From Score to Sound programme announced
It’s great to be able to announce the programme for the From Score to Sound project. We think these works hold together as a cohesive set, whilst also demonstrating the diversity within the theme of line and melody that Research Fellow Martin Scheuregger wrote about last week.
The programme was put together using the British Music Collection as an invaluable resource. In the process we uncovered lots of interesting music in this fascinating collection, but only a handful of pieces could make it into the final programme. By including some really recent works, we’re also able to show the Collection as an evolving resource.
Each of the three events – in York, Leeds and London – will include an exploration of some, and a performance of all of the following:
Visiones – after Goya (2015) – Martin Suckling
Court Studies from The Tempest (2005) – Thomas Adès
Rat-race (2000) – Alison Kay
Cimmerian Nocturne (1978-79) – Philip Grange
Blue Green Hill (2012) – Judith Weir
Backslap Boobytrap (2012) – Colin Riley
Dark Inventions (1992) – Philip Cashian
There is some exciting stuff here, including the second (third, and fourth) performances of Visiones by CMRC composer Martin Suckling. We’re really pleased Martin’s work is in the programme, and it’s great that he will also join the panel discussion for two of our events.
Dark Inventions enjoy a close relationship with Philip Cashian, having commissioned Firewheel from him in 2014, but more importantly from having stolen the title of one of his pieces for the ensemble. It’s great to be able to perform Dark Inventions, a piece full of the kind of linear focus that characterises Cashian’s work. A new collaboration for the group is seen in programming Backslap Boobytrap by Colin Riley. Although written in 2012, this will be the work’s first set of performances.
In the brief composer’s note to Blue-Green Hill, Judith Weir speaks of melodies ‘suggested by the twists and turns of Scottish fiddle tunes’. Traditional music is of huge importance to many British composers: in this work we will hear a creative manipulation of such melodies by the Master of the Queen’s Music. In Thomas Adès’ Court Studies from The Tempest, the relationship to tonality is oblique but palpable. Underlying this piece is a series of melodies that are sometimes clear, sometimes more hidden.
Alison Kay’s Rat-race is a crystalline miniature that brings together all six players, combining delicate sonorities in a gradually unwinding line that increases in textural complexity as it progresses.
In Philip Grange’s Cimmerian Nocturne sections grow out from prominent solos for various instruments. A long cantus melody rises and falls across fifteen minutes, the work eventually ending where it began.
9:00 – Coffee – MRC Foyer
10.00 – Lecture Recital: Beau Stocker (percussion) – Rymer Auditorium
(Chair: Carmen Troncoso)
Drums – Timbre – Africa – Rhythm – Improvisation
11:00 – Coffee – MRC Foyer
11:30 – Paper Session 1 – Rymer Auditorium (Chair: Catherine Fahy)
Helen Diggle – “Such a Lappish Thing that it Cannot Be Translated”: Joik as a
Reimagined Method of Communication
James Redelinghuys – African Eyes, African-ize, African Ass
Katherine O’Neill – The way you make me feel’ An investigation into the effect
of induced empathy on subjective response to music
13:00 – Lunch – MRC Foyer
14:00 – Composition Workshop – Jack Lyons (Chair: Dr Martin Suckling)
Carlo Banhos Estolano – Liv 10 Anos (flute quartet, classical guitar and
Catherine Robson (Clarinet, Alto Sax., Viola, Double bass)
Stefano Gioffré – Obviously it’s love (String quartet)
Shu-Yu Lin – String quartet
15:30 – Coffee – MRC Foyer
16:00 – Paper Session 2 – Rymer Auditorium (Chair: Owen Burton)
Neil Luck – Operatic Mass Actions – A report on a collaborative ‘City-Opera’
project for Aarhus 2017
Lizzie Kirk – Community Music in Higher Education: A Dialogic Approach to the
Interaction of Theory and Practice
Bella Clifford – Notions of Virtuosity, Female Accomplishment, and the Violin
‘Ban’ at the Turn of the Eighteenth-Nineteenth Centuries
17:30 – Wine reception – MRC Foyer
Carlos Zamora’s chor piece “O Magnum Mysterium” was shortlisted at the 2nd MICF Composition Competition in the Malta International Choir Festival.
Ben Eyes works as sound designer and engineer for the Jane Horrocks show “Cotton Panic” at Manchester International Festival.
PhD Composition student Ben Eyes is currently working as sound designer and sound engineer for the Jane Horrocks show “Cotton Panic” at Manchester International Festival.
Ben Eyes and James Cave won an award at the International Community for Auditory Display conference 2017 at Penn State, for ‘Best Use of Sound’.
Miller Theatre in New York City has unveiled its 2017-18 season, which is to include an evening length Portrait Concert of Composer Ann Cleare, Associate Lecturer of Composition in the Music Department.
BBC Radio 3 celebrated the 70th birthday of Emeritus Professor Nicola LeFanu by selecting her as Composer of the Week.