Urdance —a forgotten large-scale orchestral work by my late brother, Francis Monkman— is poised for a bold revival. Originally performed at the Queen Elizabeth Hall, London, in 1987 as part of Yamaha’s centenary celebrations, this innovative blend of synthesiser and orchestra was described by him as an “internal ballet”, an exploration of rhythm, texture, orchestral scale, and technological possibility. Now, decades later, the piece stands at the intersection of memory and reinterpretation, a fitting tribute, I hope, to his creative spirit.

With no studio recording having been made, the journey to resurrect Urdance began with the discovery of its long-lost manuscript, buried in the detritus of Francis’s belongings. This serendipitous find ignited a collaborative effort involving original conductor Richard Gonski and sound editor Jack Wingad. Guided by Francis’s ethos of risk and experimentation, the team has begun navigating the challenge of reimagining the work, balancing fidelity to its orchestral origins with the creative possibilities of modern technology.

As Urdance evolves, it promises to capture the thrilling unpredictability and emotional resonance that defined Francis’s vision. In rediscovering this work, the revival becomes not just an act of homage but a conversation between art and memory—between the living and the dead—one that aims to breathe new life into the past while shaping the present in quiet, unexpected ways.

To dive deeper into this ongoing journey and its unfolding progress, explore the detailed blog posts below, chronicling every step of Urdance’s revival.