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.
Professor Ambrose Field is part of a York research team working with Liverpool based artist Laurence Payot to create Living Sculpture (Virtual), on Platform 6 at Crewe Station from Friday 10th March. More information here.
A project which includes the work of Dr Jonathan Eato (Hannah Bruce Company on behalf of Hoxton Hall, The Hoxton Hall Experience: A Collection of Small Choices) has been shortlisted for a Museums and Heritage Innovation Award.
eyam v (woven) for contrabass flute, contrabass clarinet and orchestra by Associate Lecturer in Composition Ann Cleare was premiered by the RTÉ National Symphony Orchestra of Ireland at The National Concert Hall in Dublin on February 14th.
[rout], the new music ensemble with whom Catherine Laws performs keyboards, is giving the first performance of Paul Whitty’s somewhere a field on Thursday March 9th at audiograft, Oxford’s annual festival of experimental music and sound.
Ligeti Quartet Composers Workshop
As part of the weekly CMRC Composers Seminars, the Ligeti Quartet visited the department on 28th February 2017 for a workshop with undergraduate and postgraduate composers.
A new piano trio by Roger Marsh – ‘Cracks’ – was premiered at the Bangor Music Festival on Feb 18th by the Fidelio Trio. Marsh also gave a pre-concert talk and adjudicated a competition for young composers. The following day four numbers from his vocal work Pierrot Lunaire 50 Rondels Bergamasques were performed in a recital entitled ‘Shades of Pierrot’.