy. Tempo, Meter, Rhythm. Time in Music after 1950 11-14 April, Ghent, Belgium.
  13. Pace, I. (2007). Making possible the irrational: strategies and aesthetics in the music of Stockhausen, Cage, Ligeti, Xenakis, Ferneyhough, Barrett. Tempo, Meter, Rhythm. Time in Music after 1950 11-14 April, Orpheus Institute, Ghent, Belgium.
  14. Pace, I. (2006). The Marxist programme note: The logic of the supplement in the textual accompaniment. Society for Musical Analysis Study Day 25 November, University of Sussex, Sussex, UK.
  15. Pace, I. (2005). Performance as ideology. Radical Philosophy Conference 19 March, Birkbeck College, London, UK.
  16. Pace, I. (2004). Rethinking Romanticism. 16 February, University of Southampton, UK.
  17. Pace, I. (2004). Rethinking Romanticism. 18 January, Hochschule der Kunst, Berlin, Germany.
  18. Pace, I. (2003). Rethinking Romanticism. 12 November, King's College, London, UK.

Internet publications (29)

  1. Pace, I. (2018). The RAE and REF: Resources and Critiques.
  2. Pace, I. (2018). The Tory Government distrusts the arts and humanities – but what about academics?
  3. Pace, I. (2017). Response to Anna Bull (on Stella Duffy and everyday creativity.
  4. Pace, I. (2017). Response to Stella Duffy on the arts, elitism, and communities.
  5. Pace, I. (2017). Response to Charlotte C. Gill article on music and notation – full list of signatories.
  6. Pace, I. (2016). On Canons (and teaching Le sacre du printemps).
  7. Pace, I. (2016). Spinning Research.
  8. Pace, I. (2016). Ethnographically sourced experiences of Ethnomusicology – a further response to the debate.
  9. Pace, I. (2016). Quilting Points and Ethnomusicology.
  10. Pace, I. (2016). My contribution to the debate ‘Are we all ethnomusicologists now?’
  11. Pace, I. (2016). Responses to Simon Zagorski-Thomas’s talk on ‘Dead White Composers’.
  12. Pace, I. (2015). Those 300-word statements on Practice-as-Research for the RAE/REF – origins and stipulations.
  13. Pace, I. (2015). Some final thoughts on composition, performance, the REF, and teaching.
  14. Pace, I. (2015). Composition and Performance as Research: some wider responses to John Croft and others.
  15. Pace, I. (2015). Multicultural Musicology for Monolingual Academics?
  16. Pace, I. (2014). New article on abuse and classical music by Damian Thompson in the Spectator, and some wider reflections on classical music and abuse.
  17. Pace, I. (2014). Yefim Golyshev, Arnold Schoenberg, and the Origins of Twelve-Tone Music.
  18. Pace, I. (2014). Child abuse and identity politics – the normalisation of abuse on such grounds. https://ianpace.wordpress.com/2014/07/18/child-abuse-and-identity-politics-the-normalisation-of-abuse-on-such-grounds/.
  19. Pace, I. (2014). Alan Doggett, first conductor of Joseph and Jesus Christ Superstar, and the Paedophile Information Exchange.
  20. Pace, I. (2014). Clifford Hindley: Pederasty and Scholarship.
  21. Pace, I. (2013). The Fetish of the 'Contemporary'.
  22. Pace, I. (2013). Hierarchies in New Music: Composers, Performers, and 'Works'.
  23. Pace, I. (2013). Musicology is not Musical PR.
  24. Pace, I. (2013). Robert Waddington, Former Dean of Manchester Cathedral, and Chetham's School of Music.
  25. Pace, I. (2013). The culture of music education lends itself to abuse. Times Educational Supplement.
  26. Pace, I. (2013). Marcel Gazelle and the Culture of the Early Yehudi Menuhin School.
  27. Pace, I. (2012). Frank Cox on Richard Taruskin's The Oxford History of Western Music.
  28. Pace, P. and Bruce, D. (2005). Ian Pace Interview. Composition: Today.
  29. Pace, I. (2001). Interview with Marc Bridle. Seen & Heard.

