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.
A new version of Ann Cleare’s work on magnetic fields will receive a world premiere in London this Thursday, June 14th at Goldsmith University’s Great Hall.
Rika Zayasu gave the Japanese premiere of John Stringer’s Disquiet II at Tokyo’s Art Space in March and Joseph Houston will give the Italian premiere in October in Ascoli as part of the Nuovi Spazi Musicali festival.
Thomas Simaku visited the University of Music and Performing Arts in Vienna where he gave a lecture for the composition class of Professor Michael Jarrell on 25 April 2018.
The music of Associate lecturer Ann Cleare had its Israeli premiere on May 7th at Tel Aviv’s Felcija Blumenthal Music Festival.
South African pianist and composer Nduduzo Makhathini’s latest album, iKhambi, has been nominated for two South African Music Awards in the categories of ‘Best Jazz Album’ and ‘Best Engineered Album’.
The Fidelio Trio give a concert on Wednesday May 9th at 7.30, to include the second performance of the trio Cracks written for them by Roger Marsh in 2017.