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.
Music by Thomas Simaku, Roger Marsh, James Williamson and Owen Russell has been broadcast in Chile.
Carlos Zamora has had a busy few months. In February 14th the Concerto for Recorders and Chamber Orchestra was world premiered at the Sir Jack Lyons Concert Hall with the soloist Carmen Troncoso and the University of York Chamber Orchestra conducted by Carlos Zamora.
Works by Federico Reuben, Lynette Quek and Neil Luck are featured as part of a new album on the squib-box label exploring experimental uses of the Japanese vocal synthesis software ‘Vocaloid’. Released earlier this month, the album New Vocal Solutions (sampler) is free to stream and download here.
Originally commissioned by the London Sinfonietta in 2011 and receiving widespread critical acclaim at its premiere, Candlebird, a poignant song-cycle for baritone and ensemble setting texts by Scottish poet Don Paterson was performed by Mark Stone with the Aurora Orchestra under conductor Nicholas Collon at King’s Place, London on 7th April and will be broadcast on BBC Radio 3 In Concert on Monday 16th April at 7.30pm.
An event organised by the Laurence Sterne Trust in central London on Thursday March 22nd involves a good deal of York participation. Curated by musician and broadcaster David Owen Norris, the event, in St George’s Hanover Square, marks the 250th anniversary of Sterne’s funeral, which was held in that very church (also known as the Handel Church). There will be readings from Sterne’s Tristram Shandy and A Sentimental Journey, and performances of Handel and other baroque pieces. There will also be the premiere of James Cave’s Vespers for solo recorder, which won the competition to write a piece which might represent the indescribably beautiful piece played by the troubled Maria in Sterne’s novels. The piece will be played by Carmen Troncoso. Also in the programme will be a performance of Poor Yorick by Roger Marsh. This setting of texts from Sterne’s Tristram Shandy will be performed by a reunited Hilliard Ensemble (they officially retired two years ago), boosted by tenors John Potter and Chris O Gorman.
Federico Reuben and Neil Luck were featured on Radio 3’s Hear and Now on Saturday March 3.