Journal articles (45)

  1. Pace, I. (2019). Modernist Fantasias: The Recuperation of a Concept. Journal of the Royal Musical Association, 144(2).
  2. Pace, I. (2017). Music after the Fall: Modern Composition and Culture since 1989 by Tim Rutherford-Johnson . Oakland: University of California Press, 2017. £24.95. Tempo, 71(282), pp. 101–103. doi:10.1017/s0040298217000766.
  3. Pace, I. (2017). Darla Crispin and Bob Gilmore, eds, Artistic Experimentation in Music: An Anthology (Leuven: Leuven University Press, 2014). Tempo, 71(281).
  4. Pace, I. (2017). The insidious class divide in music teaching. The Conversation.
  5. Pace, I. (2017). Luigi Dallapiccola and Musical Modernism in Fascist Italy. By Ben Earle. Music and Letters, 98(1), pp. 163–167. doi:10.1093/ml/gcx013.
  6. Pace, I. (2016). How to negotiate the tricky territory of ‘fascist music’. The Conversation.
  7. Pace, I. (2016). To do justice to Arnold’s enviable legacy, we should reverse the tendency towards the de-skilling of a discipline. Society for Musical Analysis Newsletter, 2015, pp. 28–29.
  8. Pace, I. (2015). COMPOSITION and PERFORMANCE CAN BE, and OFTEN HAVE BEEN, RESEARCH. Tempo (United Kingdom), 70(275), pp. 60–70. doi:10.1017/S0040298215000637.
  9. Pace, I. (2015). Between Worlds: the dangers of transforming 9/11 into stylised art. The Conversation.
  10. Pace, I. (2015). Music teacher sentenced to 11 years in prison as abuse film Whiplash prepares for Oscars. The Conversation.
  11. Pace, I. (2015). Does elite music teaching leave pupils open to abuse? Daily Telegraph.
  12. Pace, I. (2015). Ferneyhough Hero: Scholarship as Promotion. Music and Letters, 96(1), pp. 99–112. doi:10.1093/ml/gcu111.
  13. Pace, I. (2015). Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study. Search – Journal for New Music and Culture, Fall 2015(11).
  14. Pace, I. (2014). Music in Germany Since 1968 by Alastair Williams. Cambridge: Cambridge University Press, 2013. £60.00. Tempo, 68(268), pp. 116–121. doi:10.1017/s0040298213001940.
  15. Pace, I. (2012). Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti'sÉtudesfor Piano. Contemporary Music Review, 31(2-3), pp. 177–201. doi:10.1080/07494467.2012.717359.
  16. Pace, I. (2009). Dialogue. Notations, 1.
  17. (2007). Book Reviews. Tempo, 61(242), pp. 61–73. doi:10.1017/s0040298207000307.
  18. Pace, P. (2007). “The Best Form of Government…”: Cage’s Laissez-Faire Anarchism and Capitalism. The Open Space Magazine, (8/9), pp. 91–115.
  19. Pace, P. (2007). Gordon Downie and Ian Pace: A Dialogue. The Open Space Magazine, (8 & 9), pp. 181–208.
  20. Pace, I. (2007). Performing Liszt in the Style Hongroise. Liszt Society Journal, 32, p. 55.
  21. Pace, I. (2006). Interview. International Piano.
  22. Pace, P. (2006). Conventions, Genres, Practices in the Performance of Liszt’s Piano Music. Liszt Society Journal, 31.
  23. Pace, I. and Bruce, D. (2005). Ian Pace Interview 528. Composition Today.
  24. Pace, I. (2005). Lachenmann'sSerynade--Issues for Performer and Listener. Contemporary Music Review, 24(1), pp. 101–112. doi:10.1080/0749446042000293646.
  25. Pace, P. (2003). György Sándor: From East to West. International Piano, (Jan/Feb 2003).
