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.
PhD students Beau Stocker, James Cave and Ben Eyes have collaborated with professional singer Supriya Nagarajan and musician Matt Redman on a world music project that brings together classical Bollywood themes and jazz music. The project, backed by the Arts Council, has been devised by Supriya to bring Bollywood music to a new audience and has recently completed a successful UK tour with an international tour to follow.
Ann Cleare’s work the square of yellow light that is your window will receive its UK premiere at Huddersfield Contemporary Music Festival on Saturday, November 25th.
Ensemble-in-association Quatour Diotima have been working with undergraduate and postgraduate students as part of their residency in the Music Department.
Thomas Simaku’s new work, ‘The Scream’ for 34 solo strings, will be broadcast on BBC Radio 3 on Monday 20th November 2017.
Ann Cleare’s new piece surface station #2: the relighting of the sun receives its Australian premiere in Perth’s Totally Huge New Music Festival on October 28th, and from there will tour to venues in Sydney and Melbourne on November 1st and November 2nd.
Thomas Simaku’s work for solo piano, raggio lunare, will receive its world premiere at the Academy of Performing Arts, Martinu Hall, in Prague on 4 November 2017.