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From Score to Sound programme announced

Up-draft

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.

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