  26. Pace, I. (2003). Review, Serge Prokofiev – Fiftieth Anniversary Set (Warner Classics). Three Oranges Journal, (5), pp. 32–34.
  27. Pace, I. (2001). The harpsichord works of Iannis Xenakis. Contemporary Music Review, 20(1), pp. 125–140. doi:10.1080/07494460100640121.
  28. Pace, P. (1999). Modulor von Ian Willcock. Musik & Ästhetik, (10), pp. 47–58.
  29. Pace, I. (1999). UK Gold? The Musical Times, 140(1869), pp. 2–3.
  30. Pace, P. (1998). Positive or negative 2. The Musical Times, 139(1860), pp. 4–15.
  31. Pace, P. (1998). Positive or negative 1. The Musical Times, 139(1859), pp. 9–17.
  32. Pace, P. (1998). Northern Light. The Musical Times, 139(1863), pp. 33–44.
  33. Pace, P. (1998). Book Review: Brian Ferneyhough - Collected Writings by James Boros; Richard Toop; Brian Ferneyhough; Ferneyhough: String Quartet No.4; Kurze Schatten II; Trittico per G. S.; Terrain by Arditti String Quartet with Brenda Mitchell; Magnus Andersson; Stefano Scodanibbio; Irvine Arditti; ASKO Ensemble; Jonathan Nott; Brian Ferneyhough; Ferneyhough: Prometheus; La Chute D'Icare; On Stellar Magnitudes; Superscriptio; Carceri d'Invenzione III by Luisa Castellani; Félix Renggli; Ernesto Molinari; Ensemble Contrechamps; Giorgio Bernasconi; Zsölt Nagy; Emilio Pomàrico; Brian Ferneyhough. Tempo (London, 1939): a quarterly review of modern music, (203), pp. 45–48.
  34. Pace, P. (1997). Never to Be Naught. The Musical Times, 138(1857), pp. 17–20.
  35. Pace, P. (1997). Archetypal Experiments. The Musical Times, (1856), pp. 9–14.
  36. Pace, P. (1997). Music of the Absurd? Thoughts on Recent Kagel. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 29–34.
  37. Pace, P. (1997). 'Die Soldaten' in London. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 41–42.
  38. Pace, P. (1997). Recent Sciarrino Premières. Tempo (London, 1939): a quarterly review of modern music, (200), pp. 49–51.
  39. Pace, P. (1997). The Panorama of Michael Finnissy (II). Tempo (London, 1939): a quarterly review of modern music, (201), pp. 7–16.
  40. Pace, P. (1996). Repertoire Guide: Richard Barrett. Classical Music pp. 29–29.
  41. Pace, P. (1996). The Panorama of Michael Finnissy (I). Tempo (London, 1939): a quarterly review of modern music, (196), pp. 25–35.
  42. Pace, I. (1996). CD Review - Julio Estrada: ishini'ioni; miqi'nahual; yuunohui'se; Canto mnémico; yuunohui'yei'nahui; Canto alterno; yuunohui'se'Ome'yei'nahui by Arditti String Quartet; Stefan Scondanibbio; Julio Estrada; Emmanuel Nunes: quodlibet by Ensemble Modern; Orquestra Gulbenkian Lisboa; Kasper de Roo; Emilio Pomárico; Emmanuel Nunes. Tempo (London, 1939): a quarterly review of modern music, 198, pp. 62–63.
  43. Pace, I. (1996). 'Secret Theatres' - The Harrison Birtwistle Retrospective, 12 April-4 May 1996. Tempo (London, 1939): a quarterly review of modern music, 197, pp. 25–27.
  44. Pace, I. (1996). Lachenmann: Pression; Wiegenmusik; Guero; Toccatina; Dal Niente (Interieur III); Interieur I; Ein Kinderspiel by Ensemble Recherche; Helmut Lachenmann; Lachenmann: '... Zwei Gefühle...'; Musik mit Leonardo; Notturno; Interieur I by Helmut Lachenmann; Andreas Lindenbaum; Björn Wilker. Tempo (London, 1939): a quarterly review of modern music pp. 51–54.
  45. Pace, I. The new state of play in performance studies. Music and Letters.

