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.
James Cave has been announced as the winner of the ‘Same Notes – Ten Times Sweeter’ Competition
This competition was for a piece for unaccompanied descant or treble recorder, three to four minutes long.
James Cave’s setting of ‘Ave Maria’, commissioned by the Dean and Chapter of York Minster for the Nine Lessons and Carols 2016, has been selected for inclusion on a new CD of pieces written for York Minster, to be released on Regent Records later this year.
For the second year running, Martin Suckling features in the Scottish Awards for New Music. His flute concerto, The White Road, premiered last February by Katherine Bryan and the Royal Scottish National Orchestra, is shortlisted in the ‘Large Scale Work (11+ performers) sponsored by PRS for Music’ category. Over 180 nominations were submitted by artists, audience members and the general public, reinforcing the depth and breadth of new music activity in Scotland. The awards event will be held at the Drygate Brewery, Glasgow on Wednesday 7 March 2017.
PhD student Patrick John Jones has been selected for PRS for Music’s new scheme for composers, Accelerate.
On Friday 12th January, Martin Suckling’s new string quintet, Emily’s Electrical Absence, a collaboration with poet Frances Leviston and scientists from the PETMEM consortium, receives its premiere in London as part of the ‘Time Unwrapped’ series at King’s Place. The following day in New York City, Lost Dog New Music Ensemble give the second US performance of Martin’s clarinet trio Visiones (after Goya) as part of their mini-festival of British music, ‘The UK Commotion’.
The Journal of Music, Technology and Education recently published a special edition on the Online Orchestra, an Arts & Humanities Research Council-funded project that run between October 2014 to March 2016.