Media

  1. Pace, I. (2015). Ian Pace & Michael Finnissy.

Performances (36)

  1. Pace, I. (2019). World Premiere Performance of Sam Hayden, Becomings (Das Werden) I-VII. 13 May, City, University of London.
  2. Pace, I. (2019). Premieres of 16 New Piano Pieces, 13 May 2019. 13 May, London.
  3. Pace, I. (2019). Radio Broadcast of Volker Heyn 203 (55' piano piece) for Westdeutscher Rundfunk. 24 February, Cologne.
  4. Pace, I. (2019). Brian Ferneyhough - Complete Piano Works - 2 CD set. .
  5. Pace, I. (2018). World Premiere Performance 27 November 2018 - Patrícia de Almeida, Desperatio (Piano Piece No. 5) (2017-18) with film by Daniel Antero. 27 November, City, University of London.
  6. Pace, I. (2018). BBC Radio 3 Hear and Now feature - Ian Pace at 50, with new recordings. 6 October, N/A.
  7. Pace, I. (2018). World Premiere Performance - Samuel Andreyev, Piano Pieces I-IV (2011-16) - 25 May 2018. With UK Premieres of piano works of Betsy Jolas. 25 May, City, University of London.
  8. Pace, I. and Tunnell, C. (2018). Horatiu Radulescu - first recording of L'Exil Intérieur for Cello and Piano, opus 98, with Catherine Tunnell - on Mode Records MOD-CD-313. 14 May 2018 – 1 Jun 2019.
  9. Pace, I. (2018). Three Concert Series - History of Contemporary Piano Music, York Late Music Festival. 5 May, York.
  10. Pace, I. (2019). 23 World Premieres of New Commissions for Ian Pace at 50 - 30 April 2018. Composers including Patricia de Almeida, James Dillon, Michael Finnissy, Christopher Fox, Sadie Harrison, Morgan Hayes, Wieland Hoban, Alwynne Pritchard, Lauren Redhead, Walter Zimmermann. 30 Apr 2018, City, University of London.
  11. Pace, I. and Limbrick, S. (2018). Floating, Drifting (CD Recording). 6 April.
  12. Pace, I. (2017). Sadie Harrison, Return of the Nightingales - CD Recording. 17 November, N/A.
  13. Pace, I. (2017). World Premiere Performance 2 June 2017 - Luc Brewaeys, completed Michael Finnissy, The Dale of Tranquillity (2004, completed 2017). 2 June, City, University of London.
  14. Pace, I. (2017). World Premiere Performance 2 June 2017 - Marc Yeats, william mumler’s spirit photography (2016). 2 June, City, University of London.
  15. Pace, I. (2017). World Premieres - new commissions from Howard Skempton, John White, David Power, Edward Caine, Steve Crowther - Late Music Concerts, York, 6 May 2017. 6 May, Unitarian Chapel, St. Saviourgate, York.
  16. Pace, I. (2017). Homage to David Tudor - Recreation of combined programmes of avant-garde pianist David Tudor, Jacqueline du Pré Music Building, Oxford. 3 March, Jacqueline du Pré Music Building, Oxford.
  17. Pace, I. (2016). World Premiere Performance 29 October 2016 - Lauren Redhead, For Luc Brewaeys (2016) - commissioned by Transit New Music Festival, Leuven, Belgium. 29 October, STUK.
  18. Pace, I. (2016). World Premiere Performance 29 October 2016 - Patrícia de Almeida, Vacuum Corporis (Piano Piece 4) - commissioned by Transit New Music Festival, Leuven, Belgium. 29 October, STUK.
  19. Pace, I. (2016). World Premiere Performance 29 October 2016 - Luc Brewaeys, The Dale of Tranquility - Transit New Music Festival, Leuven, Belgium. 29 October, STUK.
  20. Pace, I. (2019). The Anatomy of Melancholy - The Piano Music of Marc Yeats (CD Recording). 4 Jun 2016 – 30 May 2019.
  21. Pace, I. (2016). World Premiere Performance, 7 May 2016 - Michael Finnissy, Beethoven's Robin Adair (2016), co-commissioned by York Late Music and Transit Festival. 7 May, Unitarian Chapel, St Saviourgate, YO1 8NQ.
  22. Pace, I. (2016). World Premiere 7 May 2016 - Andrew Toovey, First Out (2016). 7 May, Unitarian Chapel, St Saviourgate, York.
  23. Pace, I. (2017). Eleven Concert Series of Complete Piano Works of Michael Finnissy, February 2016-January 2017. 16 Feb 2016 – 20 Jan 2017, London and Oxford.
  24. Pace, I. (2015). Gogol Fest, 27 September 2015 - Ukranian Premieres of works of Horatiu Radulescu, Pascal Dusapin, Rebecca Saunders, Brian Ferneyhough, Maxim Kolomiets. 27 September, Pavilion, Kiev.
  25. Pace, I. (2015). World Premiere Performance of Herman Vogt, Concordia Discors, Études. 11 September, Oslo, Norway.
  26. Pace, I. (2016). Michael Parkin - The Courting Rites of Cranes (CD recording). 1 Jul 2015 – 1 Mar 2016, N/A.
  27. Pace, I. (2015). Concert of contemporary works, York Late Music Concert Series, 7 March 2015, with premieres of new works by Steve Crowther and Edward Caine (Etude: Resonance). 7 March, Unitarian Chapel, St Saviourgate, York.
  28. Pace, I. (2014). World Premiere Performance 2 August 2014 - Ralph Bateman Studies. 2 August, Unitarian Chapel, St Saviourgate, York.
  29. Pace, I. (2014). World Premiere 30 May 2014 - Adam de la Cour, Holy Toledo (2013-14). 30 May, City, University of London.
  30. Pace, I. (2014). World Premiere 29 March 2014, Borealis Festival, Bergen - Alistair Zaldua, Spagyria (2013) for piano. 29 March, http://www.borealisfestival.no/en/.
  31. Pace, I. (2013). CD recording - Michael Finnissy, The History of Photography in Sound (5 CD set). 5 November.
  32. Pace, I. (2013). World Premiere 3 August 2013, York Late Music Festival - Frederic Rzewski, Illusions perdus for solo piano. 3 August, Unitarian Chapel, St Swithinbank's, York.
  33. Pace, I. (2013). CD recording - David Felder, Rocket Summer. 1 July.
  34. Pace, I. (2013). World Premiere, 24 March 2013 - Lauren Redhead - i am but one small instrument. 24 March, The Warehouse, London.
  35. Pace, I. (2013). World Premiere 12 January 2013, Teatro Académico, Coimbra, Portugal - Patricia de Almeida, Reditus ad Vitam (2012). 12 January, Teatro Académico de Gil Vicente, Coimbra, Portugal.
  36. Pace, I. (2012). CD recording - Lauren Redhead, Robin and Marian. 1 January.

Other (14)

  1. Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'.
  2. Pace, I. (2005). Michael Finnissy - Verdi Transcriptions.
  3. Pace, I. (2004). Review: Shining City - Conor McPherson, Royal Court Theatre.
  4. Pace, I. (2003). Tradition and Invention: A personal response to The Book of Elements and contemporary culture.
  5. Pace, I. (2000). Dusapin-Material.
  6. Pace, I. Michael Finnissy at 70: The piano music (1).
  7. Pace, I. Michael Finnissy at 70: The piano music (2).
  8. Pace, I. Michael Finnissy at 70: The piano music (3).
  9. Pace, I. Michael Finnissy at 70: The piano music (4).
  10. Pace, I. Michael Finnissy at 70: The piano music (5).
  11. Pace, I. Michael Finnissy at 70: The piano music (6).
  12. Pace, I. Michael Finnissy at 70: The piano music (7).
  13. Pace, I. Michael Finnissy at 70: The piano music (8).
  14. Pace, I. Michael Finnissy at 70: The piano music (9).